STEAM Magazine South Texas Entertainment Art Music volume 8 issue 6 September 2019

September 2019 VOL.8 ISS.6 #90

4 COMICS ON THE COVER...

5 QUICK READ 6 ALBUM COVER OF THE MONTH 7 CD REVIEWS 8 DAVID RUSSELL: PLAYING THE BLUES 10 ED BOYD: HIS VIVID WORLD OF STICKERS 12 ELLIE NICKLIN : ANIME ARTIST 14 RICHIE ALLBRIGHT NEW MUSIC, ON TOUR BEACH HOUSE 16 3 RD C OAST FOOD I E: ELSI E’S

BY ED BOYD PLATE & PIE 18 KEDT CLASSIC BREW, GREENVILLE’S TEXAN THEATER 19 N EW MO VI ES & MUSI C

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SLOW DANCING IN A BURNING ROOM

DON’T IGNORE ME J. Michael Dolan Your fans may discard your latest work, but that’s much better than abandoning you.

Your customers may complain about your product or service, but that’s much better than saying good-bye.

Talent buyers may reject your art, but that’s much better than rejecting the artist.

Important because the way I see it, the more you swing from the skinny branches the more you will be critiqued & criticized, but that’s much better than being ignored!

J. Michael Dolan As artists & treps, the urgency to choose and the pressure to decide, along with everyday “breaking news” can be overwhelming, stressful and distracting. I feel that urgency too. The rush to complete, the press to finish, the race to make a buck, the need to get that great idea out of my head and into my notes before I lose it. To finally arrive at “a fait accompli,” so I can get on with the next thing.

However, in a world of ever increasing speed, I think it’s okay to walk slow. You can still feel excited, still meet every deadline, still move forward with intention, just move through it all in slow motion.

Think slow. Talk slow. Move slow.

Act slow. And ignore those who would accuse you of procrastinating, it’s not the same. Procrastination is fueled with doubt and uncertainty. Slow is fueled with intelligence and skill, and laced with careful consideration.

Important because to the degree we can find a way to move through the details and circumstances of our career (and life) at a much slower pace with less urgency, to that degree our thinking will be clearer, our focus will be sharper and it will be a lot easier to zero in on that which is truly wanted and needed

“Be so good they can’t ignore you” —Steve Martin

THIS IS HARD TO EXPLIN J. Michael Dolan You wouldn’t believe how many times I’ve asked the question and gotten the same answer: What kind of music do you play? “It’s hard to explain.” What’s your screenplay about? “It’s hard to explain.” What are your immediate plans for the future? “It’s hard to explain.”

Sounds a bit arrogant to me. It suggests that your art, product or plans may be too esoteric or perplexing or over my head and it’s hard to find the words to explain it to me.

Do you really want us to follow your work or do you just want to impress us with your brilliance?

If you really want us as a fan, customer or advisor it’s probably best to continue working on a clear, articulate way of explaining; who you are, what you’re offering and what you want from us.

Important because you can’t build a dream if you can’t clearly and intelligently explain what it is.

STEAMMAGAZINE.NET SEPTEMBER 2019 STEAM MAGAZINE

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Barry McGuire was first heard growling out the lead vocal on The New Christy Minstrels 1963 hit, "Green Green," which he co-wrote with Christy’s founder, Randy Sparks. After parting ways with the psuedo-folk group, McGuire set out on his own musical journey. P.F. Sloan had a proven track record by the time he went to work for Lou Adler’s Dunhill Records, having penned several hits of the 60's, including "Secret Agent Man" by Johnny Rivers, "You Baby" by The Turtles, and was a session guitarist for L.A.’s renowned Wrecking Crew. Throughout history, social and political protest has always had a presence in popular art, but no more than in the realm of modern Folk music. After Bob Dylan’s initial emergence onto the Folk scene, it became a mandatory part of any serious folkie’s repertoire.

Sloan’s "Eve Of Destruction" made the rounds before McGuire laid his gravely vocal onto a prerecorded track as nothing more than a demo. It’s the old story of a radio dj getting hold of the demo, and by Fall of 1965, this biting look at the headlines of the day became a top selling anthem of outrage around the world. The album features a total 7 songs credited to Sloan mixed in with a couple of Dylan tunes and a few others. (Although listed as co -writer, "Sloop John B" was more appropriated than written by P.F. Sloan.) Produced by the legendary Lou Adler, with help from Sloan and Steve Barri, the

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band consists of Sloan (guitar) and Barri (percussion) with Wrecking Crew regulars, Tommy Tedesco (guitar), Hal Blaine (drums), and Larry Knechtel (bass).

By 1971, Barry McGuire became a devout born-again Christian and has spent the better part of his career using his unique voice to record and perform contemporary Christian music. On several occasions, he’s played updated versions of “Eve Of Destruction.” Although he has slowed down, McGuire is still out there doing it at age 83.

P.F. Sloan remained an active force in the industry until his death at age 70 from pancreatic cancer in 2015.

Of course, this album’s stand out track is the title song that remains a defining musical time capsule from a very turbulent era.

Paul Simon has had a pretty impressive mountain of achievements in a career that spans over 60 years.

