With their 14th studio album, One Lost Day, the Indigo Girls’signature harmonies haven’t aged a bit. Describing universal events like childbirth, addiction and the death of a parent on 13 new tunes, Amy Rayand Emily Saliers identify themselves as survivors. Over 35 years, they have created seven gold, four platinum, and one double platinum album, while singing their original stories set to folk/rock music filled with whimsy, rawness, sadness and joy.
Up-and-coming producer Jordan Brooke Hamlin and sound engineer Brian Joseph contribute on this new album. Drummer Brady Blade and pianist Carol Isaacsfrom the IG’s 2011 BeautyQueen Sister album have returned to the fold. Guest musicians Lex Priceand Chris Donohueon bass, along with multi-instrumentalist and vocalist Butterfly Boucher, together with drummer Fred Eltringham, bring an infectious energy. “California is Your Girlfriend” and “Texas was Clean” sound reminiscent of the IG’s early roots music.
The album’s final track, “Come a Long Way,” poetically reveals the duo’s remarkable journey to mainstream acceptance since recording their first single in 1985 while attending Emory University. With ageless spirit, the Indigo Girls rekindle their passions once again.
Please see my review posted at Elmore Magazine at:
For Paul Thorn, the lyrics he wrote together with Billy Maddox for his 10th album, Too Blessed to Be Stressed, stem from deep personal life lessons, professional musical influences and growing up a preacher’s son in the Deep South.
He wrote songs like “Don’t Let Nobody Rob You of Your Joy,” for his record released last August while seeking personal happiness in his day-to-day life.
“You may have a circle of friends and some of those friends are hard to be around and some of them make you wonder why they are your friends. You keep hanging around them, but they’re poison,” he said.
“They don’t lift you up; every opportunity they get they try to put you down. It’s not healthy to hang around people like that. That’s why that song is important. It’s just the truth. Life is short; you only get to live one time and while you’re here you don’t let nobody steal your joy.”
The Tupelo, Mississippi artist has chosen to take the high road in the known music universe, one somewhat beset with negativity, to deliver authentic “feel-good lyrics.” His songs promise to uplift even the most downtrodden concertgoers or mp3 fans.
Thorn, who performs over 150 shows a year, last performed in concert at The Roost in North Austin Nov. 23. He next performs in Austin April 11 when appears as part of the “In the Round” program at The Paramount Theater with Ruthie Foster and Joe Ely. They call themselves the Southern Troubadours.
His career blossomed after performing along with some musical heavyweights on a tribute album to Jackson Browne, entitled Looking into You, released last April. Thorn said he always liked Browne’s music, but had never met him before recording the song, “Doctor My Eyes.” Other contributing artists included Don Henley, Bonnie Raitt, David Lindley, and Bob Schneider, to name just a few.
In September Thorn met Browne backstage before presenting his song at the Americana Music Honors & Awards at the Ryman Auditorium in Tennessee.
Thorn admits that growing up in the same hometown as the iconic Elvis Presley had a huge impact on him musically as a kid. Yet over the years his career expanded to include several genres that explore all types of angles in the human experience.
“There are all kinds of records for different times in life. There are sad songs on some records about pain and all that kind of stuff, but I just wanted to make a record that made people feel better when they listen to it,” he said.
His father still preaches in the Church of God of Prophecy in Tupelo. The church’s followers provide the gifts of faith healing, prophecy and speaking in foreign tongues.
The song “Get a Healing” feels reminiscent of an evangelical tent revival service in the Deep South, complete with plenty of rhythmic clapping and catchy song lyrics.
The lyrics “you’ve got to get you a healing from the bottom of your heart/get you a healing that’s the only place to start/forgive all the people who have ever brought you harm/get yourself a healing with lovin’ from now on…”
Thorns fans will likely form emotional attachments to his music and lyrics without the benefit of any Pentecostal worship service.
“That song I think does heal somebody when they hear it,” he said.
“That’s what I believe. When I sing that song live I’ve noticed that the crowd really sinks their teeth into it. They’re all out there and they all want to be healed of something; everybody’s ailing from something. They want to feel better whether it’s physically or emotionally. Everybody needs to get fixed. That’s what that song’s talkin’ about.”
Paul’s parents married when his mother, Earlene, was just 15 and his father, Wayne, was 17.
“It was a different time back then,” Thorn said. “They’ll put you in jail for that now.”
His parents for most of their lives have lived in a parsonage on church grounds. Thorn, born in 1964, has older twin sisters, Charlotte Kay and Deborah Faye.
“We were never rich, but we were never poor,” he said. “We never went without anything. We always had what we needed.”
As Paul recalls, the family lived a religious life — 24/seven. Somehow he never felt a burden growing up in a house surrounded by women while his father often sacrificed hours every day to parishioners.
When he advises fans to “Get You a Healing,” for both their bodies and their souls, he prescribes one simple rule with the lyrics “just let your lovin’ show.”
Though Thorn does not ascribe to any single dogma or religious theology; his spiritual message comes through loud and clear nonetheless.
On one of the songs on the album, “Old Stray Dogs & Jesus,” Thorn identifies with one of the lowest denominators in society. The song tells the story about a drug addict who finally seeks help and rehabilitation after his life bottoms out.
“That’s what makes it a positive song. I’m not perfect by any means. I’ve never been a drug addict, but I’ve known a lot of people who have been. I sort of combined stories to make that song,” he said.
“I surely don’t believe that when somebody’s in the clutches of addiction that they can quit by themselves. It’s really rare that they quit by themselves. The test really comes when they surrender and go to rehab. Those are the only ones that I’ve ever seen get better.”
The song’s lyrics “Why’s everybody judging me when the good book says judge not/old stray dogs and Jesus are all the friends I’ve got/I’ve never felt so lonely, I’ve never felt so blue/my world keeps getting smaller, it’s down to a chosen few” channels the thoughts of someone less fortunate.
“You can surrender to whatever you want to, but I chose Jesus because that’s the culture that I grew up in,” he said.
“I don’t think anybody knows for sure who God is because every culture just kind of provides their own design of what God is and they all believe they have it right. There’s nothing wrong with that. As humans we are really kind of arrogant to think that because it’s a big ‘ol world with a lot of people in it. None of us know too much.”
On stage, Thorn often expresses humility through words that soon sound and feel infectious.
“I pray to a higher power, but I don’t get up and proclaim to know what that higher power is,” he said.
Though he admits that his songwriting has been at times divinely inspired, he has borrowed professional insights from some fairly impressive musical peers.
A turning point in Thorn’s songwriting career followed his first cover performance of the 1981 hit song, “Don’t Let me Down Again,” written by Lindsey Buckingham, for Fleetwood Mack’s Live album. That’s when Thorn discovered the importance of creating “hooks” in songs.
“I like songs that you can hear the first time and remember them. That’s what a hook is – it hooks you and it keeps you singin’ along,” he said.
