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Home , Adolph Hofner, Andrew Hardin, Champ Hood, Clay Blaker, Django Walker, Emilio Navaira

scholars, and others for research and educational purposes. on Texas and will be available to students, music history of the university’swill become part extensive archival collection which will be conducted over severalThese interviews, years, who have been involved in the development of Texas music. with people throughout the state to conduct oral interviews students program, the Center is working with graduate history Brown of History. and others in the Department Through this Program, launched this past spring with the help of Dr. Ron note is the Center’sparticular new Texas Music Oral History educate students about the rich musical heritage of our state. in order alongside veteran artists to perform younger to artists “Starsthe new of Texas Music” series, through which we invite University’s College of Fine and Communication to present Arts working with Dr. Richard Cheatham and Texas State “Spirit of Texas Music” series. concert We are also pleased to be we are once again working with the Bullock Museum on its new Museum’sHistory 2002-2003 exhibit on Texas music history, successful collaboration with the Bob Bullock Texas State programs related to Texas and culture. Following history our schools, universities, and others to develop educational format for scholarly debate on the evolution of Texas music. as valuable referenceserve tools and have helped provide a Letter from the Director The Center is working on other new projects,The Center is working as well. on other new Of The Center has expanded its work with museums, public As part of our ongoing efforts to be more of our ongoing efforts cost-efficient, we As part Handbook of Texas Music Texas Music History The partment. through De- the History southwestern music history undergraduate courses in graduate and develop new opportunities. new future filled with exciting to a success and forward tremendous record of we can look back on a in September versary 2005, celebrate its sixth anni- Music prepares History to The Center continues to As the Center for Texas 8 Journal of and the making the History are also working to make all issues of the Center and its unique exciting programs. friends and supporters. Elmer & Susan Rosenberger, Billy Seidell, and all of our other Finlay, Clifford Antone, Tracie Ferguson, Mildred Roddy, Judy Brown, Byron & Rebecca Augustin, John Kunz, Kent Margaret Dunn, Sharon Sandomirsky & Chris Ellison, Ron & Collins, Ralph & Patti Dowling, Cathy Supple, Dennis & Snider, Margie First, Darrell & Barbara Piersol, Phil & Cecilia Lucky & Becky Tomblin, Kim & Robert Richey, Jo & Paul Cathey Moore, John & Robin Dickson, Rick & Laurie Baish, Bridgeman, Hickinbotham, Gary Francine Jim Hartman, & Diana Harrell, César Limón, Lanita Hanson, Brandi McDonald, Carroll Wiley, Vicki Meehan Clarke, T.Cay Rowe, Deborah McDaniel, Becky Prince, Richard Cheatham, Liz Center’s Board, Advisory Ann Marie Ellis, Nina Wright, Teja, the entire Texas State University the Department, History Wolf, Gene Bourgeois, Perry & Marianne Moore, Frank de la Bynum, Dee Lannon, Jimmy McWilliams, Cat Reed, Carley particular, I would like to thank Gregg Andrews & Vikki of what the Center is doing. Inbelieve in the importance direct line of funding, we rely on the generosity of all who during this past year.our fundraising efforts Since we receive no anywhere in the world. www.txstate.edu/ctmh [email protected] 512-245-3749 San Marcos, 78666 TX Texas State University Department History Director, Center for Texas Music History Ph.D. Hartman, Gary Sincerely, Please visit our website or contact us to learn more about the We are exceedingly who has supported grateful to everyone available on-line. This will help us keep costs low while Journal instantaneously available to readers Journal of Texas Music

The Journal of The Journal Texas Music History of The Journal Texas Music History Reviews Contributors Production Artist Director Art Technical Advisor Center for Texas Music History Editors Editors Project Administrator Director Assistant Director Volume 5 Number 2 2005 Spring ISSN 1535-7104 Texas Marcos University-San State © 2001 Center for Texas Music History, TX 78666. San Marcos, Drive, 601 University Marcos, versity-San Texas State Uni- of History, Department of mail to Journal Texas Music History, or to [email protected] Chicago Style, bymanuscripts e-mail in Microsoft Word, Submissions Article TX 78666. San Marcos, Drive, 601 University Texas of History. State Department ence to, correspond- Address subscription add $5. please America, For outside of North $10. are America the United States and North Subscription the views of the university. represent do not necessarily this journal The contents of Marcos. University-San for at TexasTexas Music History State bypublished Fall the Center and Spring Annual subscription rates forAnnual subscription Scott Gabriel Knowles Scott Gabriel Jimmy McWilliams Beverley Braud Gregg Andrews Gregg Andrews Gregg Andrews Deirdre Lannon Please submit Gary Hartman Hartman Gary Hartman Gary o .Specht Joe W. Lisa Rehbein César Limón Allen Olsen

The Center for Texas Board of Advisors Music History Roger Wood, Houston Community College System, Houston Joe Specht, McMurry University, Abilene Guadalupe San Miguel, Jr., The University of Houston, Houston Jerry Rodnitzky, The University of Texas, Arlington Edward D. Oliphant, The University of Texas, Austin Kevin Edward Mooney, Texas State University-San Marcos, Karl Hagstrom Miller, New York University, New York Bill C. Malone, Madison, WI Craig D. Hillis, The University of Texas, Austin John Dempsey, The University of North Texas, Denton Submissions Review Board Ralph Dowling Elizabeth Bradshaw Craig Barker Marcia Ball and The University of Texas, Austin 41 40 Reviews 26 8

The Journal of

San Antonio’s West Side Sound “It’s the Music”: Showtime the at Apollo: Honky TonkHero The Story of Harlem's of Harlem's World FamousThe Story Theater Gregg Andrews Texas in San Marcos, Kent Finlay’s Cheatham Street Warehouse Scott Gabriel Knowles Scott Gabriel Specht Joe W. Allen Olsen contents Casey Monahan Rod Kennedy Tom Frost III Tommy Foote Lucky Tomblin Guadalupe San Miguel, Jr. Joe Nick Patoski Volume 5 Number 1 Spring 2005 Spring Produced by The Berkeley Electronic Press, 2005 et al.: Contents 1 scholars, and others for research and educational purposes. on Texas and will be available to students, music history of the university’swill become part extensive archival collection which will be conducted over severalThese interviews, years, who have been involved in the development of Texas music. with people throughout the state to conduct oral interviews students program, the Center is working with graduate history Brown of History. and others in the Department Through this Program, launched this past spring with the help of Dr. Ron note is the Center’sparticular new Texas Music Oral History educate students about the rich musical heritage of our state. in order alongside veteran artists to perform younger to artists “Starsthe new of Texas Music” series, through which we invite University’s College of Fine and Communication to present Arts working with Dr. Richard Cheatham and Texas State “Spirit of Texas Music” series. concert We are also pleased to be we are once again working with the Bullock Museum on its new Museum’sHistory 2002-2003 exhibit on Texas music history, successful collaboration with the Bob Bullock Texas State programs related to Texas and culture. Following history our schools, universities, and others to develop educational format for scholarly debate on the evolution of Texas music. as valuable referenceserve tools and have helped provide a Letter from the Director The Center is working on other new projects,The Center is working as well. on other new Of The Center has expanded its work with museums, public As part of our ongoing efforts to be more of our ongoing efforts cost-efficient, we As part Handbook of Texas Music Texas Music History The partment. through De- the History southwestern music history undergraduate courses in graduate and develop new opportunities. new future filled with exciting to a success and forward tremendous record of we can look back on a in September versary 2005, celebrate its sixth anni- Music prepares History to The Center continues to As the Center for Texas 8 Journal of and the making the History are also working to make all issues of the Center and its unique exciting programs. friends and supporters. Elmer & Susan Rosenberger, Billy Seidell, and all of our other Finlay, Clifford Antone, Tracie Ferguson, Mildred Roddy, Judy Brown, Byron & Rebecca Augustin, John Kunz, Kent Margaret Dunn, Sharon Sandomirsky & Chris Ellison, Ron & Collins, Ralph & Patti Dowling, Cathy Supple, Dennis & Snider, Margie First, Darrell & Barbara Piersol, Phil & Cecilia Lucky & Becky Tomblin, Kim & Robert Richey, Jo & Paul Cathey Moore, John & Robin Dickson, Rick & Laurie Baish, Bridgeman, Hickinbotham, Gary Francine Jim Hartman, & Diana Harrell, César Limón, Lanita Hanson, Brandi McDonald, Carroll Wiley, Vicki Meehan Clarke, T.Cay Rowe, Deborah McDaniel, Becky Prince, Richard Cheatham, Liz Center’s Board, Advisory Ann Marie Ellis, Nina Wright, Teja, the entire Texas State University the Department, History Wolf, Gene Bourgeois, Perry & Marianne Moore, Frank de la Bynum, Dee Lannon, Jimmy McWilliams, Cat Reed, Carley particular, I would like to thank Gregg Andrews & Vikki of what the Center is doing. Inbelieve in the importance direct line of funding, we rely on the generosity of all who during this past year.our fundraising efforts Since we receive no anywhere in the world. www.txstate.edu/ctmh [email protected] 512-245-3749 San Marcos, 78666 TX Texas State University Department History Director, Center for Texas Music History Ph.D. Hartman, Gary Sincerely, Please visit our website or contact us to learn more about the We are exceedingly who has supported grateful to everyone available on-line. This will help us keep costs low while Journal instantaneously available to readers Journal of Texas Music 26

http://ecommons.txstate.edu/jtmh/vol5/iss1/1

The Journal of

Southwest. will help us continue to increaseTheir efforts awareness of how Texas music represents the unique historical develo History successful projects and study of Southwestern focusing on the preservation has developed a number of very music history. understand how music reflects the richly diverse ethnic and cultural heritage of the American Southwest. Within y its first few

Associate Members: Founding 100 Balie Griffith Lucky & Becky Tomblin, Jerome & Cathy Supple Paul & Jo Snider Sharon Sandomirsky Elmer & Susan Rosenberger Mildred Roddy Robert & Kim Richey Darrell & Barbara Piersol William & Michelle Musser James E. Moore John Kunz, Waterloo Records Lee & Judy Keller The Joan & Herb Kelleher & FrancineGary Hartman Margie First Kent Finlay, Cheatham Street Tracie Ferguson of in memory Dennis & Margaret Dunn Ralph & Patti Dowling John & Robin Dickson, Phillip & Cecilia Collins Richard Cheatham Ronald & Judy Brown Richard & Laurie Baish Byron & Rebecca Augustin Gregg Andrews & Vikki Bynum $1,000 or more

$500–$999 The Tomblin Family Foundation & Chris Ellison Foundation Warehouse Walter Hyatt Deschamps “Champ” Hood & Dickson Productions Circle: Members’ Won’t you join us in promoting and study of Southwestern the preservation music history? We grateful to the donors listed on this page. are very the musical heritage They have made a personal commitment to preserving In order to continue this success, we need your help. Your contribution will help fund continued publication of The Center for Texas Music is a nonprofit History educational program designed to help students, scholars, and the general publ , along with all the other important educational and preservational projects educational and preservational we, along with all the other important have underway.

