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themusicenthusiast · 7 years ago

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Saturday, July 1st, 2017 – Laughs and Stories Abound as Ray Wylie Hubbard Entertains a Capacity Crowd at Levitt Pavilion

All photos by Jordan Buford Photography The summer concert season is already nearly over at Arlington’s Levitt Pavilion, several great local and regional acts having graced the stage so far or set to in the coming weeks. However, this particular Saturday night saw what was probably the biggest turn out for one of their free concerts, the amount of people that packed into the sprawling lawn space being staggering. It was pretty much a capacity crowd for what event organizers and volunteers said was one act that, no matter how recently he had performed at the Levitt, residents always asked them when they would have him back. Hence why Texas music icon Ray Wylie Hubbard is always a standard at some point during either the summer or fall concert season; spectators wildly cheering once he and his two band mates stepped onto the stage at 8:08 this night. Hubbard, his son, guitarist Lucas Hubbard, and drummer Kyle Schneider wasted little time in getting down to business, starting things off with a couple cuts from 2006’s Snake Farm, the moody, blues tinged “Rabbit” being up first. The mood it cast made it a good opener, especially towards the end as it offered up the sage advice of, “…We've a short time to be here, so get out of your rut and get in your groove…”; and the audience went wild when Hubbard found a way to add “Arlington” into the song.

They had barely wrapped that one up when they took everyone down to the “Snake Farm”, the off-beat and slightly humorous track being an early favorite with the fans. “It’s a sing-along!” remarked Hubbard during the song, confessing it may not be his best though promised he had some more appropriate ones that they’d be getting to. Some would argue that, claiming it is his best, the fact that they sang along well before ever being asked affirming that. Upon finishing that was when Hubbard began to entertain everyone with his banter, mentioning he had written the next song he had planned with a “young guy” by the name of Hayes Carll. “He’s a great songwriter, no matter what Steve Earle says,” he quipped, not even being able to keep a straight face as he made that joke. He then made a crack at his own expense. “For many of you, this is probably the first time you’ve appeared before me. You’re probably thinking… well… ‘you get what you pay for,” he muttered as roaring laughter broke out.

He shared an anecdote as to what inspired “Drunken Poet's Dream”; and even changed it up some, a couple lines becoming, “She likes to drink Dr. Pepper and play Ping-Pong.” That was a track found on A. Enlightenment B. Endarkenment (Hint: There is no C), an album Hubbard pointed out many journalists had proclaimed as one of the worst album titles ever, and they weren’t fond of the cover art, either. “You might be asking, ‘Ray, why would you do that?” he asked before delving into what creatively had sparked that move. As he stood back from the microphone everyone realized they were supposed to ask him why, and they did, in their own time. “Of course, you couldn’t ask in unison, could ya?” he laughed, more laughter then erupting from the crowd. “Down Home Country Blues” highlighted Lucas’ impassioned way of performing as he began to become a more formidable force; Hubbard picking at his acoustic axe for a time, after which he asked everybody if they had enjoyed it. “Do y’all want to hear it done right?” he questioned, joining in with everyone else. “So do I,” he finished. I don’t know how many people even realized that it was off, though no one minded hearing it again as he picked at the strings with concise precision.

They continued working their way up through the more recent releases; 2015’s The Ruffian's Misfortune being one that Hubbard declared had a lot of everyone’s favorite songs on it. “You won't know that unless you buy it,” he added, pointing out his merch table off to the side of the stage. They weren’t quite there yet, making a pit stop on The Grifter’s Hymnal, specifically with a another co-write, one where Hubbard collaborated with a member of The Trishas. To hear him tell it, he viewed it as a unique opportunity to get a glimpse of the world from a woman’s perspective, though several of his ideas were shot down. “I’m not saying that,” was one of things he said he heard as they tried to find a perfect balance between the styles each songwriter brought to the table. “…At that point I realized, if I were a woman I would be such a harlot,” Hubbard finished, rather matter-of-factly.

“Train Yard Blues” was the song, and it demonstrated what a force the trio had become. Being largely instrumental, Lucas was able to wail on his guitar, while Schneider really dug in as he dished out some mighty percussion, the three being as tight-knit as any act could hope to be. Before continuing on, Hubbard gave the audience a lesson in showbiz, “name dropping” being the subject (and also title of the coming song.) He mentioned how some people just want to put themselves “higher on the rungs” in the world, perhaps mentioning someone they wrote the song with, when in reality they don’t even know the acclaimed musician they’re mentioning. But it can make them sound important. “…In fact, I was talking about this same subject with Willie [Nelson] just the other day,” commented Hubbard, further showcasing the wit and charm that makes him so appealing.

The atmospheric “Name Droppin'” was proceeded by some more dialogue, from Hubbard acknowledging what a “special” place the Levitt was and how cool it was the city of Arlington had something like it, to confirming what any newcomers may have been thinking. “If it's your first time seeing me… you’re probably afraid I'm an acquired taste,” he said rather dryly. He then treated everyone to another tale as he changed guitars, grabbing one he said was special to him because it had belonged to his grandfather. Something he had never been allowed to play despite repeatedly asking, his grandfather telling him you need permission to play a man’s guitar and he would never grant him that. The story took a more somber tone when he said going on thirty-seven years ago he got a call from his grandmother saying his grandfather’s health was failing; making the drive from California back to Texas to see him one last time. Using phrases like “death bed” he described getting there, his grandmother telling him he needed to hurry and that his grandfather had been asking about him and mentioning that guitar. Hanging on to every word of the tender tale, it was as if everyone was leaning in closer as they grew more interested in the story which suddenly took a 180 after Hubbard gasped, “Ray! Ray!”, imitating his grandfather as he spoke to him. “…So, he sold me that guitar…” that came out of left field, shocking everyone; and it was hard to tell who was laughing harder, Hubbard or the crowd.

“I’m sorry. I shouldn’t have done that to you. You people are too nice…” he said, adding what he really shouldn’t have done was use a hot check to pay his grandad. That made the night, standing as the most hilarious moment of the show. Steeped in the blues, “Mississippi Flush” came complete with an explanation, Hubbard using an extended instrumental segment to explain what was happening in the track, after which he started setting up another sing-along, feeling it was time for something the audience would know… or could at least chip in on. It was another thoroughly entertaining road getting to the next number, one that was written as a way to bring people together all by crafting a honky tonk gospel song, something Hubbard claimed he thought would be huge since both genres have such a loyal fan base. He stated it wasn’t the hit he was hoping for, simply because there is “no market” for such an eclectic genre, so to salvage it he transformed it into a sing-along.

