STEAM Magazine South Texas Entertainment Art Music volume 7 issue 12 March 2019

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March 2019 VOL.7 ISS.12 #84 ON THE COVER...

2 NEW MOVIES & MUSIC 4 COMICS 5 QUICK READ 6 ALBUM COVER OF THE MONTH 7 CD REVIEWS 8 JAMES VERBICKY: EXTRAORDINARY ABILITY 11 ST PAUL & THE BROKEN BONES: LIGHTLY POLITICAL 12 SHINYRIBS: POSITIVE VIBES 14 JOHN GAAR: ROLLING LIKE THAT 15 N EW MO VI ES & MUSI C MINDSTREAM 3

BY JAMES VERBICKY PUBLISHER RUSTY HICKS EDITOR TAMMA HICKS COMICS EDITOR ALLENE HICKS STAFF WRITERS STEVE GOLDSTEIN, TAMMA HICKS, RUSTY HICKS STAFF PHOTOGRAPHERS ALLENE HICKS, RUSTY HICKS CONTRIBUTING WRITERS J MICHAEL DOLAN, DEREK SIGNORE, ROB DICKENS, RICK J BOWEN, DEBBIE NOBEL Alternative Weekly Network

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Helter skelter

Rockstar wisdom

J. Michael Dolan

J. Michael Dolan Since I started blogging in 2011, I’ve always tried to write at least two blogs a week. Not an easy task no matter how short they are, but certainly a task I love and one that pushes me and provides just enough discipline to keep me sharp.

However, this past few months I’ve been squeezing out barely one a week, slammed with an unexpected flurry of personal challenges that insist I remain at the top of my game and demand precision thinking and diligent decision making. One of the challenges has to do with a major health issue facing someone very close to me, and the other is a time-crunching project that I committed to two years ago that has yet to produce the results I expected. I do believe there is a light at the end of the tunnel, but man, that light constantly flickers from dim to bright.

That said, I’m reminded how Seth Godin emails a blog every single day and has rarely missed a day in decades.

I’m sure he gets slammed with unexpected circumstances too! How does he do that? I’ll tell you how he does it; he writes a blog every day, then queues it up and launches it. There is no other secret.

I’m also reminded how Wayne Dyer ran eight miles every single day, rain or shine, for 29 years! I’m sure he got

slammed with unexpected circumstances too! How did he do that? I’ll tell you how he did it; he got up every morning, put on his tennis shoes and ran out the door. There is no other secret.

All this reminds me of a blog I wrote back in 2016 called “Romancing The Stone.” It’s the mythical story of the Greek King Sisyphus, who was severely punished by the god Zeus for his deception and trickery. He was ordered to push a huge boulder up a steep hill. However, every time he got close to the top the massive stone would always roll back down, forcing Sisyphus to begin again and again, for eternity.

Important because we are all faced with giant boulders that we must continue to push up the hill. Sometimes we choose our own boulder and sometimes life blindsides us and insists we start shoving a different one.

Nevertheless, when we get close to the top and the boulder rolls back down we are always faced with the same choice; do I just stand at the bottom and do nothing, or do I start over and begin shoving? Of course we artists & treps are programmed to keep pushing no matter what. However, that choice can often be as heavy as the boulder itself.

During the early days of our publishing company, whenever I created or took on an impossible project, I always had to muster up a profound intention to go for it, along with a fearless commitment to do the work and achieve the goal. Occasionally we slammed head on into a brick wall. But most of the time if our resolve was unwavering it usually worked out—we got close enough.

Important because I learned that simple lesson from Roger Daltrey. During an interview for a cover story, the Who’s high baritone said: “I go for the notes I know I can’t hit! But I’ve learned that if I have a profound intention of hitting it, along with a fearless commitment to go for it, I can usually get close enough.”

Pros vs cons J. Michael Dolan

“When I get to the bottom

I go back to the top of the slide Where I stop and turn And I go for a ride Till I get to the bottom and I see you again…”

—Beatles, Helter Skelter

Pros vs. Cons Drawing a line down the middle of a page and labeling one side pros and the other side cons is an old fashioned, archaic, even childish method of decision making. But it still works!

Important because the simplicity of separating the massive traffic jam in our heads by distinguishing the positive vs. negative outcomes can often be the door OUT of the room called confusion and delay, and the door IN to the room called solutions and resolve.

