By Christopher J. Oglesby
From blood brother Holly and the Crickets to the Flatlanders, Terry Allen, and Natalie Maines, Lubbock, Texas, has produced songwriters, musicians, and artists as prolifically as cotton, conservatives, and windstorms. whereas not anyone questions the place the conservatives come from in a urban contemporary nonpartisan examine ranked as America's moment such a lot conservative, many folks ask yourself why Lubbock is such fertile flooring for inventive spirits who are looking to extend the limits of concept in song and paintings. Is it simply that "there's not anything else to do," as a few have prompt, or is there whatever within the personality of Lubbock that encourages creativity up to conservatism?
In this ebook, Christopher Oglesby interviews twenty-five musicians and artists with ties to Lubbock to find what it's approximately this group and West Texas commonly that feeds the artistic spirit. Their solutions are revealing. a few converse of the necessity to insurgent opposed to traditional attitudes that threaten to restrict their horizons. Others, reminiscent of Joe Ely, compliment the liberty of brain they locate at the broad open plains. "There is that this empty desolation that i'll fill if I picked up a pen and wrote, or picked up a guitar and played," he says. nonetheless others show skepticism approximately how a lot Lubbock as a spot contributes to the luck of its musicians. Jimmie Dale Gilmore says, "I imagine there's a huge degree of this Lubbock phenomenon that's simply success, and that's the half that you just can't explain."
As an entire, the interviews create a portrait not just of Lubbock's musicians and artists, but additionally of the musical group that has sustained them, together with venues resembling the mythical Cotton membership and the unique Stubb's fish fry. This kaleidoscopic portrait of the West Texas song scene will get to the center of what it takes to create artwork in an remoted, frequently inhospitable atmosphere. As Oglesby says, "Necessity is the mum of construction. Lubbock wanted attractiveness, poetry, humor, and it had to wake up and shake its communal ass a piece or move mad from loneliness and tedium; so Lubbock created the fantastic likes of Jimmie Dale Gilmore, Butch Hancock, Terry Allen, and Joe Ely."
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Extra info for Fire in the Water, Earth in the Air: Legends of West Texas Music
I remember him saying, “I went out in the crowd to get a barbecue sandwich, and it took me two hours to get it. ” Lloyd comes back with his eyes this big and he’s thinking, “My God, what is this craziness? ” We set our gear up and we’re getting ready to play. The band that had played prior to us is a band called Bad Company. S. date. And Bad Company’s producer was Jimmy Page, so Page was with the band in Austin at this gig. I’m standing to the side of the stage tuning my guitars. I had met Page before, during my years with ZZ Top working for Billy Gibbons as his guitar tech, and Zeppelin was also with Atlantic Records.
He had been the director of the festival but he had left and ended up as the director of the Santa Fe Opera. We were having supper with him, and we started talking about how this group of people, all from Lubbock, had always wanted to do something together but it just never worked out. And we also said how it would take a lot of money to get everybody to stop what they were doing and get under one roof to work on something together. The next day, this guy calls us and says he’d pitched the idea to the American Musical Theatre Festival in Philly, and they thought it would make a really neat musical play.
But both my kids were in elementary school in 1980. I didn’t want to yank them out of school and pull lloyd maines 39 them down to Austin. I thought about their feelings first. I was flying back and forth to Austin and really could do both, juggling music and family. Then our kids grew up. Natalie joined the Dixie Chicks, and Kim graduated from Tech and moved to Austin to produce the news for KXAN. When I figured my travel expenses for my 1997 taxes, I discovered I had worked in Austin 214 days that year.