“…You’ll have the time of your lives,” he said, referring how much fun the coming song was going to be, adding “…Which is kinda depressing when you think about it…”. The patrons acted as the choir on “When She Sang Amazing Grace”, echoing along on the choruses as Hubbard directed everyone on the gospel-esque tune that was as fun as they come. “That was the best it's ever been done!” exclaimed Hubbard; the band soon following it up with another blues heavy song, one that Lucas kicked off with some gentle picking that soon became a full-blown solo, further highlighting his slick skills on the guitar. The mostly straightforward format continued, patrons going wild when they heard Cody Canada mentioned as the person who co-wrote the number that wound up being “Cooler-N-Hell”; and in the midst of it Hubbard began talking about having shared the stage with possibly the coolest musician that ever was a dozen or so years ago. Hyping the person sufficiently, he never named them, though presumably he was referring to J.J. Cale. That was whose song they spliced into that original, seamlessly bleeding it into “Crazy Mama”; Hubbard requesting some help in finishing singing it, saying it would be “most righteous”

The 83-minute long set was approaching its end, though there was still plenty of time for more music and stories, the next one involving Ronnie Dunn and even Sammy Hagar, Hubbard co-writing it with the former while the latter recorded their own version of it, Hubbard stating the royalty check that sent his way allowed him to afford to buy a “fence!” “Bad on Fords” was their most rocking effort of the night, and it was indeed blistering, Hubbard, Lucas and Schneider going all out on the intense number. Not wanting to disappoint anyone, they made sure to include “Redneck Mother” in the set list, and once everyone realized it was coming several of them hurried up to the front of the stage, ready for the signature song. They even got the reins to it towards the end, the way everyone handled it prompting a friendly, “Tempo, people!” from Hubbard.

The crowd failed the test, overall coming across as though they had never heard that one before, though they still were told that was the best that it had ever been done. “Okay, no it’s not,” confessed Hubbard, who said despite his hopes to make a little money of merch sales this night, instead insisted everyone keep their money and go buy a “pitch pipe and a metronome”. Classic. “Wanna Rock and Roll" capped it all off, complete with “John the Revelator” added in, again allowing them to just cut loose and display their chops as musicians/a jam band as the show came to strong and stupendous finish. Throughout that only more people had joined the congregation around the stage and they were vocal about wanting more, Hubbard and company soon coming back out, happy to oblige. And what better way to close it all down than with what should be the unofficial anthem of the Lone Star State, the prideful “Screw You, We're From Texas” leaving the boisterous masses that had turned out content.

And that had been a crash course as to why the people who frequent the Levitt can’t get enough of Ray Wylie Hubbard. Few can entertain the way he does, and it’s even rarer to find an artist who can tell stories as masterfully … and not just in song format. Arguably, that is Hubbard’s most appealing factor, the fact that he comes off as being no different than anyone else; actively and constantly working to build a rapport with the audience in front of him, achieving that with ease on this night. The songs tell engrossing tales, simply because many are so human, the likes of which you just don’t hear much of anymore; the bluesy tones that often permeates the folk/Americana-based songs adding immensely to the emotion they capture. Almost making it easier to identify with for the fans.

Couple that with Hubbard’s well used set of pipes, now possessing a worn, slightly raspy quality due to all the decades of singing – the type of voice that can’t be replicated any other way but to be forged from a lifelong music career – and you have a winning combination. One that makes him completely unique. A definitive voice of Texas country music, he’s a performer through and through, the likes of which don’t come around too often. Hubbard, Lucas Hubbard and Kyle Schneider make up something impeccable, their dynamics being perfect, from skilled musicianship to being capable of throwing down when necessary with a level of intensity one might not expect from the three. They deliver a true show, one geared towards constantly engaging and intriguing the spectator, and whatever you have to pay in order to see them they will make certain you get your monies worth. Ray Wylie Hubbard has a trove of music available, his latest effort, Tell the Devil I'm Gettin' There as Fast as I Can, due out on August 18th. You can pre-order it or purchase anything else he has done in iTUNES or GOOGLE PLAY. His next show in D-FW will be a pair of gigs at The Kessler Theater in Dallas on July 13th and 14th. On July 28th he’ll be down in New Braunfels, TX at Gruene Hall and on the 29th Antone's in Austin will host him. He has a slew of other shows besides those on the books, a complete list along with more details available HERE.

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johnebaumann · 7 years ago

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New Slang Interview: Re: Proving Grounds

BY THOMAS MOONEY

On the first three releases of his career, Texas songwriter John Baumann displayed, more than anything, potential. He was a young, budding storyteller who morphed into characters who were familiar, sometimes flawed, but endearing nonetheless. You knew them because you’d met them at whichever Texas school you were attending. He described regional affairs and painted vivid landscapes with a vast understanding. He went off exploring with West Texas Vernacular, High Plains Alchemy, and Departures.

Hell, for the first two, he even had three names, John Edward Baumann, much like the songwriters he was often compared to–Robert Earl Keen, Willis Alan Ramsay, Billy Joe Shaver, Ray Wylie Hubbard, Guy Fucking Clark.

Two weeks back, Baumann released Proving Grounds, an intimate and personal journey that detailed the highs, the lows, and most often, the unknown of growing up. Proving Grounds is a point in which Baumann’s growth and maturation as an individual and as an artist has crossed. Previously, you only caught glimpses of the real Baumann on previous projects. Here though, you’re introduced to John Baumann, the artist, storyteller, songwriter, and most importantly, the man who behind them.

So many songwriters are great on the technical side of storytelling. Getting from Point A to be B, C, and D within a song. But often, they lack understanding that those stories must have something worth saying. Proving Grounds is Baumann having something to say. There’s a lesson in it all.

The songs of Proving Grounds are lived in. They have fingerprints on them. The pages are worn. You see Baumann’s boot heels as he paced back and forth. But instead of these songs being (day)dreams, they’re memories. Instead of being transported to the Panhandle, the Permian Basin, or down to Eagle Ford, Baumann’s pulling back the curtains and letting you into his own world.

Opener “Here I Come” lays the foundation and by the time you reach the culminating “Pontiacs,” you’ve seen a transformation and progression of a child with a dream into a maturing adult having to deal with tough losses, difficult decisions, and life.

Album highlight “Old Stone Church” is as beautiful as it is heartbreaking. It’s the ultimate example of how fragile and unfair life can be. But Baumann proves that while these moments can wear on an individual down to a state of unknown and void, you too learn to appreciate the time you’re given.

While “Old Stone Church” may serve as the cornerstone for Proving Grounds, other songs explore the life of an up-and-coming musician (“Here I Come,” “Holding It Down”), addictions (“Heavy Head,” the Aaron Lee Tasjan cover “The Trouble With Drinkin'”), missed connections (“Meg”), and deciding the difference between love and lust (“Turquoise,” “Lonely in Bars”). At times, it’s a rough map of how to navigate through your twenties without becoming engulfed.

