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ABOUT RAR: For those of
you new to this site, "RAR" is Rick Alan Rice, the publisher
of the RARWRITER Publishing Group websites.
Use this link to visit the
RAR music page, which features original music
compositions and other.
Use this link
to visit Rick Alan Rice's publications page, which
features excerpts from novels and other.
"On to the
Next One" by
Jacqueline Van Bierk
"I See You
Tiger" by Via Tania
Plot" by Amoureux"
Black Soul" by The Lovers
"These Halls I Dwell"
by Michael Butler
Tom Russell & Gretchen Peters, performance by Gretchen
Peters and Barry Walsh;
"Who Do You
Love?"by Elizabeth Kay;
Leather Tassels" by
The Blank Tapes;
"We Are All Stone" and "Those
Machines" by Outer
"Another Dream" by MMOSS;
"Susannah" by Woolen
Jim Morrison, Elvis Presley,
Michael Jackson and other dead celebrities / news by A
"I Miss the Day" by My
"Carriers of Light" by Brendan
"The Last Time" by Model
"Last Call" by Jay;
"Darkness" by Leonard
"Sweetbread" by Simian
Mobile Disco and
"Keep You" fromActress off
the Chronicle movie soundtrack;
Love" from October
Mind 2011 label
on Minnesota Public Radio;
and "Get Along";
"Music Hot Spots"
NEW YORK CITY
ATWOOD - "A Toiler's Weird Odyssey of Deliverance" -AVAILABLE
NOW FOR KINDLE (INCLUDING KINDLE COMPUTER APPS) FROM
CCJ Publisher Rick Alan Rice dissects
the building of America in a trilogy of novels
collectively calledATWOOD. Book One explores
the development of the American West through the
lens of public policy, land planning, municipal
development, and governance as it played out in one
of the new counties of Kansas in the latter half of
the 19th Century. The novel focuses on the religious
and cultural traditions that imbued the American
Midwest with a special character that continues to
have a profound effect on American politics to this
day. Book One creates an understanding about
America's cultural foundations that is further
explored in books two and three that further trace
the historical-cultural-spiritual development of one
isolated county on the Great Plains that stands as
an icon in the development of a certain brand of
American character. That's the serious stuff viewed
from high altitude. The story itself gets down and
dirty with the supernatural, which in ATWOOD
- A Toiler's Weird Odyssey of Deliveranceis the
outfall of misfires in human interactions, from the
monumental to the sublime. The
book features the epic poem "The
well as artwork by New Mexico artist Richard
Meets Larry McMurtry
I am offering another
novel through Amazon's Kindle Direct Publishing service.
Cooksin is the story of a criminal syndicate that sets its
sights on a ranching/farming community in Weld County, Colorado,
1950. The perpetrators of the criminal enterprise steal farm
equipment, slaughter cattle, and rob the personal property of
individuals whose assets have been inventoried in advance and
distributed through a vast system of illegal commerce.
It is a ripping good yarn, filled
with suspense and intrigue. This was designed intentionally to
pay homage to the type of creative works being produced in 1950,
when the story is set. Richard Padilla
has done his usually brilliant work in capturing the look and feel of
a certain type of crime fiction being produced in that era. The
whole thing has the feel of those black & white films you see on
Turner Movie Classics, and the writing will remind you a little
of Elmore Leonard, whose earliest works were westerns.
Use this link.
EXPLORE THE KINDLE
If you have not explored the books
available from Amazon.com's Kindle Publishing
division you would do yourself a favor to do so. You
will find classic literature there, as well as tons
of privately published books of every kind. A lot of
it is awful, like a lot of traditionally published
books are awful, but some are truly classics. You
can get the entire collection of Shakespeare's works
for two bucks.
You do not need to buy a Kindle to
take advantage of this low-cost library. Use
this link to go to an Amazon.com page from which you
can download for free a Kindle App for
your computer, tablet, or phone.
Amazon is the largest,
but far from the only digital publisher. You can
find similar treasure troves atNOOK
Barnes & Noble site), Lulu,
RIVER, fronted by the shaky cowboy Will Sheff,
has been holding down a quirky corner of Texas folk-punk for a few
years now. In Sheff's world, people maintain relationships through desire to
commit mayhem, mostly to each other. The band's sound tends toward nicely
sectioned dynamics, mostly quiet and nuanced, some almost dirgelike. (Sheff has
joked that maybe the band should be called "Dirge Overkill.") It is
not down stuff, though; instead, is funny and easy to listen to, even through
Sheff's angst ridden vocalizing. The band may bring The Smith's to mind, not so
much musically as for Sheff's Morrisey-like turn of phrase and taste for irony.