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Patrons: Ray Hennig, Johnny Harvey Doug Hanners Ron & Denise Graves Mariko Gomez Alton & Dorothy Gattis John Farneti, Jr. Beth & Jon Erickson MargaretRay & Mary Farabee Tom & Teresa Duplissey Elizabeth Denton Dawound Enterprises, Inc. Susan W.Darrow Crockett Horizons Elementary Carolyn Conn Kathie N. Cleveland Bob & Nancy Cavendish Lisa Bruce BrennanMary & Alan Apel Elizabeth Bradshaw, Ginny’s John & Sara Boyer Paul Belanger Thomas C. Bailey Michael & Lulu Abbott $100-$499 Nina Wright Fisher–Rosemount Systems Chad Raney, Rod Kennedy, Harcourt Brace, Inc. Ann Marie Ellis Bobby & Nancy Barnard,

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Friends: Friends: Up to $100 YorkLarry & Peggy Bradley Carol J. Whitcraft Dr. Raymond White Bill & Kim Whitbeck Ingrid Weigand & George Dolis Philip & Leslie Tom Phi Alpha HonorTheta History Everett & Donna Swinney Steve Stiles Denise & Dennis Smart Donald Bleve & Mary Shaw T. Cay Rowe & Tim Thomson Jim & Dianne Pape Julie & George Parker Bill & Patrice Nance William A. Musser Alan Munde Perry & Marianne Moore Michael Moeller Ann MendozaMary Eve McArthur Tim & Jennifer Marlow Ken & Patty Margerison David Lippman Jack Lane William “Skip” King Frank Josserand Kathleen Hudson, Texas Ramiro & Jewels Burr Sara Davis Boyer Paula Bosse Jay Brakefield Cynthia Beeman Anderson & Larry Katheryn Tom Adler

Society at Texas State & Christina Simpson Heritage Music Foundation Donors Mandy York Nina B. Wright WolzLarry Colin Wise James & Jane Wilson Cody & Elizabeth Vickers Stan & Jan Tartakov Steve Sucher in memory Sperry Bryan Joe & Alice Specht Hardeman Smyer Curtis Schafer Michael Pierce Rick Perkins Carolyn Pate Mr. & Mrs. Ronald R. Newsom Kevin E. Mooney Robert Livingston Clyde Littlefield Nora Linares-Moeller Ledbetter Kathryn Carolynn Lankford Rumaldo & Teresa Juarez L. Patrick Hughes Kelly Harwood R. C. Harshman Dennis & Cash Hermes FultonBob & Mary & Ellen FactorHarry Carol Dochen Virginia Z. Deal Mr & Mrs. William Damron Joe & Ruth Dahlstrom Jimmie & Teresa Criss Antoinette Conroy Joseph & Janice Collins Randall Collier Carol & Kay Burton of TaryOwens The Journal of Texas Music pment of the region. ears, the Center ic better

of the

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rvln ea,Volume 3 Texas, Travelin’ Volume 2 Texas, Travelin’ announces: rvln ea,Volume 1 Texas, Travelin’ Order yours now for only $10 each! 21 songs by such great as: Texas artists 19 songs by such great as: Texas artists Toni Price Jerry Jeff Walker Rosie Flores Lavelle White Pat Green The Flatlanders Sara Hickman Hubbard WylieRay Billy Joe Shaver featuring George Strait The Ace in the Hole Band Eliza Gilkyson EarlRobert Keen McClinton Delbert Jimmie Dale Gilmore Butch Hancock Terri Hendrix Joe Ely Marcia Ball Tish Hinojosa at the Asleep Wheel 18 songs by such great as: Texas artists

Levels of Commitment YES! (any amount appreciated): Thank you for your support! Please clip or mail a photocopy of this section to: oainPieAmount Price Donation Unplugged”History programs and other events.) Music History or more will include a subscription to and study the Southwest’s musical heritage. (Gifts of $30 with a tax-deductible gift that will help to preserve History San Marcos, 78666-4616 TX 601 University Drive Texas State University-San Marcos of History Department The Center for Texas Music History MasterCard ______Signature: VISA ______Card Number: ______in the amount of: $______Exp.: Please charge my: $______My check is enclosed for: The Center for Texas Music History Make check payable to: Telephone or e-mail:______City/State/Zip: ______Address: ______Name: ______Up to $100 ______$100-499 $500-999 $10 per year (includes tax and shipping) Travelin’ Texas, Volume3 Travelin’ Texas, Volume2 Travelin’ Texas, Volume1 Subscription to JTMH Friends ______Patrons Associates $1,000 or more Founding 100 Members’ Circle I want to support the Center for I want to support Texas Music and news about upcoming “Texasand news Music oa ______Total $10 each $10 each $10 each The Journal of Texas Produced by The Berkeley Electronic Press, 2005 et al.: Donors 1

GET COMMITTED TO TEXAS MUSIC HISTORY! MUSIC COMMITTED TO TEXAS GET

Heart of Texas Music Group Printing and Copying Lone Star Music.com Festivals,Kerrville Inc. Sundance Records & Tapes

of the

The Center for Texas Music History rvln ea,Volume 3 Texas, Travelin’ Volume 2 Texas, Travelin’ announces: rvln ea,Volume 1 Texas, Travelin’ Order yours now for only $10 each! 21 songs by such great as: Texas artists 19 songs by such great as: Texas artists Toni Price Jerry Jeff Walker Rosie Flores Lavelle White Pat Green The Flatlanders Sara Hickman Hubbard WylieRay Billy Joe Shaver featuring George Strait The Ace in the Hole Band Eliza Gilkyson EarlRobert Keen McClinton Delbert Jimmie Dale Gilmore Butch Hancock Terri Hendrix Joe Ely Marcia Ball Tish Hinojosa at the Asleep Wheel 18 songs by such great as: Texas artists http://ecommons.txstate.edu/jtmh/vol5/iss1/2

Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 2

Levels of Commitment YES! (any amount appreciated): Thank you for your support! Please clip or mail a photocopy of this section to: oainPieAmount Price Donation Unplugged”History programs and other events.) Music History or more will include a subscription to and study the Southwest’s musical heritage. (Gifts of $30 with a tax-deductible gift that will help to preserve History San Marcos, 78666-4616 TX 601 University Drive Texas State University-San Marcos of History Department The Center for Texas Music History MasterCard ______Signature: VISA ______Card Number: ______in the amount of: $______Exp.: Please charge my: $______My check is enclosed for: The Center for Texas Music History Make check payable to: Telephone or e-mail:______City/State/Zip: ______Address: ______Name: ______Up to $100 ______$100-499 $500-999 $10 per year (includes tax and shipping) Travelin’ Texas, Volume3 Travelin’ Texas, Volume2 Travelin’ Texas, Volume1 Subscription to JTMH Friends ______Patrons Associates $1,000 or more Founding 100 Members’ Circle I want to support the Center for I want to support Texas Music and news about upcoming “Texasand news Music oa ______Total $10 each $10 each $10 each The Journal of Texas 2 et al.: Donors Our sincerest thanks to the following members of the music community for their generous support.

Christine Albert & Chris Gage Tom Frost III Casey Monahan at the Texas Music Office American National Bank Charlie Gallagher & Craig Hillis at the New Lisa & Roberta Morales Clifford Antone Braunfels Museum of Art & Music Wendy Morgan Antone’s Records Susan Gibson & Scott Melott Alan Munde & Joe Carr Bobby Arnold & Mark Erickson at the Fire Eliza Gilkyson Emilio Navaira Station Studio Jimmie Dale Gilmore Gary P. Nunn The Center for Texas Music History Denby Auble at Blue Corn Music Pat Green Katheleen O’Keefe Austin Lounge Lizards Joel Guzmán, Sarah Fox, & Aztex Gwil Owen Marcia Ball Butch Hancock Tary Owens & Maryann Price gratefully acknowledges Cedryl Ballou & the Zydeco Trendsetters Debora Hanson Jeff Plankenhorn Craig Barker Terri Hendrix & Lloyd Maines Roger Polson & Cash Edwards Bobby & Nancy Barnard at Sundance Records Ray Hennig Karen Poston The James E. Moore Endowment for Alan Beavers Gary & Tracy Herman Toni Price Ray Benson & Asleep at the Wheel Caroline Herring Mattson Rainer at KNBT-FM Clay Blaker & Neobilly Records Dan Herrington at Dualtone Music Group Stewart Ramser at Texas Music magazine Ponty Bone Sara Hickman Willis Alan Ramsey the Center for Texas Music History Denise Boudreaux Tish Hinojosa & Marvin Dykhuis Michele Ramshur Bridget Bauer at Bismeaux Productions Champ Hood & the Threadgill Chad Raney at Lone Star Music.com The Bob Bullock Troubadours Kimmie Rhodes & Texas State History Museum Judy & Ray Wylie Hubbard Slim Richey & Francie White Adam Carroll Rondal Huckaby Step Rideau & the Zydeco Outlaws W.C. Clark & Vicky Moerbe at Kathleen Hudson at the Texas Heritage Randy Rogers John & Robin Dickson Crossfire Productions Music Foundation Tom Roudebush at Wyldwood Studio Slaid Cleaves Ken Irwin, Bill Nowlin, & Ellen Taintor at Pat & Seabo Rountree Harry Coffman and the Western Swing Rounder Records Shake Russell & Dana Cooper Music Society of the Southwest Michael Jarrett Tom Russell & Andrew Hardin and Dickson Productions Conjunto Los Pinkys Flaco Jiménez & Victoria Castillo Chris Ryback Kevin Connor & Bryan Beck at KGSR-FM Lathan Johnson at Bridge Entertainment Benjamin Serrato & Los Jet Set Mike Daily & D Records Adam Kay Billy Joe Shaver & Bianca de Leon Kathleen & Robert Earl Keen Clay Shorkey at the Texas Music Museum Val Denn & Gigi Benno at the Rod Kennedy & Dalis Allen at Kerrville Larry Sloven at High Tone Records Val Denn Agency Festivals, Inc. George Strait & the Ace in the Hole Band John Kunz and Waterloo Records David Dennard at Dragon Street Records Shelley King Sugar Hill Records Tommy Detamore Tai Kreidler at Texas Tech University Marcelo Tafoya Michael Devers at Big 9 Management John Kunz at Waterloo Records Kimiko Tokita at the Fitzgerald Hartley Co. John & Robin Dickson at Jimmy LaFave Lucky Tomblin Dickson Productions Jim Lauderdale Django Walker

for their generous support in underwriting the Journal of Texas Music History Kiran Dix Dawn Leisch Susan & Jerry Jeff Walker and our many other educational programs. Ralph & Patti Dowling Bob Livingston John Wheat at the Center for American

Denise Dunn Vickie Lucero & Julie Carr at the History at UT Austin Joe Ely Propaganda Group Bill Whitbeck & Rodney Hayden Emusic.com Daniel Makins Lavelle White Tracie Ferguson at Gruene Hall Houston Marchman Jill Wiley at Plus One Media Jenni Finlay & Paper Napkin Music Barbara Martin Beth Williams Kent Finlay at Cheatham Street Warehouse Grant Mazak at Mazak Music Bradley Jaye Williams Rosie Flores Delbert McClinton Burton Wilson Nancy Fly & Seymour Guenther at the Booka & Edith Michel at Eddie Wilson Nancy Fly Agency Loudhouse Records Jay Woods at New West Records Ruthie Foster & Cyd Cassone Katy Moffatt Danny Roy Young

