Honky Tonk Legends is a hand-picked group of dancehall musicians, up to and including Willie Nelson, who we consider to be Legends in the Texas Honky Tonk tradition.
More musicians in these sections:
• Texas Artists - Profiles of
modern Texas musicians
• Future Legends - The next
generation of Texas music legends
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Songwriter-Singer/DJ & Emcee, Aaron Allan has written over 900 songs with 27 of them being recorded by the likes of the Osborne Brothers, Charlie Walker, Stony Edwards and Willie Nelson, doing Aaron's "Truth Number One" in 1970. He has been inducted into the Country Music Association of Texas Hall of Fame and for next year, he has been nominated for the D.J. Hall of Fame in Nashville. He has also received a "Humbie" from the outstanding Humble Time radio syndication. Over 52 years in the music business, he has spent many of his efforts in the country music radio industry. He started on KITE in San Antonio, Texas in 1948, KBOP in Pleasanton and on to the well known WOAI in San Antonio. When Aaron left KBOP Willie Nelson took his place in 1954. He continued in Ft. Worth (working with Lawton Williams), Kansas, Nashville and various other stations. He often is seen at Willie's 4th of July Picnic as Emcee. Home was Fredericksburg and New Braunfels, Texas. His main influences were a strange combination, Burl Ives and Bob Dylan! Willie Nelson and Billy Joe Shaver were also great influences on his song writing. Good examples. Well aware of the path that "country" music has taken especially from Nashville, Aaron tends to promote "True" country music. The younger generation who have followed in the foot-steps of the legendary country artists, give Aaron hope for the future of country music and radio. If not he'll write them himself, making sure there're country or as Ernest Tubb often said if his band got a little loud or fast, "Keep it country, boys." With Aaron around, we're in good hands.
Born, raised and still in San Angelo, Texas (at Atkinson's Transmission Repair), Snake is a Rockabilly hero who has played many of the Honky Tonks featured on Honky Tonk Texas, USA and its companion cd-rom. He got his first guitar for Christmas as a 5th grader in 1955. He played the trombone as a member of the Edison Jr. High band and won the state competition in 1957. In high school he was branded as "SNAKE", and he formed his first band in 1960, "Little Alvin & The Regents" as the rhythm guitar player. In 1961 they changed their name to "The Fabulous Cyclones". To expose his many talents, he taught himself to play drums, lead guitar and bass to go along with his rhythm pickin. It paid off when in 1964 Snake along with "The Caveliers" recorded "Last Kiss" which went to #1 on the charts and sold 500,000 copies. It remains one of the all time classic hits. Soon they were on the road with Dick Clark's "Caravan Of Stars." Snake has a new cd Still Rockin' After All These Years (see his Home Page) on which he plays most all the instruments. Two exceptions are his pal Frank Markwood, drums on Too Many Girls, Jim Heidenheimer on piano and buddy Lewis Elliott doing a little bass work. A true part of Texas. So when in San Angelo and you think you might hear a "ping" in your car's transmission (or you need an excuse to stop to meet Snake), you know where to head. Until then check out his web site and cd.
In the late 1970's, Austin was the home of a style of music, combining rock 'n roll, country, tejano, and cajun sounds from our neighbor to the East, Lousiana. Marcia Ball came to Austin fron Louisana to join with folks like Stephen Fromholz and Rusty Weir to open the doors for Willie Nelson and the next generation of Austin music. Soon Frieda and The Firedogs with Marcia and guitar wizard John X Reed joined with other bands such as Shiva's Head Band, The Mysterious Family Band, and Conkeroo to help Austin become known as "The Live Music Capital of the World." Marcia opened her own club La Zona Rosa with husband Gorden Fowler of "Two Alarm Chili" fame. "The Marcia Ball Room" was soon created under a tin roof in Austin's downtown warehouse district. Marcia's fantastic keyboard work along with her amazing vocals have brought her the attention and acclaim she so well deserves. Any of her releases are well worth it, and her live preformances are like few to be seen.
Ronnie Hawkins headed out from Northwest Arkansas as one of the pioneers of "white" Rock n' Roll in the mid 1950's, and with many great hits such as "Forty Days", he soon became a teenage idol. Ronnie never forgot where his "roots" came from. On one trip back home, he met up with a youngster from the Mississippi Delta (close to Memphis, Tenn) - Levon Helm. With Levon on drums, Rick Danko, Richard Manuel and Garth Hudson were added from Canada, creating one of the greatest bands of any era---Ronnie Hawkins and The Hawks.