Okkervil River has been riding a two-album
concept, of which their most recent release Black Sheep Boy is a part.
The dark string of tunes was inspired, according to Sheff, by the 1967 Tim
Hardin song "Black Sheep Boy," which Sheff says he admired for its
"mysterious lyrics and darkly confident theme."
The music of Okkervil River offers similar
attractions. "It's like deciphering a puzzle when you listen to their
lyrics," says music critic Alison Stewart. Those lyrics are filled with
macabre imagery and menacing violence, but Sheff maintains a sense of humor
Of Okkervil River, MSNBC Music Writer
Gregory A. Perez wrote in 2005, after naming Black Sheep Boy Album
of the Year - "Ten bucks says The Decemberists’ Colin Meloy is
relieved to finally drape the mantle of “The Next Neutral Milk Hotel”
over Will Sheff’s deserving shoulders. Sheff somehow knits together a
more compelling and accessible universe than either Meloy is able to
create with his literate songcraft or NMH’s Jeff Mangum can make with
his surrealist poetry."
© 2006-2007 Okkervil River, all rights reserved
River MP3s can be heard at their myspace site at
and from their main website noted above.
River Is: Will Sheff - vocals, guitar Scott Brackett -
trumpet, keyboards Brian Cassidy - vocals, electric guitar, mandolin
Jonathan Meiburg - vocals, keyboards, accordion Travis Nelsen - drums
Patrick Pestorius - bass Seth Warren - electronics
TEETH, the long-time Austin-based screamer-rock unit that first made
waves with their 1999 self-titled release, has been touring the east coast
lately with their new lineup.
is founding lead guitarist and co-songwriter Paul
Lidel, who has given up touring in favor of a less active home life. He will
continue to be a primary contributor of material to the band.
Lidel's place, Broken Teeth has added guitarist
Dave Beeson, Lidel's "former roommate and co-instructor at a local
guitar school, Beeson is a veteran Austin hard rocker who had formerly helped
fuel the band Octane with current Broken Teeth bassist, Brett
McCormick" (from their website).
McMaster (pictured above) is a heavyweight among hard rock vocal shredders,
having earned his stripes with the death metal unit Dangerous Toys. The
DT's surfaced in 1987 and quickly established themselves with their Dangerous
Toys debut release and Hellacious Acres (1989). Mssr. McMaster found
himself on tour with Alice Cooper, Judas Priest, Motorhead, Metal Church and the
Broken Teeth, a wisened Jason is involved with something more like '80s arena
rock than death. He's still great, able to deliver the vocals that embody hard
Broken Teeth is Jason McMaster (vocals),
Jared Tuten (guitar), Dave Beeson (guitar), Brett McCormick (bass), and
Bruce Rivers (drums).
Teeth MP3s can be heard at their myspace site at
COTTON is rolling into his 63rd year in the music business. Known
simply as "Cotton" to his friends, as a boy he had been a devoted
listener of the "King Biscuit Time" radio show, a 15-minute variety
that was heard in his native Mississippi. Featured on that show was harmonica
legend Sonny Boy Williamson, who eventually became young Cotton's mentor.
After he had toured as an opening act for his hero, Sonny Boy suddenly
bequeathed his band to Cotton one day, somewhat literally passing on the
blues-harp torch, which Cotton has been carrying ever since. He is 72 years old
the course of his career he has worked with other blues legends, including Howlin'
Wolf and Muddy Waters. He was among the "old" blues artists
who was discovered by the hippies in that era of the 1960s, and became
associated with the Grateful
Dead, Led Zeppelin, Santana, Steve Miller, Freddie King, B.B. King, and
curtailed his travels when he was derailed with health problems in the early
'90s, but since recovering he has toured constantly with his band of loyal
stalwarts: Slam Allen, guitar, vocals; Tom
Holland, guitar; Charles Mack, bass; Mark Mack, drums.
Note: I like this quote from Cotton on performing - "My
audience always tells me how I'm doing. If I look out there and don't like what
I see, I work harder."
TO HIS 1996 GRAMMY AWARD FOR BEST TRADITIONAL BLUES
ALBUM - "There is a photograph of a man wearing overalls sitting
on an old porch intently playing a harmonica. If you study the photograph
you can feel the depth of the man's soul. The man is James Cotton. The
porch is part of the commissary store on the plantation where he was born
in Tunica, Mississippi. The depth of the man's soul can be heard on Deep
In The Blues on Verve Records.
Cotton is often referred to as "Superharp"
in his press materials.