“I like to make my hooks be things that are helpful to people – things that can give them a little courage to move forward, like the title track ‘Too Blessed to be Stressed.’ We all need to realize that because if you weigh out your life in the balance, there’s probably more good than bad in it, though sometimes we dwell on the negative.”
He combines country and rhythm and blues in a seemingly new genre that speaks volumes of truth and self-awareness through the song, “I Backslide on Friday.” The “backslider” term represents for Christians someone who practices being good, but who lapses into bad habits for a brief period of time.
“One thing we humans consistently do is procrastinate. Whether it’s a new year’s resolution to quit eatin’ a honey bun late at night, or whether it’s a resolution to quit cheatin’ on your wife, or to quit drinkin’. Whatever we struggle with, we all seem to have a hard time followin’ through with our plans,” he said.
“I think every human does it.”
The song “Everything’s Gonna Be Alright” mesmerizes with the familiar and soothing words of promise as they transport the listener visually to a new ethereal place — on the back of a dragonfly.
Thorn also took a long hard look at consumerism and it’s impact on people when he wrote the song “Mediocrity is King.”
Mediocrity is “not good for you, but it’s easy, it doesn’t require much effort and it doesn’t require much expense,” he said.
He said the business world caters to the weakest link in the human population — a community of passive listeners, viewers and readers.
Thorn shares those views with his friend and filmmaker Mike Judge, who wrote and directed the 2005 movie, Idiocracy, staring Luke Wilson and Maya Rudolph. Wilson plays the part of a man of average intelligence who after being transported 500 years into the future becomes the smartest human being on Earth.
Judge, of late, has been developing the hit HBO television series, Silicon Valley. Season two premieres April 10.
However, even Thorn admits to liking disco, though he doesn’t write in that genre.
He began writing the song, “This is a Real Goodbye,” after listening to Gloria Gaynor’s song, “I Will Survive.” Gaynor’s double platinum song released in 1978, but has since become an anthem for society’s underdogs.
“I always liked that song because it’s a song about being strong after a breakup and moving forward after your former relationship, so I wanted to write something that had the same sentiment,” he said.
“I made up a shuffle song that talks about finding happiness once someone’s gone. A lot of people have poisoned relationships. They may love them, but they’re getting treated like dirt. After a while you need to get enough of that and move on start fresh.”
The song, “What Kind of Roof do you Live Under?” makes listeners think about the relationships they share with the people with whom they choose to live.
“I know married people who are living their house together for one reason and that’s because their kids are still there,” he said.
“Instead of looking at your neighbors and pointin’ at them, we all need to examine our own lives and ask ourselves about the relationships going on inside the dwelling.”
The song, “No Place I’d Rather Be,” focuses on Thorn’s domestic life that he shares with his wife, Heather, and daughters Kit, 21, and Bella, 10.
“I enjoy my work, but nothing can compete with the enjoyment of being home,” he said. “Leaving them is a heavy price that I unfortunately have to pay.”
Meanwhile, bookings through June keep him far from home; recently Thorn entertained fans on the Sandy Beaches Cruise until Jan. 17.
One of the original and founding members of The Derailers, Brian Hofeldt, calls the Broken Spoke the band’s “natural habitat,” while “living and working as door-to-door honky-tonk salesmen.”
Twenty years ago, the band influenced by Buck Owens and the Buckaroos, found a home at least once a month on stage at the Broken Spoke, a refuge from their peak of touring 320 days a year. Hofeldt later co-wrote a song about it, entitled “Cold Beer, Hot Women and Cool Country Music.”
Hofeldt together with guitarist and lead singer Tony Villanueva, formed the band that has since produced 10 albums on two different major record labels, as well as four independent labels and beat the all-time attendance records at Austin’sBroken Spoke over its 50-year history.
Villanueva left in 2003 to pursue other interests and since then, Hofeldt has fronted the band.
The Derailers began working at the Broken Spoke in 1995, after leaving a substantial gig where they played every Wednesday at The Continental Club in Austin.
“We had these ‘Train Wreck Wednesdays’ we called them when we did them at the Continental Club and we were packing that room out to such an extent that we needed to come over here to The Spoke. We had a good thing goin’ so we asked James (White) if we could bring our Wednesdays over here,” Hofeldt said.
“That led to great success, creating much more room for the dancers and it was a room that we always wanted to be in. It was the Broken Spoke; it was legend because of all the people who have played here and it’s the most honest door in town. It’s always been the top place for a country band.”
Hofeldt said his band performs today what fellow musician and friend Dale Watson refers to as, “Ameripolitan music.”
“Watson’s idea stems from the concept that if Americana music comes from Woody Guthrie, then Ameripolitian comes from Jimmy Rogers. Ameripolitan music borrows musical concepts from Americana, roots, country, hillbilly, rockabilly and honky tonk genres,” he said.
Hofeldt and Villanueva met in Portland, OR, a place some regard as Austin’s “sister city.” The Northwestern coastal town remains cold and rainy most of the year and lacks what Hofeldt deems to be the single most important ingredient to launching his band’s success in 1994.
“One of the many interesting and unique aspects of Texas is the dance hall scene. The Broken Spoke being one of the main and greatest ones in the state of Texas, to me, it’s the greatest honky tonk in the known universe. That’s just my opinion, but I think a lot of people share it,” he said.
“People come together here. You’ll have patrons from eight to 80 years old. Grandparents and the whole family come. That’s something unique that didn’t exist up in Oregon.”
Moving to Austin from Portland as a 26-year-old musician felt a lot like “going to trade school,” he said.
“I came to Austin in 1992-1993, and it was just full of all these great guitar players and musicians. Rent was still cheap then and breakfast tacos were 79 cents. There was this university of 50,000 kids, half of whom were girls – more than half. It just seemed like heaven,” he said. “The weather was good and it was just fantastic.”
Hofeldt said that his friend, Villanueva, first discovered Austin on his way traveling to Nashville; when he stopped here he just never left.
“He said to me, ‘You gotta come down and visit.’ So I came down to visit in ’91 or ’92 and I just was blown away. There were all these great bands, this great music scene and Tony made sure to take me here to the Broken Spoke. I think that’s part of the tradition — whenever anyone comes to town, people bring them to the Broken Spoke,” he said.
“I probably saw Alvin (Crow and the Pleasant Valley Boys.) We went to a whole lot of places too that don’t even exist anymore, like Henry’s and The Black Cat.”
Villanueva and Hofeldt formed a special bond as former bandleaders of their own separate bands, but they also played together in another band as sidemen before moving from Portland to Austin.
“The singer from that band went ‘AWOL’ one time, right in the middle of recording. We were making a record, so Tony said ‘Hey, I could try singin’ a few of these tunes.’ The bandleader told him to give it a shot. As soon as Tony started singin’ he just brought the band up to a level where it had never been before,” Hofeldt said.