Still, more than anything, Baumann’s Proving Grounds tells the story of how just when you think you’ve figured it out, life has a way of showing you that you don’t. All you can do is forge ahead. It’s alright to come out the other side with a couple of scars. No one makes it unscathed.

We caught up with Baumann last week to discuss Proving Grounds. Find it on iTunes here.

New Slang: To this point in your career, your song catalog has been dominated by geographical sketches and character-based storytellers. With Proving Grounds, you started telling your own story. These songs are more personal and intimate. How’d you get to where you were more comfortable with revealing yourself more?

John Baumann: I came home from Steamboat in 2016 and saw a lot of acts who I was impressed with. I thought it was time to dig a little bit deeper with my songwriting material. I’ve always been my harshest critic and I was never really happy with my previous projects and felt like it was time to dig deep and do my best I could possibly do. We’re all getting up there. I’ll be 30 in November.

The very first song I wrote was “Meg.” It’s still a song about someone else, but I was able to put more of myself into it. I started going down these rabbit holes. “Old Stone Church” is 100% my story. That led to “Heavy Head” and then “Here I Come.” It felt like it was becoming more and more me. I was kind of tired of writing, like “Bay City Blues,” which was about a friend in a semi-fictional kind of way.

NS: This progression, was it easier getting these songs out since you weren’t necessarily putting them through another filter of a character–since they’re more based on your own personal feelings and thoughts?

JB: This came a lot easier. My buddy Chisum and I were talking and he said it felt like the first record without any geography songs on it. With the first three projects, I was always able to mentally transport myself into an area. Those songs always felt like they took a little longer to write. Almost everything on Proving Grounds, nothing felt more than a few hours per song. There wasn’t any that took months to end up finishing. “Pontiacs” took some time. But a lot of these came out faster.

NS: You think that’s partly because there was “less homework” involved in these songs? You weren’t having to look up street names or anything.

JB: Totally. Nothing where I was looking up the county name to see if there’d be a better rhyme than the city name kind of stuff. One thing I was kind of getting irritated at was after shows people constantly coming up and saying “You write songs about this place. You from this place?” Well no, I’m not. “Well, how come then?” I’ve kind of had enough of that. I’m a Panhandle-born guy. Spent time in Lubbock at South Plains College. But I’ve really lived all over the state. I really don’t like being boxed in as an up-and-coming geographical songwriter.

NS: Yeah. There’s not any specific geographical songs, but there’s still that Texas backdrop. You still have an homage to Texas in your writing. I always thought Guy Clark was the best at writing about Texas without falling into the cliché tropes of writing about Texas that we often see. “Here I Come” and “Holding It Down” have a lot of that in them. It’s easy to fall into those clichés as a writer. How do you avoid the potholes?

JB: I love being from Texas. As a musician, you kind of develop a love-hate relationship though since it’s a lot of the same places every weekend. It’s a lot of the same highway. I’ve got to the point of knowing which gas stations to hit in Coleman, Texas and which to skip. It’s the difference between quality of fruit and getting shitty burritos.

When it comes to writing, I really can’t stomach clichés. It has to be genuine to me. So like with “Here I Come,” everyone has a troubadour blues song–a song about how tough the business is. I was really trying to draw from where my love of songwriting started. It really started with Lubbock (on Everything) back when I had my first day job. I really hated that job. It was drawn from hearing Robert Earl Keen on boomboxes at summer camp. Those images are so ingrained into me. Like my dad taking me to Floore’s Country Store or to Gruene Hall to see Cory Morrow when I was fourteen. I thought that was heaven. “Here I Come” was so easy to get out. It was easy to stay genuine with.

“Holding It Down” on the other hand, I’ve gotten mixed opinions because I say Texas like 12 times in that song. That song though, it’s really about just being another dude in Texas trying to do the best I can to make a living. I’m not necessarily crushing it. I’m just holding it down.

NS: Yeah. I think there’s typically a misconception about the music business. A lot of fans think if a band is playing around every weekend, they must be earning a lot of money. They think everyone is successful and–

JB: –living the dream. People have said, “You opened for Willie [Nelson]. You noticed a huge change yet?” or been told by some that we’ve already gotten the money and accolades.

NS: That line–“Too soon for accolades, too late to quit” is just great. It’s a powerful line. You remember when you actually thought of it?

JB: I was sitting at my kitchen table writing that song. It was over two or three days doing like forty minutes at a time. I always liked the word accolades. I was doing David Wilde’s West Texas Live show and remember singing it and afterwards seeing him giggling over saying, “Holy shit. That was a line.”

I’m like any other guy. I get online and read reviews and press. With West Texas Vernacular and High Plains Alchemy, I was getting some praise, but I’d listen back to the record and just know I wasn’t ready. It didn’t sound like it was ready to me. I think with this record, I’m closer to some accolades. But when I was writing it, we were really in some middle ground just busting ass and consistently growing, but we’re not where we need to be.

NS: Something we’ve talked about before with those records was how sometimes you’d try to cram a whole lot of words into songs. You’d say as much as possible. Departures had a lot less of that happening. You started finding a balance of space and vocabulary. You really let Proving Grounds breathe.

JB: Yeah. I think I had a clear vision with what I was wanting to get across in each song. A lot of these songs were simpler. I wasn’t trying to outsmart anyone or be over someone’s head. I think a large part of that was having the guitar in my hands before writing down lyrics. I was picking, thumbing, and working out melodies before. Before, I’d type out two verses and a chorus on a Word doc and then take it to a guitar.

NS: We’ve already mentioned how much more personal this record is. Family and specifically, your father, are very much on it. You talk about him on “Old Stone Church,” some on “Here I Come,” and while I don’t think you specifically mention him on “Pontiacs,” it’s a song about growing up and maturing. That transition runs through the Proving Grounds as a whole.

JB: Absolutely. My dad died in 2013. On High Plains Alchemy, the last song on there is called “Last Great Eagle Scout.” It’s a mess. My dad passed halfway through that project. I really couldn’t wrap my head around what was happening. I wasn’t taking good care of myself physically or mentally at the time. I was in my mid-twenties and not sure about where I was in a music career, who I was as a person, just all of it. I didn’t know what was happening. Four years have passed since then. Time does heal wounds. I think I’ve evolved quite a bit since then. I’m comfortable and confident now. A lot of that anger and bitterness has gone away.

My dad is kind of split into three songs. One about what you want to be when you grow up and him taking me to my first Texas Country shows, one about me kind of making peace with his death, and one kind of about becoming an adult at the end of the record.

NS: “Old Stone Church” is one of the best songs you’ve written–maybe the best. How difficult was it to write out? Revisiting that time.