Cotton MP3s can be heard at their myspace site at
OCTOBER is touring heavily behind their Foiled (2006) release,
and their tune "Into the Ocean" is getting heavy airplay nationally. (It
plays constantly in our house and is driving me insane - RAR)
is a band that has been knocking on fame's door for a few years, since landing a
major label deal with Universal on the strength of their 1998 debut album, The
Answers, an indie product. Universal kept them around for one release, Consent
to Treatment (innuendo?), before dropping them for lackluster radio play.
Blue October signed with the indie label Brando Records for their third release,
History for Sale, off of which came a single, "When Calling
You," that found its way onto the American Wedding soundtrack and
reignited Universal's interest in the band. Blue October re-upped with the movie
and theme park guys.
October attributes their multi-layered sound to their affinity for such
progressive rockers as Peter Gabriel,
Pink Floyd, Flaming Lips, U2 and Coldplay.
OCTOBER is Justin Furstenfeld -
vocals/guitar/piano; Ryan Delahoussaye -
violin/mandolin/keys; Jeremy Furstenfeld - drums; CB Hudson III - guitar;
Matt Noveskey - bass. Justin and Jeremy are
October MP3s can be heard at their myspace site at
Success has not exactly come overnight
for Blue October, but their momentum is building. Over the past two years
they have had over 5 million views of their MySpace profile.
THE SECRET MACHINES
is comprised of brothers Brandon and Benjamin Curtis, and
Josh Garza, all of whom hail from Dallas, Texas. Garza made the
national music radar with his two-piece noise band Captain Audio, which in
1999 released an EP titled My Ear's Ringing But My Heart's OK that
was well received by critics. They followed with the LP LUXURY. The
Curtis brothers kept sitting in with the duo and the music began to drift
toward a more standard rock sound. That said, "standard rock
sound" doesn't really apply to the band's multi-layered guitar-synth
sound. Josh Garza is an interesting drummer who gives the band's sound a
spacious, crashy, sumptuous feel.
WYLIE HUBBARD’S manager-wife Judy,
upon accepting my invitation to join the Links community, wrote that “we
especially like that your site seems to feature poets/writers.” That tells you
a lot about where the wordsmith Ray Wylie is coming from. He’s a story teller.
might recall that Ray Wylie Hubbard wrote a classic country outlaw tune called
“Up Against the Wall, Redneck Mother,” which was a minor hit for Jerry Jeff
Walker on his 1973 Viva Terlingua LP.
To hear Ray Wylie tell it, success as a songwriter was the worst thing that ever
happened to him. A member in good standing of the Cosmic Cowboy or Country
Outlaw revolution that swept out of Texas in the 1970s, led by Willie Nelson,
Waylon Jennings, Jerry Jeff Walker, and others, Ray Wylie fell victim to the
high life of drugs and alcohol, Then, in 1987, he was saved from himself by the
Texas tornado Stevie Ray Vaughn. A
humbled Ray Wylie writes - “Stevie told me what I needed to do for
recovery,” relates Hubbard. “A lot of people remember Stevie for his guitar
playing, but I remember him because he saved my life.”
Wylie was reborn as a songwriter and since the late 1990s has released one LP
after the next. His most recent, Snake
Farm, was produced by guitarist Gurf
Morlix, who has produced Lucinda
Williams, Robert Earl Keen and newcomer Mary Gauthier (a Ray Wylie protégé), Inspired by a real-life
visit to a real-life reptile house, Snake
Farm skillfully employs literary devices and dirty deep groove music – a
blend Ray Wylie references as “decadent elegance” – to tell earthy stories
about love, yearning and existentialism. Before you start thinking Ray Wylie has
become a dilettante, take a listen to “Screw You, We’re From Texas,” which
should disabuse you of any such notion. “We
wanted this record (Snake Farm) to
sound like the early Stones or Black Crowes or Guns ‘n Roses,” says Morlix.
Snake Farm Ray Wylie is attended by harmonica great Ray
Bonneville (who has worked with others on this site, including Son
Piedmont), vocalist Ruthie Foster, Americana pioneer Peter Rowan, and young guitar-slinger Seth James.
as the 58-year old Ray Wylie has been embraced by a much younger crowd of
collaborators and co-writers, it is literary figures Flannery O’Connor and
Alighieri (Divine Comedy), and syncretic mythology guru Joseph Campbell who most
influence his later life work.
Tiller Russell (producer/director of the documentary Cockfight
and director of the CMT series Small Town
Secrets), who directed videos for
two songs from Ray Wylie’s Snake Farm LP sums Ray Wylie up this way - “Ray
Wylie is rock ‘n roll’s last samurai, He writes like he has the devil at his
tail, the Good Lord in his heart, a saddlebag of poetry and a pistol in his
boot. His songs evoke images of Sam Peckinpah, Fellini and the best of (Robert)
|TOP: Ray Wylie Hubbard in the inner sanctum? ABOVE: On stage. BELOW: Snake Farm, released
in July .