“Tony was, and still is, an exceptional singer. He has a charismatic, wonderful voice. That’s when he blew me away in the studio, hearing how he came across on tape and how great he was. After that, he and I talked and decided to get our own band goin’.”
Hofeldt said both he and Villanueva decided to take their music in a different direction. Shortly after, Villanueva moved to Austin. Hofeldt followed Villanueva and afterwards the two almost immediately put together a band here.
“It’s funny. We put together the band and we had a gig. There were four of us. We booked a gig before we even had a name. We were at a typical outdoor Austin barbecue and started throwin’ around ideas. Both Tony and I had grandfathers who worked for the railroad,” he said.
“So, we sort of wanted a railroad theme, but we also felt a little hubris and thought we’d help put country music back on the right track. We thought we’d ‘derail’ the status quo and do our own thing, which was essentially keeping closer to the roots of country music.”
Villanueva had been writing original music and the two of them began to write together for this new band.
“Tony presented me with a handful of songs at that point that I thought were great. He had played some of them for me before he moved here to Austin. I actually did a couple of his songs in my solo act that I was doing back in Portland,” he said.
“Tony’s songs had made an impression on me as well as his singing. We had a kinship and we sang together really naturally too. We had such a connection – one like you just don’t really find more than one of in life. It was a beautiful thing.”
Hofeldt quit his job laying carpet. Villanueva quit his job working as a custodian at Motorola. They began a small painting company together called, ‘The Detailers’, to go along with the band name and did this between gigs while waiting for the band to take off.
“Austin was booming in ’93 and I had gotten a job at a carpet-laying company. I’d never laid carpet before,” he said. “But everybody was hiring, so I just picked that because it was good money — but it wasn’t what I wanted to do.”
Hofeldt some years later saw his former boss in the crowd at the Broken Spoke when the Derailers performed.
“He’d come out and seen us before, and he reminded me that he remembered me sayin’ ‘Carl, I didn’t move to Austin to lay carpet. I’ve got to quit, man.’ And eventually, we quit our jobs to go at music full time.” Hofeldt said.
The band took this town by storm.
“We were fortunate. We had a magical partnership and the timing was perfect. Country music had gotten bigger than it ever was before. That was the Garth Brooks’ heyday. Everybody, like Alan Jackson sang, had ‘Gone Country.’ Country was just so big it created room for Alternative Country — the same way it was with rock n roll — and Texas was big too.” he said.
“That’s when Ann Richardswas governor. She was popular and good to musicians too. Folks at the capital started to focus more on Texas music as far as some legislative changes were concerned, including a law which allows, if you’re a recording and working musician, that any equipment you buy and is used for recording in the state of Texas, you don’t have to pay sales tax on it. So, that was the state puttin’ their money where their mouth was. That helped even more to make Austin the ‘Live Music Capital of the World.’ That’s cool because a lot of times, people only pay lip service to things.”
Hofeldt said that he realized at the time that his and Villanueva’s fortunes depended upon securing a future playing at the Broken Spoke.
“He (owner James White) already knew of us; we had come in and had talked to him before and had asked him for gigs. I think (White’s youngest daughter,) Ginny White had been out to our ‘Train Wreck Wednesdays’ at the Continental Club and had told her daddy about that. She helped us to get in,” he said.
“She must’ve been barely just 21 at that time when I was 27 or 28 and Steve Wertheimer, the owner of the Continental Club, was good friends with James. I’ve always said that the three greatest club owners in this town were James White, Steve Wertheimer and the late-great Clifford Antone– all of whom would spend time at the Broken Spoke.”
He said the three club owners visited one another’s clubs often in those days.
“It’s unusual. You don’t see a lot of club owner go to other clubs. When we moved our ‘Train Wreck Wednesdays’ over to here, Steve Wertheimer was in the audience every Wednesday, even though we had moved from his club,” Hofeldt said.
Also fortuitously, another one of Wertheimer’s friends included John Kunz, owner of Waterloo Records, who became a partner in Watermelon Records, the Derailers’ first label, after their local release, Live Tracks, on the fledgling Freedom label. The Derailers’ sweet Austin beginnings had launched a worldwide musical career.
“It’s good to count your blessings and to look back and be thankful for the good fortunes that presented themselves. I have to say though, that we really, really worked hard in addition,” he said.
“When you’re given an opportunity like that, you have to take advantage of it and just work your butt off — and we did.”
In 1998 alone, the Derailers worked 320 gigs, often zigzagging across the United States and the globe.
“That was sometimes two-a-day shows – sometimes during the day at a record store or radio station, and later at a club. We did a lot of work that year. I would also say that in the surrounding years of 1997 and 1999 we worked around 275 days and in 1995 and 2000 we worked around 250. We really, really worked hard,” he said.
“That’s when we moved to weekends here (at the Broken Spoke) and because we were on the road so much we couldn’t do a residency anymore, (like the Wednesday gigs were). So we did a weekend once a month – which is generally what most bands do here. Our once a month at the Spoke ensured that we’d be home at least once a month. So it was our saving grace really; it always has been.”
He said he remembers otherwise passing through Austin, just another stop on their tours throughout the United States and all across the world.
“At least we got to be in our own homes one night though, two maybe, and always back here at the Broken Spoke,” Hofeldt said.
“That’s just what you have to do. We were door-to-door honky tonk salesmen.”
Burnout followed. The Derailers had signed with two major labels, including Sire Records, a division of Warner Brothers Records and then Sony Records and Lucky Dog to produce their albums.
“Our first major was the label that produced the Pretenders, the Talking Heads, the Ramones, and Madonna, — bands not exactly in our genre, but a great label with a great label head who was just a real fan of music, (cofounder and chairman of Sire Records,) Seymour Stein, who still runs that label, if I’m not mistaken,” Hofeldt said.
“Then we were with Sony out of Nashville for a couple of records after that. When you’re with two major labels like that they want you out there sellin’ their product, so, we were out on the road all of the time – it was a burnout.”
The consequences proved detrimental to their personal lives. He remembers feeling “a little bit of tension in the studio” as early as 1998 while working on the Derailers’ album, Full Western Dress, which included a cameo performance by Buck Owens himself. The band’s members felt overworked and torn between their musical careers and their personal lives, Hofeldt said.
“It was just building up in a lot of areas in our lives, personally,” he said. “Tony had a family. He was the only one who had a family at the time, so I think it was hardest on him, for sure. He would come back off the road and his kids would be taller. All those days he missed were really hard on him.”
Not long after the release of the album, Villanueva fell ill.
“Tony got real sick. He was in ICU with pneumonia. We had to do a week or two of gigs without him. It was scary. He didn’t look good and I didn’t know what was going to happen,” Hofeldt said.
“He became a born again Christian and I think his priorities just changed completely. He wanted to focus on his family and then spreading the message, so he wasn’t really interested in music anymore. It wasn’t like it was an angry breakup or anything.”