Marc grew up in North Dallas as a good friend and formed Marc Benno & The Victors in high school. We had a lot of great "lake parties" at some poor unsuspecting friend's parent's lake retreat. We charged a few dollars for all the beer and evil you could stand. Soon he was dressing in all white and doing back flips on stage as "Bennie Darvon: The White Tornado." What a show that was. Each year Marc's band competed against Dallas/Ft. Worth's best bands at The State Fair Of Texas' Battle Of The Bands. This meant it all for the hot local bands at the time and there were plenty: Steve Miller, B.W. Stevenson, Bobby Rambo, Boz Scaggs, Delbert McClinton, Marc Benno, Michael Murphy, The Vaughn Brothers, and on & on. After all, this was North Texas where the blues were for real in the '50's and 60's. The Jacksboro Highway (outside of Ft. Worth) and Deep Elm in Dallas were just two of the places to hear the real blues. An hour North was Johnny's B-29, a Red River Honky Tonk that carried all the cold Coors that would pack in Mom's car trunk, right across the alcohol dry Texas line (and even closer to North Texas State University in Denton, Texas' Music school (see B.W. Stevenson). Hall Street in Dallas was a place that few dare to tred, but Marc and I and a few others would make our late evening ventures down there to be originally met with threateningly stares from the all black clientile and Artists. It was only after a few beers (at 16-17 years old) and Benno borrowing a old beat up guitar, that the crowd and band was amazed at what this white "kid" could do. We never had problems. Only leaned a lot! Later Marc wrote "Hall Street Jive". Benno headed to Los Angeles after high school and moved in with Leon Russell and Rita Coolidge on High Line Drive. The house soon became famous for what came out of the all night sessions. Leon and Marc did two Asylum Choir albums with Rita Coolidge, Clarence White (The Byrds), Jessie Ed Davis, Bobby Womack, Carl Radle and whoever showed up. Marc went on to tour with Ry Cooder (playing guitar!!!), The Doors on LA Woman and such great west coast artists as Bobby Keys, Jim Horn, Booker T. Jones, Eric Clapton, Albert Lee, Jimmie Lee Keltner, Joe Cocker, Delaney & Bonnie, his own band and many more. Marc is one of the most talented blues guitarists to come out of Texas. He studied under the great blues master Mance Liscomb outside of Austin along with Doyle Bramhall & Doyle Jr. He did some tracks with Stevie Ray Vaughn & Double Trouble which has never been released. Soon, someday! Marc has traveled Europe with great acclaim and has numerous great releases (see the Gift Shop Link above). Marc's been a friend since way back then, and he was one of the few people who knew exactly what he was going to do "when he grew up." I'm still trying to figure it out. Thanks for a lot of fun, great music, and an education on how music transends all race and culture. Catch this guy whenever you can and get any of his great releases. Rita Coolidge has covered many of his songs and Marc's got himself an Emmy. Only in Texas. His newest is a tribute to Jimmie Reed, "Jimmie Reed's Mama". Run to get it. It's fantastic.
With a talent such as Arkey Blue possesses, some might wonder why this singer/songwriter/entertainer is not traveling the country in a lush tour-bus playing shows before thousands of people. The reason is really quite simple: Bandera, Texas and the Silver Dollar Saloon, which Arkey has owned and played at each weekend for over 25 years. Arkey figured out how to get the world to come to him, and they do!
Ponty Bone & The Squeezetones are a magical mix of Cajun, Zydeco, Tejano, Country, folk, rock, blues music, etc. Ponty's music & personality are a rare and welcome addition to the Austin/Texas music scene. PB introduced accordion to rock and roll, creating yet another part of the unique and inspiring musical mixture which exists in the Texas Hill Country due to our varied ethnic heritage.
Bonnie Bramlett. The name says it all; it’s synonymous with ‘Icon.’ It’s a name belonging to one of the single most revered female jazz/blues/soul/rock vocalists in music history. Perhaps noted music critic Robert K. Oermann said it best for her:
“Bonnie Bramlett sings like she has walked through the fires of hell, and danced with the angels.”
Dusty's (and the Rhythm Ranch Hands) "Cow Camp" is a real treat out of the old West. Located in the "Cowboy Capital Of The World", Bandera, Texas. He'll entertain you and he'll feed you from his Chuck Wagon with national championship receipes. Experience what a true Western Cowboy's life is like. Camping availiable.
The The Cate Brothers Band originate from
Fayetteville, Arkansas with roots leading back to Ronnie Hawkins & The Band. These guys, besides being excellent musicians, have been Levon Helm's backup band when he was adrift from The Band. At the time we remember
thinking The Band simply couldn't get any better, The Cate Brothers stepped in.
A stack of albums dating back some 40
years, several world tours and thousands of concert
and club appearances have polished this band to the
level of, simply put, world class.
A glance at their concert credits reads like a
who's-who of the Rock 'n' Roll Hall of Fame, including
dates with The Band, Bob Dylan, Crosby, Stills, Nash
& Young, The Grateful Dead, Jeff Beck, Little Feat,
Queen, Fleetwood Mac, The Doobie Brothers, ZZ
Top, The Beach Boys...and one Hall of Famer who
used to open shows for them, Bonnie Raitt. Check out Ice House Records ("Just A Little Bit Cooler"). Great guys with a lot of talent & soul. These guys are true friends and real first class Artists. Find 'em and go see them. Earl Cates is one of the finest guitarist around and brother Ernie, not only is a master at the keyboards, but an excellent writer. A great show. Go see 'em and Levon is always likely to show up! Either way, it's as good as it gets.
Milton Brown and his brother Durwood began singing at dances during the Depression at the age of 12 in Stephenville, Texas. After moving to Ft. Worth, they joined up with a young fiddler named Bob Wills to form the Aladdin Laddies in 1931 and were hired to advertise future governor W. Lee O'Daniel's Burrus Mill on a local radio show. The Light Crust Doughboys soon became one of the most famous and influential bands of all time.
