Texas Music Times - Americana Music Times

Transcription

Texas Music Times
“THE RED DIRT IS HERE”
NOVEMBER 2006
FOR FANS BY FANS
JASON BOLAND AND THE STRAGGLERS
“The Bourbon Legend”
LARGEST MAGAZINE IN TEXAS MUSIC
WWW.TEXASMUSICTIMES.COM
TEXAS MUSIC TIMES - November 2006
About the Cover
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that the artists are doing the same thing in a
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The Editor in Chief
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The Bourbon Legend Walks Among Us
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By: Mark Tucker
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at the right time”, VD\V%RODQG7KHDOEXPLVWKHEDQG¶V¿UVWZLWK6XVWDLQ
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band bullsh*t. Although I do like that fat chick they have with em’…..You 6WUDJJOHUDOEXPVDQG7H[DV5HG'LUWPXVLFLQJHQHUDOLWVORYHVRQJV
know, the lead singer!”
The Bourbon Legend JLYHVXVORYHVRQJV“Up and Gone”, and
“Everyday Life”. (DFKRIWKHVHVRQJVDUHDPD]LQJERWKO\ULFDOO\DQG
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(Continued on page 4)
2
WHATS INSIDE:
team texas music times
2
Jason Boland and the stragglers
4
Johnny Cooper
publisher and editor in chieF
5
Sterling Finlay
rachel taylor
6
Robert Cherry
7
Granger Smith
8
RRB in NYC
Keith howerton
copy editor
danielle howerton
layout and design
jamie wilson
ad design
CD REVIEWS
steve circeo
WWW.maxcreative.com
15 Mike Mcclure band
15 Full Throttle
15 Trent Summar
23 cross canadian ragweed
web master
rebecca howerton
sales and marketing
9
the wormy dog celebration
10
Wade Bowen and
10
Eli young band
11
ryan bales
11
south of nowhere
14
jack ingram’s RAM Fest
16
Hayes Carll
17
TMT PROFILe five
18
Joe Ely at Gruene Hall
19
The film coyote funeral
20
The Claw-Italian texas music
20
bleu edmondson
21
bart crow
21
missy querry
22
gEorge Bancroft with the tale
behined the Tunes
numerous writers and contributors
cover photo courtesy of sustain records
and all the artists and fans that keep iT real....
god bless
contact our writers, contributors and staff
via our website.
From the Editor in Chief
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Texas Music Times magazine and texasmusictimes.com is wholly owned by Texas Music Times LLC, a Texas Limited Liability Company. The name “Texas
Music Times” and the slogan “The Red Dirt Is Here” are copyrights of Texas Music Times LLC. The Texas Music Times logo is a trademark of Texas
Music Times LLC. The ownership of printed material in Texas Music Times or on texasmusictimes.com is jointly owned by the contributing author and
Texas Music Times LLC. Re-print or reuse of any material is not authorized unless approval is giving by Texas Music Times LLC in coordination with
the original author. If approval is given proper credit must be given to the author and Texas Music Times Magazine or texasmusictimes.com. Reuse
of photographs for commercial use is prohibited. For inquires or contacts please email info@texasmusictimes.com.
Errors and Omissions Policy:
All content in Texas Music Times magazine and on texasmusictimes.com is opinion and editorial and the views represented are solely those of the author. Texas Music Times LLC is not liable for any errors, omissions, typographical errors, or views expressed in the magazine or website.
Disclaimer and Use of Language
Texas music is a passionate subject for the artists, fans, and industry at large; and there are views that individuals hold strongly. Words like
“crap,” “ass,” “damn,” and “hell” are likely to be printed in Texas Music Times LLC publications. If you are offended by words like that please be
warned. Additionally, our management and authors may be persons of faith and refer to a deity that they believe in such as Lord, God, or some other
name for a greater being. If you are offended by people who express belief in a higher being, then we suggest that you get over it.
3
(Continued from page 2)
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bound to go to Heaven, I’ve done spent my time in hell”.
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Photo Courtesy of Sustain Records
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Photo By Linda Higbie
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such an otherwise miserable day of heat? The
people had simply come to celebrate the 3rd
anniversary of the Wormy Dog Saloon.
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20
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By: Linda Higbie
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21
The Tale Behind the Tune
By: George Bancroft
The T
Th
Tune: W
Willy
ll th
the W
Wandering
d
G
Gypsy and
dM
Me
The Tale Teller: Billy Joe Shaver
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you mean?
mean?”