He was the impetus behind the iconic ‘60’s folk/rock duo Simon and Garfunkel, a songwriter capable of evoking emotional response with profound, often poetic lyrics, a solo artist that has consistently grown and moved on his own terms. His legacy speaks volumes. The one thing he probably won’t be remembered for is his screenwriting and acting abilities. ONE TRICK PONY, Simon’s self-penned film about a forgotten rocker trying to survive while hanging on to the past and doing his best to be a responsible husband and father, is a compelling story and makes for a very good film. But, it’s safe to say that it won’t go down as one of the great

classics of cinema, and that’s ok. This album featuring songs from the film was released simultaneously, only with some different takes and mixes. It was Simon’s fifth solo record and his first since 1975’s massively successful STILL CRAZY AFTER ALL THESE YEARS. Along with his long-time band that includes Richard Tee, Steve Gadd, Eric Gale, Tony Levin and Michael Brecker, Paul Simon packs a lot of punch into these 10 songs. It’s all sensibly produced

by Simon and Phil Ramone, with the whole album seamlessly fitting together. Everything any selfrespecting Paul Simon fan would want is here, beginning with the infectious global hit, “Late In The Evening.” The energetic title track is a live recording, as is “Ace In The Hole” that starts side two and both are right at home. “Oh, Marion” is bouncing, jazzy reference to the estranged wife of Simon’s screen character. The album remains a vital entry into Simon’s vast catalogue. As he did here, Simon would continue to progress without having to rely on his illustrious past. Nothing displays this forward motion more than rhythmic, driving bass and percussive funk of “Late In The Evening,” the first track that kicks it all into gear.

With help from Steve Gadd’s distinct use of a pair of drumsticks in each hand, Paul Simon turned his “amp up loud,” and it still remains as tough and forceful as ever.

DUDLEY TAFT SIMPLE LIFE (BIG WOODY MUSIC)

BY RICK J BOWEN Cincinnati-based guitarist Dudley Taft shows a bit of his softer side on his seventh album, Simple Life, set for a September, 2019 release. This CD reveals the depth of Taft’s influences, ranging from classic pop to progressive rock, but make no mistake: Dudley Taft retains that jagged edge guitar slinger profile that has brought him well-deserved international acclaim. The collection of 11 original tracks includes driving rock anthems, soaring ballads and an inspired reading of a blues classic.

The album opens with a thundering jungle drum beat from Chris Ellison, “Give Me Song,” and then Taft lays out his full rock’n roll manifesto and pursuit of the finer things on the riff-based title track.

He further declares the depths of his devotion on the hardswinging blues of “I Can’t Live Without You,” featuring soaring, dual lead guitars. The years Taft spent in the Seattle scene are easily heard on the loping grunge ballad “Death by Bliss” and the heavy funk of “Bombs Away” has some indelible

EILEN JEWELL GYPSY (SIGNATURE SOUNDS RECORDINGS )

BY ROB DICKENS

Hendrix influences. Taft previously released his version of Warren Haynes’ “If Heartaches Were Nickels,” on his 2016 album Live In Europe, and on Simple Life, Taft is joined once again by acclaimed bass man and KNKX-FM award-winning All Blues radio host John Kessler on the more refined studio version that finds him holding back the tempo and digging deeper into the melodic and emotional strains of Haynes’ deep slow blues.

MICHELE D’AMOUR AND THE LOVE DEALERS HEART OF MEMPHIS (BLUES KITTY RECORDS)

BY RICK J BOWEN Never being afraid of seizing the moment and capitalizing on an opportunity is a quality one must have to succeed in today’s harried climate and it’s certainly a sure fire way to fulfill your dreams.

Michele and the Love Dealers took advantage of their trip to the birthplace of the blues during International Blues Challenge week this year by snatching up some available studio time at the legendary Royal Studios with owner, engineer and producer Lawrence “Boo” Mitchell. The seven new originals and the cover of a King Curtis classic were recorded live at Royal on a Friday night. They took those inspired tracks back to Seattle, added a bit of spice, and mixed it up for a May 2019 release as The

DUDLEYTAFT.COM RICK J BOWEN: WABLUES.ORG

Heart of Memphis. The Latin-flavored “Another Sleepless Night” opens the set and guitarist Jeff Cornell then throws down a gritty riff for the sordid tale of a woman scorned “Dirty Pool.”

The sultry rhumba, “Come On Over,” features some fine piano, and sax man Noel Barnes, steps up for the first solo on the soul burner about hard luck and trouble, “Cradle to the Hearse.”

Drummer Dave Delzotto sets a frenetic pace for the funkified editorial of our frenzied world “No Time,” with D’Amour laying out ironies of our instant gratification culture. The title track documents their trip to Beale Street and how the music seeps up from the very earth under the pavement in Memphis. The band pays tribute to the city on a romp through “Memphis Soul Stew,” with each of the Love Dealers strutting his stuff on the spicy instrumental. The album closes with the Gospel blues of “Strange Angels,” a bittersweet testament of the joy and pain found at a dancehall on any given night. This fifth album from Michele D’Amour and the Love Dealers may prove to be their finest effort as the group certainly did find the Heart Of Memphis and brought her hom e.

Eilen Jewell is putting together a distinguished and remarkably consistent catalogue.

This Idahoan siren has been seducing us for a while with her sophisticated vocals over a blend of country, honky tonk, early 1960’s rock ‘n’ roll, surf music and swing. In fact, Eilen Jewell has one of the most beguiling and alluring voices in modern music.

There has always been an intriguing edge of difference to other artists in that sound space, thanks to the grit and panache of her long-standing band. As anyone would attest after seeing the whole product on stage, they deliver their music with a punch. Jewell, drummer /husband Jason Beek, upright bassist Shawn Supra, and mesmerizing guitarist Jerry Miller are formidable.