Cliff Bruner was an member of Milton Brown's Musical Brownies at the early age of 18 after Milton (the "Founder of Western Swing") heard of a young teenage fiddler who had spent his youth traveling around Texas by hopping freight trains, refining his self taught talent and creating his own style (and about "starving to death"). Milton had him audition that night at Brownies Tavern in Ft. Worth, and the job was his. He remained with the number one swing band in the nation until shortly after the untimely death of Milton in 1936. He had recorded 48 songs with Milton on Decca Records.
"Whiskey River take my mind, don't let her memory torture me." Only Johnny Bush's accountant knows how many times those words have been heard in every Hill Country Honky Tonk, not to mention the rest
of the world. Ever since he wrote "Whiskey River," Willie Nelson has opened and closed every show with it for well over twenty years. Johnny is a true Honky Tonk legend. Known as the "Country Caruso," he even practices breath control excercises developed by an Italian opera coach. He has serveral albums with RCA, one with Watermelon Records, and is on a couple of Cornell Hurd's CD's. Johnny appears locally at the Broken Spoke and Floore Country Store, and is liable to be seen walking on at other artist's shows to lend a hand. Johnny's a major presence in Texas Honky Tonk music. Ask Willie.
The early 1960's was an interesting time. Elvis was in the army and Nashville was putting violins behind everybody! From Los Angeles, California four teenages formed The Byrds. Roger McQuinn, David Crosby, Gene Clark and Chris Hillman soon had took the country by storm. Few touring bands were playing outside of the black blues tours and the great Country Tours, often with several great highlighters. The Byrds and The Buffalo Springfield were amoung the first and very best progressive country bands. From these two bands come many of the best groups of our time, The Flying Burritto Brothers, The Eagles, Crosby, Stills, Nash & Young, etc. By 1967 Gram Parsons The Byrds as a keyboard player, but soon convinced the band that country music was the way to go. A new generation was introduced to the country sound, and this allowed folks like Willie Nelson to become established as one of the greatest outside of the strict confins of Nashville. Ask Willie about The Byrds and Gram Parsons. "Eight Miles High" meets the "Red Headed Stranger." 
J. (John) Frank Wilson was from
Lufkin, Texas. He was born there on December 11, 1941. When he was growing
up in the fifties the sounds of Buddy Holly and Elvis were reverberating over the airwaves and would influence his style of
singing.
A hip local band The Caveliers needed a new lead singer and J.Frank wanted to enlist. He passed the audition. J.Frank would leave The
Cavaliers and return to Lufkin a few months later. Sid Holmes would also subsequently leave the band. Sid had been the leader
of The Caveliers and after he left the void was filled by Lewis Elliott. Lewis formed a new Cavaliers including Snake Atkinson, Buddy Croyle & Mike Hodges.
It was at this period of time that Sonley Roush came to San Angelo with a single that was about to change the world
forever for The Caveliers, a single called "Last Kiss". It was written and recorded by
Wayne Cochran who used to work as an act with Hank Cochran. The lyrics foretold a story that was based on a real life incident.
In the early 60's six teenagers were driving on a highway in Georgia. One of them a, Jeanette Clark, was going on her first
date. She sat in the front of the car with her date. That night the weather was foggy and the car she was in crashed into a
truck that had stopped on the road. The resulting accident caused Jeanette's untimely death.
In June of 1964 "Last Kiss" was released among
the madness and excitement of Beatlemania and the British Invasion. By October the song had cracked the top ten charts
of both Billboard and Cashbox. Not bad for a song that was recorded in one evening, over a period of tour to five hours.
"Last Kiss" was #3 the last week of October when tragedy
struck. In the early morning hours of October 23, J.Frank Wilson and The Cavaliers
were travelling from Parksburg, West Virginia to Lima, Ohio. The car drifted left of the center plowing head on into a tractor
trailer truck.
The press had a field day linking the tragedy with the lyrics in "Last Kiss" about a teen-age girl who dies from a car
accident in the arms of her boyfriend. A week after the accident the record was number 2 and then number one the week
of November 7.
While J.Frank and The Caveliers would earn a gold record for "Last Kiss", they never received much money from
royalties. A #1 record and stardom with Dick Clark's Caravan of Stars still allowed The Caveliers found time to play at many of the old Texas Honky Tonks we document on this web site and our CD-Rom Honky Tonk Texas, USA. Another great Texas story - none of it made up - don't have to in Texas. Thanks to Frank, Lewis, Snake & all The Cavaliers.
On October 4, 1991, J.Frank Wilson passed away.
Hey, Baby was recorded as a flip side by a young Texas Artist, Bruce Channel. Thus began a fascinating touring and recording career in the
U.S. and England. Later, hits such as "Goin' Back to Louisiana", "Mr. Bus Driver",
and "Keep On", have kept Bruce at the forefront of the music scene for many years.
Once in England he headlined a show featuring
a relatively unknown recording group, The Beatles.