WILEY HUBBARD MP3s:
Farm - shenanigans at
the reptile farm
You, We're From Texas - Longhorn pride
After Midnight - white trash getting by
© 2006-2007 Ray Wylie Hubbard, all rights reserved
Wylie Hubbard is a master of songwriterly word craft, cleverly shoehorning
in interesting little nuggets of observation and insight. He's for darned sure
funny, but he's sensitive too, in an off-hand way. His reference in
"Snake Farm" to the tattoo of the sailor-hat wearing mouse being
swallowed by a reptile is a tough image to shake. I sense he could be a good
actor. His vocal timing is fantastic, his delivery nuanced. He projects
"real," and he is incredibly likeable.
Young and Melissa Mullins started hosting a showcase in Austin in 2004
that featured "Writers Who Rock," which does pretty much
that. Melissa's site at http://manmademedia.net/melissamullins/elMercado.htm
provides a nice group of links to the sites of writers who have performed
at their venue, including:
showcase is produced every Tuesday night, from 7 to 10 p.m., at the
El Mercado Music Lounge, 1302 South First Street, Austin, Texas.
Writers rotate through 30-minute sets, and those who would like to
participate can drop off a CD at the showcase, or email it to the El
Mercado (instructions provided on their site at http://manmademedia.net/melissamullins/elMercado.htm).
Former Boulderite lorrie singer
is now living in the Austin, Texas with her husband, another former Boulderite,
Bradley Kopp (see profile below).
Lorrie's singing career in Boulder
included time with a group of Texas-bound musicians that would foreshadow
her future life events. "I got to sit in with Mark Hallman's band
several times when he branched out on his own and played at The Blue
Note back in the late 70's... also sometime around '79 or '80 went up
to Idaho with Navarro when they played with Carole King up
there... and got to sit in with them and actually share a mic with her
onstage - wow - talk about a moment I'll never forget!!!! What an
Lorrie had a long-running stint as one of the singing group The Girls before a 14-year
stint with The 4-Nikators. Then, in 1996, she got a call from
someone she had known from her time singing backup in The Fat Shadow
Band for Tish Parmaley.
Another associate of the Navarro crew remembered her and called from
Austin, Texas - Bradley Kopp. You can read Bradley's account of
is doing audio work in her own
home studio, and doing voice and engineering work at The Production
Block in Austin. She also sings full-time with Reunion, a
9-piece party outfit.
* * * *
and Bradley released a CD, Walk Tall, in 2005. The Americana
recording features the works of a passel of talented
Nashville and Austin songwriters, including former Boulderites Gretchen Peters
and Robert McEntee, as well as Julie Miller, Greg
Trooper, and Fready Steady.
and Bradley toured Holland last
November in support of their CD.
ABOVE: Brad Kopp and Lorrie
Singer on stage with bandmates at the Saxon Club for their CD release
party. BELOW: Bradley on stage with
two-time Grammy Award winners Sarah Fox and Joel Guzman at the Namm Show
in Austin, July 2006
SINGER/BRADLEY KOPP MP3s:
I Could Just
Know A Goodbye
© Lorrie Singer/Bradley Kopp, all rights reserved
ABOVE: Bradley and Lorrie at
Alice's Restaurant. ABOVE RIGHT: Songwriters in the Round at Luckenbach, Texas (Brad
and Lorrie on the left). NEAR RIGHT:: Lorrie at Folk Alliance (photo by Winker)
FAR RIGHT: Cambrinus Cafe in Holland
February 9, 2007 -
scored a voice over win recently. Around the start of the year she wrote -
"I just found out that a narration I did a couple of months ago is up
and running online at "thinkabundancenow.com".
I think there's a link to click on to see the movie - if you have time to
check it out, it's about a 5-minute long slide show."
KOPP is a producer/engineer /guitarist well-known to Austin musicians,
as well as those in Boulder, Colorado. He played in Boulder bands in the
1970s-80s before returning to Austin and making a name for himself as a
musician, producer and engineer. Bradley partners with Doc Jones at
Redboot Ranch studio in Austin and produces, engineers or performs
with an impressive array of artists (see below).
highly entertaining account of his career and personal life (filled with
names we know) on the right.