STEAMMAGAZINE.NET MARCH 2019 STEAM MAGAZINE 5

Legendary rock guru Bill Graham always knew a good thing when he heard it. When none other than Janis Joplin recommended that he give Cold Blood a listen, he not only got them to play at his Fillmore West auditorium, but also signed them to his newly launched San Francisco Records. What Graham got was a truly soulful, genuine San Francisco blues ensemble complete with horns and a powerhouse vocalist named Lydia Pense. After Pense joined the band in 1968, they soon came to prominence in the fertile Bay Area music scene. This was the first of four very impressive albums released from 1969 to 1973. The band serves as the perfect backup to Pense whose mighty vocals have often been compared to Joplin. They would eventually become known as Lydia Pense and Cold Blood before Pense retired in 1976 to raise a family. By 1988 Lydia made her return and is still out there singing the blues and fronting a continuing version of Cold Blood. The seven tracks on this album firmly establish Cold Blood as one of the trailblazing R&B “East Bay Grease” bands that exploded out of the West Coast in the late ‘60’s. “I Wish I Knew How It Would Feel” kicks off side one with Pense’s subdued a cappella vocal that swells into a full blown gospel celebration. What follows is a horn heavy fanfare of the blues, some tasteful guitar from Larry Field, Rod Elliott’s driving bass, Raul Matute on keyboards, and

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a groove that is hard to ignore. Sam and Dave’s “You Got Me Hummin’” has an understated energy that sounds like it may explode at any second. When Lydia Pense wails on “I’m A Good Woman,” you believe it.

They close it all out by straight ahead rocking on “Watch Your Step.” It’s hard not to put Lydia Pense out front and the rest of the band in the background. It’s her strong voice that stands out on each track. To be sure, it’s her lovely face that adorns the cover of this album. But if you need an example of this entire band’s ability to groove with the best, check out “I Just Want To Make Love To You.” It may be the most soulful version of this Willie Dixon blues classic ever recorded.

The Rolling Stones are always at their best when they just rock, and they do a lot of that on this record.

The Stones achieved their biggest success in sales and garnered a whole lot of critical praise from this album assembled mostly from unused studio material and outtakes going back to 1971. The story goes that they needed an album to support for their upcoming tour, so they harvested their back catalogue and added some creative overdubbing, and this was the result. Sparked by the hit single, “Start Me Up,” and soon followed up by “Waiting on a Friend” and “Hang Fire,” this venerable band of rock and rollers proved they could still put it all in their music.

The song sequencing has the raunchy rockers like “Neighbors” and “Black Limousine” on side one and the

somewhat more reserved tunes like “Tops” and “Heaven” on side two. By 1981, guitarist Ronnie Wood was firmly implanted with the foundation of Mick Jagger, Keith Richards, Charlie Watts and Bill Wyman.

Uncredited on two tracks is former Stones guitarist, Mick Taylor. Also featured are unofficial Stone Ian Stewart, Billy Preston, Nicky Hopkins on keyboards, Sonny Rollins on sax, and vocal assistance on “Slave” from Pete Townsend. There was a feeling that in spite of huge sales, this legendary band’s output since 1972’s EXILE ON MAIN STREET had been roller coaster ride of ups and downs that often produced some less than inspired music. It could be attributed to the band’s overly excessive life style at the time, or because they didn’t always get along. But why were these strong tracks left off albums considered to be not up to what everyone knew they were capable of?

TATTOO YOU turned out to be the last number one album the Rolling Stones would have. Bill Wyman left the band in 1993. At 82, he continues to play with his band The Rhythm Kings and pursues his own interests in photography, and other ventures. The Rolling Stones have achieved a place in Rock and Roll history that will never be matched. After releasing their first record in 1963, these rockers are getting ready to embark on an American tour in April, 56 years later. If you want a deep track to check out, a “”Little T & A” never hurt anyone .

SKINNY BLUE I’M ALL RIGHT (SELF-RELEASE)

BY RICK J BOWEN The American dream still lives in the hearts of some true believers and burns brightest in those who have lived abroad. Singer Songwriter Thys Wallwork was born in South Africa and grew up in Hong Kong his with dad playing him American rock records, now he and his band Skinny Blue have made on of their own. The Sophomore release I’m All right from the Olympic peninsula band is set for a November 2018 release and is a strong nine song collection of Roots Rock with a wide open Midwestern feel. Bolstered by the stout rhythm section of Kevin Blackwood on drums and Colin Ray on bass, Wallwork kicks off the album with a four on floor Rocker ‘The River,’ that builds easy on crisp vocal harmonies and features gritty Slide guitar solo. He then grabs up and acoustic to lead them through a Jack and Diane styled love sentimental song ‘Sweet Thing,’ with his partner Betsy Wallwork joining on backing vocals for authenticity. The groove gets heavy handed for ‘Moving

ERIC BRACE, PETER COOPER, & THOMM JUTZ RIVERLAND (RED BEET RECORDS)

BY ROB DICKENS Riverland is about Mississippi.