Hofeldt said meanwhile, he filed for divorce from his own marriage about that same time.
“I was married at the time and trying to get out of that marriage. I was married to a Texas woman. I had never had anyone pull a gun on me before, but my wife pulled a gun on me when I wouldn’t shut off the TV,” he said.
“I thought maybe all Texas women were like that. I just kind of took it in stride. Later I realized that it was not really a healthy thing. I just didn’t have time really to even get divorced. That’s how busy we were.”
Hofeldt eventually divorced and found his true love, Tiffany Hofeldt, a professional photographer in Austin.
“With Tony leaving, it really changed things up. That really threw me for a loop,” Hofeldt said. “The divorce with my first wife was something that was inevitable. It was bound to happen, I just needed time to do it, but Tony leaving was like a real divorce – or a death in the family, more like. He was still around, but he quickly moved back to Oregon. I lost my musical partner, so I was afloat for a while there.”
Meanwhile, Hofeldt decided to step up his musical game and to lead the band that included drummer and percussionist Scott Matthews, Ed Adkinson bass and vocals, and pedal steel and Dobro player Chris Schlozhauer as well as “Sweet” Basil McJagger, who played piano and organs. Matthews and McJagger remain as original band members of the Derailers to this day.
“I had three or four other musicians lookin’ at me like ‘What are we goin’ to do?’ So I had to do something. So I finally decided to do something. There was no way I was going to replace Tony; he was irreplaceable in my heart and physically in every way. I couldn’t get anyone who could sing with me that way,” Hofeldt said.
“I had always sung harmony with Tony, but it was only on a quarter of the songs that I sang the lead stuff — kind of like the front man. I just felt like it wasn’t going to work to try to replace Tony with another singing partner with me. We had always joked that Tony was a little bit country and I was a little bit rock and roll – kind of like Donny and Marie (Osmond.) That’s what kind of made up the sound of our band.”
He said that the band had to meet their obligations to perform at places already on the schedule. Once the Derailers met those dates, they continued to tour and began planning a new album. Two years passed. In 2005 the Derailers recorded their hit Soldiers of Love album and released it to stores in 2006.
“It was little bit of a lull in recording, but not much of a lull in live performing. We kept on going and it was probably as important as anything at that point to reintroduce the newly modified Derailers back to everybody,” he said.
“Take it as you will, like or not like it as much — however you want it, we let them know we were still alive and well. In this business, if you’re not around awhile, people forget about you real quick.”
Hofeldt admitted that the Derailers have been lucky over the years.
“We’ve been lucky, yes we have and I think our home base, the Broken Spoke was such an essential part of that. James kept us on here and there was probably a lull in attendance for a year or so and then it popped back up,” he said.
“I believe that as far as his regular bands who come through here, we were one of his consistently best-drawing bands. I think we still hold the record of attendance here.”
From 2001 through 2003, the Derailers broke all previous records for drawing capacity crowds at the Broken Spoke, he said.
“One night, we had around 968 folks out at one show. They came in and out. They weren’t here all at the same time,” Hofeldt said. “You can’t keep the people away. They all wanted to be here. That’s tough. I always say that we had 968 total. Not at the same time. Some came in and some went out — just to be clear for the sake of the fire marshall.”
He said that in 2006 the Derailers found their sweet spot again with their fans.
“We did what we did by sticking to our roots, from where we came from, which was the Texas dance hall scene, simply the Broken Spoke. We had learned how to entertain from this room and that required playing a variety of music,” he said.
“They don’t want the same beat all the time. A lot of our music was oriented towards dancers and out of that came a variety of music that just made up our sound. It’s hard to tell which came first – the chicken or the egg, there, but I think that’s what kept the people comin’ back even when things had changed a little bit.”
It helped that their fans associated the Derailers’ music to a band, instead of a single person or front man. White’s support also motivated Hofeldt, he said.
“Everybody knows the name of The Beatles, but not everybody knows the names of the guys in Steppenwolf, for example. So, in that regard I was fortunate. ‘Where’s that other guy?’ was sort of the extent of what people asked,” he said.
“They just kept accepting us and James believed in us and believed that we’d come back and that was a big part of it too. Having somebody that we knew and trusted for that many years to keep believing in me, meant a lot to me personally.”
During their banner year of 2006, the Derailers began to represent the Broken Spoke. The band also began to draw a newer crowd that never questioned its musical origins.
It drew the attention one patron, legendary songwriter James E. “Buzz” Cason, who had already written songs for The Beatles, Pearl Jam and U2. Cason co-authored his greatest hit, “Everlasting Love,” with Mac Gayden before 1967 when Robert Knight recorded the song.
“We just had our heads down and were workin’ to make this thing continue. Soldiers of Love was our first record without Tony and we had a song on it that album called ‘Cold Beer, Hot Women, and Cool Country Music’ which we wrote about the Broken Spoke,” Hofeldt said.
“There’s a line in there ‘Got me a table with my name right on it,’ and it includes a bit of James’ nightly spiel: ‘We’ve got cold beer, good music, good whisky, home of the best chicken fried steak in town…’ So we were kind of thinkin’ about that when I wrote that song with my pal, Buzz Cason.”
Cason had come out to watch the Derailers at the Broken Spoke and befriended Hofeldt.
“When you’re first impressed by the Broken Spoke it hits you pretty strong. I think his (Cason’s) impressions were still fresh when he said ‘Man, comin’ out to see you guys – cold beer, hot women, and cool country music sort of sums it up.’ I went to his place in Nashville and we wrote it,” he said.
The old Derailers fans remained loyal as well. Waterloo Ice House, used their song as a soundtrack for a radio commercial.
“I had to re-sing that part ‘Cold beer, good food at the Waterloo Ice House.’ It all helped,” he said.
Then after Buck Owens’ death March 26, 2006, the Derailers began work on a tribute album to him, entitled: Under the Influence of Buck, that included 13 of the country music star’s classic hits. They released the album in 2007.
“He had been a big influence on us. He had 22 number one songs, so even picking out of his number ones would have been too much for an album,” Hofeldt said. “Buck had played here too. He used to tour around with his guitar player, Don Rich, and sometimes just pick up a band in the early days.”
Often in the middle of their show at the Broken Spoke, White joins the Derailers on stage to sing a medley of Owens’ songs.
The Derailers traditionally play lots of other legendary songs once performed by their original singing stars at the Broken Spoke, including Charlie Walker’s hit, “Pick Me Up on Your Way Down.” The Derailers perform Walker’s dance hall classic, written by the late great Harlan Howard, every Saturday night that they perform at the Broken Spoke.
Hofeldt said that he feels a fraternity of friendship among the photos of all the stars who have performed at the Broken Spoke in the last five decades. He said he shares that feeling with other regularly performing musicians who play at the Broken Spoke including Alvin Crow,Cornell Hurd,and Dale Watson.