Bradley has toured
internationally and/or performed in concerts, nightclubs, television
appearances, recorded with:
Gilkyson (Private Music, Red House Records)
Matthews (Blue Rose Records, Gold Castle Records, Watermelon
Hancock (Virgin Australia, Sugar Hill Records)
- David Halley (Dos Records, Demon
- Will Sexton (MCA Records, Zoo
Ely (MCA Records, Hitone Records)
Escovedo (Watermelon Records, Rykodisc Records)
Dale Gilmore (Elektra Entertainment, HiTone Records)
- Kris McKay (Arista Records, Shanachie
- David Rodriquez (Deja Disc Records)
and the Howlers (Rounder Records, Watermelon Records)
Hickman (Elektra Entertainment, Discovery Records, Shanachie
LaFave (Bohemia Beat Records}
Wylie Hubbard (Deja Disc records)
- Gilman Deaville (Flying Fish Records)
- Jason Eckland (Flying Fish Records)
Robison (Sony/Lucky Dog Records)
Robison (Sony/Lucky Dog Records)
- Wyckham Porteous (Bohemia Beat Records)
Taylor (Watermelon Records, Koch Records)
Talmadge (BozartCD/Corazong Records)
- Kim Miller (Sea Robin Music)
- Karen Abrahams (Independent)
Hinajosa (Warner Brothers)
Moore (Capricorn records)
Bradley has performed in support acts for
- Bob Dylan
- Emmy Lou Harris
- Etta James
- John Prine
- Little Feat
- Timbuk 3
- Boz Scaggs
- Marty Stewart
- And many others.
Bradley has produced and/or engineered
Dale Gilmore (Elektra Entertainment)
Ely (MCA Records)
and the Howlers (Rounder Records, Watermelon Records)
Hickman (Discovery Records)
- David Halley (Dos Records)
Matthews (Blue Rose Records)
- Will Sexton (Zoo Entertainment)
Hinajosa (Warner Brothers)
- Pariah (Geffen Records)
- Hays County Gals (Independent)
Jones and the Lone star Chorale (Independent)
Wylie Hubbard (Deja Disc)
- Gilman and Deaville (Flying Fish
- Jason Eklund (Flying Fish Records)
- Eric Taylor (Watermelon Records)
Del Dragons (Dixie Frog Records)
- Mollie O’Brien (Sugar Hill Records)
- Erin Lee (Independent)
Young (Sue Young Music)
- Bill Passalaqua (Independent)
- Al Sato (Independent)
- Appeal To Ignorance (Independent)
- Richard Buckner (Independent)
- Hamilton Pool (Independent)
- Dirk Hamilton (Acoustic Rock Records)
- Pat O‘Bryan (Magic Valley Records)
Apostles (Big Tex records)
- Plainsong (Independent)
Bradley has performed on the following
- The Tonight Show with Jay Leno
- TNN’s Crook and Chase
- Austin City Limits
- Texas Connection
Bradley's professional services include:
- Record producer
- Recording engineer
- Protools audio editor
- Film score composer
- Jingle writer
- Sound effects editor
A little info about Redboot Ranch...
Redboot Ranch is a digital
multitrack production studio featuring the Protools hard disc recording
and editing system by Digidesign, long recognized as the industry standard
in audio production. The studio also features Grace Design microphone
preamps, Neuman, AKG, Audix, Beyer, and Shure microphones, Aphex, DBX, FMR,
and Behringer, compressors, vintage Urie EQ's, and Lexicon reverbs.
Bradley's technical philosophy is to
utilize vintage analog gear and tracking technique with the advanced
editing and mixing techniques afforded by the nonlinear editing
environment of Protools.
sent this information in an email. It makes entertaining reading on many
levels, and is a treasure chest of information on both the Austin and the
Boulder music scenes:
"After growing up (OK well, not
really) in a small town in the panhandle of
Texas and spending a couple of years in Lubbock pretending to be a
moved to Boulder on August 1, 1973. I remember the date because it was my
20th birthday. The drinking age in Texas had been lowered to 18 (a
situation that proved to be temporary) and I bought my first legal
six-pack before I hit the
"I got a job in a ski factory where I
met a couple of characters that
introduced me to the music scene in Boulder. One was Michael Wiebold,
who was a
drummer from Wisconsin. The other was Dallas Shoo who was a
guitarist from Kentucky. Michael introduced me to James Tuttle, who
at the time was the steel
player for Navarro. Dallas took me to see this band called Firefall
whose bass player was Mark Andes. Dallas is now the guitar tech for
U2. Michael Wiebold also introduced me to Ben Carnes who had
been the steel player in a band called Slumgullion. They had a gig
at the Hungry Farmer out east on Arapahoe every Sunday and Monday
night and asked me if I'd like to play with them. They called the band "The
Opal City Polka Chips." I think we made 6 dollars each on Sunday
and 5 on Monday, plus all the beer we could drink. That's until they found
out how much beer we could drink.
"It was quite a cast of characters.
Ben's brother Steve (Carnes) played upright bass. Joey Conway
(now of the Legendary 4-Nikators) played keyboard's and a guy we called Tommy
Foodstamps played guitar and sang.