The River or the State, you might ask? Well, very clearly BOTH are in the minds and sights of Eric Brace, Peter Cooper, and Thomm Jutz on this, their second record as a trio.

While Brace hails from Washington, Cooper is from South Carolina and Jutz grew up in Germany’s Black Forest, they know a thing or two about the subjects here in a warm, affectionate commentary that runs through the record like a tall glass of water on a scorcher of a day.

“There is a beauty to Mississippi’s brokenness,” writes Mississippi-reared musician Charlie Worsham in Riverland’s liner notes. “Mississippi’s pain and Mississippi’s pride are irrevocably woven together, like floodwater and delta dirt. One could not have been born without the other . . . The men who made this album are not from Mississippi, but they are pilgrims, and they know. They know the magic of the Magnolia State, and they speak the truth.

Thirteen new compositions.

Plus one telling cover – preacher Rev. Will D. Campbell’s “Mississippi Magic” which seems to get to the bottom of racism, or at least how to respond to it, in a little over 7 minutes. (Campbell’s friendship with country legend Tom T. Hall is explored in “Tom T. and Brother Will”) Other subjects revolving around The Magnolia State and Old Man River are beautifully captured here and with a loving touch – General Ulysses S. Grant’s plan to take Vicksburg (“Down Along the River”), the Great Flood of 1927 (“Drowned

On,’ and downright sludgy on the Deep Blues lament ‘Abused.’ The high lonesome celebration ‘Just For You,’ is page out of the Townes van Zandt song book with sparkling harmony and pedal steel.

Blackwood drives the spacey rocker “Out of Time,” with thundering tom toms and the album title comes from a line in the jagged modern blues “Seven Days.”

The moving tribute to a hardworking man “Rolling Stone,” soars with a timeless authenticity and pure energy. The album closes with the folk rock ‘You and Me,’ as Wallwork adds some Bob Dylan harmonica along with Laird Nelson adding fine Wurlitzer piano and a classic sing along chorus for the big finish .

SKINNYBLUEBAND.COM RICK J BOWEN: WABLUES.ORG

BEN RICE WISH THE WORLD AWAY (SELF-RELEASE)

BY RICK J BOWEN

and Washed Away”), renowned keelboat man Mike Fink (“King of the Keelboat Men”) and the adventures of a traveling mule (“Southern Mule”).

Brace, Cooper and Jutz have worked together in various guises for a decade. Brace and Cooper were Grammynominated for producing I Love: Tom T. Hall’s Songs of Fox Hollow, which featured greats including Bobby Bare, Duane Eddy, Patty Griffin, Jim Lauderdale and Buddy Miller.

Eric Brace led roots-rock band Last Train Home, manages Red Beet Records and has made music all his life.

Peter Cooper is an author, has written for Nashville’s Tennessean newspaper, is now the senior director, producer, and writer for the Country Music Hall of Fame & Museum. He has worked, often in conjunction with Brace and Jutz, with Tom T. Hall, Nanci Griffith, John Prine and Mac Wiseman. Thomm Jutz became the single most successful ex-German songwriter in the history of bluegrass music and has been twice nominated as the International Bluegrass Music Association’s Songwriter of the Year.

There are no pyrotechnics here. It’s three talented guys with big hearts and even bigger musical ability coming together to put us in the frame. All three sing, write and play acoustic guitar effortlessly. There are a few carefully selected embellishments – Jutz (on resonator), Mark Fain (acoustic bass), Lynn Williams (drums), Tammy Rogers (fiddle), Justin Moses and Terry Baucom (banjo), and Mike Compton (mandolin). But these three principals are so good, they need nothing .