“It’s interesting and really cool to be part of the legendary aspect of this dance hall,” he said.
At the end of every Saturday night when they perform there, the Derailers sing the old Hank Williams’ song, “I Saw the Light.” White and his son-in-law, Mike Peacock, often join them on stage to sing along.
“I’ll say: ‘It’s technically Sunday morning now, everyone. It’s after midnight; it’s technically Sunday so we’ll send you out with a little gospel number,’” Hofeldt said.
“We used to do ‘Good Night Irene,’ but then we switched over to doin’ ‘I Saw the Light.’ It’s just become our tradition of the way we end the night here at the Broken Spoke – a little gospel ending there. Though, I’m sure some of them are not going to make it to church too early.”
Hofeldt equates the Broken Spoke to a place where fans for 50 years have gone to worship live country music — it has its own “magical and legendary” spirit, captured in photographs within its hallowed dance hall walls.
“As I say, it’s the greatest honky tonk in the known universe. It is and everybody knows it. It’s in Texas and ‘Texas music is better,’ as Cornell Hurd says,” Hofeldt said.
White’s often demonstrates an evangelical-like persona during nights at the Broken Spoke, as he welcomes visitors from near and as far away as Japan, Norway, and the Netherlands, he said.
“There’s a timeless aspect to walkin’ into the Broken Spoke on any given night. I’d say it could have been or feels like 1964, when James first opened the Spoke. James and Annetta built it and opened it and he’s still standin’ there greeting everyone who comes to the door,” he said.
“That’s also something that is very, very special to people – the fact that they got to meet Mr. James White. It’s not like he has to do that. This is a successful brand and place. He does it because he loves it. He loves being part of this empire that he’s built at the Broken Spoke. He’s grateful to those people as we all are, for comin’ out, and he wants to thank them and invite them in. That really makes big difference about how people perceive where they’ve visited.”
Both James and Annetta White suffered through health problems in recent years — he has had his share of heart troubles and she battled and survived cancer. Still, the two remain tougher and stronger than ever. They have a perfect relationship that works well, Hofeldt said.
“I see him as vital as ever, more so in some ways and that’s really awesome. We’re like a family all of us,” Hofeldt said.
“I’m just happy that James is as good as ever and Annetta whipped cancer’s ass. That’s how she’d say it too.”
Hofeldt said just like a family, the Whites each have roles to play. Acting as a disciplinarian, Annetta White, has been “mad as a hornet” at times with him. Most recently Annetta White let him know how she felt when the Derailers performed an extended version of the song, “Susie Q,” originally recorded in 1956 by rockabilly singer, Dale Hawkins. Creedence Clearwater Revival popularized the song also covered by the Rolling Stones in 1964.
“She did not mince words with me about how she did not want to hear that song in here anymore,” he said.
“I said, ‘Gee, it hurts my feelings that you don’t like my music. It’s an old classic song.’ That’s how I played it. I didn’t argue or get mad back at her because she gets over it quick. She’s really sweet inside. She really is. She’s the first one to give me a hug when I come back here.”
He said he always imagined himself as a leader of a country band. His life is great.
“I’m living my dream. I feel very fortunate. Sometimes, I just focus on that. Like Carl Jung says, ‘We are always happiest when we are dreaming.’ We are dreaming about what we want to achieve or what our lives will be like in the future, that’s when we’re happiest. But those things happen to you and you pass them by and push them away because you’re always looking ahead,” Hofeldt said.
“There are so many times that I’ve done that in my life. My life is great and it’s due in no small part to my relationship with James and Annetta White and the Broken Spoke. It’s no small part and that’s somethin’ that I’m grateful for and will always keep me deeply connected to this place.”
Other original members of the Derailers include Matthews and McJagger, as well as Vic Gerard, who has returned to the band after a hiatus from raising a family. He originally performed as a Derailer in the 1990s. Occasionally, Mike Daily, will also sit in to play steel when he’s not performing with the Ace in the Hole band, now that George Strait has stopped touring.
Country singer, songwriter, actor, recording artist and producer Jimmie Dale Gilmore, plans to reunite with the other original band members from Americana roots band, The Flatlanders, including Butch Hancock and Joe Ely.
The Flatlanders will present a special concert at 8 p.m. Sept. 20 at the Paramount Theater in Austin.
It’s been nearly 40 years since Gilmore, Hancock and Ely, began jamming with Steve Wesson who played Autoharp and musical saw, Tony Pearson on mandolin and bassist Syl Rice, to become The Flatlanders.
In 1972 the band made their musical debut at the Kerrville Folk Festival and won the New Folk Singer/Songwriter Competition. That same year, the Armadillo Beer Garden opened in Austin and The Flatlanders performed during its entire first week.
“There were six of us originally in the Flatlanders, but only three of us continued with musical careers,” Gilmore said.
In 1974, Hancock and Ely began their solo careers before Gilmore participated in a spiritual group that was learning the art of meditation from Prem Rawat at his headquarters in Denver.
“I actually first became connected with one of his disciples in Austin. Then I went and lived in New Orleans for a short while before I went to Denver. I went to Denver because there was a large community of people who were studying with him (Rawat) there,” he said.
“It (Denver) was the place to study and practice meditation with that group. Early in my music career I had studied Eastern Philosophy. I first became interested in it in the ‘60s and from there, that was the spiritual journey that led me to Denver.”
He left that community in 1980 and returned to Austin. For a long time, he performed often at the Broken Spoke with his band. Success came to Gilmore slowly. He also had a steady gig every Wednesday night at Threadgill’s on South Lamar.
“That’s where I got to know a lot of Austin musicians,” Gilmore said. “I did it every week and we had different people sit in to play. Just like we did last night; it was a very similar thing. We had a big following. So that’s why this thing at El Mercado is nostalgic.”
Throughout the 1990s, the original members of The Flatlanders remained the best of friends in Austin, but they seldom performed together.
Ely enjoyed success in his solo career while Hancock and Gilmore toured together as a duet. Separately, Gilmore and Hancock also headlined their own bands.
“There’s this intertwining of many people; there’s so much history. I’ve been playing for such a long time and I’ve done a lot of different things,” Gilmore said.
From January through April of this year, Gilmore teamed up most Monday nights to perform with Christine Albert and David Carroll at El Mercado South in Austin for weekly nostalgic and musical trips down memory lane.
Newcomers luckily stumbled upon the unofficial Austin venue during the South-by-Southwest Music, Film and Interactive Festival, (SXSW) March 7-16.
However, members of the three-piece combo had performed acoustic folk music and familiar ballads every week for a year and a half, billed as “Mystery Monday.” The name stems from their tradition of inviting surprise musical guests to sit in on stage.
The show during SXSW didn’t disappoint patrons, either new nor regular, while they munched tostada chips dipped in spicy homemade-style salsa, ate their fill of Mexican combination plates, and drank foreign ale fermented south of the border or top shelf margaritas.