The new (eighth) album by Jewell and co., Gypsy (released in August 16) is a return to (for the most part) breezy country following her more blues-infused 2017 release Downhearted Blues.

Her first album of original material since 2015 provides us with twelve tracks, eleven written by Jewell and one by colorful Nashville veteran Pinto Bennett** and Mark Alan Webb (“You Cared Enough To Lie”). It also sees Jewell record with an electric guitar for the first time. Gypsy contains songs on life and love but there’s some political sting here that makes this reviewer sit up.

With “79 Cents (The Meow Song)”, her serious but not too heavy -handed take on gender pay inequality – “The motherhood penalty” of making “79 cents on the (white man’s) dollar” – is strikingly anthemic.

There is the classic country sound of the aforementioned “You Cared Enough to Lie” and “These Blues”. “Beat the Drum” holds out hope for fellow travellers facing obstacles, while“Witness” captures a mother’s love eloquently. “Working Hard For Your Love” is a stand out, a study in love’s persistence, counterbalanced by the gorgeous “Who Else But You”.

Yes, Gypsy is further proof of Eilen Jewell’s distinguished talent. ** Jason Beek produced Bennett’s latest album, The Last Saturday Night, with Eilen providing guest vocals. .”

EILENJEWELL.BANDCAMP.COM ROB DICKENS: LISTENINGTHROUGHTHELENS.COM

MICHELEDAMOUR ANDTHELOVEDDEALERS.COM RICK J BOWEN: WABLUES.ORG STEAMMAGAZINE.NET SEPTEMBER 2019 STEAM MAGAZINE 7

By Tamma Hicks, STEAM Magazine Photos supplied: unknown photographer

David Russell and his Port City Blues band bring fiery, real-life originals and covers of the blues legends to their shows. His self-styled “Port City Blues” is deeply rooted in Chicago blues but also incorporates elements of Jump Blues, West Coast Blues and Jazz. When joined by his horn section, they produce a big sound that captures even the most causal blues listener. It swings, it bounces and boogies, it jumps but its roots are firmly planted in the blues. Its big city blues that anyone can feel from uptown to downtown and way out in the country. Russell and the Port City Blues have shared the stage with Grammy winners Robert Cray and Johnny Lang, Grammy nominee Tab Benoit and international touring acts Nick Moss Band, Samantha Fish, Roomful of Blues and SIMO. We talked with David about his South Texas Blues. Just before this issue went to press Camila, David’s lovely wife, gave birth to their daughter Claire.

We wish then all the best and congratulations!

I know you’re from Willington NC – How’d you get lucky enough to come to Texas?

Yes ma’am I was born and raised in Wilmington, North Carolina. I’m a beach person born on the coast and have always lived near the water. I’m not fortunate enough to be a full time musician so I ended up here in Corpus after taking a transfer with my day job.

Ended up choosing Corpus over several other locations so that I could be close to the

water. Once you’ve lived in the salt air it’s hard to get away from it. I’m really happy to have made Texas my second home and really love it here. I learned really quickly why Texans are so proud. I get it. Texas truly is a special place. I’ve really liked the time I’ve spent in Houston, Austin and San Antonio as well. And any time I can get down to the Valley I’m happy. I love it down there.

What was the first song you learned to play?

The first song I learned to play wasn’t really so much a song but rather a form. I started playing guitar because I loved listening to blues music, so the first thing I wanted to do was learn how to play a basic I-IV-V blues progression and build from there. I was listening to a lot of T-Bone Walker already so the song High Society Woman in particular was the song I was probably trying to emulate or learn. If we’re talking more recognizable songs, the first real song I learned was Green Day’s Boulevard Of Broken Dreams. Always liked that song and it was a simple 3-4 chord tune.

So you have always been a blues man.

Who are your influences and how have you used that influence?

BB King. First and foremost BB King. Anyone who has ever heard me play, knows my style of blues and the sound I am going for with my band, that BB King is my biggest influence. Just everything about his playing style, the songs, how humble he was, and his vibe while on stage. BB was the man. My second biggest influence would be T-Bone Walker. T-Bone was the original showman on stage, playing behind his head, behind his back, doing splits and dancing, but he always had such great arrangements and was really swinging. From the first time I hear BB King and T-Bone, I knew THAT was what I wanted to play and sound like. Both of these guys

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had killer horn sections that played with them and added to their sound. I also love Otis Rush, Pee Wee Crayton, Muddy Waters, and countless others. Of the more modern guys I love Junior Watson, Charlie Baty, Nick Moss, and Kid Andersen. These are guys who are fluent in blues music. I’m also influenced by a lot of jazz guitarists and horn players like Kenny Burrell, Grant Green, Lester Young, Charlie Parker. I try to incorporate a lot of that jazz feel into my playing when I can.