"Pretty soon other musician's started
coming down to sit in. Players like Robert McEntee and Mark Hallman
from Navarro came out. I met Michael Wooten during that time. It
was low-key and fun. Totally not serious. I was in Boulder from '73 to '81
doing odd gigs and odd jobs. I was pretty much into the singer/songwriter
thing but I was having a hard time making ends meet so I spent a couple of
years woodshedding on guitar and started hiring myself out as a sideman.
"Somewhere in the late 70's I got a
gig playing with The Fat Shadow Band backing up my friend Tish
Parmaley. One of the background singers was Lorrie Singer. We
became good friends.
"By '81 most of my friend's from
Navarro moved to Austin. I came down in October of '81 and moved into "the
Congress House" which was kind of a band house/rehearsal studio
that Mark Hallman rented when he got to Austin. Coming home to Texas had
always been kind of a charm for me. It was just easier for me to get work
as a musician here. Hell, I speak the language. I took every gig that came
my way. I played rock gigs, country gigs, pop gigs, you name it.
"In the mid 80's Robert McEntee and I
were doing a lot of duo gigs together. Robert was also playing guitar for Eliza
Gilkyson who was looking for a keyboard player. I had a keyboard that
I used for writing so I auditioned for the gig and got it. Eliza had me
play guitar on one song a night to keep me happy. Meanwhile, the Congress
House had evolved into a full fledged production studio and Hallman was
mentoring me as an engineer.
"I got a gig with the reformed version
of Duke Jupiter, which was an east coast rock band that had
experienced some MTV success with a song called "Little
Lady." Through the Eliza gig and then the Duke Jupiter gig I was
becoming more visible. I got a gig playing with David Halley who
was an up and coming singer songwriter from Lubbock. So suddenly, I was
reconnected with the Lubbock thing. Jimmie Dale Gilmore's daughter
and son-in-law were David Halley fan's and told Jimmie Dale about me. When
Jimmie's released his first Elektra Nonesuch CD, I got the call to
do the tours promoting the CD.
"First it was me, Jimmie Dale, and,
legendary Texas guitarist Jesse Taylor,
who had been a member of the original Joe Ely Band from Lubbock. We
worked that record for about two and a half years in the U.S., Canada, and
Europe. We toured with John Prine and, later, Bob Dylan.
"After I got the Jimmie Dale Gilmore
gig, my phone started ringing. Stephen Bruton had produced Jimmie's
CD. He also produced Alejandro Escovedo's CD, 'Gravity' and
I got the call from Al too.
"To make a living playing in Austin
everyone takes every gig that comes up. I
was playing gigs with Will Sexton, who was signed to MCA when he
was 16 years old. When we hooked up he was 19 and about to get his second
major record deal. During that era, I was playing with Kris McKay,
who had been on Arista. I was also playing with Charlie Robison who
had a deal with Warner Brothers.
"OK, I need to back up a little. So I
had the playing thing going on and the
engineering thing going on. Being a musician and an engineer. Moving into
producer seat was just a logical transition. In '87, Mark Hallman got a
producing a CD for Iain Matthews. I met Iain when he came to the
Congress House to work with Mark. Mark produced a string of solo albums
for Iain and I played on most of them. At first Mark would do the tours
but as his studio and
production schedule became more demanding I ended up doing the tours. We
did some gigs in the states but mostly worked in Europe.
"I'd been living alone in a small
apartment in west Austin and I came across a picture of Lorrie Singer and
tracked her down. This was in '96. We were both single and ended up having
a long distance romance for about a year.
"In '97, Charlie Robison lost his deal
with Warner's and I decided to go back to Boulder, live with Lorrie and be
closer to my dad who had been living there since '73. Lorrie and I got
married in May of '97.
"I got a call from Iain Matthews who
said he was ready to make a change and asked if I'd be interest in
producing his next CD. Of course I jumped at the chance and we made the
record at Charles Sawtelle's studio in north Boulder. The music
scene in Boulder had changed radically in the 16 years I'd been gone. I
did some engineering work here and there but I really missed being in
"In '99, I got a call from my good
friend, Doc Jones, who asked if I'd like to come back down and start a
studio with him so he could make a record. (Michael Wooten had been Doc's
drummer when he lived in Austin.) I came down in May and we started
putting the studio together. Lorrie and her daughter, Lilli, came down in
August to look for a house and then we moved the family in November.
"Since then, producing and engineering
has kept me pretty busy. This year two of my production clients charted on
the Americana Chart. Jeff Talmadge reached the top 20 and charted
for around 3 months. The Ginn Sisters reached the top 20 as well
and as far as I know are still charting.