Albert and Carroll regularly perform only two sets on stage every week. Occasionally, guitarist/harmonica player and singer/songwriter Butch Hancock hosts the show with guest appearances that change week-to-week.
“We had a good thing there every week,” Gilmore said. “It’s been really great – consistently amazing.”
March 10, the mystery guests included Austin’s acoustic and electric mandolinist/composer Paul Glasse and legendary rockabilly guitarist Bill Kirchen, aka: “the Titan of the Telecaster.” Kirchen served as a member of the musical outlaw group, Commander Cody and the Lost Planet Airmen from 1967 through the 1970s.
Albert closes her show with a moving rendition of the Southern Gospel song, “I’ll Fly Away,” written in 1929 by Albert E. Brumley. She sings it as a tribute to friend and former band mate, the late Austin guitarist, singer and songwriter, Sarah Elizabeth Campbell.
The duo performed it at their final show together last December just before cancer took Campbell’s life.
Gilmore and his wife, Janet, used to show up regularly at El Mercado South as fans of the Albert and Campbell show. Often Gilmore sat in to play a few tunes with the two who have been his good friends for years.
In January, Albert asked Gilmore to join her on stage once a week, to keep the show going at El Mercado South. Their combined circle of friends remained otherwise unbroken and has intertwined with multiple members of local bands.
Albert used to sing in Gilmore’s band in the 1980s with her husband, Chris Gage, and both toured with him. Later, Albert and Gage also produced albums of their own.
Gilmore has enjoyed at least two musical careers – one as a member of The Flatlanders in the early 1970s and another as a headliner act from the 1990s through the 2000s.
The Amarillo native grew up in Lubbock and attended Texas Tech University for a short time. Gilmore has known Hancock since they both attended Atkins Junior High and Monterrey High School together in Lubbock.
In 1964 Gilmore met guitarist and singer/songwriter Joe Ely who also was born in Amarillo and they share musical connections that cemented their life-long bond.
“Buddy Holly’s father, L.O., financed a demo recording (tape) for me and so I put a band together. The place we hung out and practiced at, was owned by Tommy Nickel and so was band came to be called the ‘T. Nickel House Band.’ We hung out at T. Nickel’s house, so as a joke we called it that. It sounded like a nightclub or something,” Gilmore said. “Some people thought the name was a drug reference, but it wasn’t.”
That band never did become famous. The T Nickel House Band included: guitarists Gilmore, Ely, John X. Reed, and Jesse “Guitar” Taylor, as well as drummer T.J. McFarland.
“John X. Reed and I came to Austin together,” Gilmore said. “We didn’t move here, but we visited and played in town. The very first place John and I ever played together in Austin was at Threadgill’s.”
Gilmore also played in Angela Strehli’s band, Sunnyland Special, in the late 1960s long before her name became associated with Marcia Ball, Lou Ann Barton, Sue Foley and Stevie Ray Vaughan. Strehli’s Sunnyland Special included Gilmore, Lewis Cowdrey, Taylor and McFarland.
Opening night Aug. 7, 1970, Gilmore performed with his band, The Hub City Movers, at the Armadillo World Headquarters, once located at 525 and 1/2 Barton Springs Road. His band had been the last house band to perform during that same summer at The Vulcan Gas Company, then located at 316 Congress Avenue.
“I was involved in folk music, with folk musicians and rock musicians, and also blues musicians and country musicians. I was connected with so many different groups of people,” Gilmore said.
Ely and Gilmore have stayed connected throughout the years since meeting in Lubbock.
“We were actually fans of each other; we used to go hear each other play,” Gilmore said. “We met playing at little dives and coffee houses and boot leg joints in Lubbock. Lubbock was dry, so any place that had any kind of night life was usually illegal.”
In Lubbock, Gilmore and Ely found a group of creative friends who shared similar interests.
“He’s (Ely) been one of the treasures of my life,” Gilmore said. “There were plenty of other Bohemian, creative people from Lubbock who kind of banded together in that period.”
Gilmore and his friends shared common interests including philosophy.
“For me, philosophy and spirituality have always intermingled. That’s always been part of my deep interests. I was never ever what you might call ‘religious.’”
Fans in the audience at El Mercado South span years of Gilmore’s, Hancock’s and Albert’s careers.
“There are so many good friends in my background. The really wonderful thing about this ‘Mystery Monday’ gig is I’ve been able to play with a lot of people that I used to play with regularly. It’s a reunion kind of thing – really beautiful.”
In the break between the band’s two song sets, two of Gilmore’s friends, a San Francisco-based and country folk duo, known as Wildwood, performed. The duo consists of Desiree Wattis, a Virginia coal miner’s granddaughter, and Avery Hellman, the grand-daughter of the late Warren Hellman, founder of the famous Hardly Strictly Blue Grass Festival of San Francisco — a festival that drew 650,000 people last year.
“Warren Hellman and I actually made a record together, but that’s a whole and completely different story in itself,” Gilmore said. “It was a totally unexpected thing that happened. We had become personal friends ten years ago in the course of the Hardly Strictly Bluegrass Festival. We shared a love of bluegrass and old-time music.”
Gilmore joined Hellman’s seven-piece old-time music group that called themselves The Wronglers and recorded a 2011 album, “Heirloom Music.” They toured one season all over the country, fulfilling one of Hellman’s life-long dreams during the last year of his life.
As part of the show March 10, Gilmore performed one of the songs that The Wronglers used to play, a country standard made famous by the Carter Family, “I’m Thinking Tonight of My Blue Eyes.”
Heidi Clare, the original vocalist/fiddle player for the Wrongler’s. She acted as tour manager for Wildwood all during SXSW and at El Mercado South that Monday night during the girls’ performance.
“I’ve become acquainted with the whole (Hellman) family and we had done a couple of songs together at Hardly Strictly Bluegrass Festivals, so that’s how I invited them to the show that night,” Gilmore said.
Ray Benson and Asleep at the Wheel also scheduled the Wildwood girls to open their show at the Rattle Inn March 11.
For three months ever Monday night, several threads of Gilmore’s past often came together at El Mercado South to connect him to multiple people all in one place at the same time.
Glasse performed on the first album Gilmore ever recorded as a solo artist, “Fair and Square,” released in 1988. A number of local musicians performed on that album produced by Ely and released by High Tone Records. Gilmore enjoyed success with the album’s hit single, “White Freight Liner Blues.”
Gage toured with Gilmore nationwide beginning in 1993 and continuing throughout the mid-1990s.
In 1991 Gilmore released “After Awhile” on Nonesuch Records, produced by Stephen Bruton, who had played guitar with Kris Kristofferson and then Bonnie Raitt. Kristofferson recently released Bruton’s “The Road To Austin,” 73-minute documentary, that screened during the SXSW Film Festival March 10. Bruton died in 2009. Gilmore does not appear in Bruton’s documentary because the late musician and filmmaker scheduled filming the same day that Gilmore attended his son Colin’s wedding.