JB: I wrote that in my bedroom–in my bed actually. Just me and my guitar. It’s a pretty simple song structurally. Each first line repeats at the end. It wasn’t hard to write, but it was hard to record. I’m no softie–OK, I’m a little bit of a softie. I cry during the National Anthem and stuff like that. But, we were in the studio and I lost it. There’s a part of that song when the drums, this big cannon drum, and this droning guitar kicks in midway through. I remember my producer asking if I was alright. I said I was, but he told me to take 20 minutes. I just went outside by myself. If you really listen to my vocals, there’s some quivering.

I haven’t really performed it much. There was a few times I was able to get through it when it was new and no one knew it. But to be completely honest, I’m not really looking forward to playing it live.

NS: Sonically, the album pops. It’s concise and flowing. “Pontiacs” has a nice, long outro though. Was that always the idea for that song or was that an addition in studio? Was this sprawling outro always something you visioned for the album?

JB: Yeah. I love any song with a sprawling intro, outro, or midsection. This song was the one to do it. There were some people in my camp pushing me to have it third or fourth on the record since we live in a time of instant gratification where people listen to the first couple songs and never move on. I thought it had to be at the end though. From a music fan point of view, I love putting a CD in the car and driving and getting to the last song when it goes on for eight or nine minutes. I’ve dreamed about that for a long time. I’m glad we were able to execute it. It’s probably my favorite thing on the entire record.

NS: It feels like punctuation for the album. A statement. A ribbon that wraps it up.

JB: Right. It’s kind of making peace. The record is kind of an emotional rollercoaster. But it feels like we’re making peace at the end. Life goes on.

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americanamusicshow · 7 years ago

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Review “Tell The Devil…” by Ray Wylie Hubbard - Americana Music Show http://dlvr.it/PbH7wb

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krispyweiss · 3 years ago

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Album Review: The Band of Heathens - Remote Transmissions, Vol. 1

If every guest performed like Margo Price on her rip-snortin’ version of Lucinda Williams’ “Joy” or Ray Wylie Hubbard on his incongruous-but-unimpeachable take of the Temptations’ “Papa Was a Rollin’ Stone,” the Band of Heathens’ Remote Transmissions, Vol. 1 might have been one of the great, cameo-laced cover LPs.

If, on the other hand, it was filled with lifeless renditions of Bob Dylan’s “The Man in Me” (Hayes Carll) or Marty Robbins’ “El Paso City” (Mark Wystrach), Transmissions might’ve been a waste of vinyl.

As it goes, the album - a collection of 10 remakes with guest vocalists recorded during the Heathens’ lockdown-period “Good Time Supper Club” web show - is a hit-and-miss pandemic scrapbook of well-loved rock ‘n’ roll and country numbers by the Rolling Stones (“You Got the Silver” with Charlie Starr and “Tumbling Dice” with Nicki Bluhm), Bob Seger (“Night Moves” with Butch Walker), Little Feat (“Rock and Roll Doctor” with White Denim), Tom Petty (“Walls” with Robert Ellis) and Guy Clark (“L.A. Freeway” with Todd Snider).

The takes are musically faithful but vocally divergent as no one sings like Seger, Lowell George, Petty, et. al.

“It was nice to be able to use music as a connective thread and something that's healing,” Heathens guitarist/singer Ed Jurdi said of the band’s “Good Time” shows in a statement.

And in that regard, Remote Transmissions, Vol. 1 is an essential document and, almost assuredly, a prequel to Vol. 2.

Grade card: The Band of Heathens - Remote Transmissions, Vol. 1 - C+

3/10/22

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americanahighways · 5 years ago

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On Thursday, July 18, Gibson hosted their summer NAMM 2019 opening party at Wildhorse Saloon in Nashville with a highly enthusiastic crowd looking on.

The lineup was that of legends including Jason Isbell with Sadler Vaden, Nathaniel Rateliff, Jim James of My Morning Jacket, Chris Isaak, Lee Roy Parnell, Ray Wylie Hubbard, Cassadee Pope, Parmalee, Aaron Lee Tasjan, Travis Denning, Temecula Road, Honey County and Cassadee Pope, along with Alanis Sophia, Ben Goldsmith, Carter Wilkinson, Reece Malone, and Jayden Tatatiscore.

An opening statement from Gibson president James “JC” Curleigh was inspiring as it was fitting for the evening. “Let’s lead the world one guitar at a time,” he said, encouraging everyone to have a good time.

The evening was magically musical and each musician brought something unique to their performances. In addition to the staggering amount of new gear-candy on display, from ultra practical bags, to pedals, consoles, boutique add-ons, and guitars. It was a enough to give any musician/producer/engineer/gearhead a year’s worth of daydreams.

Perhaps the stand out moment from the evening was Jason Isbell playing Ed King from Lynyrd Skynrd’s 1959 Gibson Sunburst “Red Eye” on a cover of “Simple Man.” It was loud and beautiful all at the same time, just how the guitar was meant to be played.

Gibson should be proud of the musicians they have playing their instruments. If this night was any indication of the future of music, I think we will be alright.

Show Review: Gibson's Summer Party at Nashville's Wildhorse Saloon @wildhorsetn @gibsonguitars #summernamm2019 @customgibson @jasonisbell @raywylie @nrateliff @chrisisaak @aaronleetasjan1 #1959gibsonsunburst On Thursday, July 18, Gibson hosted their summer NAMM 2019 opening party at Wildhorse Saloon in Nashville with a highly enthusiastic crowd looking on.

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americanahighways · 6 years ago

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photos by Jimmy Faber

There’s something relaxed and comfortable about Hayes Carll, so that listening to his tunes sometimes feels like slipping into an old, favorite pair of jeans. He’s easy to get into, doesn’t chafe, and feels snug and familiar. After a while you start feeling like you could happily sit around with him all evening, just telling stories and shootin’ the breeze.

That’s partly because his chord changes and melodies really ARE familiar, since he borrows copiously — though nimbly and tastefully — from his Austin-area influences: Ray Wylie Hubbard, Willie Nelson, Kris Kristofferson and Guy Clark. He has also clearly studied the song-craft of folks like Bob Dylan, John Prine and Steve Earle — whose former -ex, Allison Moorer, Carll legendarily “stole,” to Earle’s dismay — along with other, younger Americana penmen like Todd Snider and Ryan Adams. Nevertheless, Carll’s is an original and invigorating voice rather than a merely derivative one.

Carll also has the kind of laid-back, drawling persona that can lull you into thinking he’s not going anywhere quick, when all of a sudden — WHAM! — it hits you that he just snuck another genius line or unshakeable melody deep into your subconscious, where it’s likely to sit and ferment until it hits you hard between the eyes.