Produced by The Berkeley Electronic Press, 2005 3 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 2 Our sincerest thanks to the following members of the music community for their generous support.

http://ecommons.txstate.edu/jtmh/vol5/iss1/2 4

“‘It’s the Music’:

“It’s the Music”: nSnMro,Texas in San Marcos, Gregg Andrews Kent Finlay’s Street Cheatham Warehouse

Photo of Cheatham Street Warehouse, 1974. Courtesy, Nathan Allen

number of names on the list. eemn hte hypromtosnso nyoe depending on the they two whether perform songs or only one, determine a natcpto,aware their position on the sign-up sheet might that bar in anticipation, night. Hopefuls eagerly check out the Budweiser Hopefuls eagerly Light clock behind the night. (bar time), is a sign-up sheet for songwriters who hope to perform that hope to perform who is a sign-up sheet for songwriters (bar time), Of course, the “list,” which the bartender does not put out until eight o’clock the the bartender which “list,” Of course, question of the bartender and others gathered inside is,“Is the list out yet?” the list gathered inside is,“Is and others of the bartender question Wednesday night in San Marcos, Texas, perhaps the most frequently asked the most perhaps Texas, Wednesday night in San Marcos,

As songwriters step inside Kent step Finlay’s Street Cheatham WarehouseAs songwriters every

colta i uuewudb nmscadeuain not farming. his future wouldschool that be in music and education, Texas towns of the United and cities, other parts States, or culturally distinctive and inspirational. Whether from small reverential awe. They appreciate that they are of something part audience regard Wednesday nights at Cheatham Street with songwriters are on stage, writers and faithful members of the discourages talking, shooting pool, or distracting behavior while times need to be reminded code that of the unwritten courtesy too closely to the tracks. picking off a stray car parked trains occasionally rumbling outside crashing sounds of numerous stories about the of the old warehouse are writers. Woven into the folklore that fires the imagination of fabulous acoustics in a setting seasoned wood provides with its low ceilings and well- railroad tracks, the honky tonk yardsjust a few from the are prop. an important Located and other musicians, the trains but for songwriters comfort, too close-by for some folks’s walls and tin sheeting may be “is kind of like the Ryman Auditorium for Texas songwriters.” Finlay’s Songwriters Night, that Cheatham Street has observed and Music at and a popular singer-songwriter who got his start Community Relations at the New Braunfels Museum of Art Songwriters.” Al Barlow, Director of Music Programs and Ace Ford has called Finlay the “Godfather of Texas is “church,” and “we’re here to listen.” Little wonder, then, that high during it became apparent Although Finlay grew family, up in a farm with his song, “I’ll Sing You a Story, I’ll Tell You a Song,” this audience when he kicks off the show at nine o’clock, usually Songwriters Night As he often reminds performers. the the yellowpreserves legal pads that contain years of lists “open mic” nights. For historical purposes, Finlay carefully Wednesday nights at Cheatham Street are much more than opened in June, 1974. Seasoned songwriters are well-aware that Finlay’s honky tonk that he vision for the now legendary Except who at for newcomers The fast-rolling trains that shake and rattle Cheatham Street’s The weekly Songwriters and soul of Circle is the heart Courtesy, Kent Finlay Charles Marshall (left) and Kent Finlay, FFA Talent Show, 1956. 1 apparent during high school that his future would be in music during high school that he had his first public gig. Angelo while on a Future Farmers of America (FFA) trip. It was freshman year of high school, he bought his first guitar in San During his hand at other instruments. his own and to try bored with the regimentation, quit, and began to play on his his earliest education took place in a one-room school house. Scotland. Since only about 50 people lived in Fife at that time, ancestors gave Fife its name in 1882 to honor Fifeshire in tiny west Texas town of Fife in McCulloch County. Some of his about his wide travels in Texas, can tell you, he grew up in the Hanging My Hat Just Down the Road,” song an entertaining and James Finlay, Jr. As anyone who has heard Finlay sing, “I’m (Barbara, Mike, Tommy, and Steve), to parents Grace (Short) Texas, on February 9, 1938, the oldest of five children rooted in his own personal evolution. He was born in Brady, of his broader vision of Cheatham Street—apart vision that is night of “church” under Kent Finlay’s creative ministry. to Cheatham Street special to sample the influences of this very and other regions of the world, songwriters make pilgrimage Canada, Australia, Mexico, Germany, Norway, The Netherlands, Although Finlay grew up in a farm family, it became Musical talent abounds on both sides of Finlay’s family, Although Songwriters Circle is Finlay’s real passion, it is only lessons as a kid but became fiddle. Finlay took piano primarily piano, guitar, and usually featured music, for music, family reunions their talent and appreciation brothers and sisters developed and play music. Since all of his yard at night to watch the stars his family often sat in the back the Texas Top Hands. Kent and popular Western swing band, great fiddler who played in a cousins, “Sleepy” Short, was a in the area. One of his mother’s family played at house dances voice, and his mother her His father had a good singing especially on his mother’s side. 2

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

9 “It’s the Music”: Music”: the “It’s Produced by The Berkeley Electronic Press, 2005 Andrews: It's the Music 1

“‘It’s the Music’:

“It’s the Music”: nSnMro,Texas in San Marcos, Gregg Andrews Kent Finlay’s Street Cheatham Warehouse

Photo of Cheatham Street Warehouse, 1974. Courtesy, Nathan Allen

http://ecommons.txstate.edu/jtmh/vol5/iss1/3

colta i uuewudb nmscadeuain not farming. his future wouldschool that be in music and education, Texas towns of the United and cities, other parts States, or culturally distinctive and inspirational. Whether from small reverential awe. They appreciate that they are of something part audience regard Wednesday nights at Cheatham Street with songwriters are on stage, writers and faithful members of the discourages talking, shooting pool, or distracting behavior while times need to be reminded code that of the unwritten courtesy too closely to the tracks. picking off a stray car parked trains occasionally rumbling outside crashing sounds of numerous stories about the of the old warehouse are writers. Woven into the folklore that fires the imagination of fabulous acoustics in a setting seasoned wood provides with its low ceilings and well- railroad tracks, the honky tonk yardsjust a few from the are prop. an important Located and other musicians, the trains but for songwriters comfort, too close-by for some folks’s walls and tin sheeting may be “is kind of like the Ryman Auditorium for Texas songwriters.” Finlay’s Songwriters Night, that Cheatham Street has observed and Music at and a popular singer-songwriter who got his start Community Relations at the New Braunfels Museum of Art Songwriters.” Al Barlow, Director of Music Programs and Ace Ford has called Finlay the “Godfather of Texas is “church,” and “we’re here to listen.” Little wonder, then, that high during it became apparent Although Finlay grew family, up in a farm with his song, “I’ll Sing You a Story, I’ll Tell You a Song,” this audience when he kicks off the show at nine o’clock, usually Songwriters Night As he often reminds performers. the the yellowpreserves legal pads that contain years of lists “open mic” nights. For historical purposes, Finlay carefully Wednesday nights at Cheatham Street are much more than opened in June, 1974. Seasoned songwriters are well-aware that Finlay’s honky tonk that he vision for the now legendary Except who at for newcomers The fast-rolling trains that shake and rattle Cheatham Street’s The weekly Songwriters and soul of Circle is the heart Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 3 Courtesy, Kent Finlay Charles Marshall (left) and Kent Finlay, FFA Talent Show, 1956. 1 apparent during high school that his future would be in music during high school that he had his first public gig. Angelo while on a Future Farmers of America (FFA) trip. It was freshman year of high school, he bought his first guitar in San During his hand at other instruments. his own and to try bored with the regimentation, quit, and began to play on his his earliest education took place in a one-room school house. Scotland. Since only about 50 people lived in Fife at that time, ancestors gave Fife its name in 1882 to honor Fifeshire in tiny west Texas town of Fife in McCulloch County. Some of his about his wide travels in Texas, can tell you, he grew up in the Hanging My Hat Just Down the Road,” song an entertaining and James Finlay, Jr. As anyone who has heard Finlay sing, “I’m (Barbara, Mike, Tommy, and Steve), to parents Grace (Short) Texas, on February 9, 1938, the oldest of five children rooted in his own personal evolution. He was born in Brady, of his broader vision of Cheatham Street—apart vision that is night of “church” under Kent Finlay’s creative ministry. to Cheatham Street special to sample the influences of this very and other regions of the world, songwriters make pilgrimage Canada, Australia, Mexico, Germany, Norway, The Netherlands, Although Finlay grew up in a farm family, it became Musical talent abounds on both sides of Finlay’s family, Although Songwriters Circle is Finlay’s real passion, it is only lessons as a kid but became fiddle. Finlay took piano primarily piano, guitar, and usually featured music, for music, family reunions their talent and appreciation brothers and sisters developed and play music. Since all of his yard at night to watch the stars his family often sat in the back the Texas Top Hands. Kent and popular Western swing band, great fiddler who played in a cousins, “Sleepy” Short, was a in the area. One of his mother’s family played at house dances voice, and his mother her His father had a good singing especially on his mother’s side. 2