larly already it’s really something special. I think it’s safe to say that these guys hadn’t really played a lot of blues in the past, at least not my style of blues. So it was something fairly new to them but each took my vision and really committed to it. My rhythm section is comprised of Kenneth Thurman on drums, David Alvarez on keys and Art Fonseca on bass. Kenneth and David are both local band masters and music teachers at local schools so they are lifelong musicians and Art is a recent graduate of A&M Kingsville so he’s I read that you play both Chicago and beginning his musical career. These guys are South Texas Blues – what’s the differjust great; I mean they’ve been with me since ence? day one here. My horn section rotates a bit Well, my music is rooted in Chicago blues depending on the gig or the date but my and West Coast jump blues. South Texas regular guys are Albert Cruz and Adan Coroblues is something I kind of came up with nado on saxophones and Mateo Reyes on once I got here. I mean, there’s an abuntrumpet. Albert and Adan are both A&M dance of rockin’ Texas blues and Steve Ray Kingsville students studying music and really Vaughan style blues going on all over Texas. talented players who are both really coming I like that style into their own of music when I listen to SRV If I was 20 years younger I’d sell everything styles and Mateo do it, but I right now and just jump in a van with a group is a local music don’t want to of guys and our gear and go play my music eve- educator and an excellent trumplay that same pet player. rywhere. ol’ style of blues. What I do is hit more on the elements of swing in the music. The music has to swing. It’s got a little more jazz feel in it and some other changes. Then I throw the horns in and now you’ve really got something different; that 40’s and 50’s T-Bone Walker feel. So that’s what I’ve branded South Texas Blues and what I call the style of blues I play.

Tell me about the guys that make up the Port City Blues.

I’m lucky to be able to play with the guys I do and I always try to make sure to let everyone know about them. I’ve been in Texas just over a year and to have moved here, met these great musicians and to be gigging regu-

When I think of Blues songs, they’re usually sad; what makes your original songs different?

I write originals based on real life experiences I have been through. Writing blues songs isn’t an easy task especially if you want to be legit and have content that doesn’t come across as cheesy or contrived. I’ve never rode trains cross country, or woke up when the rooster crowed or any of these other tired clichés that get thrown around. Too often guys write songs about things they’ve never experienced in an effect to sound “bluesy” or legitimize themselves as “blues men”. I write about real experiences from my life: love and

heartbreak, loss, longing, experiences with these emotions, places I’ve been and things I’ve seen. But I try to write fun songs too.

Blues music doesn’t always have to be sad.

My song That Girl Belongs To Me is one I wrote for my wife. It’s one of my favorite to perform because it’s a fun song. I try to write songs that touch on current day as well, the modern world we live in now.

deavor. But I truly hope in the next year or so I can get a group of guys together that want to go in and record. If I had it my way I’d just go see Christoffer Kid Andersen at Greaseland or Big John Atkinson at Bigtone Records and record with those guys. I’d love to hear what those guys could come up with recording my tunes. Some of the finest current blues recordings are coming out of those 2 studios and Well, now that they know how Anyone who has ever heard me play, knows Claire is here I can only im- my style of blues and the sound I am going for to get it right. agine the What are your with my band, that BB King is my biggest songs you’ll plans for tourinfluence. be writing as ing? she grows up.

You know if I How do you choose which cover songs fit was 20 years younger I’d sell everything right your style? now and just jump in a van with a group of When it comes to covers I just try to make guys and our gear and go play my music everespectful versions of the classics I grew up rywhere. But as for touring, I try to play as loving. I say respectful because this is music many shows each month as possible while that really matters to me. I want to get it also being a good husband, new father, and right in every way. I choose tunes I have staying employed at my day job. Gigs aren’t grown up listening to, that moved me and always easy to come by, but we manage to get that really have a lot of feel or mood to them.

5-6 shows a month playing the usual spots in Sure you want to take a cover song and put Corpus, Houston, Victoria, Port Aransas, and your own spin on it, I get that but at the same hoping to get into Austin and San Antonio time I want to honor the guys who came soon. before me and were the true old school blues Sadly, there just doesn’t seem to be a lot men; the guys who really lived it. If you’re of blues clubs any more. Any suggestions going to cover an Otis Rush tune or Pee Wee on how fans can support the genre?

Crayton tune you better have really listened Generally the perception of blues, or what’s to these guys and know their playing style and been billed as blues, is just more of the same what made them who they are or you’re goold rock n roll that’s been played to death in ing to miss the mark. bars all over the place. So if you have a local Are you currently working on any recordclub that books blues bands, or regularly ing projects? supports blues music, then you should do I get asked this a lot and recording is definiteyour best to support them back. Without ly the next step for me as a musician. I’ve venues willing to take a chance and try someworked on writing a lot of songs over the thing different then this music can easily past few years and now have enough original disappear from the live music scene. material and horn arrangements to make it FACEBOOK.COM & INSTAGRAM.COM happen. Usually for me it comes down to THEPORTCITYBLUES money. Recording can be an expensive en-

STEAMMAGAZINE.NET SEPTEMBER 2019 STEAM MAGAZINE 9

By Tamma Hicks, STEAM Magazine

Sometimes people forget that Art is in our name, but we never do and that’s why we are always looking for art that excites us. We met Ellie Nicklin, a Senior at Ingleside High School, who has been creating a series of anime characters. Ellie has been doodling since she can remember and wants to expand her creativity to include painting, sculpting, and animation. We think Ellie is a wonderful artist to kick the fall off as she uses lots of greens, browns, and oranges.

Looking through your sketch books I can see that art is very much a part of you.

I do pencil and digital art mostly and I have also started painting too. My Art III class is painting and I wanted to try it.

What do your parents, family, and teachers think of your art?

Mom calls it really cute 24/7. I'll draw a circle, add eyes that are pretty big and put on ears and she loves it. Dad thinks my artwork is cute. He says "cool" a lot. Whenever we go to OK I bring my iPad to show my aunt Onalee, who’s an artist, my drawings and she complements them. My 2nd period teacher knows that I draw and he said if I needed any extra credit I can draw him a picture. 3rd period is Art and that’s when I can draw without getting in trouble.