He’s a sneaky puncher, that guy.

And then every once in a while his serious, more edgy, political side shows up to remind you that he has a less laid-back, more observant side, too. Though he’s only 43 years old, with just six albums to his credit, it seems like he’s been around (and been through) a whole lot more. In short, he seems like an old, wise soul at times, who has maybe gleaned more than a few nuggets of wisdom from his friend and mentor Ray Wylie.

Carll’s performance with his band The Gulf Coast Orchestra (featuring Travis Linville on steel, guitar, and dobro, Mike Meadows on drums, Geena Spigarelli on bass, and Cory Younts on piano, mandolin, and harmonica) at the Ardmore Music Hall on April 4 exhibited all of the above-mentioned qualities. His 22 song set (including three encore numbers) spanned his entire career, with a natural emphasis on his new album, What It Is.

Dressed in his customary blue, Western-cut workshirt, jeans and boots, and playing a trusty, scratched-up Gibson J-45, Carll choose to open the show with the train-beat propelled country honker “If I May Be So Bold.” Interestingly, No Depression had recently published an essay/statement of Hayes’ by the same title, in which he took a public stance with regard the country’s wide political divide. Though he felt uncomfortable about “being seen” in that way, he felt he finally had to do so after suffering an ugly on-line incident. (In brief: after Carll announced via social media that he would be playing a concert in support of Beto O’Rourke, “someone left a comment stating that he hoped I got shot on stage.” You can read his full response to the incident via the link provided below.)

In a way, starting the show with that particular song was like making a statement about a statement, saying in effect: This is who I am, take it or leave it. Or as he says in the essay, “I’ve decided I would rather be criticized for the things I believe in than be embraced for the things I don’t.”

Statement made, Carll proceeded to show his kinder, gentler side via ballads like “Nonya Business,” “In Times Like These” (which he introduced via a story about the time he and Allison Moorer made up a persona — a librarian — during a Southwestern Airlines flight), and “Jesus and Elvis” (about Lala’s Little Nugget, in North Austin). He interspersed those tunes with others highlighting his pointedly political side, such as the irony-laced “Fragile Men,” as well as his rowdier side with rockers like the joyous “Beautiful Thing” (from the new album) and the scorcher “KMAG YOYO” (an abbreviation for the military phrase “Kiss my ass goodbye, you’re on your own).

The band exited the stage after that last number, leaving Carll to accompany himself on the lovely “Beaumont” from 2008’s breakthrough Trouble in Mind, which he followed with his lilting, cheerful tale about the quirky courtship of Billy and Katey, “Girl Downtown.” Linville returned to the stage to accompany Hayes on dobro for the latter tune.

The rest of the band rejoined Carll and Linville and quickly picked up where they had left off with a rousing version of the Hubbard classic “Drunken Poet’s Dream.” They followed that with “What It Is” off the new album, which featured a tasteful dobro solo by Linville; the humorous “I Got a Gig” from Trouble in Mind, Carll’s rocking version of Scott Nolan’s “Bad Liver and a Broken Heart,” which drew thunderous applause from the crowd; “It’s a Shame,” solidly anchored by Spigarelli’s loping bass; and finally a kickass version of “Stomp and Holler,” which got the audience doing exactly what the title says.

Carll and company’s encore consisted of three tunes: the ballad “I Will Stay,” during which Carll held the audience completely in thrall (you could hear the proverbial pin drop as it ended); “Wild as a Turkey,” whose steady thumping beat was ably provided by Meadows, while Linville added another nice dobro/slide solo; and finally, Carll’s lyrical tour de force, “Sake of the Song.”

By show’s end the comfort level between Carll and the audience was beyond that of a cowboy and his favorite pair of jeans; it was well nigh down to the skivvies. Carll seemed particularly happy with the venue, noting that he usually plays “The type of place that has a mechanical sheep.” I’m not exactly sure what that means, but like the rest of the audience I enjoyed the casual, drawling way he said it.

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Ben Dickey, who opened for Carll and his band, was a bit more of an enigma to me. Like many other audience members, no doubt, I was intrigued to see how Dickey’s on-stage persona might align (or not) with his amazing on-screen portrayal of Blaze Foley in Ethan Hawke’s film “Blaze.” Despite his lack of experience as an actor Dickey absolutely owned that role and seemed completely comfortable and convincing in conveying the title character’s legendarily cantankerous, outsized personality.

He didn’t seem quite as outsized as a solo, live performer on stage, however, though his guitar chops were pretty darned impressive. Playing a black semi- hollow 1935 Gibson archtop through a chorus pedal, and at times running that combo through a looper pedal to stack multiple layers of guitar tones, Dickey provided a nifty nine-song set that culminated with a trio of tunes by John Prine (“Long Monday”), Blaze Foley (the unmistakable “Clay Pigeons”) and Townes van Zandt (“No Place to Fall”). Dickey sang that last tune with conviction, delivering its dark delicacy beautifully. Its legendary author no doubt would have approved.

Dickey seemed slightly more circumspect in delivering his originals, however. Perhaps it was nervousness in returning to the city (Philadelphia) where he’d struggled through some hard times, working feverishly as a chef at the fabled music club Johnny Brenda’s and experiencing “some kind of breakdown” after his band Blood Feathers broke up and a good friend died in a bicycle accident — this was before Hawke drafted him for the lead role in Blaze — but Dickey’s interactions with the audience seemed a bit halting at times. The only reference he made to his Philly past came when he mentioned the local phrase “down the shore” — “I never heard that phrase before I came here,” he said. No further comment was extended.

He was similarly reticent on the topic of portraying a songwriting legend like Foley. That experience was “really strange,” he said — “mystical and magical” — but he did not proffer any specifics about why, or what had made it so.

Which was just fine, as long as he was dazzling us with his nimble guitar playing and somewhat unexpected tunes. The chorus of the balled “Man with a Hammer” goes “Tallyhoo, time to go / Lay down your bones to be free, old soul,” which sounds rather old-timey; but when mated with chorus and tremolo effects pushed through a slowly distorting looper pedal, it became something else entirely. During an upbeat blues number with a strong affinity to Dylan’s “Highway 61,” Dickey shredded on a rockabilly style solo; another song had the flavor of surf music-meets-psychedelic rock, while a fourth featured a nifty bridge with R & B flavored stops.

The man definitely has some chops, and his voice has a husky, pleasantly Dylanesque quality to it. I’m hopeful that Dickey will begin to open up and establish even more of a rapport with his audiences, so he can convey the kind of breathtaking intimacy his portrayal of Foley delivers. He’s definitely a talent to keep your eyes on, whether for his acting or musical endeavors.