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

2 9 “It’s the Music”: Music”: the “It’s

etFna’ hahmSre aeos nSnMro,Texas” Marcos, San in Warehouse Street Cheatham Finlay’s Kent “‘It’s the Music’: Music’: the “‘It’s Willie Nelson, Jack Rogers, and Jerry Jeff Walker, c. 1976. Courtesy, Hal Odom his hat desperately at him, trying to get him stop the tractor.his hat desperately at him, trying thing he knew, across the field waving his father was running around at a designated point while planting cotton. The next so wrapped up in singing that he forgot to turn the tractor Finlay remembers occasion, he became that on one particular the tractor that he drove for hours on end his family’s farm. to sing abovereceived as a teenager trying the loud popping of powerful vocals are a product of the training that he partly the cotton rows that Finlay received “formal” voice lessons. His time to play music before they resumed work. It was between gobble down their food quickly so that they would have a little cousin, Winifred in from Short, the fields to often would rush and education, not farming. During lunch breaks, he and his show contest held on campus. They then went to the state finals partner, Charles Marshall, won a regional FFA-sponsored talent University when as a high school student he and his musical in Education. He had developed a fondness for Texas State Bachelor’s degree in English in 1961 and later a Master’s degree that time, Southwest Texas State College), where he received his but in 1959 transferred to Texas State University-San Marcos (at performer, at Lake North he also played for beer parties Concho, regularthat worked on a somewhat basis in West Texas. As a solo University for the first two years, playing “slap” bass in a band Finlay pursued writing in college. He attended San Angelo State Thanks in part to his father’sThanks in part strong emphasis on education, 3 Jimmy Reed and Willie Mae “Big Mama” Thornton. and Little Richard,music of Chuck Berry as well as the blues of getting into music in the 1950s, he loved the rock-and-roll took place in music. At the time he was reallyfertilization the South, a significant degree of cultural integration and cross- racism of that era than with musical talent. pervasive took first place in the competition had to do more with the fact that the group’s act, which Finlay regarded as “distasteful,” parody of Little Richard, lip synching to one of his songs. The in Dallas, but lost to a group that did a blackface minstrel Jimmie Rodgers, the “father music,” had of modern country that when he first made the pilgrimage to house in which McEnery’s show on WOAI radio in San Antonio. Finlay recalls KWKH radio in Shreveport, and to “Red River Dave” and Elvis Presley. He often listened to the Louisiana Hayride on SlimWilliams, Whitman, Webb Autry,GenePierce,Bob Wills, teenager, fond of Johnny he was particularly Cash, Hank including conjunto, he preferred and rockabilly. country As a outside Pentecostal tent revivals, listening to the music. organized by his grandmother. He recalls at times sitting in cars at other church-related gatherings that were sometimes in group singing during vacationparticipated bible school and music also had a significant influence on Finlay. As a kid, he Finlay emphasizes that despite racial segregation in Texas and Although he was influenced by other genres of music, 4 Gospel Cheatham Street. Cheatham there wouldn’t have ever been a been a Luckenbach, If there hadn’t spiritual leader,” it was Hondo who gave as the “center of the world” and “our sparkled.” For Finlay, who regarded him a practical joker whose “eyes always As Finlayparticipate. recalls, Hondo was Hondo in which area farmers would sometimes in tournaments organized by guitar around, and play dominos, songs and stories, crack jokes, pass the Luckenbach to sit under the trees, swap regularly made the pilgrimage to Nelson, and a number of musicians who Walker, Dotsy, Staedtler, Darryl Willie Finlay P. joined Gary Nunn, Jerry Jeff Koock, had bought Luckenbach in 1971. Kathy Morganpartners and Guich Hondo Crouch, who, along with times a week to hang out with folk hero Finlay would drive from San Marcos to Luckenbach several Nelson recorded the smash hit song, “Luckenbach, Texas,” graduate of the Texas School for the Blind. at Shakey’s Pizza Parlor in Austin Johnston, with Arthur a methods. He continued to write songs, and on weekends played more flexible learning environment and innovative teaching In the early 1970s, long before Waylon Jennings and Willie public schools, and he enjoyed the money than he had made in the At Gary, he made significantly more 1964, where he taught for six years. vocational training facility created in Jobposition at Gary Corps, a federal courses in English and accepted a He later took additional graduate weekends, and during the summer. degree in Education at nights, on Antonio but worked on his Master’s a full-time teaching job in San Bachelor’s degree in English, he took State University. After receiving his he pursued graduate work at Texas he had been to Mecca. lived in Kerrville, Texas, he felt as if Finlay played music on the side as 6 1975. Courtesy, Kent Finlay Advertisement for Kent Finlay’s band, c. 5 1974, he and his business partner, Jim Cunningham—a Finlay, who quit teaching to devote full-time to music. In June, small place just grooving impressed to the music particularly to think from Hondo.” there wouldn’t have ever been a Cheatham Street...I learned how tonk. As he emphasizes, “If there hadn’t been a Luckenbach, on Finlay’s song writing and decision to open his own honky song, “I Never Will Get Over You.” of Finlay’s father a month later, helped to inspire his haunting back days in Luckenbach. Hondo’s death, followed by the death that grew out of the culture nurtured by Hondo in those laid- vivid images of his experiences and the song writing comradery Written Some Life, I’ve Lived Some Songs,” evoke particularly godfather. Finlay’s songs, “Christmas in Luckenbach,” and “I’ve legend who had been his musical mentor and spiritual could go play them for Hondo.” of the songs I wrote at that time,” Finlay recalls, “I wrote so I Luckenbach that special magical feeling. “I always say most and at times (until her death in 1970), Janis Joplin. university students, “rednecks,” hippies, other Austin residents, night. Such Wednesday nights usually brought together where he enjoyed going to listen music every Wednesday The sight of “rednecks” and hippies gathered together in a The relaxed atmosphere and sharing of songs had a big impact When Hondo died in 1976, Finlay mourned the loss of a Express, would have a place to play. so that he and his band, Highpart Cotton muses that he opened the honky tonk in establishment devoted to music. Finlay San Marcos had never had such an it into a honky tonk. Previously,converted railroad tracks in San Marcos, and Storage) on Cheatham Street along the warehouse (originally, Reed Moving and Record columnist for the who pitched in to do whatever needed to Kent’s youngest brother, was among those ready for its grand opening. Steve Finlay, countless tasks to get the honky tonk building, built the stage, and performed and Cunningham busily cleaned up the 9 Using a lot of volunteer help, Finlay He also credits Threadgill’s in Austin, —leased an old weather-beaten 7 8 San Marcos Daily 10 11

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

11 “It’s the Music”: Music”: the “It’s Produced by The Berkeley Electronic Press, 2005 Andrews: It's the Music 3

etFna’ hahmSre aeos nSnMro,Texas” Marcos, San in Warehouse Street Cheatham Finlay’s Kent “‘It’s the Music’: Music’: the “‘It’s Willie Nelson, Jack Rogers, and Jerry Jeff Walker, c. 1976. Courtesy, Hal Odom his hat desperately at him, trying to get him stop the tractor.his hat desperately at him, trying thing he knew, across the field waving his father was running around at a designated point while planting cotton. The next so wrapped up in singing that he forgot to turn the tractor Finlay remembers occasion, he became that on one particular the tractor that he drove for hours on end his family’s farm. to sing abovereceived as a teenager trying the loud popping of powerful vocals are a product of the training that he partly the cotton rows that Finlay received “formal” voice lessons. His time to play music before they resumed work. It was between gobble down their food quickly so that they would have a little cousin, Winifred in from Short, the fields to often would rush and education, not farming. During lunch breaks, he and his show contest held on campus. They then went to the state finals partner, Charles Marshall, won a regional FFA-sponsored talent University when as a high school student he and his musical in Education. He had developed a fondness for Texas State Bachelor’s degree in English in 1961 and later a Master’s degree that time, Southwest Texas State College), where he received his but in 1959 transferred to Texas State University-San Marcos (at performer, at Lake North he also played for beer parties Concho, regularthat worked on a somewhat basis in West Texas. As a solo University for the first two years, playing “slap” bass in a band Finlay pursued writing in college. He attended San Angelo State Thanks in part to his father’sThanks in part strong emphasis on education, 3 Jimmy Reed and Willie Mae “Big Mama” Thornton. and Little Richard,music of Chuck Berry as well as the blues of getting into music in the 1950s, he loved the rock-and-roll took place in music. At the time he was reallyfertilization the South, a significant degree of cultural integration and cross- racism of that era than with musical talent. pervasive took first place in the competition had to do more with the fact that the group’s act, which Finlay regarded as “distasteful,” parody of Little Richard, lip synching to one of his songs. The in Dallas, but lost to a group that did a blackface minstrel Jimmie Rodgers, the “father music,” had of modern country that when he first made the pilgrimage to house in which McEnery’s show on WOAI radio in San Antonio. Finlay recalls KWKH radio in Shreveport, and to “Red River Dave” and Elvis Presley. He often listened to the Louisiana Hayride on SlimWilliams, Whitman, Webb Autry,GenePierce,Bob Wills, teenager, fond of Johnny he was particularly Cash, Hank including conjunto, he preferred and rockabilly. country As a outside Pentecostal tent revivals, listening to the music. organized by his grandmother. He recalls at times sitting in cars at other church-related gatherings that were sometimes in group singing during vacationparticipated bible school and music also had a significant influence on Finlay. As a kid, he Finlay emphasizes that despite racial segregation in Texas and Although he was influenced by other genres of music, 4 Gospel http://ecommons.txstate.edu/jtmh/vol5/iss1/3 Cheatham Street. Cheatham there wouldn’t have ever been a been a Luckenbach, If there hadn’t spiritual leader,” it was Hondo who gave as the “center of the world” and “our sparkled.” For Finlay, who regarded him a practical joker whose “eyes always As Finlayparticipate. recalls, Hondo was Hondo in which area farmers would sometimes in tournaments organized by guitar around, and play dominos, songs and stories, crack jokes, pass the Luckenbach to sit under the trees, swap regularly made the pilgrimage to Nelson, and a number of musicians who Walker, Dotsy, Staedtler, Darryl Willie Finlay P. joined Gary Nunn, Jerry Jeff Koock, had bought Luckenbach in 1971. Kathy Morganpartners and Guich Hondo Crouch, who, along with times a week to hang out with folk hero Finlay would drive from San Marcos to Luckenbach several Nelson recorded the smash hit song, “Luckenbach, Texas,” graduate of the Texas School for the Blind. at Shakey’s Pizza Parlor in Austin Johnston, with Arthur a methods. He continued to write songs, and on weekends played more flexible learning environment and innovative teaching In the early 1970s, long before Waylon Jennings and Willie public schools, and he enjoyed the money than he had made in the At Gary, he made significantly more 1964, where he taught for six years. vocational training facility created in Jobposition at Gary Corps, a federal courses in English and accepted a He later took additional graduate weekends, and during the summer. degree in Education at nights, on Antonio but worked on his Master’s a full-time teaching job in San Bachelor’s degree in English, he took State University. After receiving his he pursued graduate work at Texas he had been to Mecca. lived in Kerrville, Texas, he felt as if Finlay played music on the side as Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 3 6 1975. Courtesy, Kent Finlay Advertisement for Kent Finlay’s band, c. 5 1974, he and his business partner, Jim Cunningham—a Finlay, who quit teaching to devote full-time to music. In June, small place just grooving impressed to the music particularly to think from Hondo.” there wouldn’t have ever been a Cheatham Street...I learned how tonk. As he emphasizes, “If there hadn’t been a Luckenbach, on Finlay’s song writing and decision to open his own honky song, “I Never Will Get Over You.” of Finlay’s father a month later, helped to inspire his haunting back days in Luckenbach. Hondo’s death, followed by the death that grew out of the culture nurtured by Hondo in those laid- vivid images of his experiences and the song writing comradery Written Some Life, I’ve Lived Some Songs,” evoke particularly godfather. Finlay’s songs, “Christmas in Luckenbach,” and “I’ve legend who had been his musical mentor and spiritual could go play them for Hondo.” of the songs I wrote at that time,” Finlay recalls, “I wrote so I Luckenbach that special magical feeling. “I always say most and at times (until her death in 1970), Janis Joplin. university students, “rednecks,” hippies, other Austin residents, night. Such Wednesday nights usually brought together where he enjoyed going to listen music every Wednesday The sight of “rednecks” and hippies gathered together in a The relaxed atmosphere and sharing of songs had a big impact When Hondo died in 1976, Finlay mourned the loss of a Express, would have a place to play. so that he and his band, Highpart Cotton muses that he opened the honky tonk in establishment devoted to music. Finlay San Marcos had never had such an it into a honky tonk. Previously,converted railroad tracks in San Marcos, and Storage) on Cheatham Street along the warehouse (originally, Reed Moving and Record columnist for the who pitched in to do whatever needed to Kent’s youngest brother, was among those ready for its grand opening. Steve Finlay, countless tasks to get the honky tonk building, built the stage, and performed and Cunningham busily cleaned up the 9 Using a lot of volunteer help, Finlay He also credits Threadgill’s in Austin, —leased an old weather-beaten 7 8 San Marcos Daily 10 11