In 1978, Bruce moved to Nashvillle and began writing for Nashville recording
artists. Since then his successes as a writer include number one records for T. G. Shepherd
on "Party Time," Janie Frickie on "Don't Worry 'Bout Me Baby", John Conlee "As Long As I'm
Rockin' With You," Anne Murray's re-make of "Hey! Baby," and Mel McDaniel's smash,
"Stand Up" which Bruce also had a hit on his CD Stand Up. Bruce has also had cuts by Alabama, and Oak Ridge Boys, Jerry lee Lewis and
Tom Jones. He co-wrote the country hit "You're the Best, with Kieran Kane who recorded it,
and "Gonna Have a Party," recorded by Alabama.
Bruce received an award from BMI for two million radio performances of "Hey! Baby." His
original record of "Hey! Baby" is featured in the hit movie, Dirty Dancing, and on the
international sound track album, listed in Billboard's Pop Album for over three months with
sales of over twelve + million units. Bruce lives in Nashville and is actively involved in song
writing and music publishing. He's a great guy. Hey "Bro" do another one for us! Never miss Bruce when he's anywhere close (or far). He often tours Europe and the better known songwriters' venues across the country. Check The Saxon Pub in Austin and Poor David's in Dallas, Texas. Tell him "hey" from Martin and the gang at Honky Tonk Texas, USA. We love the guy!
Bruce's latest CD includes such great musicians(besides Bruce) as Dan Penn, Chris Ethridge (bass with Bruce, Willie, Burritio Bros., Etc), Don Nix, Delbert McClinton (fellow buddy from Ft. Worth, Texas), and Willie Dixon.
Check out Icehouse Records, 901-388-1108: "A Few Degrees Cooler who also handle the fantastic Cate Brothers.
"I Fall to Pieces," "Make the World Go Away," "The Chair," and now after over 1000 songs, Hank gives us "Patsy" from his release "Desperate Men"
showing once again that he is a Great American Treasure. Some of these
written journeys through Hank's emotions were penned with Nashville's "other"
greatest songwriter, Harlan Howard, and with his longtime friend Willie Nelson.
It was a long road from a dirt poor Mississippi childhood and a stay at an
orphanage (Hank ran away when he was ten) to become a member of the
Nashville Songwriter's Hall of Fame in 1974. He remains as
essential as ever to Country Music. Hank is Country Music!
Hank Cochran is important to Texas Hill Country Music as
his songs are found on every jukebox in any "respectable"
Honky Tonk.
Fortunately for western swing and Country Music fans throughout central Texas, in the early '70's a young Oklahoma Fiddler, Alvin Crow, via a stay in Amarillo to put a band together, headed for Austin with the Pleasant Valley Boys. They arrived in time to play an integral part in the new Progressive Country movement, which combined traditional Country Music with a touch
of Texas blues and rock 'n roll. By the mid-seventies with premier bands
like Alvin's, Asleep at the Wheel, The Ace in the Hole Band (George
Strait), and The Cornell Hurd Band, Western Swing regained national
attention, and the "Two-Step" and "Cotton Eyed Joe" reached a new
and broader group of enthusiasts.
Ted wrote the first Honky Tonk truckin' song, "Truck Drivers' Blues," which was recorded in 1939 by Cliff Bruner, selling over 100,000 copies. He also co-wrote two of country music's greatest songs, "Born to Lose" and "No Letter Today" with Leon Jenkins (father of Texas Hatter's Norma Gammage!). Ted also was a member of the famous Pappy Selph and the Blue Ridge Playboys band in the 1930's. It was the band of the day and the seed of Honky Tonk music.
Jimmy Day, My Dad & Elvis by Randy Willis
Al's national hit "Honky Tonk Blues" in 1937, followed by his recording of "Pistol Packin' Mama" were the first songs to establish the Honky Tonk sound. His original release was the first song to ever use the words "Honky Tonk." The lyrics that exposed the hard lovin' and hard drinkin' way of life made him a famous man.
With help from friends and fans in Fort Worth, Bob
Wills, "The King Of Western Swing" along with Milton Brown, "The Father Of Western Swing" (who died in 1936 soon after he and Bob left the band) persuaded Burrus Mill and Elevator Company
to sponsor the band on a radio show. Texans of every age still still belt out “Beautiful Texas,”
the ‘30s-vintage song written by the Light Crust
Doughboys’ colorful sponsor, former Governor W.
Lee “Pappy” O’Daniel and “San Antonio Rose,”
penned by Doughboy,Bob
Wills, remains in many a shower tenor's repertoire.
In 1931, W. Lee O’Daniel, manager of the Fort
Worth-based Burrus Mill, hired Bob Wills and Milton Brown and other musicians to advertise Burrus’ Light Crust
Flour on the radio. Though Wills’ and Brown's tenure lasted only
three years, and O’Daniel’s five, the Light Crust
Doughboys themselves have set a record as the
most enduring Western Swing band. People listened at noon
each day for a couple of licks on Bob Wills' fiddle
and Truett Kinsey's enthusiastic introduction: "The
Light Crust Doughboys are on the air!" Then the
Doughboys sang their theme song which began:
"Listen everybody from near and far,
if you wanta know who we are,
We're the Light Crust Doughboys
from Burrus Mill."
This went over so well, it became the salutation of
the Doughboys and has lived to the present.