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Upcoming tour dates for Hayes Carll, along with videos, recordings and merchandise, can be found at: http://www.hayescarll.com

Carll’s essay “If I May Be So Bold” can be found at: https://www.nodepression.com/if-i-may-be-so-bold-an-essay-by-hayes-carll/

Americana Highways’ review of Hayes Carll’s What It Is can be found at: https:// americanahighways.org/2019/02/14/review-hayes-carlls-what-it-is/ and interview with Hayes Carll is here: Interview: Hayes Carll on “What It Is,” Reading More and a Sense of Humor

More info on Ben Dickey, along with tour dates, videos and music can be found at: https://www.bendickeymusic.com

An account of Dickey’s time in Philadelphia (entitled “When musician Ben Dickey left Philadelphia, he was depressed. Now, he’s a movie star”) can be read at: https://www.philly.com/entertainment/music/ben-dickey-ethan-hawke-blaze-foley-20190329.html

Americana Highways’ recent interview with Ben Dickey’s can be found at: Ben Dickey Releases “A Glimmer on the Outskirts”

Review: Hayes Carll and Ben Dickey: An Old, Comfy Pair of Jeans and a Bit of An Enigma @hayescarll @bendickeymusic @alleyesmedia @ardmoremusicPA photos by Jimmy Faber There's something relaxed and comfortable about Hayes Carll, so that listening to his tunes sometimes feels like slipping into an old, favorite pair of jeans.

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americanahighways · 6 years ago

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Ray Wylie Hubbard stepped on stage Saturday night in Oklahoma City to the warm welcome from the Tower Theatre audience. It wasn’t a sold out crowd, but the anticipation, respect and the acknowledgement of such was certainly present and accounted for.

Hubbard’s music is an eclectic mix of folk, country and blues that manages to appeal to an impressive swath of music fans. Lyrically, Hubbard is the quintessential folk storyteller. Each song carried with it its own accompanying tale, sometimes before, sometimes after, and occasionally smack dab in the middle.

Often Hubbard performs with a band featuring his son Lucas, but on this night we were treated to a more stripped down duo performance. Hubbard explained that his son had simply gotten a better paying gig before introducing the impressive Kyle Snyder on drums. Snyder employed some fascinating drum type pads, which he utilized to produced bass notes to help round out the duo’s sound.

The opening salvo of “Rabbit” and “Snake Farm” was a rollicking perfect example of the complex beauty of Hubbard’s art. Managing to fully engage the audience while exploring the root of each song further musically than the recorded versions. Listen closely, and you’d get a different lick here, or a unique tempo change there. Hubbard is a master of showmanship, but never comes across as arrogant or flashy. To the contrary and more often than not, Hubbard relies on self-depreciating humor quite effectively. Not taking oneself too seriously certainly allows the focus to remain where it really should, the songs themselves. Songs like “Drunken Poet’s Dream,” a masterful tale that was co-written with Hayes Carll. Or, the recent gem, “Tell the Devil I’m Gettin’ There as Fast as I Can”. Hubbard even treated us with a short reading from his autobiography, “A Life…Well, Lived.”

As the set wound down, Hubbard wound up the crowd with the one-two punch of “Up Against the Wall,” “Redneck Mother” and “Choctaw Bingo.” It struck me more than a bit funny that Hubbard’s best known song was made famous by Jerry Jeff Walker, and here he was covering one of James McMurtry’s best. Regardless, both were perfectly done, with quite the enthusiastic audience participation. Though, as Hubbard humorously pointed out, as a whole, the audience needed to invest in a metronome and a pitch pipe. Whether by purpose, or mistake, Hubbard closed things out with a second version of “Snake Farm” that I dare say was better than the earlier version. Hubbard regaled the OKC audience on this night with what was effectively a songwriter’s masterclass. I can’t wait till he rolls through town again. Information on Ray Wylie Hubbard including tour dates can be found here: http://raywylie.com/

Opening for Hubbard this evening was the enchanting Bonnie Montgomery. Montgomery hails from Arkansas, and was accompanied by the simply magnificent Mario Monterosso on guitar. Stripped down duos seemed to be the order of the night, and this one was right on par with the headliner. A mix of all things Americana, Montgomery’s songs blend country, bluegrass, folk, a healthy dose of honky-tonk and even a bit of classical baroque. Touring in support of her newest release, “Forever”, Montgomery and Moterosso managed to accomplish a somewhat rare feat for an opener in Oklahoma City. They managed to captivate the audience enough that conversations were kept to a reasonable din. I was unfamiliar with Montgomery and her songs, but like those around me, I found them warm and engaging. This was her first time through OKC, but I have no doubt it will be far from her last. I, along with many new fans, certainly hope she makes it back through soon anyway. More information of Bonnie Montgomery can be found here: https://www.bonniemontgomerymusic.com/

Information on Mario Monterosso is available here: http://www.mariomonterosso.com/

Show Review: Ray Wylie Hubbard Was Quintessential Storytelling @raywylie @honkytonkbonnie @towertheatreokc @conqueroo1 #americanamusic #RayWylieHubbard Ray Wylie Hubbard stepped on stage Saturday night in Oklahoma City to the warm welcome from the Tower Theatre audience.

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americanahighways · 6 years ago

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photos by Lisa Davidson

I walked out of the cold, rainy Nashville night into The Basement East just as Colter Wall started to sing. He stood there on stage, alone, with only a guitar between him and the audience. You could have heard a pin drop between notes and verses as he instantly held the crowd in the palm of his hand. I kept looking at him and thinking to myself, “there is no way that voice is really coming out of him” but despite my disbelief it indeed was emanating from this kid from Swift Current, Saskatchewan. I looked around and it seems as everyone else was standing there with a wowed look on their face. Kicking off the first of his two sold out shows at the Basement East, Wall went into “John Beyers” an outstanding cut about lost love and revenge from his stunning new album Songs of the Plains. As the rapturous applause erupts, he seems almost invisible on the stage, head titled down, almost as if he is trying to avoid the adulation. Once the noise dies down a little, he plays another new song, “Wild Bill Hickok” about the storied western figure. It reminds me a little of Johnny Horton and the types of songs he was known for.

Now it was time for “bringing up some friends” as his band joined him on stage. Backed by Jason Simpson on bass, Patrick Lyons on steel guitar, Jake “the Snake” Groves on harmonica and Jordan Levine on drums, they added a fullness to Wall’s sparse acoustic driven songs. “Thirteen Silver Dollars” a true song about being drunk, in a park, in the snow and having the police wake you up shakes up the crowd and the band is off on a tear. As if on cue they rip into some Texas swing with a rollicking cover of Bob Wills and his Texas Playboys “Big Ball’s in Cowtown”. The steel guitar and harmonica act like a time machine and I can only imagine myself in a Texas roadside joint in the mid 70’s drinking a Lonestar.