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

4 “It’s the Music”: Music”: the “It’s

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

12 “It’s the Music”: Music”: the “It’s a keg of Shiner and Pearl beer “to keep us coming back.” remembers, Kent and Jim provided barbecue, hamburgers, and heavy crate material that Kent found in the attic. As Steve bathroom walls, and the original bar-top fromtables, new Wall, Danny Neal, and Grant Everidge, Steve helped to build stored Christmas decorations in.” Along with friends George after Kent rented the place. It was an old warehouse the city had University, recalls that “I first saw the warehouse a day or so be done. Steve, who at that time was a student Texas State Nashville. This culture included a creative amalgam of Outlaw” music was thriving at the time of his exodus from movement, he did not create it. A vibrant culture of “Texas Although Nelson strengthened the progressive country area in order to gain greater creative control over his music. to part Willie Nelson’s relocation from Nashville to the Austin country” music, or “redneck rock,” was in full bloom, thanks behind the bar.” of cold beer and we kept icing down beer in an old bathtub as fast we could open them. The beer box was soon depleted remembers: “At least 5 people behind the bar were selling beer was out.” and the rumor didn’t have a band...People had been watching us, you know, laughingly remembers, “four hundred in...We people rushed 364, but “we opened the doors, and let me tell you,” Finlay door. At that time the maximum occupancy of place was volunteers, were of people through stunned by the the rush honky tonk’s opening, they, along with employees and the first night of live the music. Although they did not advertise decided to open two nights beforepartner they had scheduled crowd descended on the place, Kent Finlay and his business like and to work out any logistical problems before a large occasions to play at Cheatham Street. songwriter, and blues piano player, returning on many out an outstanding careerthen, Ball as a vocalist, has carved the Firedogs broke up soon after the Cheatham Street gig. Since Saloon, and other Austin venues in the early 1970s, Freda and the Armadillo World Headquarters, Broken Spoke, Soap Creek “country.” At that time one of Austin’s hot bands that played at As Kent recalls, did not look–- they sounded—but certainly Reed, Steve McDaniels, David Cook, and Bobby Earl Smith. band,” Fredacountry and the Firedogs—Marcia Ball, John X. country movement.country the progressiveconfirms role the honky in nurturing tonk’s important Even the pictures on walls a casual look at Street of Cheatham At the time Finlay opened Cheatham Street, “progressive The grand opening was “unbelievable,” Steve Finlay To get the feel of what operating Cheatham Street would be 14 For the occasion, Kent had booked a “hippie 13 15 12 owners, all members of the a midnight closing time on club stage. Since San Marcos imposes Zandt on the Cheatham Street Guy Clark joined Townes Van magical night when particularly Texas. Finlay remembers a movementcountry in Central shaped the rise of progressive featured countless musicians who small stage at Cheatham Street “King” Carrasco, and others, the Howlers, Lou Ann Barton, Joe Band, Ponty Bone, Omar and the Johnson, Joe Bob’s Bar and Grill Doug Sahm, Augie Meyers, Eric Benson’s Asleep at the Wheel, Pleasant Valley Boys, Ray Zandt, Alvin Crow and the Butch Hancock, Townes Van Gatemouth Brown, Joe Ely, Wylie Hubbard, Guy Clark, and Kinky Friedman, to Ray GreezyFlacoJiménez, Wheels, Jerry Jeff Walker, P. Gary Nunn, Ernest Tubb, Billy Joe Shaver, ment. From Willie Nelson, the progressive move- country Street confirms the honky tonk’s role in nurturing important B.W. Stevenson, and Alvin Crow. including Marcia Ball, Jerry Jeff Walker, Townes Van Zandt, shaped the rise of progressive music in the Austin area, country Wills’s Original Texas Playboys and several musicians who KLRN-TV (now KLRU-TV) showcased the reunion of Bob season of Austin City Limits on Public Broadcasting affiliate show, which was launched nationwide in 1976. The first by Nelsonperformance contributed to fundraising for the book, who was inspired by the publication of author Jan in part Reid’s “Austin City Limits,” in 1974, by program director, Bill Arhos, in Austin was the creation television music program, of a new traditional country, rock, folk, and blues. Even a casual look at the pictures on the walls of Cheatham productsOne of this dynamic music scene of the important The Improbable Rise of Redneck Rock 17 16 . The program’s. The pilot that began to play regularly at Cheatham Street. and bass guitar player Terry Hale to form a band, Stoney Ridge, along with drummer Tommy Foote, lead guitarist Ron Cabal, evenings. Dominguez then hired Daily as his steel guitar player, playing a solo acoustic show at Cheatham Street on Sunday to hear.” Soon, Daily met Jay Dominguez, who at the time was [and the] Bronco Brothers were of the main acts we a few liked & Grill Band, Alvin Crow, Asleep at the Wheel, Marcia Ball, night that wehung out there could...Joe a lot, every Bob’s Bar and players in the areabands/artists in that time period. We us young players,” he recalls, “to come and hear the top Cheatham Street not long after it opened. It “was a natural for Daily, a young steel guitar player, began to hang out at Cheatham Street provided a great venue and training ground. proximity to Austin’s progressive music scene, country encouraged to enroll at Texas State University because of its past closing time. to their seats as Clark and Van Zandt continued playing long beers at midnight in compliance with the law, remaining glued night voluntarily surrenderedaudience on that particular their Stoney Ridge later split up when Dominguez left the band, For students and musicians such as Mike Daily, who was 18 19 music. In the band’s fact, the poster that advertised first gig with the United States Army in Hawaii, was unknown in the field of play.” “[he] didn’t bat an eye, and said when we were ready, we could we Ace went to with the new in the Hole Band,” Daily recalls, the Ace in the Hole Band’s first gig. “Kent was the first person very 50 Number charts. One songs on the country bring him national and international celebrity status, including Cheatham Streetrustic stage to launch a career that would “It did not take much convincing.” Strait soon used the small, return, although as Foote points out, once he heard Strait sing, January, 1976. The other band members convinced him to University in the summer of 1975, did not join group until had moved to Houston after graduating from Texas State Hale, and Cabal to form the Ace in the Hole Band. Foote, who successfully auditioned as lead singer and joined Daily, Foote, notice posted on campus by members of Stoney Ridge, Strait music. Inwho sang more response traditional country to a Agriculture and Ranch Management at Texas State University Cheatham Street. At that time, Strait was a student majoring in but his departure soon led to the debut of George Strait at On October 13, 1975, Cheatham Street provided the setting for 21 Ace in the Hole Band’s Debut, October 13, 1975. Courtesy, Terry Hale At that time, Strait, who had done a little singing while in

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent “It’s the Music”: Music”: the “It’s Produced by The Berkeley Electronic Press, 2005 Andrews: It's the Music 5

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

12 “It’s the Music”: Music”: the “It’s a keg of Shiner and Pearl beer “to keep us coming back.” remembers, Kent and Jim provided barbecue, hamburgers, and heavy crate material that Kent found in the attic. As Steve bathroom walls, and the original bar-top fromtables, new Wall, Danny Neal, and Grant Everidge, Steve helped to build stored Christmas decorations in.” Along with friends George after Kent rented the place. It was an old warehouse the city had University, recalls that “I first saw the warehouse a day or so be done. Steve, who at that time was a student Texas State Nashville. This culture included a creative amalgam of Outlaw” music was thriving at the time of his exodus from movement, he did not create it. A vibrant culture of “Texas Although Nelson strengthened the progressive country area in order to gain greater creative control over his music. to part Willie Nelson’s relocation from Nashville to the Austin country” music, or “redneck rock,” was in full bloom, thanks behind the bar.” of cold beer and we kept icing down beer in an old bathtub as fast we could open them. The beer box was soon depleted remembers: “At least 5 people behind the bar were selling beer was out.” and the rumor didn’t have a band...People had been watching us, you know, laughingly remembers, “four hundred in...We people rushed 364, but “we opened the doors, and let me tell you,” Finlay door. At that time the maximum occupancy of place was volunteers, were of people through stunned by the the rush honky tonk’s opening, they, along with employees and the first night of live the music. Although they did not advertise decided to open two nights beforepartner they had scheduled crowd descended on the place, Kent Finlay and his business like and to work out any logistical problems before a large occasions to play at Cheatham Street. songwriter, and blues piano player, returning on many out an outstanding careerthen, Ball as a vocalist, has carved the Firedogs broke up soon after the Cheatham Street gig. Since Saloon, and other Austin venues in the early 1970s, Freda and the Armadillo World Headquarters, Broken Spoke, Soap Creek “country.” At that time one of Austin’s hot bands that played at As Kent recalls, did not look–- they sounded—but certainly Reed, Steve McDaniels, David Cook, and Bobby Earl Smith. band,” Fredacountry and the Firedogs—Marcia Ball, John X. country movement.country the progressiveconfirms role the honky in nurturing tonk’s important Even the pictures on walls a casual look at Street of Cheatham At the time Finlay opened Cheatham Street, “progressive The grand opening was “unbelievable,” Steve Finlay To get the feel of what operating Cheatham Street would be 14 For the occasion, Kent had booked a “hippie 13 15 12 owners, all members of the a midnight closing time on club stage. Since San Marcos imposes Zandt on the Cheatham Street Guy Clark joined Townes Van magical night when particularly Texas. Finlay remembers a movementcountry in Central shaped the rise of progressive featured countless musicians who small stage at Cheatham Street “King” Carrasco, and others, the Howlers, Lou Ann Barton, Joe Band, Ponty Bone, Omar and the Johnson, Joe Bob’s Bar and Grill Doug Sahm, Augie Meyers, Eric Benson’s Asleep at the Wheel, Pleasant Valley Boys, Ray Zandt, Alvin Crow and the Butch Hancock, Townes Van Gatemouth Brown, Joe Ely, Wylie Hubbard, Guy Clark, and Kinky Friedman, to Ray GreezyFlacoJiménez, Wheels, Jerry Jeff Walker, P. Gary Nunn, Ernest Tubb, Billy Joe Shaver, ment. From Willie Nelson, the progressive move- country Street confirms the honky tonk’s role in nurturing important B.W. Stevenson, and Alvin Crow. including Marcia Ball, Jerry Jeff Walker, Townes Van Zandt, shaped the rise of progressive music in the Austin area, country Wills’s Original Texas Playboys and several musicians who KLRN-TV (now KLRU-TV) showcased the reunion of Bob season of Austin City Limits on Public Broadcasting affiliate show, which was launched nationwide in 1976. The first by Nelsonperformance contributed to fundraising for the book, who was inspired by the publication of author Jan in part Reid’s “Austin City Limits,” in 1974, by program director, Bill Arhos, in Austin was the creation television music program, of a new traditional country, rock, folk, and blues. Even a casual look at the pictures on the walls of Cheatham productsOne of this dynamic music scene of the important The Improbable Rise of Redneck Rock 17 16 . The program’s. The pilot http://ecommons.txstate.edu/jtmh/vol5/iss1/3 that began to play regularly at Cheatham Street. and bass guitar player Terry Hale to form a band, Stoney Ridge, along with drummer Tommy Foote, lead guitarist Ron Cabal, evenings. Dominguez then hired Daily as his steel guitar player, playing a solo acoustic show at Cheatham Street on Sunday to hear.” Soon, Daily met Jay Dominguez, who at the time was [and the] Bronco Brothers were of the main acts we a few liked & Grill Band, Alvin Crow, Asleep at the Wheel, Marcia Ball, night that wehung out there could...Joe a lot, every Bob’s Bar and players in the areabands/artists in that time period. We us young players,” he recalls, “to come and hear the top Cheatham Street not long after it opened. It “was a natural for Daily, a young steel guitar player, began to hang out at Cheatham Street provided a great venue and training ground. proximity to Austin’s progressive music scene, country encouraged to enroll at Texas State University because of its past closing time. to their seats as Clark and Van Zandt continued playing long beers at midnight in compliance with the law, remaining glued night voluntarily surrenderedaudience on that particular their Stoney Ridge later split up when Dominguez left the band, For students and musicians such as Mike Daily, who was 18 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 3 19 music. In the band’s fact, the poster that advertised first gig with the United States Army in Hawaii, was unknown in the field of play.” “[he] didn’t bat an eye, and said when we were ready, we could we Ace went to with the new in the Hole Band,” Daily recalls, the Ace in the Hole Band’s first gig. “Kent was the first person very 50 Number charts. One songs on the country bring him national and international celebrity status, including Cheatham Streetrustic stage to launch a career that would “It did not take much convincing.” Strait soon used the small, return, although as Foote points out, once he heard Strait sing, January, 1976. The other band members convinced him to University in the summer of 1975, did not join group until had moved to Houston after graduating from Texas State Hale, and Cabal to form the Ace in the Hole Band. Foote, who successfully auditioned as lead singer and joined Daily, Foote, notice posted on campus by members of Stoney Ridge, Strait music. Inwho sang more response traditional country to a Agriculture and Ranch Management at Texas State University Cheatham Street. At that time, Strait was a student majoring in but his departure soon led to the debut of George Strait at On October 13, 1975, Cheatham Street provided the setting for 21 Ace in the Hole Band’s Debut, October 13, 1975. Courtesy, Terry Hale At that time, Strait, who had done a little singing while in