Emory Gordy, Elvis’ former bass player produced Gilmore’s hit solo album, Spinning Around the Sun, in 1993. Three years later, Gilmore recorded Braver Newer World, released on the Elektra label and produced by legendary Grammy winner, T Bone Burnett. Gilmore has been nominated three times for Grammys, but has never won.
“During that time, I got lots and lots of publicity,” Gilmore said. “I also did lots of touring. That was the time in my career that I was the most visible.”
In 2000, Gilmore released One Endless Night on the Rounder Records label and returned to High Tone Records to release Don’t Look for a Heartache in 2004. He released Come On Back on Rounder Records in 2005.
Gilmore also appeared as a bit actor in films: The Thing Called Love in 1993 and The Big Lebowski in 1996. He has also appeared on late night television shows hosted by Jay Leno and David Letterman as well as Garrison Keillor’s A Prairie Home Companion. His song “Brave New World” graces the film soundtrack for 1995’s Kicking and Screaming.
He enjoyed his regular weekly gig at El Mercado South that ended in April. Now occasionally he will sit in with the band on stage as part of “Mystery Mondays.”
“It’s different every week. We do a lot of the same songs every week, because they’re the songs that we know, but the sound is different because we have different instrumentation,” Gilmore said. “David (Carroll) contacts the people to play with us and he has a lot of friends and really good taste.”
Along with their son, Colin, Gilmore and his wife Janet, have two daughters, Elyse Yates and Amanda Garber. Her husband, Scott Garber, sometimes plays bass with Gilmore. The Gilmores also have several grandchildren who he refers to as “the most important part of our lives.”
“I’ve enjoyed two basically different personas – one under my name and one under The Flatlanders, but I’ve done a lot of different things with both of those,” Gilmore said.
“I never have really thought much of career and that kind of stuff. I just do what I like for however long it lasts.”
When Shelley King sings, her large almond-shaped eyes seem to look directly at members of her audience, delivering words that feel personal. She creates a spiritual-like connection that speaks volumes about the ways in which people live, love and relate to their environments.
Drawing on her rural Arkansas gospel, Americana and blues roots, King writes deeply felt song lyrics about relationships and personal experiences.
King’s new album, Building A Fire, recorded in Fort Collins, CO, Austin, TX and Muscle Shoals, AL, releases to stores on August 26. A blend of Texas and Louisiana musicians perform on the album with her.
The band that originated in New Orleans’, the Subdudes, returns to accompany her once again, following the success of their last collaboration in 2009, on King’s Welcome Home album.
Growing up in rural Arkansas, King began her musical education while singing in a little one-room church in Caddo Gap. After her parents divorced, King lived with her grandmother and attended church regularly.
“I joined the church and got baptized, full immersion, in the river. It was all real country, old rural,” she said.
“I was about 12 or 13 at the time and the church was a peaceful place. It was a place where I could sing and explore and develop my talent. It was where my friends were. We weren’t old enough to drive and there was no social scene in Caddo Gap. If you wanted to see your friends outside of school, you went to church. It was a good reason to get out of the house.”
King and her mother moved many times between Texas and Arkansas before King became a teenager. Stability wasn’t something they knew.
“We moved around a bunch. She had several relationship breakups. It was pretty rocky,” she said.
King’s singing career not only changed her life, but it brought her parents back together again. Twelve years ago, her parents met up again at one of King’s gigs. She and her mother had remained close for years, but at the time, King’s father had only recently re-entered her life.
“He had been coming into my life more and more. Often he would show up at my shows in different places around the country. Finally, he told me one time ‘I’m going to come to one of your shows in Austin tonight.’ I just said ‘Ok.’ He didn’t live here at the time and I forgot my mother was going to be there,” King said.
“I decided not to tell her or she might not come. So he was here and she was here and I literally re-introduced them to each other. They started dating again and now they’re married again. They’ve been married for about eight years.”
After graduating high school in 1984, as one in a class of 38 students, King felt she had to leave home.
“As much as I loved Arkansas, because I grew up there, I really felt stifled. There was no opportunity for anything. All my friends were just graduating high school and having babies,” she said.
“I wanted to go somewhere and do something. I couldn’t see staying there. I knew I was going to have to go to college to get out of town; that was my big excuse. I wanted to go as far away as I could afford.”
She attended Sam Houston State University in Huntsville, Texas and studied English and speech communications as part of a pre-law curriculum. She worked to pay for her tuition and books. After college she moved to Houston and took a job in outside sales while she began her music career.
“This is all I ever really wanted to do. I realized I didn’t want to be a lawyer. I didn’t care about that stuff, so I started thinking about more about my music,” she said.
While singing and playing music with different bands, King worked a day job as an outside sales person to pay her bills. Someone told her that she should move to Austin, so she packed up her bags and arrived here early in 1992.
“It just all started for me here. Although I had been singing my whole life and I had been writing songs and I had been playing in a band for a couple of years, I didn’t have a clue until I moved to Austin,” she said.
“When I got here I met all these great singer/songwriters and performers and musicians.”
King’s first night in town, she met Marcia Ball, who to this day remains a good friend and collaborator. At the time, Ball owned La Zona Rosa at 612 W. 4th Street. The intimate bar featured blues and jazz performances by local and touring musicians for several years before closing in 2012.
“One night, at Sarah Elizabeth Campbell’s weekly show at La Zona Rosa, I met everyone. Marcia Ball, Jimmie Dale Gilmore was there, Jimmy LaFave was there, David Rodriguez — Carrie Rodriguez’s dad, was there. Sharon Ely was there – I don’t think Joe was there, but Sharon was there. It was really a ‘who’s who of cool’ Austin, you know?” she said.
“I had no idea. A friend of mine had said ‘Hey, you should come out to this show with me tonight’ and I ended up sitting at a table with all these Austin icons. I was blown away. I thought ‘Oh my gosh; I found it, I found it.’”
King said it took a while for her to settle down in Austin.
“It took a while for me to get it together. I started playing little gigs around town. I was still developing my style, so I was playing some rock, jam band kind of thing. I was playing gigs on Sixth Street like the Black Cat Lounge and Steamboat,” she said. “Both of which are gone now.”
“I played the Austin Outhouse up on 38th (Street.) It was a different kind of thing that I was doing then, but I got really frustrated with the whole band thing and trying to keep a band together. When one person would quit and I’d feel like we needed to change our band name and write all new songs. It was just getting weird,” she said.
Tired of the drama often associated with playing in a band and their power struggles, King decided to focus on her songwriting.
“So I just took time off away from gigs and just tried to write songs. I wrote and wrote. I decided to get it together. I said ‘You know, I’m going to get a job, go to church, and buy a house. I’m gonna grow up.’ So, I went to church. They found out I could sing. They put me in the church band,” she said.