I am shaken from my moment by the drunk guy with a thousand yard stare and an uncomfortable intensity standing next to me who has been screaming for “Motorcycle” basically since Wall came out. Not sure if it was time for the song or if Colter was trying to shut the guy up, but the opening notes seemed to do the trick and calmed his squirrely ass down for the rest of the show. The show keeps building with one great song following the next. “Kate McKannon” a sparse, excellent murder ballad and “Wild Dogs” follow before the band takes the roof off with a stomping rendition of Townes Van Zandt’s “White Freightliner Blues. Lyons on steel guitar and Groves on harmonica stretch out and you can tell the band is having a blast on this country classic.

“Me and Big Dave” is as perfect a moment as I could ask for. Classic country stylings and Wall’s baritone come together and gift us with one of the show’s standout moments. And just as I thought it could not get any better, he threw in the chorus from “Red Headed Stranger” just to seal the deal. Damn. But where do you go from there? My question was quickly answered as the band slipped into George Jones’ “Burn Another Honky Tonk Down” which made itself right at home. Over the course of the evening I really enjoyed the choice of covers as they blended with his original works and were anything but predictable. His reverence for the material that obviously inspired him was especially nice to see on a night when the Country Music Association was across town handing out awards to people in tuxedos and $700 jeans who wouldn’t know authentic country music if it bit them. “Sleeping on the Blacktop” with its haunting sparse guitar and stomping drum beat, closes the show in a grand fashion.

I could have walked out at that moment, totally satisfied with what I had seen and heard. But the night was not over yet. After a minute or two, Wall came back for short encore with “Up Against the Wall Redneck Mother”. The Ray Wylie Hubbard penned song made famous by Jerry Jeff Walker found itself in the more than capable hands of Colter Wall that night. His deep voice and relaxed delivery did the song justice. With this he ended the show and I just stood there with a big smile on my face. It was classic country and it had to come all the way from Canada to a club in East Nashville to remind us of the power of country music. If you have a chance do yourself a favor and catch this show if it comes anywhere near you. http://www.colterwall.com/

Show Review: Colter Wall Held Crowd in His Palm at Basement East in Nashville #colterwall @colterwall @sacksco @basementeast #americanamusic photos by Lisa Davidson I walked out of the cold, rainy Nashville night into The Basement East just as Colter Wall started to sing.

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americanahighways · 6 years ago

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There are times when the stars align and an iconic musician plays at an iconic venue. That was the case last Friday night when musical legend, Ray Wylie Hubbard played the equally iconic Cain’s Ballroom. A diverse crowd attended the show, with twenty-somethings perching on bleachers and couples in their twilight years crowding around tables set-up on the dance floor.

Opening the show was Travis Linville. If you’re not familiar with Travis Linville, you should be. He’s a talented musician who is a staple in the Oklahoma music scene, having produced albums for John Fullbright and Carter Sampson, as well as giving guitar lessons in years past to Parker Millsap. When he’s not producing or singing, you often find him playing guitar with Hayes Carll, something he’s been doing off and on for the past decade. Linville’s set included the songs, “Up Ahead”, “Bar Room”, “Out on a Wire”, “Rising Sun” a cover of “Black Flag Blues” and the song with the most interesting story of the night was, “Shoulder to the Wheel”. Linville told the story of auditioning for the movie Rudderless, which was filmed in Oklahoma and directed by William H. Macy. He played a musician in the film and his second interview involved auditioning in front of Macy, in which he played the tune, “Shoulder to the Wheel”. Minus the cover of “Black Flag Blues”, Linville’s set came from two of his albums, Out on a Wire and his latest album, released in 2017, Up Ahead. Travis Linville comes off as likeable with personal anecdotes about his songs and his talent is obvious as he alternates between playing harmonica and slide guitar.

Travis Linville has two more solo dates of the year, both in Oklahoma, so if you want to catch him at a later date, keep checking his tour dates here: http://www.travislinvillemusic.com/tour/

After one of the briefest intermissions I’ve experienced to date, Ray Wylie Hubbard took the stage. The fans that had gathered at the stage for Travis Linville’s set, pushed even closer to the stage, filling in gaps and hoping to be as close as possible to catch a legend in action. With a practiced eye taking in the crowd, Ray Wylie Hubbard opened the set with the song, “Rabbit” and flowing seamlessly into one of his best known songs, “Snake Farm”, which inspired an enthusiastic sing-a-long from the crowd. Other songs in the set included “Drunken Poets Dream” a co-write with Hayes Carll, “Down Home Country Blues”, “Train Yard” and “Name Droppin”. Introducing the song, “Mississippi Flush”, Hubbard reflected on the fact he was inspired to write the song from his time as a preteen in southeastern Oklahoma, shuttling his father around after a night spent gambling and drinking. It’s the personal stories that musicians tell that are often my favorite parts of concerts, and until that moment, I had no idea Ray Wylie Hubbard had even been born or had lived in Oklahoma. One of my favorite moments of the evening was Hubbard calling himself an “acquired taste” and that the “following song should weed out any that aren’t really fans” before launching into the song, “Mother Blues” and the lyrics “when I was a young man, about 21 years old y’all, all I wanted was a stripper girlfriend and a gold top Les Paul”. Watching the crowd react to each new song was a treat in itself, as some stood with beers raised in the air, while others would grab their significant other or best friend and head out to the dance floor. If you’re like me and for some reason haven’t attended a Ray Wylie Hubbard show, do yourself a favor and buy a ticket. He’s always got a stellar opening act and the combination of his storytelling and musicianship are more than worth the ticket cost.

Catch Ray Wylie Hubbard on tour through the end of December, you can find his tour dates here: https://raywylie.com/tour/

Show Review: Stars Aligned when Robert Earl Keen Played Tulsa’s Cain’s Ballroom There are times when the stars align and an iconic musician plays at an iconic venue. That was the case last Friday night when musical legend, Ray Wylie Hubbard played the equally iconic Cain’s Ballroom.