FACEBOOK.COM/ERICBRACEANDPETERCOOPER ROB DICKENS: LISTENINGTHROUGHTHELENS.COM

Northwest journeyman Ben Rice has been globetrotting and picking up awards for over a decade now as a soloist, sideman and bandleader. For his seventh album, Wish The World Away, released last July, he used an arsenal of guitars, including the Resonator shown on the cover, acoustic guitars and a homemade cigar box guitar that earned him the St. Blues Best Guitarist Award in 2015. The 13 tracks showcase his fretboard skills and highlight his vocal and songwriting talent. Recorded by Portland legend Jimi Bott at his Roseleaf Studios, the new album is a sweet mix of roots, blues and soul with Rice joined by a few other talented friends and Northwest staples like Mitch Kashmr, Paul Brainard, Dave Melyan, and Natasia Greycloud.

The country blues stomper “Dirt Road Home” opens the

set celebrating back roads and smalltown charm with Rice playing dueling guitar parts to great effect. The optimistic “Peace Will Overcome” has an infectious second line groove, and the desperation in the Neo-Soul ballad “Retreat,” is punctuated by high lonesome pedal steel from Brainard. Rice and Kashmar then scares up some old ghosts on the Delta Blues “Mojo Hand” before he trades verses with Greycloud on the title track duet. The swinging blues “The One That Got Away” has a an easy 1940’s feel and Rice stretches out vocally on the lowdown blues “Hard Times,” sounding more like someone who grew up in Georgia rather than southern Oregon.

Rice struts his award-winning stuff on the pre-war ragtime “If You Ever Change Your Mind,” the deep, deep blues cover of Steve Wonder’s classic “Higher Ground,” and channels Son House on the thumping “Run Around,” and the Delta lament “Oh Lord.” The man and his guitar close the set with the lovely “Don’t Worry Mama,” an intimate glimpse into his musical world.

BENRICELIVE.COM RICK J BOWEN: WABLUES.ORG

STEAMMAGAZINE.NET MARCH 2019 STEAM MAGAZINE 7

Blood is thicker than water and it can leave scars. But like it or not those in our bloodlines are stuck with us -and us with them- for better or for worse.

Paul Janeway understands this conundrum of heritage well. The singer of the Birmingham Alabama based rock and roll soul band St Paul & the Broken Bones was born and raised in America's Deep South, a place where social consciousness can still take a backseat to unsavory traditions and where a family's expectations sometimes supersede all else. Despite the fierce familial love he enjoyed and constantly gave back while growing up -especially to his father and grandfather. From an early age, Janeway realized that the way he thought about the world was a little different from those around him. He began to seek an outlet from which to share what was in his heart and on his mind. Blessed with a powerful voice, a magnetism for connecting with people, and a gift for making music he traded in a career in ministry to start his own band.

During the last election cycle, you open-

ly supported and performed a benefit for Doug Jones. Has there ever been a concern that publicly siding with one candidate or party would alienate some of your fan base?

That was not a difficult decision at all when you had him going up against someone like Roy Moore. Had you had a typical Republican candidate in the state of Alabama run it would not have been close. With your audience you build equity, and if you are negative all of the time it just becomes part of the noise obviously. I'm a very liberal guy, growing up as a Democrat in Alabama. For me, I don't make it that unknown. I'm very open about my beliefs and try to have those conversations. That being said I also understand that my voice is not as important as I think it is.

When you meet musicians people assume you are opinionated in an artsy kind of way.

That being said as we tour I'm sure there are some assumptions about us being a bunch of white guys from Alabama, so sometimes it's worth it to be both to set the sort story straight. (laughing)

What’s the solution then, coming from a

singer who tours the country and has first-hand accounts of where things stand from place to place?

I think you need to stop caring what people think and start getting to know people, start having conversations. Being from the South

there is a sense of pride for me threading the needle is difficult as there are definitely some people in our fan base that don't agree with our political views. That being said I'm sure that there are hard-core Jay-Z fans that also support Trump. They are not hard to find and it's not our jobs as musicians to try and convince people otherwise, nor is it the fans to try and change our opinions.

Some say that we now live in an era of

self-imposed censorship and that it is the worst many have ever seen.

I agree. I tell our public relations guy all the time that I'm just one bad interview away from ruining the band's career. You have to be conscious of that, but at the same time, I have controversial opinions mostly in my state. So when you come from the area where we are from, it's hard to censor yourself. But please know that I am not one to get into Political rants on stage.

With so much energy on stage, how do

you keep those rants from making their way into your performance?