"In '05, Lorrie and I released a CD of
songs written by our many talented writer friends. All but two songs were
from ex Boulderites Gretchen Peters, Michael Woody and Robert McEntee.
The other two were written by Freddie Steady KRC and Julie Miller.
Freddie still lives in Austin. We play a lot of gigs together. Julie lives
in Nashville where she moved with her husband Buddy Miller after they left
* * * * *
Bradley has numerous MP3
of recordings he has produced that you can listen to on his site.
of Houston's popular brother-sister duo
Trish & Darin, Trish Murphy
moved to Austin to nurture a solo career and became one of the fastest
rising music stars in Texas. Her discography now includes three solo
albums, two of which she recorded and released on her own label. Crooked
Mile was released independently in 1997. That led to a week with Lilith
Fair and appearances on Mountain Stage and World Cafe. Her
follow-up CD, Rubies on the Lawn (Doolittle/Mercury 1999), garnered
national press, mainstream radio airplay and more international touring,
including a return to the Lilith Fair in its final season. Captured,
independently released in late 2001, found Trish returning to her Texas
roots in a stripped-down, live acoustic setting, doing what she does best:
telling stories and shooting from the hip. Her new release, Girls
Get In Free, is inspired by dual divorces.
HALLMAN became a Boulder-to-Austin transplant in 1979 after
enjoying success with Navarro, which was among those bands who rode
a country-rock wave that swept through Boulder in that decade. In his case,
it was an association with songwriting legend Carole King, for whom
Navarro became what the L.A. Express was to Joni Mitchell in the same
period - the band. Navarro charted a couple songs itself:
"Listen" (1977) and "Straight to the Heart" (1978).
Mark spent a couple years on the payroll of CBS Songs as a publishing
composer. He also backed Dan Fogelberg and Iain Matthews
during that string of high profile associations and then Mark seems to
have reassessed things. He traded in performing to focus on
"pre-production" and recording at his Congress House
studio in Austin. The audio/digital facility had been a farm house that
Mark had rented as a communal home for Navarro, which he has developed
into an artist development studio set on a relaxing suburban acreage.
Congress House has become one of the Texas music city's favorite places
places to work. It draws a progressive, forward-thinking crowd, typified
by the brainy Hallman himself, that includes Ani DiFranco and Eliza
hasn't completely ignored his personal expression side, Hamilton Pool
having produced a well received release, Return to Zero, in 1995. Mostly his
multi-instrumental abilities are used these days in the studio. Mark Hallman has recorded and mixed music for artists
including Shawn Colvin, Eric Johnson, Jimmie
Vaughan, David Garza, Sara
Mark Hallman at the board with
Canadian/Delta blues slide guitarist and singer Donna Lynn Kay, who
recorded her CD Electric Blue at Congress House in Austin.
Find out more about Donna Lynn Kay at www.donnalynnkay.com.
mentioned in an email exchange with Brad Elliott recently (great to
hear from Brad) that Michael Wooten's profile above has become the
Links on RARWRITER gold standard when it comes to profile text. I went
back and looked at Mr. Wooten's email and found some equally entertaining
stuff on Navarro (who are all over the page this month - see the Don Bassey
stuff in the San Francisco section): Michael
writes of his music career leading up to the Navarro break - "I think
the first thing of interest to folks around Boulder Colorado is
possibly an album I did back in early 1970 with a group called Zephyr on
the Warner Brothers label. The guitar player was a quite young Jock
Bartley (Tommy Bolin left the group just before to play with
the James Gang or Deep Purple or someone like that, I can't
remember which). Next on the list of mentionables might be backing up Chris
Hillman ( the band, called "Hillman and the Hideous Mutants"
or "Heroes for Hillman," included Jock, Mark
Andes, Larry Burnett and Rick Roberts who had decided to call
themselves "Firefall"). Prior to signing any record deals,
I decided to leave to play with a group called "Navarro"
( Mark Andes was part of this at the beginning but decided to stay
with Firefall ). The Navarro group was playing at the Rollinsville
Stage Stop and our friend Danny Fogelberg was playing guitar
with us that night and I didn't know at the time but Carole King was
with him. She had been looking at the new Caribou Ranch studio. She later
called and asked if we would back her up on her next recording which grew
into three albums, the first with her manager Lou Adler on Ode
records which ended badly when a disagreement between Carol and Lou sent
her "on the street" shopping for a new label. She eventually
went with Capitol Records and drug us along kicking and screaming (just
kidding). Two more albums with her and two of our own followed. However
the head of A&R at the time (a man by the name of Rupert
Perry, who ended up becoming the President of Capitol) did not like
Navarro and was quoted saying that he thought we were 'riding in to
easy fame on Carol Kings skirt tail.' He pretty much shelved all our
efforts and with no backing for distribution or publicity our recording
carrier went down like the Titanic. During that time I was honored by an
invitation from Mark Andes to work with a singer/songwritter by the name
of Richard Torrance on a record for Capitol which included the
charming and powerful singer Rosemary Butler ( who just happens to
also be one kick-ass bass player ). The time period was 1974 to 1980. Insert
a period of time floundering due to a painful divorce and you could
find me in Austin Texas working with Al Kooper ( Blood, Sweat and
Tears; Blues Project; Bob Dylan, etc.) An interesting fact not many know
is that Al produced Lynyrd Skynyrd and wrote "Sweet Home
Alabama." I think this should start a new paragraph but I failed
english so here we are back in Colorado living in Telluride working clubs
and skiing a LOT. Soon the realization dawned that I needed a real job in
the real world. Enter Leftover Salmon..." And cut to Michael
Wooten profile in the Colorado section for the rest of the story.