No two Light Crust Doughboy performances or
concerts are ever the same. Each show is created
expressly for - - and inspired by - - the individual
audience, that unique group of people who will never
again be assembled for that special place in time. The thrill is still the same today witha different lineup over the years.
In concert each song presented for your pleasure
will be announced from the stage by Mr.
Montgomery or Mr. Greenhaw. So, sit back, relax,
and prepare to return to those fond memories of
days gone by, or to receive an experience that can
be savored in your memory as a truly enjoyable
experience as The Light Crust Doughboys take the
stage. Remember that they have thoughtfully
captured their virtuosity for your continued
enjoyment on their many recordings and videos!
Singer/songwriter Johnny Duncan was one of the most popular country stars of the mid-'70s and early '80s. He was born to a family of noted musicians in Dublin, Texas; among his relatives were Jimmy and
Dan Seals. His mother taught him to play guitar, and he was influenced by Merle Travis and Chet Atkins. While still young, he, his mother, the Seals brothers, and his uncle, fiddler Ben Moroney, formed a
dance band and played at local gatherings.
After moving to Clovis, New Mexico in 1959, he joined Norman Petty's group for three years. Producer Petty tried to make him into a pop star, but Duncan wasn't interested and eventually moved to
Nashville. He held several odd jobs before appearing on Ralph Emery's television show in 1966. There Duncan was seen by Columbia Records producer Don Law, who signed him to work with producer
Frank Jones. His first single, "Hard Luck Joe," made it to the Top 60 in 1967. The following year, his single "To My Sorrow" hit the Top 50. Later in 1968, he had his first Top 20 hit with "Jackson Ain't a
Very Big Town," a duet with June Stearns.
His popularity leveled off through 1970 until producer Billy Sherrill took over. In 1971, Duncan's "There's Something About a Lady" made the Top 20, and his third single of the year, "Baby's Smile,
Woman's Kiss," hit the Top 15. He had his first Top Ten hit with "Sweet Country Woman" in 1973. After 1974, his career stalled, and he asked Columbia to free him from their contract, but the label
wanted one more single. He recorded the Gatlin Brothers' "Jo and the Cowboy" with the then-unknown Janie Fricke and had a Top 30 hit. In 1976, Duncan's straight-ahead country singing began to catch
fire, giving him two smash hits with Kris Kristofferson's "Stranger" and "Thinkin' of a Rendezvous," his first number one hit. The following year, he had three more Top Five hits, including the number one "It
Couldn't Have Been Any Better."
Both 1978 and 1979 saw Duncan's hot streak continue with such hits as "She Can Put Her Shoes under My Bed (Anytime)" and "Hello Mexico (And Adios Baby to You)." In 1980, his career began to
wane a bit, and although he had four hits, none made it past the Top Ten. In 1981, he only had one Top 40 hit, "All Night Long." Duncan all but disappeared until 1986, when he made a minor comeback on
with "The Look of a Lady in Love" and "Texas Moon." One of the very best. Never miss him.
Lewis Elliot got his first guitar at age l4 and learned to strum a few chords before joining the Army in l953.
He played bass guitar with Charlie Dalton and the Rhythm Bandits in the late 50s. He then began playing with
The Cavaliers with Sid Holmes in the early '60s. Lewis became The Cavaliers band leader at
Holmes' relocating to Corpus Christi in l963. In l964 they recorded "Last Kiss" with J. Frank Wilson,
vocalist; Roland "Snake" Atkinson, drummer; Eugene "Buddy" Croyle, lead guitarist; and Lewis
Elliott, bassist, and studio back up singers and pianist. They were fortunate to have a million seller
that reached # l in Cashbox Magazine and # 2 in Billboard Magazine. This band like so many others from Texas have been in the forefront of our musical history. Who can ever forget "Last Kiss". Lewis has been managing and producing Texas talent like Snake Atkinson ever since. Thanks, Lewis for helping us all remember and be part of the history of Texas music.
Roky Ericksonfirst came onto the music scene 1n 1965 playing and singing lead with the
13th Floor Elevators. The Elevators where one of Texas's finest psychedelic
bands of the sixties and Roky added his own unique blend of genius. Roky was only 17
when he joined the band but quickly became the front man for the group, with his powerful
vocals and song writing ability. A second pot bust in late 1968 when possession laws were
even stiffer than they are now, ended with Roky pleading insanity. This was supposed to be
a better choice than going to jail. However that time period was during the height of
experimentation on treating the criminally insane. Roky was never quite the same after his
three and a half year stint in the Hospital for Criminally Insane in Rusk, TX. Roky received
shock treatments while at Rusk and upon his release 1n 1972, was convinced that he was a
Martian. In the mid 70's he started recording and performing again with his new band named
Bleid Alien which later became The Aliens. His recordings in this period included the
albums Evil One and Creature With The Atom Brain. Both absolutely fantastic, if you could handle it. His personal and mental demons took
control over the direction of his music and his life. He had another arrest over a U.S. postal mail issue in 1989 and was briefly
institutionalized in the early 1990's. 