Do you prefer notepad over iPad or vice versa?

I'm still kind of getting used to the iPad. So what I’ve been doing is drawing what I want on paper, take a picture of it and send it to my iPad to trace over.

Your drawing style is definitely influenced by anime but you still have some western comic in there too.

My drawing style has been pretty much cartoony. It's kind of a mix between cartoon, realism, and anime, so I'll just have to see what happens the more I draw

try different things. Have you studied the Masters or have you been to an art museum for inspiration?

No and I haven't been to the art museum yet, but I did go to the Corpus Christi Comic Con which was fun.

You should go to the Art Museum of South Texas (first Fridays are dollar days) and the Arts Center in Rockport and Corpus Christi are free and they have a wide variety that might give you some ideas. Are you a crafty person?

Sort of, I used to cross stitch. What I really want to do is get some sculpting clay and sculpt one of my characters.

How many characters do you have and does each one have a name and specific characteristics?

Yes, I Google translate everything for the names of my characters. I type something in English then go through languages to figure out what's best for them. I get these ideas and I have no idea of where I'm going with them.

I just sketch out the character and I don't know how many there are.

In your anime, are all your characters in the same realm? Do they interact or are they singular?

I haven’t thought about that, I just draw them. There's a tiny group that likes to interact then there's another group doesn't interact at all, so it's spread out. One that definitely does not go with them though is Fiammetta. She’s not with them at all because she's an OC. What is an OC? An OC is an Original Character for an existing anime. Let's say you're watching an anime, you make your own character to that anime.

Fiammetta is part person and fox and catches fire?

I confuse a lot of people with this because they don't watch the anime, My Hero Academia. In this world 80% of the characters have a quirk which allows them to do different things like making ice and water from their hands. So I decided to have her quirk name be Firefox, she catches on fire and turns into a fox.

Are you considering going to an art school?

Well, not college. I saw these things where someone did a drawing before they went to college and then one after a few months of classes to see if they improved, and they actually declined in their style and they even said that themselves.

What would cause her hair to go on fire and what makes her turn into a fox?

She catches fire when gets angry. I decided to make it like an inside joke between me and a friend because every time my friend saw me drawing Fiammetta, they asked if she is a cat.

That’s why she wears a T-shirt that says #I’mNotACat in some of her drawings. Sometimes when she turns into a fox it’s random and she doesn't really know why, but it’s a pretty normal thing for her to do. She also does it to run away from children because they call her a cat and chase after her.

Possibly, but it gives you opportunities to explore other mediums and

Do you have other OCs? Yeah, one called Abura and his first

Do you want to be an animator?

I want to get into animation. I'm thinking about doing a comic but I don't know what to do with it yet.

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name is literally Oil in Japanese. He's another OC to MHA. His quirk is sweating oil from his palms and it can also spray out like a water hose.

I like your OCs. They really show your imagination. How are you able to replicate a character repeatedly?

Like from memory? When I make a new character, I draw them once.

Then when I draw them again I can look back and compare; after a while, I draw them so much that I know how to do it from memory. I draw Fiammetta from memory.

How hard is it to draw a character the same and make changes to the expression, turn the head, or move a body part?

I guess once you get used to drawing faces and expressions, it's not that hard. As long as you remember to draw the hair and important features that stay the same. There was an anime challenge I found where you draw a character the opposite of you, so opposite gender, hair style in both length unnatural and natural colors and your favorite color is the eye color; mine is green. I didn’t like how it was turning out so I stopped.

When you paint, are you going outside of your anime characters or are you staying with Anime?

I guess staying within it. I have a painting on my closet door of 3 characters, and I'm doing a dream catcher on the wall.

How are you going to get your information out? Have you tried to put a website up or use Facebook?

So far I’ve only done it on Apple’s Anime-Amino app, and I haven't made much money in commissions. I think the most was probably $30 or something.

Five years from now what do you want to be doing?

For a job, I want to be a dog groomer, but I'd also like to do art for commissions.

“If Bingo, Fistle & El were human”

By Tamma Hicks STEAM Magazine

Country singer/songwriter Richie Allbright grew up in Mathis, a small South Texas town. As he says he is a product of his influences including some of the greatest in Country Music, Merle Haggard, Willie Nelson, Johnny Paycheck, Waylon Jennings, Gene Watson and Johnny Rodriguez, just to name a few. His passion for country music started at a very young age and in his music you will find bits and pieces of his life and the history of country music. At the age 22 he made his move to Nashville. After 14 years of the Nashville daily grind Richie, viewed by many of his peers as one of the best traditional country singers in town, saw an almost unreachable distance between him and his dream and so moved back to Texas.

Fast forward to August 2019 where Richie has just released his new single Reefer Road from his upcoming 4th album, Back To Nashville. We caught up with Richie on a scorching Texas afternoon to talk about the album and getting back to touring.

Hi Richie, how are you this afternoon?

It's going good; I’m just sitting on a porch.

It's a little warm out here, but I'm all right.

Well, it's a toasty one anywhere in Texas.

Are you home or on the road?

I'm home, but we have the house up for sale right now. We're gonna move up around New Braunfels once it’s sold. We had to move my dad up there for health reasons, that's where most of my family is. We're trying to get us all in one place to make it easier when he needs us.