20 etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

6 “It’s the Music”: Music”: the “It’s

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

“It’s the Music”: Music”: the “It’s

me and the guys a place to perform when no one else would.” when me and the guys a place to perform that our first, second, and third year Ace In The Hole Band night–ladies free night was hard to beat. I would have to say of people, a packed house and course Wednesday memories of those early gigs are still vivid: “A dance floor full continue the regular gig there. For Mike Daily, though, demands of a touring schedule made it no longer feasible to Wednesday night until its rapidly growing popularity and the and for giving of friendship, years “Kent–Thanks for your of support, years started. started. We often played there twice a week.” out. But it was those first gigs...that helped us get our band “Cheatham St. was our few years. few larger venues in Houston, Austin, and the area over the next a growing number of fans and booked gigs at Gruene Hall and gained experience on the Cheatham Street stage, they attracted G’s talent never wavered,” recalls Foote. we had in the early days...Hissingle biggest supporter faith in music along with western swing. “Simply put, Kent was the and Asleep at the Wheel, who played more traditional country to book them weekly, along with others, such as Alvin Crow remembers that the band’s expectations that night were modest: him at Cheatham Street did not even mention his name. Daily “probably before he did.” Street. “I thought he would be a star,” Finlay later recalled, that Strait played his first fifty gigs, however, at Cheatham in order to make sure there was a good crowd. Finlay estimates of the Cheatham Streettook part audience to the Broken Spoke Hole. When White booked the band for first time, Finlay to arrange a gig therenightclub in Austin, for Ace trying in the remembers calling James White, owner of the Broken Spoke recalls. was such a great, greatChilympiad. “That show,” Finlay opened for the original Texas Playboys one year at the committee of San Marcos’s annual Chilympiad, Ace in the Hole As the Ace in the Hole Band tightened their sound and Finlay recognized Ace in the Hole’s potential and continued she would be impressed. But she never even saw me! of my classes back by the pool tables, and I was hoping one seemed to enjoy it. I evenevery saw a girl from one sounded pretty good and had some people dancing band...Wecome out on your first night of a new first night. I mean–nothing worse than having no one 27 I was really happy that we had a good crowd for that Cheatham Street featured Ace in the Hole almost every 26 Thanks to Finlay’s work on the entertainment only 25 gig for a while until we branched 23 As Daily emphasizes, 24 22 Finlay sales records on a couple of those dates.” anniversaries were maybe the most special. I recall setting beer Poole’s more colleagues on the senior traditional departmental music. Dr. of country teach a campus course in the history Street to listen music, initiated the idea of hiring Finlay to at History Texas State University, who often went to Cheatham music, Dr. William Poole, a professor of in the Department when no one else would.” a place to perform years of friendship,of support, and for giving me the guys first hit record, he inscribed on it, “Kent–Thanks for your years manager. When Strait gave Finlay copy of his a complimentary Heart Fire I Can’t Put Out,” on his MCA album, on Mexico.” In 1982, Strait also included Staedtler’s song, “A included his hit single, “Unwound,” and Staedtler’s “Blame It that, in 1981, led to his first album, Nashville, MCA Records signed Strait to a recording contract Woolsey’s promotional work and extensive connections in where Ace in the Hole also played for awhile. Thanks to the southbound access road along Interstate 35 in San Marcos, operated the “Prairie Rose,” a club south of Highway 123 on joining MCA Records in Nashville. Woolsey owned and had worked in promotions for Decca and ABC Records before Erv Woolsey, a business graduate of Texas State University who individuals in Nashville with whom Finlay and Strait talked was but the trip planted seeds that would later sprout. One of the University took a job with an agricultural company in Uvalde, disappointing for Strait, who upon graduation from Texas State minds, you know, and we were sick of it.” thing going...in our this little thing, anti-slick country in the national marketplace. As Finlay recalls, “We already had odds with the prevailing commercial trend toward pop/country music and western swing put him at with traditional country offer Strait a record contract. Strait’s determination to stick the major record labels showed enough interest at the time to had some impressive demos to shop around Nashville, none of Strait on the Nashville trip. Although Finlay believed that Strait writing for Chappel Music. Staedtler accompanied Finlay and Staedtler, a south Texas songwriter who, at the time, was by Darryl had some of his original songs, along with a few Nashville in an attempt to get a record deal. At that time, Strait Because of Finlay’s in educational background and expertise resultsThe short-term of the trip to Nashville were It was Finlay, in fact, who, early 1977, took Strait to . In 1984, Woolsey left MCA to become Strait’s full-time Strait Country 28 29 George Strait, 1981 30 Strait from the , which on his Strait from the Heart album in 1982, and he continued covered one of Blaker’s Only songs, “The Thing I Have Left,” helped him to get a foot in the door Nashville. Strait soon and Blaker’s friendship with members of Ace new in the Hole contacts to help Ace in the Hole get gigs in Houston. gigs in the surrounding Hill Country, and Blaker used his Meanwhile, the Ace in the Hole group helped Blaker line up Finlay’s class. Finlay soon booked Blaker at Cheatham Street. friendships with Ace in the Hole Band members and sat in on University, Blaker went to San Marcos. He established guitar player who had left California to attend Texas State to Houston. Then, upon the advice of Glenn Schalles, his ex- music in the Austin area,of outlaw country Blaker moved back Flying Burrito Brothers were popular. Soon attracted by the rise southern California, where Gram Parsons, the Eagles, and rockHawaii scene in before joining the early 1970s country in the area. Blaker was born in Houston but had moved to group, who walked into the honky tonk looking to book gigs Band members met singer-songwriter Clay Blaker and his teach it again in the spring semester, 1979. re-hired Department the course when History Finlay to evaluation of Finlay’s teaching. Twenty-one students enrolled in the course were eased when Dr. Brown positive filed a very from Nashville. The university administration’s concerns about that he played Strait’s demos to the class after they returned semester when Kent took Strait to Nashville. Finlay remembers Cabal and Terry Hale, were enrolled in Finlay’s class that spring semester, 1977. comprehensive report, he hired Finlay to teach the class in Dr. Ron Brown to audit the class regularly and file a rigor.” After Swinney persuaded fellow member department class be monitored extremely carefully to insure academic and vice-president, and won only on the condition that administration. I had to fight hard to sell the idea [the] dean “Our misgivings were mild compared to those of the to get administrative approval for the class. As Swinney recalls, Swinney, then worked Department, chair of the History hard steeply declining classroom enrollment at the time. Dr. Everette eyes might lack academic rigor, but they consented because of faculty did not show great enthusiasm for a course that in their with the great listening crowds nights. listening with the great songwriter on acoustic impressed but he was particularly there was always a good dance crowd, where Blaker liked the classic honky-tonk Street, of Cheatham atmosphere Blaker’s outstanding song writing impressed Finlay and Strait, After playing one night at Cheatham Street, Ace in the Hole Strait and other members of the Ace in the Hole Band, Ron 31 32 33 ask him where he was going, Permenter replied that he was equipment into his old car. When Whitbeck went outside to Permenter, who lived across the street, loading gear and Whitbeck looked out the window of his family’s home and saw looking for a steel player in San Marcos. The next morning, night in July, 1976, that someone by the name of Joe Bob was player in their local band, overheard a remark after a gig one Porte, Texas, when he and Jimmy Permenter, a steel guitar that first drew him to the honky-tonk. He was living in La in the Robert Earl Keen Band, remembers the chain of events State University who lives in San Marcos and plays bass guitar now at Department a graduate student in the History Texas Whitbeck, a singer-songwriter, former English teacher, and was low on a given night. pocket on many occasions to pay musicians when the “door” particular. Blaker remembers seeing him reach into his own admires the way he has nurtured young songwriters, in music. Blaker has great praise for Finlay’s song writing, and distinguished Cheatham Street’s of role in the history Texas music, in general, have been the ingredients that have personal integrity and unselfish devotion to song writing and recalls, “or Kent would throw ‘em out.” For Blaker, Finlay’s had to listen,” he laughingly acoustic songwriter nights. “They impressedparticularly with the great listening crowds on Street, where there was always a good dance crowd, but he was label anywhere to put your records out on.” was our good friend and unlike nowadays there wasn’t just any recordings...Some of Clay’s stuff came out on it, too, because he to break and so he produced our first big act to try Big Bopper. As Daily recalls, “My dad was always looking for a including George Jones, Roger Miller, Willie Nelson, and the 1958 and 1975 produced other well-known Texas musicians, with MCA, had also recorded with D Records, which between Mike’s father and uncle. Ace in the Hole, before Strait signed grandfather, H.W. “Pappy” Daily, in 1958, and passed down to songs on D Records, a Houston label founded by Daily’s Blaker had recorded Only “The Thing I Have Left” and other albums. Earlier, thanks to Strait’s steel guitar player, Mike Daily, Lays It All on the Line,” and “Need I Say More” on subsequent “Lonesome Rodeo Cowboy,” “We Must Be Lovin’ Right,” “She to include Blaker’s songs, including “Never Gonna Let You Go,” The mid-1970s were heady times at Cheatham Street. Bill Blaker liked the classic honky-tonk atmosphere of Cheatham 35 34

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

15 “It’s the Music”: Music”: the “It’s Produced by The Berkeley Electronic Press, 2005 Andrews: It's the Music 7