Freddy Fender, yeah, known as of late as part of the Texas Tornados with the late & great Doug Sahm, Augie Meyers, and Flaco Jimenez. Freddy has had several careers starting with a clandestine radio trip in the 1950's & 1960's when "white" radio didn't play hispanic or black music. Freddy did it by fooling them with a name change after his favorite guitar maker, Leo Fender. It worked, for awhile.
In the early '70's this gang of Lubbock natives, Jimmie Dale Gilmore, Joe Ely, and Butch Hancock put together an album that 20 years later would be a hit. After meeting back up in Austin after various travels and jobs; Joe was in the circus, Jimmie an ashram, and Butch in architecture school; they have taken time from their individual sucessful careers to be "Flatlanders" again with shows and a new CD coming. 
Photo: Jimmie & Lefty Frizzell; Bio by Sid Holmes: "Mr.Friendly, talented, and hard working Jimmie Fletcher became San Antonio's
"All-Time Most Popular Night Club Act". Jimmie first recorded For Mercury, a major
label at the time, and later on Winston. He toured with most of the members of
"The Grand Ole Opry" and at one time played regular in Mexico. In San Antonio he
had daily radio shows, and his theme song was, an E.T song, "Driftwood On The
River". Jimmie's first wife, her professional name being Miss Billie played piano and
also sang in his band. By choosing the very best talent available through the years
for his band, The Drifting Ranch Hands, Jimmie provided great dance music for the
large crowds that followed him. Jimmie actually made a music career out of
playing just two clubs in San Antonio, "The Dixie" And "The Boots & Saddle". Jimmie
ended his successful music career on a high note, in the seventies, by playing seven
great fun-filled years at the famous "Ramblin Rose" in Llano,Texas. Jimmie and his
wife, Frances, live in the beautiful Hill Country near Camp Wood, Texas. You can
contact Jimmie at (830) 597-4118 for his Cassette...That is if you love (4 Star
Rated) Honky Tonk Music!" 
I have always been obsessed with
singer/songwriters, so when I
read about Blaze Foley in "Dirty Linen," I had to click up the CD
and listen.
It knocked me out, so I bought "Live at the Outhouse" and have
been playing
it every day for a week or two. Very nice picking, not unlike
John Prine on
"Diamonds In the Rough." "Clay Pigeons" reminds me of long bus
rides when I
was college and in the army. "If I Could Only Fly" is a bit of
a weeper.
Nice guitar and harmonica interludes and Blaze is so effective
vocally,
phrasing and pausing beautifully. The song goes from "If Only I
Could Fly" to
"If Only You Could Fly" to "If Only We Could Fly." Townes was
right, this
was a spiritual cat.
I first met Kinky Friedman in 1967 before he was Kinky. The name came afterwards–probably due to extensive curly
moss or a monstro-wig personality. At the time we were both Peace Corps volunteers on the island of
Borneo. Kinky always claimed his only accomplishment in the Peace Corps was to introduce the Frisbee
which the natives used to make their lips big. He also wrote songs. He was an enormous crowd pleaser at the Armadillo World Headquarters
in Austentatious, Texas in the mid-seventies. Kinky continued to tour and write throughout the seventies. Along the way many of the artists of the day
came to be his friends. People like Bob Dylan, Willie Nelson, Waylon Jennings, Danny Hutton of
Three Dog Night, Lowell George of Little Feat, Rick Danko and Levon Helm of The Band and
a whole host of others became Kinky Friedman fans. His influence upon those of influence continues
today as both George W. Bush and Bill Clinton read Kinky Friedman books. Dwight Yoakam often
quotes Kinky in interviews, and Don Imus mentions him often on his morning radio show as does
Sammy Alred,the radio voice of Austin. By the end of the seventies, after touring with Bob Dylan’s Rolling Thunder Review, Kinky went
solo, finishing out the decade at the Lone Star Café in New York. Soon home became the Texas Hill Country and Echo Hill Ranch.
Kinky spends much of his time at the ranch writing when he isn’t out on the road autographing books. The infamous little
green trailer where many of his early books were written is now occupied by an armadillo and various fungi which cover a
sign from Singapore that reads "No Dumping Allowed". by Dylan Ferrero (with thanks)
One of the finest song stylist that Country Music has ever been blessed with was Lefty Frizzell. His style of singing and phrasing became the standard, along with Hank Williams, of what Texas Honky Tonk Music had matured into. All three learned well from their influences and Honky Tonk Music's "creators," Al Dexter, Floyd Tillman, Ted Daffan, and Ernest Tubb. Lefty's amazing career stretched over 25 years with numerous number one songs, often with more than one in Country's Top Ten. At one time in 1951 he had four songs in the Country Music top ten at the same time! This outstanding achievement has never been equaled.
...along with people like B. W. Stevenson, Rusty Weir, Bobby Bridger, Michael Martin Murphy, Ray Benson, Kinky Friedman, Doug Sahm,
Ray Wylie Hubbard, and a few others who formed the mold for what was referred to as "Progressive Country." Today Fromholz remembers these times as the "Progressive Country Scare!" These were the days even before Willie Nelson came to Austin, and Steven's original musical mixture of "Guacamole Rock and Roll with Existential Bluegrass" left the Nashville Record Companies somewhat bewildered! So after a tour with Stephen Stills which proved too crazy even for Steven and a couple of record deals, Steven settled into his unique style of singing and songwriting with premier Austin guitarist Larry Nye to create a musical portfolio from "Texas Trilogy" (which some Texans claim should be the state song) to "I'd Have to be Crazy" that Willie Nelson did in a single take between golf games as Steven read the words behind him. His new web site puts Steven right up there in the new century with lots of great links, photos, sound clips and more. Jump in for a trip around "Texas Trilogy".