I think what is hard today is that it's hard to find places where all this political commentary is not in your face. For me, that's why people go to shows. They want to have real human interaction, have a good time, and go through these rays of emotions. It's not

my job to bring those thoughts up. To be honest that's what I'm trying to get away from on stage. For me that's the purpose of a show, to have that escapism. I get that some of the song lyrics tend to have a political flare but that's as far as we go; we get enough of that stuff all day. Take an hour and a half at our show and connect with other humans that make you feel something that will always be the goal.

Avoiding such material on stage seems to be working out but how are you handling social media an avenue where bands need to thrive that seems to be taken over by negative news every single day?

I'm not a big social media person. I know my generation is supposed to love it but I don't. Even our public relations person asked me to be more frequent with my post, but I don't like it. To me, it's so difficult not to get on there and find yourself down some dark rabbit holes. Not everyone is supposed to have a voice. (laughing) Sometimes you're wrong.

STPAULANDTHE BROKENBONES.COM SHOWS

STEAMMAGAZINE.NET MARCH 2019 STEAM MAGAZINE 11

By Tamma Hicks, STEAM Magazine

Born and raised in Beaumont, East Texas, Kevin Russell’s been variously dubbed (mostly by himself), the Baryshnikov of the Big Thicket, the Pavarotti of the Pineywoods, the Shakespeare of Swamp Pop, or the Shiniest Man in Showbidniz. One of the pioneers of Americana as a member of The Gourds, Russell took his musical inspiration from the fertile Ark-La-Tex turf. Russell is known for his outrageous outfits and antics, he’s a regular fashion icon, liable to turn up in anything from his limegreen sherbet leisure suit to a flashing LED cloak, which he recently donned for a soulful performance of “East Texas Rust” on the award-winning PBS show Austin City Limits.

The crack eight-piece band features, aside from Russell, keyboardist Winfield Cheek, bassist Jeff Brown and drummer Keith Langford, along with the Tijuana Trainwreck Horns (trumpet player Tiger Anaya and Mark Wilson on sax and flute) and the Shiny Soul Singers (Alice Spencer and Kelley Mickwee), as well as occasional onstage appearances by the Riblet Dancers.

Once you’ve seen Shinyribs’ Russell onstage and heard his band’s music, it’s impossible to forget. In the immortal words

Photo: Wyatt McSpadden

of the title track to their most recent album, “I Got Your Medicine,” Shinyribs have the cure to whatever ails you, moving that ass until you’re a helpless member of the Kevin Russell-led “all-in” conga line which snakes through the audience at the close of every show.

officially end it or is there still a glimmer of hope?

There have been reunion shows offered to us. But, nothing that really seemed that appealing. There are still some personal wrinkles to be worked out before that could ever happen. Only time will tell.

You are really an inspiration of positive vibes. Every show ends with a Conga-Line, why?

It’s the universal dance anyone can do.

Nobody feels self-conscious or out of place. It’s a great way to get everybody involved. You can’t really top that.

Band names, from the Picket Line Coyotes to the Gourds to Shinyribs, you’ve got I know you recently did the Christmas some great imagination going! How did album, which I love and will be playing you come up with Shinyribs?

Last Month of the Year It was a nickname given all year long, but I think your fans (who are I am not trying to write hit to me by bikers and welders in my neighborpretty fanatic) are songs. I am channeling the hood because of my somewhat patiently waiting for a follow up murky funk of my random tricked out bicycle when I was a kid. My hood in to I Got Your Medicine. thoughts and feelings.

Beaumont was like a When can we look for a redneck, swampy Burnnew album? ing Man every day.

Fog & Bling will be out this spring; early

Take me through a songwriting session.

For me, song creation is a daily religious endeavor. I write for the moment. The audience does not enter the equation until I make the set list for the shows. Make sense? For most, they are thinking about the audience from the beginning of the process. One tends to get formulaic kinds of songs that way. I don't worry about what I can or cannot say. I am not trying to write hit songs. I am channeling the murky funk of my random thoughts and feelings.

Sometimes the words begin as total nonsense. Then I work them into something resembling a narrative. I have no rituals or special ways of doing it. Basically, I spend my days making up songs as I go through my daily life; cleaning the kitchen, drinking coffee in the morning, riding in the van to a show, doing a soundcheck, shopping at the grocery store, etc. Songs, poems and ideas are always flowing through my brain.

Therefore I do write alone. Though sometimes I send ideas to friends if I think they would add something to it that I can't. I

April maybe. 10 songs with titles like Hoods Of Cars, Highway Of Diamonds and Doin' It (With Ya) it is a naturally progressive departure from Medicine. Sonically maybe the best sounding record I have made. The story of my life from an alienated suburban kid to confused city boy to Baryshnikov Of The Big Thicket in 10 easy steps.