I’m sorry to hear he’s not doing well. I think New Braunfels for you, it’s a great area and closer to Austin. I asked if you were on the road, because I know you’ve been touring a lot.

Yes, the last few years we’ve been touring a lot more in the Midwest, Mississippi and

Paul Gonzales "P3 Photography"

Arizona; probably about 20 states in the last couple years.

I saw pictures of you playing at Rooster's in Mesa Arizona? Rusty was part of the house band there for a few years. Do they still have mirrors on one wall?

Yes, I’ve played there a couple of times. Yup, they’re on the dance floor (Laughter).

Will you be heading back on the road soon?

Well, lately I've been trying to stay around here with the house for sale, but I'm going to have to get back on the road soon. There ain't no place for guys like me to play around here. When I'm on the road, I'll play 10 shows in two weeks, and that allowed me to get back to Nashville a few days at a time to do this album. And that was good, but you’re still thousand miles away from home when you're finished there.

True, but you can gig between home and there.

Yes. The last time, when we finished the record, we got in the van and drove all the way back just in time to play in San Marcus; I didn't even get to go to the room first. We had already been gone for 20 days.

That makes life really tough.

But at the same time, I stay home too long and I miss the traveling. I’ll tell you, that first night you get home, you sure are glad to see your bed. Even if it's an uncomfortable bed, it's yours.

So you're not playing a whole lot in this area are you?

I've been booking more stuff up around New Braunfels and San Marcus and I'm going to try to get back on the road soon because sticking around here has just been too hard financially.

I really like your voice. It's got more of a traditional sound to it and it stands out

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from all the George Strait, Willie Nelson want to be’s.

I'm definitely a product of my influences.

True, but you are not your influence, and that is what I think stands out about your voice. It might be a little bit of everything, but it is you.

It's just what you naturally have mixed with the people who influenced you and that's how most people are really, I think. And I think a lot of people don't understand that or admit it, everybody is influenced by somebody. It's whatever you're born with, what you put with it, and that's what you end up with.

You always have in your head the way you want something to sound and until somebody actually does it, you don't know what it's really going to sound like.

Tell me about your new album and what makes this album different than the last three albums?

First of all, the name of the record is “Back to Nashville”. And I never dreamed that when I went to Texas that I would be coming back to Nashville and making a record 12 years later. That's why it's called “Back to Nashville.” The main difference is the way it was done. There were old friends that I hadn’t seen in years that came in because they wanted to, and the guy that produced it coming out of the blue and wanting to do that with me is just a different way of doing things.

I had spent 14 years in Nashville when I came home to Texas. I recorded an album in San Antonio, then one in Austin, and I went out to Los Angeles on my last album to work with Ted Russell Kamp, who played bass for Shooter Jennings in 2016. Then I was back

here, just here not really doing much; trying to travel and just make a living, I wasn't writing a whole lot, and records are expensive to make so I didn't have one on my radar.

I stopped in Nashville at a celebration of life for an old friend of mine who was a songwriter. He had been producing with another friend of mine and I just had one of particular friend’s songs on my last album that was playing on the XM Radio on Outlaw Country. Anyway, he wrote me that he was working with the guy who wrote the song I had on the radio, so I gave him a copy of the album I made in LA. He listened to it and told me he wanted to do my next record. I told him I would love to but I can't really do it right now and I’d definitely get back to him.

And who is this guy?

Aaron Rodgers, he's a great guitar player too.

So, a few months went by. I was traveling and paying bills, when he called me and said he hadn't forgotten and that he was serious when about producing my next record. I told him that I only had one song written and some covers that I wanted to do. He said, “We know a lot of the same people who are some great friends and musicians and I'm sure they'll be glad to come in and play on it without charging too much”. He knew I was playing in Mississippi, which is a 5 hour drive to Nashville, and told me to have three songs ready for Monday morning and he’d call musicians. In a week’s time, I played two shows in Mississippi, drove to Nashville, and started recording this record. I got to work with guys that I had known for years and these guys have worked for Ray Price, Leon Russell, Vern Gosdin, and Jamie Johnson.

He had just opened a really nice studio, Nashville Recording Studio, and I was one of his first full projects.

So it was like a family reunion for you.

Yeah, and we weren’t rushed. A lot of times you're making records, you're paying this much money you get this much time. You're almost always feeling that you're being pushed through it, but we didn't have those restraints. We had some restraints like I could only be there two or three days at a time, but that's all. We were enjoying making music and Aaron really took his time afterwards getting everything how he wanted it to sound. Singing is easy if you have great musicians. I had two old friends of mine from Nashville record on Where’d You go Country Music; Clint Park sang the background vocals and his dad Johnny Park, who is a great guitar player, played guitar. I hadn't seen those guys in a long time either. The thing that was so special about it was all these old friends that came in.

Tell me about your song selection on the album.

“Reefer Road” is really the only song I'd written recently and that I cared about recording and I had four other songs, two of them were my buddy Jerry Birmingham’s songs I’ve always loved and have wanted to record for years. I always do a Haggard song on every record, so I had this old Haggard song from the 70s called “I won't give up my train.” So, there’s one of mine, two of Jerry's, an old Haggard song written by Mark Yeary, who played piano for Haggard back in those days, and I also cut one of my favorite old Dolly songs written by Porter Wagoner.

I think it's a great song. I really like the style you put it in.

It's hard driving, but it's a really cool feel.