A farm boy from near Tyler, Texas who played his first professional show at the age of thirteen and who later found himself playing Fiddle with Bob Wills in the '50's and Willie Nelson in the '80's, might seem like quite an accomplishment to most, but not to Johnny Gimble. He's still doing it with his own band, Johnny Gimble and Texas Swing.
Levon was raised up on the Mississippi Delta around Helena, Arkansas. For most boys at the time, that'd been about it.
Honky Tonk music is a mixture of several cultural influences, one of the most dominant being German/Czech dance music. Adolph Hofner and his brother Emil (Bash), were raised listening to and emulating the local "oom-pah" polka bands. When the family moved to San Antonio in 1926 and the two brothers were introduced to other styles of music, the Hawaiian steel guitar became Emil's choice while Adolph stuck with the guitar adding a country hoedown rhythm.
There are no words adequate enough to express the profound sorrow all of Champ Hood's friends, family, and fans feel to
never be able to look upon his sweet face or to listen to him play his fiddle and his blue guitar. He is gone from
this earth but there is a part inside each of us where he lives. We will always miss Champ - every single day - until
we too leave this earth and join him in that honky tonk in heaven. 
Ray Wylie Hubbard’s music is a journey through country music’s dirt roads and back alleys, but mostly his songs are introspective and brilliant. Best known for "Redneck Mother," which he’ll often open a show with just to keep the crowd from yelling for it all night, his music is really a combination of all the strains of American music. He helped define the Progressive Country Music era in the 70’s along with many talented artists like Steven Fromholz and others. Ray has learned to mold his craft and grow spiritually into a powerful artist. His release "Lost Gringo’s Lament" brought well deserved critical recognition, and "Dangerous Spirits" reveals a deep passion for his art as is evidenced by the words of John T. Davis that it "bristles with allegory, the songs populated by archetypal saints and sinners and seeking pilgrims, all sliding down a razor’s edge between salvation and damnation." That’s Ray Wylie.
The ethic diversity of Texas music has been influenced by as many different styles as Texas has geographical areas. Norteno (Conjunto) music, which became common in northern Mexico and southern Texas around 1936, was popularized mainly by accordion master Santiago Jimenez and then his two sons, Santiago, Jr., and Flaco. The elder Santiago learned to play European polkas and waltzes to earn a living in the dominantly German/Czech communities in central Texas. While Santiago, Jr. has stayed close to his father's musical roots, Flaco has taken the accordion ("Rey de Acordéon") and Conjunto music to new levels and to fans throughout the world.
Billy The Kid (Henry Mc Carty, alias Kid Antrim, alias William H. Bonney, alias Billy The Kid) came west crossing Texas to the southern area of New Mexico in the 1870's. Passing through Uvalde, Texas, he met up with loyal friend and fellow outlaw Tom O'Folliard. Previous to the infamous Lincoln County Wars in New Mexico, he was known to have frequented many of the Honky Tonks and cattle drive stops along the Chisom Trial, such as the Cherry Springs Dance Hall. Many stories remain telling of his lively demeanor and touchy temper while tranversing the Texas Hill Country. The gold and turquoise mines in the Jicarilla Mountains were a great temptation to Billy and his band of "outlaws". Sheriff Pat Garrett finally caught up with Billy on July 14, 1881 at Old Ft. Sumner and shot him dead in a cowardly act. The truth concerning the legends of Billy and other infamous "outlaws" after the Civil War (Frank & Jessie James and the Younger Brothers), has yet to be resolved. 
Born in 1910 in a Sabine River Gypsy Camp, at age 15, Caesare headed out from Currie, Texas to Chicago on a motorbike. Caesare said, "They almost made it".
Delbert McClinton was born in Lubbock, TX, on November 4, 1940, and grew up in Fort Worth. Discovering the blues in his teenage years, McClinton quickly became an accomplished harmonica player and found plenty of work on the local club scene, where musicians often made their living by playing completely different styles of music on different nights of the week. His most prominent early gig was with the Straitjackets, the house band at a blues/R&B club; it gave McClinton the opportunity to play harp behind blues legends like Howlin' Wolf, Jimmy Reed, Sonny Boy Williamson II, and Bobby "Blue" Bland. In 1960, McClinton's cover of Williamson's "Wake Up Baby" made him the first white artist to have a record played on the local blues station KNOK. McClinton's harmonica was prominently featured on Fort Worth native Bruce Channel's 1962 number one smash "Hey! Baby"; brought along for Channel's tour of England, McClinton wound up giving harp lessons to a young John Lennon. Upon returning to the States, McClinton founded a group called the Rondells (sometimes listed as the Ron-Dels), which had a minor chart single in 1965 with "If You Really Want Me to, I'll Go." Although the Rondells recorded for several different labels, wider success eluded them and McClinton spent much of the '60s making the rounds of the Texas club and roadhouse circuit, where his reputation kept growing steadily.