I know a lot of people were sad to hear that the Gourds were going on hiatus.

Have you discussed a reunion show to

12 STEAM MAGAZINE MARCH 2019 STEAMMAGAZINE.NET

Your shows are incredible to say the least.

You are a gifted entertainer, so what’s your secret?

My thing is to love and respect everyone, to accept everyone for who they are. You can be whoever you want to be at a Shinyribs show… that’s what I’m trying to convey with my music and the performance. I feel good when I play and sing this music. I want everybody to experience that same pleasure. I just want to keep serving the music I love, and continue to evolve my art.

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winning crossover song, "My Toot Toot"). We were the first white Zydeco band to back a black accordion player and his album, The Other Woman (1983), was the first album I recorded on. We toured all over Louisiana and parts of East Texas playing at these private clubs.

By Tamma Hicks, STEAM Magazine Photo Stan Martin Photography

Sundays, Fundaze! are back at the Saxon Pub in Austin with the incredible John Gaar! John comes at you with full-forced Southern-infused Roots Rock with soul stirring vocals, signature raunchy guitars, wailing organs, epic hooks, killer rhythm, clever lyrics and superb story-telling. His distinctive sound embraces multiple eras and genres, including blues, rock, country, folk, Americana and jazz, all of which he is well-versed.

John and his all-star band offer a wall of sound with 4-part harmonies and intricate arrangements that you don’t see in live performances every day. Original song selections range from in-your-face vocal and music delivery that is unavoidably screaming bad-ass…to melancholy ballads with significant guitar work that approaches perfection…to songs filled with a gospel sound and organ crunch that is shoved forward

by John’s signature guitars.

And on any given Sunday someone with a horn may sit in and punch home that Louisiana twang.

John Gaar Band members include Ron D'Argenio, keys; Lynne Davis, bass; Brannan Lane, drums; Michael Cross, vocals; Deann Rene, vocals; Joanna Ramirez, vocals; and John Gaar on lead guitar and vocals.

Can you give us a short run down on where you’re from and how you got to Austin?

I’m from Louisiana and began playing in clubs at the age of 15, because in Louisiana you could do that and this was back when the drinking age was 18. I toured with Miss Molly and the Passions (Houston) from 8387 before moving to California where I

played with Red Archibald, one of the best jump blues harp players that ever lived, for an intense year and a half, because we would work nine or ten gigs a week. In 1993 I moved to Tulsa OK and then Nashville before getting back to Louisiana at the end of 94. In 96 I signed on with Chubby Carrier and The Bayou Swamp Band. I played with him for 5 years and toured all over the world. I had been touring through Austin since the 80’s with different bands and I just loved the feel of the place so, we moved here in 2003.

How did you get into the blues?

Growing up in Louisiana there was always some sort of blues. My first real taste of R&B, Soul, Southern Roots, Americana, Blues, and Zydeco music came in 1982 with a two-year stint playing with my brother, Red Hot recording artist, Burton Gaar. We played for Zydeco-musician, Rockin' Sydney (Grammy-award

Tell me about your new album.

Name of the album is Roll Like That and I went back to my roots on this album. There's a zydeco song, there’s some real South Louisiana Groove.

There's a real New Orleans funk tune and I put horns on both the Louisiana songs because that was a real big influence there.

I've released a single with a video of the title track and I am working with a company out of New York doing the promotion on it and it is getting played all over the world.

That’s exciting! Did you go to Louisiana to write this album like you have in the past?

Yes, I went to the Louisiana side of Toledo Bend and wrote the nexus of about half the songs. But what I ended up doing that makes the change from previous albums, as far as writing the material, I had a co-writer and he’s a neighbor that was right around the corner from me. Rick Watson, who's also from Louisiana and we're about the same age and he lived in New York he is a playwright, a musician, and an actor.

Consequently after a few years of walking my dog and stopping to talk with him, one day I suggested he just come by and just write a song. So I came with these ideas for a couple of songs and we just knocked them out.

One of the questions I ask songwriters is about co-writing, because it’s not something everyone can do.