one of country music’s most talented and enigmatic personalities. How
many people know that “Junior” once played (until 1979) with Boulder’s
alt-country outfit Dusty
Drapes and the Dusters? In fact, to hear former Duster Teddy Carr tell it, the guy we know today as Junior Brown
established his entire persona under the tutelage of the Dusters.
would encourage you to go to http://www.westword.com/issues/2001-03-22/music2.html
to read a Westword article on the Dusty Drapes band, which is
refreshing for its candor and its cattiness. Seems that Steve
Swenson (Dusty Drapes) and Carr didn’t think too highly of the
young baritone “Jamison Brown,” who they supposedly picked up as a
hitchhiker while crossing New Mexico on their way home to Boulder from a
gig in Arizona. The story goes that Carr, who had played the rock clubs of
Arizona, recognized the hitchhiker as
“Jamison Brown” and pulled over to give him a ride. (Who in their right mind hitchhikes across New Mexico?!?
And who would pick up such a person?) On the ride home, Brown
expressed an interest in the open guitar slot in the band and Swenson
offered him the job with the understanding that he would need to cut his
hair and beard and “cowboy up.” As everyone knows, Dusty Drapes and
the Dusters was a faux-country unit of talented rock/country-rock vets who
came up with a gimmick that in some ways was a precursor of modern
alternative country, or was at least theatrical. They portrayed clean-cut,
cowboy hat wearing country boys who happened to play sizzling arrangements
of songs about living “high.” The bit went over big with the college
kids and Dusty Drapes rode their act to a contract with Columbia Records,
but then lost out to a similar Columbia
act signed about the same time, Asleep at the Wheel. Both were
high octane swing bands, but when it came time for the Dusters to cut
their LP the producer Columbia hired for the sessions messed
unsuccessfully with their sound and Columbia dumped them. Junior Brown
came along after this devastating blow, when the hardened cowboys weren't
too inclined to put up with whiners. Brown was supposedly given the name
“Junior” by Swenson and Carr because it sounded country and suited
Brown’s personality. Says Carr – “It was because he was a big
baby or not, it is Junior Brown, fronting his band Highway Patrol, who has
gone on to become a country star. Junior
found himself as a feature player in the
mid-1980s with the creation
of his "guit-steel," a combo lap steel and Telecaster that he
designed so he could move
rapidly between the two instruments within a single song. And he does this
like a magic trick, sallying
back and forth from chicken pickin' guitar parts to mind-bending slide
steel. Junior is a special player,
to put it mildly. That first guit-steel he built is on display in the
Country Music Hall of Fame.
website was undergoing construction when last I checked and only his touring schedule
available. To find out a little
more about him you might go to his label's site at www.curb.com
and then to his Artist page.
one could have guessed, when Junior Brown was with Dusty Drapes and the
Dusters in the late '70s, that he would one day become a Gap icon.
Conn recorded music for the intro of Junior Brown's video for his hit
"My Wife Thinks Your Dead."
NOTE ON PHOTO ABOVE: The press photo of Junior waiting along
the side of a road takes on special significance given the account of his
meeting the Dusters while hitchhiking across New Mexico. Junior Brown's is
a complicated story. Bios conflict on what state he was born in. He
has never publicly acknowledged having ever played in Colorado, though the
musical and photographic record is clear. Some have speculated that Junior
didn't want to jeopardize his chances with the Austin music community, of
which he so much wanted to be a part, by being associated with the less
legit Colorado scene.
the 1980s, Junior Brown not only made himself legendary among alternative
country people, he found himself as a song writer and singer, opening up a
whole other side of his career. His songs are smart and funny, and his
rich baritone has become an honored thing in the world of modern country.
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Alan Rice (RAR),