Bob has been awarded Songwriter of the Year in 1976, 1985, and 1989 by NSA, in 1985 by BMI and in 1994 by ASCAP, not bad for a boy from the oil filds around Beaumont (Houston), Texas.
With the arrival of summer around the corner, the Patsy Montana Festival is once again under way. Patsy has been acclaimed as the first woman to have a top record in country music with "I Wanna Be A Cowboy's Sweetheart". Her great vocals and her great show, in a time that was not always kind to female Artists, paved the way for many female Artists including Kitty Wells, Patsy Cline, Loretta Lynn and on & on. A member of the Country Music Hall of Fame, her annual festival is held in Pineville, Mo. Try 417-223-7290 for information. 
Willie, like many other Southern children of the time, was raised with certain moral values by his loving grandparents in Abbott, Texas south of Dallas/Ft. Worth. His family had migrated from Marion County, Arkansas in 1929. These values were often at odds with the temptations of every day life even for a young farm boy. "Phases and Stages, Circles and Cycles" might best describe Willie's life. Fortunately for all of us, Mama and Daddy Nelson were interested in music and started Willie on guitar while sister Bobbie was groomed to play piano. When Bobbie played in the local church, young Willie would listen outside where he
could also hear the songs of the black cotton pickers and Mexican migrant workers who camped nearby. By age 7 the Legend had begun!
Mickey Newbury has had over 400 covers of his great Texas songs by other artists over the past 35 years from Elvis to Dread Zeppelin! This includes Don Gibson(12), Roy Orbison (8), Waylon Jennings (7), Kenny Rogers (7), Joan Baez(5), Brenda Lee (4), B. B. King (3), Ray Charles (3), Johnny Rodriguez (3), Ray Price, Bobby Bare, Webb Pierce, Roger Miller, and numerous other artists with a taste for true quality in Texas country music. His great hit "An American Triology" has been covered by over 50 artists!
One of the brightest "stars" in all of Country music is also one of its most humble. On Larry Nolen's birthday when he was 15 years old, he first stepped onto the stage at Bandera's Cabaret to the thrill of a swirling dance floor. The music kept playing and the young musician kept singing.
Gary P. Nunn came to Austin in 1968 to study at the University of
Texas, but he soon found himself in Michael Martin Murphy's band. He had started playing guitar at age seven. As Murphy moved on, Gary and the others formed The Lost Gonzo Band and started backing a newly arrived guitar player/songwriter who was named Jerry Jeff Walker. They, along with Steven Fromholz, Rusty Weir, and others, formed the core of the new Progressive Country music scene which was developing in Austin, Texas during the early 1970's---even before Willie Nelson took the town by storm. Gary's song "London Homesick Blues" ("Home with the Armadillo") probably best defines the period, and it has been the theme
song for the Austin City Limits TV show for years. See
Gary P. Nunn often at the Broken Spoke.
In 1955 in Chapel Hill, North Carolina, "The Tops" were formed from a group of students attending Lincoln High School. The group was organized by Doug Clark in an attempt to earn money playing at nearby UNC fraternity parties and other school functions. The Tops first played for Phi Delta Theta fraternity and continued on to play for most every other one there after that night.
The following year, the group broke up and founded a new group called "Doug Clark's Combo." This group continued playing the local fraternity scene as well as the Square Club in Durham, NC on Sunday nights. After picking up a new song called "Hot Nuts," (listen to it here!) the group became recognized for this instant hit. From this song arose...DOUG CLARK AND THE HOT NUTS!
From the mid-50's to today, Doug Clark and the Hot Nuts have been playing their addictive music at colleges and universities all across the United States. Their style of telling dirty jokes and singling out audience members has proven extremely successful for the band. Although the Hot Nuts have often been booked for "censored" shows, the crowd ALWAYS ends up begging for the raunchy style that has made them famous.
Gram was well known around Los Angeles in the late 1960's, but not until he joined up with The Byrds in 1967 for their "greatest" release Sweetheart Of The Rodeo did the rest of the world take notice. Byrd headman Roger McQuinn needed a keyboard man, but he got a lot more. Soon Gram had written the majority of the new album, helping to create a new blend of Roll 'n Roll and Country Music. Some called it Progressive Country, others say it saved Country music from the grasp of Nashville (overproduction & violins). After a dispute with McQuinn about touring in South Africa (due to its segregation), this southern boy left the band before the tour. When they returned Chris Hillman (along with Chris Ethridge and Sneaky Pete Kleinlow) formed the Flying Burrito Brothers with Gram, creating a sound that changed the World. Songs written by and the style of the true legends of country music were evident in Gram's future works. Willie Nelson credits Gram with opening the ears and minds of America's youth to country music and allowing him to achieve the recognition he so well deserves. Check The Band, The Eagles, Pure Praire League, The Greatful Dead, Bob Dylan (Nashville Skyline), Crosby (ex-Byrd), Stills, Nash & Young, etc. for those influenced by Gram. The story goes on and on. Check these web sites for the rest of an amazing story, and give Gram a thought now and then. We all owe him a lot!