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

16 “It’s the Music”: Music”: the “It’s was packed...All these people, you know.” played at Cheatham Street: “It my mind. just blew The place vividly recalls the first night they taping of Austin City Limits. He his arrival and after attending a the San Marcos River on the day of immediately after floating down love with the town and music scene sister) on vocals. Whitbeck fell in adding Cindy Burris Bob’s (Joe Butchdrummer Burdette, later band at that time included Burris and Marion Quick, the along with Ace in the Hole. regularly at Cheatham Street, the popular band, which played invited a jubilant Whitbeck to join Ramirez, had just quit. Burris then him that his bass player, Hector phone call from Burris, who told LaPorte, Whitbeck received a nearby Luling. After returning to his belongings from La Porte to Grill Band and prepared to move for a spot in Joe Bob’s Bar and Permenter successfully auditioned Hut. The following day, the bridge near Herbert’s Taco Burris, they spent the night under worked there told them how to get in touch with Joe Bob Reynolds Sisters were playing on stage. After someone who Street, the place was packed with college students, and Street’...We went, ‘Where’s that?’” Joe Bob,’ and he says, ‘Well, he might be over to Cheatham the street, and I said, ‘Hey, [do] you know somebody named Hopkins Street and there’s a guy with long hair walking down That evening, as Whitbeck recalls, “We’re just driving down Shack) and then jumped into the San Marcos River for a swim. arrived in town, they went to the Ice House (now Joe’s Crab to San Marcos, and jumped into his friend’s car. When they house, got some of his stuff, told his family that he was going leaving to find Joe Bob in San Marcos. Whitbeck ran into the whom werewhom other guitarists. of most people, of no more than thirty often consisted audiences that Stevie [Ray] Vaughan and Double Trouble played Street to Cheatham Initially comprised of Joe Bob When Whitbeck and Permenter stepped inside Cheatham 36 Stevie Ray Vaughan. Courtesy, Nancy Barnard 37 The band also crank up the amplifier and really get into the blues: “He’d just “magical nights,” he vividly remembers how Vaughan would to Ace in the Hole and then see George Strait reach stardom so two years. For greatWhitbeck, it was particularly to be so close that played at Cheatham Street Monday every night for about Bennet Spielvogel also formed a blues band, The Razor Blades, Marcos, he, Hale, Cabal, Roy Rushing, Pete Denny, and Ron Cabal. In fact, about a year after Whitbeck moved to San Band, fellow particularly bass player, Terry Hale, and guitarist established friendships with members of the Ace in the Hole were always stars at Cheatham Street.” great commercial success, but as Finlay proudly proclaims, “they (more recently reconstituted as Big Square Sun) never achieved broke up in early January, 1987. Joe Bob’s Bar and Grill Band played Gruene Hall and other venues in the area until they Through Cheatham Street connections, Whitbeck As Finlay looks back on these Vaughan and joined him on stage. and Will (age 10)–opened for Sexton brothers–Charlie (age 12) sions, the phenomenal, young other guitarists. On many occa- people, most of whom werethirty often consisted of no more than Cheatham Street audiences that Double Trouble played to nights. Stevie [Ray] Vaughan and Cheatham Street on Tuesday rocket internationally, electrified whose career would soon sky- singer and phenomenal guitarist wife and newborn child. wife and newborn Wyoming, while Hale was with his for a couple of gigs in Cheyenne, invited him to play with the band suggestion of Terry Hale, Strait thrills came in 1989, when at the Whitbeck’s greatest professional and to see that happen.” One of exciting to be around those days know, a tour bus, it was really when they actually had a bus, you fast. “I remember the first gig In 1980, a young Austin blues 38 39 Charlie Sexton and Kent Finlay, c. mid-1980s. Courtesy, Kent Finlay an old wood stove in the winter, even though there was gas heat aid of a sound system, but during the early days, they sat around Init all started.” the summer, on stage with the writers performed Abravenel, a writer living in San Marcos who “was of getting part to showcase their work. He then discussed the idea with Alex Street grew out of Finlay’s desire to provide writers with a chance Finlay once again return to operate the honky tonk. opening of Cheatham Street on New Year’s Eve, 1999, did business featured mainly Tejano bands. Not until the grand re- he again sold it. For ownership, a brief period under new the operate the honky tonk until nearly end of 1980s, when within a relatively period of time. Finlay short continued to Cheatham Street business ended up back in Finlay’s hands University, musician, and booking agent. Mike Willey, an Austin resident, former student of Texas State music and family, Kent sold the Cheatham Street business to children had been born. In order to focus more on his own and other songwriters. By early 1983, two of the Finlays’ three Texas State University who also has co-written songs with him 1978, Finlay had married Diana Becker, a journalism major at responsibilities also took up an increasing amount of his time. In a honky tonk werethe demands of running confining. Family including at Willie Nelson’s annual Fourth of July picnic, but Express, at Cheatham Street and other places in the area, that loved to play the guitar like Stevie.” lean back, just feel it, you know. I don’t think I ever saw anyone The idea to create a special night for songwriters at Cheatham owner’sBecause of the new financial problems, however, the Finlay also continued to play with his band, High Cotton 40 41 42 Cheatham Street on one of those “magical” Tuesday nights: Night during those years. Barlow vividly recalls his first trip to careersdeveloped important in music also came to Songwriters Ash, and a number of other budding songwriters who later Justin Treviño, Jimmy Collins, Al Barlow, Jimmy and Tommy kind of like a church, so, it’s a listening thing.” Finlay has nurtured: “That’s what I like about San Marcos...it’s Night at Cheatham Street is the listening atmosphere that Fourth of July enjoys picnics, particularly about Songwriters as the master of ceremoniesyears at served Willie’s annual passed the guitar back and forth.” What Allan, who for several just sat around the old wood stove in a semi-circle of chairs and songs. “It was more intimate than it is now,” he remembers, “we six or ten writers there four or five who would each perform Night in 1983 or 1984. At that time, there would often be only fondly recalls coming to Songwriters when he first started Double A Show on KCTI-AM 1450 Radio in Gonzales, Texas, Music Hall of Fame and DJ’s Hall of Fame who now hosts the in there, but we had wood warmth.” more than just heat on those Tuesday nights: “We had gas heat in Cheatham Street. As Finlay emphasizes, the stove was there for James McMurtry, John Martinez, Hal Arthur Ketchum, Aaron Allan, a prolific writer, member of the Texas Country was a songwriter. little old I told him had a few course, Kent noticed my old guitar and asked me if I woodstove blazing in the center of room. Of into the smokey room and took a seat around an old I’d never experienced anything like it. We walked 43 44

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15 “It’s the Music”: Music”: the “It’s http://ecommons.txstate.edu/jtmh/vol5/iss1/3 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 3 8

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

“It’s the Music”: Music”: the “It’s

me and the guys a place to perform when no one else would.” when me and the guys a place to perform that our first, second, and third year Ace In The Hole Band night–ladies free night was hard to beat. I would have to say of people, a packed house and course Wednesday memories of those early gigs are still vivid: “A dance floor full continue the regular gig there. For Mike Daily, though, demands of a touring schedule made it no longer feasible to Wednesday night until its rapidly growing popularity and the and for giving of friendship, years “Kent–Thanks for your of support, years started. started. We often played there twice a week.” out. But it was those first gigs...that helped us get our band “Cheatham St. was our few years. few larger venues in Houston, Austin, and the area over the next a growing number of fans and booked gigs at Gruene Hall and gained experience on the Cheatham Street stage, they attracted G’s talent never wavered,” recalls Foote. we had in the early days...Hissingle biggest supporter faith in music along with western swing. “Simply put, Kent was the and Asleep at the Wheel, who played more traditional country to book them weekly, along with others, such as Alvin Crow remembers that the band’s expectations that night were modest: him at Cheatham Street did not even mention his name. Daily “probably before he did.” Street. “I thought he would be a star,” Finlay later recalled, that Strait played his first fifty gigs, however, at Cheatham in order to make sure there was a good crowd. Finlay estimates of the Cheatham Streettook part audience to the Broken Spoke Hole. When White booked the band for first time, Finlay to arrange a gig therenightclub in Austin, for Ace trying in the remembers calling James White, owner of the Broken Spoke recalls. was such a great, greatChilympiad. “That show,” Finlay opened for the original Texas Playboys one year at the committee of San Marcos’s annual Chilympiad, Ace in the Hole As the Ace in the Hole Band tightened their sound and Finlay recognized Ace in the Hole’s potential and continued she would be impressed. But she never even saw me! of my classes back by the pool tables, and I was hoping one seemed to enjoy it. I evenevery saw a girl from one sounded pretty good and had some people dancing band...Wecome out on your first night of a new first night. I mean–nothing worse than having no one 27 I was really happy that we had a good crowd for that Cheatham Street featured Ace in the Hole almost every 26 Thanks to Finlay’s work on the entertainment only 25 gig for a while until we branched 23 As Daily emphasizes, 24 22 Finlay sales records on a couple of those dates.” anniversaries were maybe the most special. I recall setting beer Poole’s more colleagues on the senior traditional departmental music. Dr. of country teach a campus course in the history Street to listen music, initiated the idea of hiring Finlay to at History Texas State University, who often went to Cheatham music, Dr. William Poole, a professor of in the Department when no one else would.” a place to perform years of friendship,of support, and for giving me the guys first hit record, he inscribed on it, “Kent–Thanks for your years manager. When Strait gave Finlay copy of his a complimentary Heart Fire I Can’t Put Out,” on his MCA album, on Mexico.” In 1982, Strait also included Staedtler’s song, “A included his hit single, “Unwound,” and Staedtler’s “Blame It that, in 1981, led to his first album, Nashville, MCA Records signed Strait to a recording contract Woolsey’s promotional work and extensive connections in where Ace in the Hole also played for awhile. Thanks to the southbound access road along Interstate 35 in San Marcos, operated the “Prairie Rose,” a club south of Highway 123 on joining MCA Records in Nashville. Woolsey owned and had worked in promotions for Decca and ABC Records before Erv Woolsey, a business graduate of Texas State University who individuals in Nashville with whom Finlay and Strait talked was but the trip planted seeds that would later sprout. One of the University took a job with an agricultural company in Uvalde, disappointing for Strait, who upon graduation from Texas State minds, you know, and we were sick of it.” thing going...in our this little thing, anti-slick country in the national marketplace. As Finlay recalls, “We already had odds with the prevailing commercial trend toward pop/country music and western swing put him at with traditional country offer Strait a record contract. Strait’s determination to stick the major record labels showed enough interest at the time to had some impressive demos to shop around Nashville, none of Strait on the Nashville trip. Although Finlay believed that Strait writing for Chappel Music. Staedtler accompanied Finlay and Staedtler, a south Texas songwriter who, at the time, was by Darryl had some of his original songs, along with a few Nashville in an attempt to get a record deal. At that time, Strait Because of Finlay’s in educational background and expertise resultsThe short-term of the trip to Nashville were It was Finlay, in fact, who, early 1977, took Strait to . In 1984, Woolsey left MCA to become Strait’s full-time Strait Country 28 29 George Strait, 1981 30 Strait from the , which Produced by The Berkeley Electronic Press, 2005 on his Strait from the Heart album in 1982, and he continued covered one of Blaker’s Only songs, “The Thing I Have Left,” helped him to get a foot in the door Nashville. Strait soon and Blaker’s friendship with members of Ace new in the Hole contacts to help Ace in the Hole get gigs in Houston. gigs in the surrounding Hill Country, and Blaker used his Meanwhile, the Ace in the Hole group helped Blaker line up Finlay’s class. Finlay soon booked Blaker at Cheatham Street. friendships with Ace in the Hole Band members and sat in on University, Blaker went to San Marcos. He established guitar player who had left California to attend Texas State to Houston. Then, upon the advice of Glenn Schalles, his ex- music in the Austin area,of outlaw country Blaker moved back Flying Burrito Brothers were popular. Soon attracted by the rise southern California, where Gram Parsons, the Eagles, and rockHawaii scene in before joining the early 1970s country in the area. Blaker was born in Houston but had moved to group, who walked into the honky tonk looking to book gigs Band members met singer-songwriter Clay Blaker and his teach it again in the spring semester, 1979. re-hired Department the course when History Finlay to evaluation of Finlay’s teaching. Twenty-one students enrolled in the course were eased when Dr. Brown positive filed a very from Nashville. The university administration’s concerns about that he played Strait’s demos to the class after they returned semester when Kent took Strait to Nashville. Finlay remembers Cabal and Terry Hale, were enrolled in Finlay’s class that spring semester, 1977. comprehensive report, he hired Finlay to teach the class in Dr. Ron Brown to audit the class regularly and file a rigor.” After Swinney persuaded fellow member department class be monitored extremely carefully to insure academic and vice-president, and won only on the condition that administration. I had to fight hard to sell the idea [the] dean “Our misgivings were mild compared to those of the to get administrative approval for the class. As Swinney recalls, Swinney, then worked Department, chair of the History hard steeply declining classroom enrollment at the time. Dr. Everette eyes might lack academic rigor, but they consented because of faculty did not show great enthusiasm for a course that in their with the great listening crowds nights. listening with the great songwriter on acoustic impressed but he was particularly there was always a good dance crowd, where Blaker liked the classic honky-tonk Street, of Cheatham atmosphere Blaker’s outstanding song writing impressed Finlay and Strait, After playing one night at Cheatham Street, Ace in the Hole Strait and other members of the Ace in the Hole Band, Ron 31 32 Andrews: It's the Music 33 ask him where he was going, Permenter replied that he was equipment into his old car. When Whitbeck went outside to Permenter, who lived across the street, loading gear and Whitbeck looked out the window of his family’s home and saw looking for a steel player in San Marcos. The next morning, night in July, 1976, that someone by the name of Joe Bob was player in their local band, overheard a remark after a gig one Porte, Texas, when he and Jimmy Permenter, a steel guitar that first drew him to the honky-tonk. He was living in La in the Robert Earl Keen Band, remembers the chain of events State University who lives in San Marcos and plays bass guitar now at Department a graduate student in the History Texas Whitbeck, a singer-songwriter, former English teacher, and was low on a given night. pocket on many occasions to pay musicians when the “door” particular. Blaker remembers seeing him reach into his own admires the way he has nurtured young songwriters, in music. Blaker has great praise for Finlay’s song writing, and distinguished Cheatham Street’s of role in the history Texas music, in general, have been the ingredients that have personal integrity and unselfish devotion to song writing and recalls, “or Kent would throw ‘em out.” For Blaker, Finlay’s had to listen,” he laughingly acoustic songwriter nights. “They impressedparticularly with the great listening crowds on Street, where there was always a good dance crowd, but he was label anywhere to put your records out on.” was our good friend and unlike nowadays there wasn’t just any recordings...Some of Clay’s stuff came out on it, too, because he to break and so he produced our first big act to try Big Bopper. As Daily recalls, “My dad was always looking for a including George Jones, Roger Miller, Willie Nelson, and the 1958 and 1975 produced other well-known Texas musicians, with MCA, had also recorded with D Records, which between Mike’s father and uncle. Ace in the Hole, before Strait signed grandfather, H.W. “Pappy” Daily, in 1958, and passed down to songs on D Records, a Houston label founded by Daily’s Blaker had recorded Only “The Thing I Have Left” and other albums. Earlier, thanks to Strait’s steel guitar player, Mike Daily, Lays It All on the Line,” and “Need I Say More” on subsequent “Lonesome Rodeo Cowboy,” “We Must Be Lovin’ Right,” “She to include Blaker’s songs, including “Never Gonna Let You Go,” The mid-1970s were heady times at Cheatham Street. Bill Blaker liked the classic honky-tonk atmosphere of Cheatham 35 34