He said, “Did you write that song?” and I said,
“Yeah.” and he says, “Well, I gotta have it.”
He says, “I’m gonna record that song.” and
I said, “Well, you can sure do that.” He said,
“You got any more of them cowboy songs?”
I said, “Yeah. I got a whole sack full of ‘em
here,” and he said, “Well, come on up to Nashville, and I’ll record a whole album.”
And that’s the last I seen him. I went on up to
Nashville, and I chased him around, God, I bet
six weeks. I’d call over to his place over there,
and he’s on the line. And they said he’s on the
other line, and I knew he didn’t have but one
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RCA... it was...what was it? Yeah, it was RCA,
I think. The great big place where Elvis recordd
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posed to let me in..folks like me. I come in. I
was kind of weather-worn, and beat-up, broke,
and I went ahead and stood there for a while
down at the end of the hall there because (there
were) these lines of women and everybody
- hangers-on and stuff like that. People knew
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Waylon was gonna do something, but they just
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didn’t know when or how, so I stood there for
a while, and Waylon peeked his head out and
OK
saw me because Midnight told him I was there,
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doin’, and he come out of there with a couple of
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ol’ bikers on each arm. I was down at the other
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end, and like I say, the hall was just lined with
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people ‘cause Waylon was the biggest thing
goin’, I guess. Well, he hadn’t really done it yet,
Yeah
but he was gonna do something and everybody
knew it. He said, “What do you want, Hoss?”
And you went up to Nashville. Could you tell
I said, “Well, now, ya know, ya told me to come
me that story because I want to hear it from
up here, and you’d record my songs,” and I
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says, “I don’t expect you to record ‘em, but I
do expect you to listen to ‘em, and if you don’t,
Well, it all started down there at that Dripping
I’m gonna whip your ass right here in front of
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everybody.”
I was in a trailer, and they were passing a guitar around, and they passed it to me. I was still
And boy, them bikers started towards me, and
cowboy’n then, and I was working on ranches
he grabbed ‘em and held them back, and he
and stuff. I start playin’ Willy the Wandering
walked on up there to me, and he looked at me
Gypy and Me. I heard a commotion in the back
right in the eye, and I was ready. You know...
and, boy, out busts Waylon, and he’s doin’
I had my little ol’ guitar with me ‘cause I didn’t
God knows what back there, but he says, “I
have nowhere else to put it, and I thought he
gotta have that song.” I said, “Well, what do
was gonna take a swing at me, but he didn’t
22
‘cause
cause I was ready
ready, ya know
know. I was a pretty
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I’m pretty good, and he kinda eased over there
and grabbed me by my shoulder - - right where
that funny bone is. People who know how to
do that can do it, and he walked me into this
other room, and he told me, “I’ll tell ya what
I’m gonna do. I’m gonna do something for
you. I’m gonna do that one song, Willy the
Wandering Gypsy and Me. I tell you what...
I’m gonna let you sing, sing another song for
me. I’m gonna make you a deal. I know you
got a bunch of songs there, but if you sing one
song for me that I don’t like...then, man, out that
door you go. I don’t ever see you again. I said,
“That’s fair enough.” So, I sang Ain’t No God
in Mexico, and then I sang him Old Five and
Dimers, I think and then Low Down Freedom,
and then I sang him Honky Town Heroes and
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just slapped hisself on the leg and said, “Man I
know what I gotta do now, damn it.”
He went back in there and changed everything
around. Boy, they got mad at him. Chet Atkins,
the whole town was mad at him ‘cause these
songs I had were real raw and different. They
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‘em which they wadn’t even saying back then.
Ya know... ain’t no God in Mexico, and all that
stuff, and they all just knew it was gonna bring
Nashville down, sure enough, it didn’t. It
brought it up, so it worked out good for me, and
that’s how it happened, and Waylon did stick
his neck out . He took his own band in there
and played ‘em and did the whole thing. Those
were the kind of songs that none of the players
there could have played. They were a little too
slick. His band wasn’t. They were like....Richie
Albright was from Oklahoma. . . always had
that heavy beat. I always want to accuse Waylon of inventing that disco beat. He came out
with that beat before disco came out. I believe
that’s where it came from. May he turn over in
his grave.
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Billy Joe.
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Back to Tulsa
Live and Loud at Cain’s with Cross Canadian Ragweed
By: Keith Howerton
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