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themusicenthusiast · 10 years ago

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Saturday, March 21st, 2015 – Ray Wylie Hubbard Rules the 19th Annual Texas Music Revolution

Southfork Ranch was a bustling place this day. KHYI (95.3 The Range) was taking over one of the buildings on the property where exterior shots of the show Dallas were filmed for their 19th annual Texas Music Revolution. A baker’s dozen of bands were performing at this year’s event (I’ll have individual reviews of many of those up at a later time), but the act everyone was most looking forward to was unquestionably Ray Wylie Hubbard. The Texas country legend had been billed as the headliner, being the first act revealed who would be playing the fest; and while he was the biggest draw, he went on a little earlier than originally scheduled. It was seven-o’clock and good seats in the room that housed the main stage were hard to come by. For just a split second, I wondered why. Jonathan Tyler was slated for that spot, and while I know he has a loyal following, I didn’t think it was that good. Then I looked at the stage, and it was clearly not Tyler on stage. Hubbard was just starting his first song, acoustic guitar in hand, with his son Lucas wielding an electric guitar, while Kyle Snider (my apologies if the last name is misspelled) was behind the drum kit on stage left. They began with a paring of tracks from Snake Farm; and “Rabbit” was an excellent opener to this 43-minute long set. Taking the final refrain, “…We��ve got a short time to be here… Get out of your rut and get in your groove,” out of context, it pretty much told it like it was: their time was limited here and they just wanted everyone to have a good time. The people already were, and things were about to be taken to the next level. “Y'all ready for this?” asked Hubbard as they bridged that song into the next, “Snake Farm”. It’s very rare that you hear an act do one of their biggest fan favorites right at the start of the show, yet that’s what Hubbard did. Many people were on their feet, clapping along from time to time, as he somewhat spoke, somewhat sang and partly shouted the chorus, “Snake farm: it just sounds nasty. Snake farm: it pretty much is…” He invited everyone to sing along at some of the latter choruses. “It ain’t exactly Kumbayah…” he remarked, being completely deadpan with the delivery, which sparked a good fit of laughs from the crowd.

They took a pause, allowing him time to take his coat off, before quickly putting his guitar back around him. “I know what you’re saying, ‘Why did you wear a coat out on stage when you’re just gonna take it off?” he said, no doubt reading a few people’s minds. “Jonathan Tyler and his band are backstage. I learned my lesson,” he stated in his ragged sounding voice. He then moved on to the next song, saying he had written it with a “young fellow” by the name of Hayes Carll. With Carll’s version of “Drunken Poet’s Dream” being the one I’m familiar with, I must say, I’m more partial to it, though Hubbard definitely puts his own spin on the song, having changed portions of the verses. That means it has no trouble standing apart; and while it certainly wasn’t to the extent of that previous number, this, too, turned into a sing-along of sorts. “…Hayes may have recorded a version of that, too. I don't know. I don't listen to his music,” Hubbard said afterwards, sounding completely serious (though surely was kidding). He followed one co-write with another, one he had done with Liz Foster of The Trishas. He mentioned that until then, he had never written a song with a woman before, saying he thought that would be a great opportunity to “see the world through the eyes of a woman” and empathize with them. He said he came up with several first lines, all of which were shot down by Foster, who kept saying she wouldn’t feel comfortable singing them. “Then I realized, if I was a woman, I would b a slut,” Hubbard said, putting a lot of emphasis on that last word; and the manner in which he told the story in general had you hanging on every word, curious as to what was coming next. “Train Yard” was the song, coming from his most recent release, The Grifter’s Hymnal; and it was followed by a track that is on his forthcoming record. “It has a lot of your favorite songs on it, but won't know it unless you buy it,” said Hubbard, his Southern drawl thick, further showing just what a comedian he is. It, too, was a co-write, and Jonathan Tyler (who helped in penning the song) joined him on stage, contributing some harmonica to the song, as well as some backing vocals. Hubbard mentioned the idea behind it stemmed from thinking about your mortality, and how he hoped that “god grades on a curve”. The roomful of fans let out a good laugh at that. It was obvious his show was all about having fun, and he further proved that by changing a line in that tune, mentioning American Aquarium, who had been on that stage directly before him. “Is anybody here from Texas?” asked Hubbard, keeping up the pace that allowed for little downtime. Texans are a proud bunch, so it was no surprise when the room erupted in screams. “What are the odds of that?!” he responded, feigning a sense of shock. “Screw You, We're From Texas” definitely appealed to the pride that comes with living in the best state there is, becoming another raucous sing-along. Hubbard even seemed to take on a real swagger during that one, his stage demeanor being completely different from any other time this night; and the final line he added, “Screw you, Nashville. We write our own songs. No one tells us what to sing,” well, it was priceless. “Thank you,” he said as the rolled right into “Redneck Mother”. “Your own your own,” he told the crowd towards the end, handing the reins over for what turned into a disastrous sing-along that made it seem that the only one in the room who knew the lyrics was Hubbard himself. “Tempo, people!” he stressed, having no trouble calling everyone out. “I think my watch stopped,” he muttered before taking back over. He continued ribbing everyone about once it was over, saying he had been hoping to make some money off this new album, though he highly encouraged everyone there to use that money to instead go buy a pitch pipe and a metronome. Fans died laughing at that. As they marched on, he thanked the late band Cross Canadian Ragweed for coming across an old song and deciding to record it. “I appreciate them doing that,” he said, noting that afforded him a new fence (that was actually one time I couldn’t tell if he was joking or seriously used the royalty money on a fence.) That brought them to “Wanna Rock ‘n’ Roll” from 1991’s Lost Train of Thought album, which really seemed to energize everyone; and they wound it right into “Choctaw Bingo”, which served as the closer. His son wailed on the guitar before the sixth verse, doing a solo, and once it subsided, Hubbard requested everyone help him out on the next verse. Why? Because, as he said, if he sang it alone, it would make him sound like an “elderly gentlemen with sensual thoughts". However, if the crowd did it, “…I come off as a pretty nice guy,” he remarked, also saying it would “restore his faith in humanity” after that failed “Redneck Mother” sing-along. So, the fans helped him out, this time not faltering as they sang, “Ruth Ann and Lynn they wear them cut off britches and those skinny little halters; and they're second cousins to me. Man, I don't care, I want to get between 'em with a great big ol' hard on like a old bois d' arc fence post…” “That's as far as we need to go!” exclaimed Hubbard, wearing a grin as he chuckled while his words were sung back at him. The audience wanted more, though those responses were met with many gracious thank you’s, as they began unplugging all their gear. Given that I’ve only gotten a taste for country music in the last few years (well, Texas country, specifically), I had never listened to any of Ray Wylie Hubbard’s music before this. There’s a bit of satire that goes along with his music, which is easily the quality that makes it stand out so; and after this, I firmly believe he’s an act that’s best appreciated in the live setting. He was constantly cutting up this night, and I, along with seemingly everyone else in the room, loved that. There are few acts out there who can successfully combine excellent music with laughs, but Hubbard is certainly one, definitely deserving of being the iconic Texas musician he is. He’ll be in Dallas on April 24th and 25th for a two-night stand at The Kessler Theater, though there are plenty of other dates on his tour schedule, including a little tour in parts of the mid-West and East Coast in May. Full info on all of that can be found HERE; and check out his collection of albums (with The Ruffian’s Misfortune dropping April 7th) in iTUNES.

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