Once it was recorded it was a little different, which changes the whole ballgame for this song. You always have in your head the way you want something to sound and until somebody actually does it, you don't know what it's really going to sound like. It's out and doing okay. I recently did a couple radio interviews to push it, so I'm just working it and getting it ready. We'll release the entire LP Back To Nashville next month sometime.

So you like to do a Merle Haggard every album? Have you done The Running Kind? My dad named his van after that song.

Yeah, I love that song too, but I always try to do the ones that aren't so popular though. I called my band the White Line Fever, after the Merle song.

What’s the next single going to be off of this album?

It's probably going to be a Jerry Birmingham song “Where Did You Go Country Music".

That's the one that he had out 15 years ago that I’ve always loved and had been wanting to record. I’ve sang it a lot with him on stage and I keep saying “I’m going to record that song” and I finally did. It was very relevant back then, but even more so today.

RICHIEALLBRIGHT.COM FACEBOOK.COM/RICHIEALLBRIGHTMUSIC

9/6 BLACK’S BBQ NEW BRAUNFELS 9/22 KENT BLACK’S BBQ, SAN MARCOS 10/12 BLACK’S BBQ NEW BRAUNFELS 10/19 KENT BLACK’S BBQ, SAN MARCOS 10/26 THE BARN, MISSION VALLEY (WITH TOMMY LOWE) LISTEN TO RICHIE ALLBRIGHT’S REEFER ROAD ON STEAMMAGAZINERADION.NET

By Danny Vivia, "Danny Vivian Photography"

Reefer Road, huh?

I came up with Reefer Road in a hotel room in El Paso one morning when we were getting ready to leave. This is the music business, so 75% of musicians I know smoke marijuana and always have and we're always dealing with things on the road that make it difficult because the laws are different everywhere. Reefer Road is basically a true song about traveling and all the silly stuff that musicians have to go through while we're on the road. I know it's controversial and I almost didn't record it. Then I thought that with the way things are changing these days, about legalizing marijuana and about half the country already has to some degree, it's time somebody actually talked about what we do.

We shouldn't have to worry about it because we are not hurting anybody. I was a horrible alcoholic for years and I quit everything but marijuana and I'm alive today because I did.

I'm over five years sober now and had I’d stayed on the booze, I'd be dead. So Reefer Road is my first single and was released the first part of August. I know there's a lot of Texas stations that won't play Reefer Road because of the subject matter, but some will.

The album won't be out till next month but

the single’s been getting a lot of attention and people are downloading it.

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By Tamma Hicks, STEAM Magazine Photos By Rusty Hicks, STEAM Magazine

3145 GOVERNMENT ST BATON ROUGE, LA 70806 MON: 11AM – 9PM 225-636-5157 TUES, WED & THUR: 11AM – 10PM ELSIESPIES.COM FRI & SAT: 11AM – 11PM / SUN: 10AM – 9PM Road trips are always a good time and I think those taken during the summer are the best; however, living in the South requires AC in the vehicle or those trips are just as bad as when we were kids and hanging our heads out the windows, not because of the scenery but for the wind chill effect. Enough about reminiscing and let’s get to Baton Rouge LA! What a great drive! If you haven’t driven through Louisiana, you have missed a feast for your eyes! The swamplands, rivers and bridges, and farming communities are beautiful and the people are wonderful to talk with.

Speaking of wonderful people; we stopped for dinner at Elsie’s Plate & Pie in Baton Rouge. Funny story how we found Elsie’s… Lindsey Shelly (STEAM Sales Rep.) was on a trip to Driggs Idaho. She was talking to a watercolor artist about STEAM, art, music, and the 3rd Coast Foodie, when she told Lindsey about her brother-in-law’s restaurant in Baton Rouge. So, this Foodie has taken the long road to get to you; Texas, Idaho, Louisiana, and back home to Texas, and worth the trip!

Chef/owner Paul Dupré opened Elsie’s Plate & Pie in September 2017 and it’s named after his grandmother. When you enter Elsie's the first thing you see is a short story about Elsie Marie Campeau Rupe. It explains how welcoming a visit to her home was, where there was always plenty to eat and that pies were a food group. It’s no wonder that Thrillist.com awarded Elsie’s Plate & Pie with their 2018 Best New Restaurant in Baton Rouge and we agree!

Grandmother Elsie’s warm welcome is echoed in the pride and greeting you get from every person there, including other patrons!

We were met at the door by Emma, who proudly stated she would be our server and showed us to our table. As we walked past the bar Emma introduced us to the bartender on duty Andi and Paige, another server.

Now if you’re ever at a restaurant while a 3rd Coast Foodie is happening, please say hello, give us your opinion, and smile for the camera and that’s exactly how many of the patrons at Elsie’s treated us and they really wanted to make sure we knew how great Elsie’s is.

The menu is filled with generous portions of southern-style comfort foods; just what

ANDI, EMMA, & PAIGE you would have expected at Elsie’s home. Where in addition to soups, salads, and appetizers, you’ll find entrées of fried chicken, a huge boudin burger, and patty melt sandwiches to die for and, as I mentioned before, “pie” is its own food group! Being our first time to Elsie’s we asked Emma for suggestions and we settled on one appetizer, Cajun Crawfish Queso.