“The bass player of the church band said ‘Hey, let’s get together and jam outside of church.’ Before I knew it, I had another band and I wasn’t even planning on it. I was just like ‘What just happened?’”
King and her newly formed band began performing again in 1996 at coffee houses and small venues around town.
“You know, you can run, but you can’t hide,” she said. “They said ‘We’re going to play a gig, so book a gig.’ To just get started I played this open mic at a place on Congress called Shaggy’s.”
South Congress Café now stands at the former Shaggy’s location.
“I played the open mic and then the manager came up to me and said ‘Come here.’ He opened up his calendar and said ‘Let’s get you in here.’ At that point, I hadn’t even put out my first CD,” she said.
After a year and a half of playing various gigs around town and creating a following, King released her first CD in 1998. She recorded Call of My Heart, at Bismeaux Studios, owned by Ray Benson, bandleader for Asleep at the Wheel.
“It just became very evident that we needed to get that recording out to the public, because we became very popular,” King said.
She quit her job working as a rep for a flooring distributor June 1, 1998.
“It finally got to me at the last sales meeting when I realized I didn’t care. There were all those issues that everyone was bringing up about the work place and I kept thinking, ‘Man, I don’t care. I need to get back into the studio and finish this record.’ So on Monday morning, June 1, 1998 at 7 a.m., I got up my nerve and I quit. Or should I say, ‘I began’. It took a lot of courage because I wasn’t making a lot from my music yet. After I quit my job, I got into the studio and finished the CD and from there it all started taking off.”
King said that she has continued to write songs, to record them and to release them on her own label. Meanwhile, several other artists, including Price, have covered her songs, allowing King to earn additional sales royalties.
“When I was thinking about quitting my day job to sing and to write full time,” she said. “Toni was very encouraging. So just to thank her, I gave her my CD and she ended up covering two songs off that CD. That really helped because she’s super popular and it really helped a lot of people notice me and come to know me as a songwriter.”
One day in 2004 while driving through the Southwest, Lee Hazlewood heard King’s single, “Texas Blue Moon,” off her second album, The Highway, broadcast on the radio airwaves. Hazlewood thought the song would make a nice duet for an album he was recording with Nancy Sinatra. The two recorded it that same year and released it as a track off their Nancy & Lee 3 album.
King had the opportunity to meet Nancy and Lee when she was invited to attend Hazlewood’s 78th birthday party held in Las Vegas. He died of renal cancer six weeks later in Henderson, Nev. Aug. 4, 2007. Hazlewood had gained notoriety after writing Nancy Sinatra’s breakout hit, “These Boots are Made for Walkin’” among other songs for her and her famous father, Frank Sinatra, as well as for Duane Eddy and Dean Martin.
“I feel like I have really developed my style, my writing and everything in Austin. The bar is set high in Austin. You cannot be a lame songwriter and get away with it,” King said.
“I have traveled around and seen people in other places that people hold up as pretty good and I’m thinkin’ ‘Girl, you’d never make it Austin.’ You know? I think that it’s so wonderful that the talent is so good here because it makes us all so much better.”
Austin, known as “the live music capital of the world,” draws musicians who can sit-in to play a two-hour show with anybody, anytime, anywhere, and any genre.
“That’s just an awesome thing. Everybody can play a good live show,” she said. “We play so much that we hardly ever practice as a band — it’s a different thing here. When people come here who are not used to the way we roll, it’s pretty funny,” she said.
“I know Paul Oscher, Muddy Water’s harmonica player, who recently moved to town and who plays here in town now. He was saying recently how it’s so amazing that Austin musicians can just jump in and play with you even though they’ve never played with you before. Everybody does it and everybody can do it. He said, ‘I’m not like that.’ It’s a different thing here.”
For example, King’s bass player, Sarah Brown, scheduled six gigs over four days with six different bands before performing with her at Threadgill’s South along Riverside Drive July 23.
The live show at Threadgill’s also included King’s drummer/percussionist Perry Drake, together with lead guitarist Marvin Dykhuis. Everyone sang as well.
The band opened the double-billed show at 8 p.m., followed by Teresa James and the Rhythm Tramps at 9 p.m.
Several members in the audience raised their hands when King asked if any of them had followed her and James to Austin after seeing them perform together on-board the Delbert McClinton and Friends’ Sandy Beaches Cruise recently.
Other fans had seen King perform together with rhythm and blues singer/piano player Marcia Ball at the Broken Spoke four months earlier. Monte Warden, the singer/songwriter and bandleader for The Wagoneers, had hosted the “Behind the Songs” program recorded live at the Broken Spoke on March 31 with Ball and King, as well as Wonderland.
“Behind the Songs,” airs regularly on Austin’s alternative country radio station KOKE-FM, broadcast on channels 98.5, 99.3 or 105.3.
Over the years, King has regularly visited the Broken Spoke to eat chicken fried steak and to enjoy the music, but this spring’s event marked her first ever performance at the Broken Spoke.
“I loved it,” she said. “I never actually pursued a show there because my music leans more towards blues and sometimes I rock out. The Spoke’s much more the traditional country thing. I didn’t want to be something that I’m not, so I didn’t take my show there, but what a huge honor to play there and to play a songwriter’s show,” she said.
King particularly enjoyed Ball’s performance of the song, “Cowboy’s Sweetheart.” Broken Spoke owners, the much beloved James and Annetta White, danced a solo dance while Ball sang. The moment moved King to tears, she said.
“I was crying on stage,” she said, “it was so sentimental and sweet to see those two in each others arms swaying to Marcia’s yodels. I felt like I was witnessing a part of Austin music history as it happened. Very inspiring and powerful, the life we have all built around this music. The Broken Spoke is home to a lot of music and memories for many people. It’s a part of our lives here in Austin. As the city continues to grow and evolve, we are lucky to have this gem still hosting live music five nights a week.”
King and her band have several tours planned throughout the remaining months of the summer and through fall performing in Texas and Colorado and as far away as the East Coast. She will shoot a music video in Fort Collins, Colorado in September as well.
A consortium of female musicians, known as Texas Guitar Women, arose out of a friendship among King, Wonderland, Cashdollar, Brown, and drummer Lisa Pankratz. Occasionally, Ball joins the group as well, and together the six women have played numerous gigs nationwide including the acclaimed Rhythm & Roots Music Festival in Rhode Island and the “Women’s Night” showcase shows at Austin’s now, sadly defunct, Antone’s blues club.
With their 14th studio album, One Lost Day, the Indigo Girls’ signature harmonies haven’t aged a bit. Describing universal events like childbirth, addiction and the death of a parent on 13 new tunes, Amy Ray and Emily Saliers identify themselves as survivors. Over 35 years, they have created seven gold, four platinum, and one double platinum album, while singing their original stories set to folk/rock music filled with whimsy, rawness, sadness and joy.
Donna Marie Miller 
Comments