You’re right; it's really hard to find people to co-write with. Of course you can go to a meeting with a whole bunch of people you don’t know, but I haven't done that that often and you have to do it repetitively to be able to adapt to how it works. Because really you're messing with your thoughts and if you can't get that same pattern going with the other person, then you're going to be butting heads when it comes to the song. I had all the music written, I just needed help on the lyrics and that's what he did.

Some of the ideas for this album came

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CONTINUED FOM PAGE 12 record most ideas in my voice memos.

Then sift thru them later when I want to sit and take time to work on a song. Usually, the melody or the main idea will come first then I expand on it. But, there is no oneway that songs come. They come in all different shapes and sizes. I welcome them all.

southern rock pretty heavy, Skynyrd was and still are my favorite of that genre. The Southern Rock Beatles, if you will. But, that ends with the crash. Anything claiming to be Lynyrd Skynyrd after 1977 is a lie. That's all gobbildy-goop. And IMO they have tarnished the good brand name by all their cheap knock-offs. I'm a real fan, I can say You have such a vast and eclectic style, that. Hank, Jr, Jerry Jeff, Willie and Waylon, who were your influences while growing Don Williams, Gene Watson, etc. But also I up? And how have your tastes changed? was into the DIY punk rock of the early 80's Oh gosh-I could make a list a mile long. The as well; Husker Du, Replacements, Minutubiquity of Dylan, Beatles, Stones, Hendrix, men, REM, Los Lobos, X, The Blasters, Gun Creedence Clearwater, should be first as Club, Meat Puppets, etc. That was the best the foundation for all things in my musical rock n roll of my generation. Truly that was understanding. They are the foundation the most exciting scene of that era. I hated from which much of what I think of musimost pop music of the 80's. MTV ruined cally emanates. Earliest influences are rock n roll IMO. And really by the late 90's I country and soul music on the radio. We had given up on most contemporary music had tons of 45s that we and started listening alused to listen to conmost exclusively to old stantly. My mother, Judy recordings from early-mid SHINYRIBS.ORG loves music, so we al20th century; The Carter SHOWS ways had lots of it in the Family, Leadbelly, Robert 3/14 Sam’s Town Point, Austin Johnson, Howlin Wolf, house. Of those 45s a 4/13 Dell Diamond, Round Rock Elvis, Bob Wills, Jimmy few of my favorite songs were Amos Moses-Jerry 5/31 Kerrville Folk Festival Rogers, Hank Williams, Sr, Reed, Galveston-Glen etc.

Campbell, Ray Stevens, Don't Rock The The two songwriters I most admire these Boat-Hues Corporation, Spirit In The Skydays, that I have kept up following their Norman Greenbaum. Then I began buying work are Vic Chesnutt (1964-2009) and my own music. My first two records I Tom Waits. I think they are both brilliant. bought were Waylon's Greatest Hits and Maybe they are my biggest influences. Not Village People's Macho Man. My father's so much in style but in the intent, how I bemused concern was palpable. I got into approach the art itself.

If you could put together the perfect concert, who would perform and in what order?

Living or dead? That's a tough one. But, James Brown, Tom Waits, Vic Chesnutt, Leadbelly, Elvis, Ronnie Van Zant's Skynyrd, The Clash, Minutemen, Velvet Underground. It'd be a mess.

It may be a mess, but that sounds like a hell of a weekend! Final words to share?

from my childhood and some were just my life in Louisiana while I was growing up. He cowrote eight songs with me on this record.

CONTINUED FROM PAGE 14

That is incredible, especially to co-write together for the first time.

Yeah, I had come up with these

I just want to say that kindness is the most important thing in human life. Always begin and end with kindness. Don't shame people. Don't hate them. Don't abuse animals or people or your home or your vehicle. Always choose love and understanding. And always know that you are loved. If you don't feel loved, reach out and love someone. You'd be amazed what expressing love can do. To give is the ultimate gift.

sayings and instead of trying to elbow grease my way through it I just called him and said, “Hey, I got a bunch of this written; come finish this with me.” We are really compatible when it came to writing and the cool thing is we had similar upbringings and we came from the same place.

You have had a residency gig at the Saxon Pub in Austin every Sunday for about 6 years, but I know you took some time off recently.

Yes, I am thrilled with my residency at the Saxon Pub and it’s great to be back! We had to take some time off because of my back and I’m doing fine now. I have really missed being on this stage. It’s always a great show and it’s a really fun club to play.

SUNDAYS, FUNDAZE! EVERY SUNDAY, THE SAXON PUB, 1320 S LAMAR BLVD AUSTIN

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