After putting in our appetizer, she returned with our drinks and a list of

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10 suggestions for entrées… She had asked every person working for their favorite! At this point, the group sitting at the table next to us looked at the list a n d wholeheartedly agreed and then suggested we try the newest one on the menu, Philly Cheesesteak Pie Nachos, because they hadn’t yet. So we placed our order and waited with anticipation, which was short-lived because Emma quickly returned with our Cajun Crawfish Queso. Now being from Texas, Queso is a must. Being in Louisiana, Crawfish is a must. And being in the south, Pork Skins are a must. When this plate was served the pork skins were hot and still popping and the cheese was still bubbling from being baked in the cast iron skillet.

This was the first time we’d had fresh pork

DINNER SALADS

skins and we loved them! And the Queso was ooey, gooey, full of crawfish, and such a treat.

CAJUN CRAWFISH QUESO & PORK SKINS

We decided to look for a few places to take pictures and Andi was quick to suggest a colorful wall next to the bar as well as wine bottles to go along with our glass while Emma found a framed drawing a patron had done of the restaurant. While Rusty was taking pictures of the logo mural, the patrons at the table below it said, “What about us?” so he took their picture too.

Honestly, we had such a good time that when our food was ready we weren’t.

Our first entrée was the Philly Cheesesteak Pie Nachos and they were delicious. I wasn’t sure what a “pie nacho” was, but we soon found out! After lightly frying their signature hand pie dough they line a deep dish plate

CHERRY HAND PIE

HONEY CHOP WITH RED BEANS AND RICE PHILLY CHEESESTEAK PIE NACHOS SEAFOOD POT PIE

with it and pile on sizzling seasoned steak, grilled peppers and onions, and then top it all with melted Philly cheese. Comfort food heaven! Our second entrée was the Honey Chop. This thick, bone-in pork chop was honey brined, grilled and finished with a blueberry-pepper jelly-barbeque sauce like no other I’d tasted before. Juicy, sweet, and tangy all in one bite and then paired with Red Beans and Rice, CHOCOLATE it was sensational!

As fast as Emma CREAM cleared our plates, she PIE and Paige returned with beautiful fresh Dinner Salads and our Savory Pies. Who doesn’t like chicken pot pie for dinner?

Well, this is one that would change their minds fast! This Louisiana Poulet Pot Pie was baked in a cast-

LOUISIANA POULET PIE

Pie for dinner and dessert! We were already too full to have dessert, but I could hear the Cherry Hand Pie and Chocolate Cream Pie calling us from the display case! The flaky hand pie crust was filled with Elsie’s cherry pie filling and then fried to a golden brown before being plated and iced in a bright pink glaze with a cherry on top. The tangy cherries offset the super sweet glaze to make a perfect hand pie. Yummy rich choc-

olate cream filling covered with a mound of fresh whipped cream and chocolate drizzle atop the tastiest graham cracker crust. I asked if there was something else in it, but Emma told me it’s a shop secret and I’d have to just keep coming back for more.

Which I plan to do as Elsie’s Plate & Pie is on our list of places to stop in Baton Rouge!

iron skillet with bite-size chunks of smoked chicken and roasted peppers in a creamy tasso sauce and surrounded by a flaky crust.

Then my favorite dish came out and I knew it would be my favorite when we were ordering… Seafood Pot Pie! Flaky crust stuffed with crawfish, shrimp, and crab in a thick creamy roasted red pepper sauce. When they say savory, they mean it!

What could be better than pie for dinner?

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The 2019 KEDT Classic Brew, presented by H-E-B – The 24th annual international beer tasting, featuring over 200 imported and domestic beers for guests to sample from commemorative pilsner glasses, while enjoying the best South Texas cuisine from area restaurants.

Guests will also enjoy live music, a photo booth and silent auction of exciting collectable beer merchandise and one-of-a-kind items. Water and non-alcoholic beverages will also be available. Dress code is fun casual. Wear your shorts and flip-flops! Entertainment provided

by The Independent Thieves. Proceeds benefit KEDT, your community-owned station.

TICKETS AVAILABLE TO PURCHASE NOW! For More Information: 361-855-2213 kedt.org

By Tamma Hicks, STEAM Magazine

Barbara Horan had great memories growing up and watching films at the Texan Theater in Greenville. Doors had closed in the 70’s and Horan wanted to bring the place back to life in a whole new way. So in 2010 she bought the building, oversaw renovation, and four years later, the 114 seat theater was hosting legendary performers with state-of-the-art equipment, spacious seating and the best in catered food, created by her brother James.

Barbara, who’d been living in Austin since she graduated high school, wanted to bring something special back to her hometown. She believed

the theater could once again give joy and inspiration to audiences from all over. Horan also wanted one ticket price for the whole evening, including the show, dinner, parking, table service and gratuities.

Steam Magazine talked with the visionary to find out more about this revolution in experiencing entertainment.

Barbara, what's the most satisfying part about having this theater?

Watching people have “the time of their lives” and hearing them exclaim that repeatedly.

Who are some of the performers

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who’ve been at your theater?

The list is long. From local artists like Jeff Plankenhorn, Bruce Robison, and Joe Ely to nationally known artists like Billy Bob Thornton, Rick Springfield, and Christopher Cross. I have hosted more than 500 artists in the 5 years I have been open.

What does the September calendar look like?

Guests scheduled for September include singers Tiffany, Sylvia, and Mark Wills; comedian Bill Engvall; and Conversation with Bret Micheals. For dates and ticket information visit our website.

TexanTheaterGreenville.com 2712 Lee St, Greenville, TX 75401 (903) 259-6360

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