Posts Tagged With: Armadillo World Headquarters

Austin’s Broken Spoke rolls on

AATWSpokeFor better or worse, Asleep at the Wheel’s longtime hometown of Austin, Texas, has changed an awful lot over the last 40 years. It’s depressing to tally up all the funky enclaves that have been paved over in the name of runaway growth, and it sure isn’t the same town it was during the Armadillo era I wrote about in my University of Texas Master’s Thesis. But Austin still has plenty to recommend it. I’m sure my “Comin’ Right at Ya” co-writer/subject/star Ray Benson will never leave, and I always love going back to visit. I’m already counting the days until next month’s South By Southwest.

The Broken SpokeOne lingering repository of how The Old Austin ™ used to be is The Broken Spoke, an old-style honky tonk that used to be surrounded by empty fields south of downtown. Urban sprawl swallowed up that stretch of South Lamar long ago, but The Spoke is still standing. Going there feels not unlike visiting a game preserve, surrounded as it is by high-rise condos and such.

Inside, however, the place feels pretty much the same as it did when I started going to shows there during my circa-1980s college days, with ceilings low enough to make me glad I’m nowhere near as tall as Ray. And above right is a picture from a show I really wish I’d been able to make it to, Willie Nelson sitting in with the Wheel Thursday night to benefit Turk Pipkin’s Nobelity Project.

Great cause, and I can’t imagine the show was anything but great, too — and man, I can practically taste the Lone Star beer and chicken-fried steak. As long as The Spoke survives, a piece of Old Austin will live on. I find that comforting, y’all.

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News about the American Music Series, and me — I’ll be Asleep At The Wheel

So “Losering” is still semi-current and getting some attention here and there; I’m curious to see whether or not the next Ryan Adams album (whenever one emerges) might generate some more interest. But the book has been out there for more than six months, which means it’s high time to move along to the next thing. I’m happy to have some news about that, as well as the University of Texas Press American Music Series.

RayBensonMy next book will be co-writing a memoir with Ray Benson, founder and guiding light of the Western swing band Asleep At The Wheel, and it’s a project I could not be more excited about. I grew up in Texas during the ’70s progressive-country era, and I wrote my UT Master’s thesis about the Armadillo World Headquarters. I’ve always had a soft spot for that era’s icons, and as icons go Ray is one of the best — a fantastic musician and raconteur who, as the saying goes, has been around the world twice and talked to everybody at least once. This should be a raucous good time.

So that’s what I’ll be working on for the next year or so. While the Benson book is also for UT Press, this one won’t actually be part of the UT Press American Music Series. But work there continues apace. As mentioned previously, David Cantwell’s “Merle Haggard: The Running Kind” is next up, out in September, to be followed by John T. Davis’s “The Flatlanders: One More Road” in 2014. I’ve been asked to keep mum about several other titles in the works, but here are the ones in the pipeline that I can tell you about:

Los Lobos, by Chris Morris
John Prine, by Eddie Huffman
Vic Chesnutt, by Kristin Hersh
Ray Charles, by David Cantwell
Mary J. Blige, by Danny Alexander
Madonna, by Alina Simone

Obviously, the last two names are what jump off that list, possibly leaving you to wonder what the heck is going on here. Thus far the American Music Series has had an Americana focus, which is not surprising given that it’s an outgrowth of No Depression magazine. But the series is still developing an identity, and the truth is that we were always going to have to broaden it in terms of both styles and approaches to make it work. Thus, Mary J. Blige and Madonna.

UTPressLogoNow it’s certainly possible that American Music Series might eventually come to mean just “books about music.” Nevertheless, even though Blige and Madonna are both outliers (and probably as far as I’d care to go in this direction), I think you can build a case for both being a better fit than they might seem at first glance. Blige, The Queen of Hip-Hop Soul, is firmly grounded in the r&b tradition, and I’ve always thought of her as more soul than hip-hop. A decade from now, I wouldn’t be a bit surprised if she were singing straight-up gospel because such an evolution would make perfect sense.

That brings us to Madonna, who is admittedly more of a stretch. But I think the real draw here will be Alina Simone, one of the most exciting new writers out there. I first met Alina a few years back when she lived in Chapel Hill and was playing intriguingly dark indie-rock along the lines of Cat Power and PJ Harvey. She really found her voice on 2008’s Everyone Is Crying Out To Me, Beware, a tribute album to the late “Yanka” (Soviet-era punk icon Yana Stanislavovna Dyagileva, who is Russia’s answer to Patti Smith). Sung entirely in Russian, Beware is a fascinating album with an even-more-fascinating back-story; you can read some of it here or here. Better still, read Alina’s wonderful 2011 memoir “You Must Go and Win.”

If Steve Earle, Jon Langford or another writerly Americana icon wanted to write a book for our series, I think we’d jump at the chance even if the subject they proposed fell outside the Americana universe. While Alina doesn’t have as high a musical profile as those two, she’s still part of this century’s indie-rock flock — someone that No Depression probably would have been reviewing if the magazine were still publishing when Beware came out. I think Alina’s idiosyncratic take on a cultural icon like Madonna will make for a great book. I can’t wait to read what she comes up with, and to be a part of sharing it with you.

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