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

9 “It’s the Music”: Music”: the “It’s

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

18 “It’s the Music”: Music”: the “It’s couch for the summer.” so he and his wife Diana gave me the As Snider recalls, “I had no place to stay, unofficial member of the Finlay family. wing; in fact, Snider became an Finlayperform. took Snider under his ask for help in learning to write and Songwriters Night to meet Finlay and Oregon who, in 1986, came to recent high school graduate from on Tuesday nights was Todd Snider, a Kent Finlay’s house.” pattern myself after I got from sitting around listening to them at of them,” remembers Snider. “Most of the people that I guess others. “All those people, I’d never heard Shaver, Guy Clark, Shel Silverstein, and Kristofferson, John Prine, Billy Joe writing of Jerry Jeff Walker, Kris gig and introduced him to the song to spill out everywhere.” to bed. But my excitement just seemed out and holler at me to shut up go just spent...Sometimes, she’d me chew tell her about the magical evening I’d after the show and wake my wife up to were. Sometimes I’d drive all the way back to New Braunfels “Tuesday nights at Cheatham Street were magical. They really Barlowhim. “I became hooked on entertaining,” explains, our world.” Sterling discovered there was coolness in was the moment fondly recalls, “That sing all the way home. As Diana Finlay a CB radio. The two of them would Scout meetings in an old Buick that had up and brought him home from Cub emulate Snider, who often picked him year-old Sterling Finlay began to Before long, Finlay invited Barlow to play several gigs with One of Barlow’s “favorite ‘regulars’” Before long, Snider blossomed into one of the best who made this possible. venue–an outlet–for my songs. It was Kent Finlay audience...asked for more. I had a At last, I knew my life forever. After I sang a couple of my songs, the heard coming around the circle that night changed folks gathered around the woodstove. The music I singing and playing in front of the twenty-something about I was morethe truth, than a little nervous goofy songs, and he told me I could play. To tell you 47 Soon, Kent gave Snider a 48 45 46 Soon, six- Courtesy, Kent Finlay Advertisement, San Marcos Citizen. imagination that’s absolutely his own.” Roger Miller, and a fresh, original spirit and freedom of and humor of Johnthe heart Prine, the wild unpredictability of the nation. Kristofferson regards him as “a songwriter, true with in performers songwriters and most dynamic entertaining the first time at a Cheatham Street song swap, later including it song,“Waco Moon,” written in response to Shaver’s death, for Eddie’s tragic death the night before. Snider played his haunting Snider called first on New Years Day, 2001, to tell him about band and toured with him. It was Finlay whom a distraught became friends with Eddie Shaver, who later played in Snider’s dedicated, so determined.” At Cheatham Street, Snider met and of hard “He work into his writing and performance: was so however, that despite Snider’s talent, he put (and still puts) a lot Ike Eichenberg. Also there, of course, was Snider. As Barlow door of Cheatham Street. worked up the courage and one night stepped inside front Inside, Hendrix met Finlay and songwriters Al Barlow and play in public.” on his CD, New Connection (Oh Boy Records, 2002). but as she recalls, “I was terrified to Street. She songs, had written a few Songwriters Night at Cheatham Snider and other waiters talking about at Texas State University, overheard time. Hendrix, transfer student a new employed at the restaurant at the young songwriter who was also he met Terri Hendrix, an aspiring Peppers at the Falls Restaurant, where off, he had worked as a waiter at song for.”first person I play a new As he makes clear, Finlay is still “the Wednesday night Songwriters Circle. stage, occasionally making it back for a returns to the old Cheatham Street and their children, Snider often co-written songs with Kent, Diana, Finlay and Cheatham Street. Having diminished his relationship with acclaim, but Snider’s success has not earlier ones, has received critical Nashville Skyline Records, Snider’s recent CD, (deceased) on John Prine’s Oh Boy Dan Reeder, and Steve Goodman Kristofferson, Janis Ian, Shawn Camp, Before Snider’s career really took Now featured along with Kris 49 50 52 Finlay makes clear, (2004), as well as Nevertheless, she East 51

at Cibolo Creek have come back.” though I was an absolute beginner,” she remembers, “I wouldn’t “Had I not been treated with such warmth and respect, even love warmth of the songwriters’ with the nurturing culture. that night, she receivedperformed a warm reception and fell in invited Rick Bowen, a classically trained baritone singer whom Street. To open one of her many shows at Cheatham Street, she never forgotten the culture of Songwriters Night at Cheatham enhanced Hendrix’s national Grammy-winning stature, she has (2002) and San Marcos returned to the small stage there to record her next CD, has played in setting a precedent for other area venues, she historical role that she believesthe important Cheatham Street In(drums). 1997, she released mandolin, dobro), Glen Fukunaga (bass), and Paul Pearcy band–-Lloyd Maines (guitar, lap and pedal steel guitar, 1996, has been highly productive, anchored by an outstanding have any bags he’s to get rid of,” she fondly observes. trying characteristics is the “lack of ego” on Kent’s “He part. doesn’t believes that one of Cheatham Street’s most enduring letting egos, cliques, and competition get in the way. In fact, she Finlay each other without and other songwriters supported her.” he presentedopportunities her with, that ignited spark in to tell you that it was Kent Finlay’s encouragement, and the she is today.self confident entertainer But she’ll be the first one her guitar in tow. She was a shy little woman, and not at all the recalls, “One cold, rainy night, [she] walked in the place with “She got hungry.” impressed him. As he stresses with a smile and sense of pride, hungry.” Her hard work and productivity have since really that when Hendrix first asked him for advice, he told her “to get brought her critical acclaim around the nation. Finlay remembers Cheatham Street stage as a springboard for a career that has and writer, dynamic performer a very Hendrix used the past three decades.”past and showcased the greatest musicians this state has had to offer musiciansand showcased for this state the greatest the rzs.Ahml itese yterira rcs thsnrue,raised, it has nurtured, humble little shed by the railroadBrazos...A tracks, Cheatham Street Cheatham Warehouse will be compared to Washington-on-the- We h naso ea ui r ial rte,I have no doubt that “When the annals of Texas Music are finally written, Hendrix, since releasing her debut CD, impressedWhat particularly Hendrix was the way in which 53 Although Hendrix was very nervous when she Although Hendrix nervous was very , which was released in 2001. Although The Art of Removing Wallpaper (1999) and 56 54 Places in Between Wilory FarmWilory Two Dollar Shoes , followed by (2004) have since (2000). Tohonor The Ring Live in Live 55 Now Live , in discontinued jam night at Cheatham Street, they left behind a night at the bar. Although Huckaby and Daily have since musicians who put their names on a sign-up sheet each Monday Dalmolin, and Ricky Turpin, along with aspiring singers and Duckworth, Justin Treviño, Al Quaid, Levi Mullen, Phil the area such as Redd Volkert, Bill Whitbeck, Brian nights often drew some of the most outstanding musicians in to join them on stage for a couple of songs each. Jamperformers they and other musicians would play a set then allow other residents of San Marcos, would anchor a weekly show in which steel), both current members of George Strait’s band and Mondays when Huckaby (keyboards) and Mike Daily (pedal call from Ronnie Huckaby, he agreed to set up a “jam” night on Mondays, and Tuesdays, his plans soon changed. After a phone performances. attempt to balance honky-tonk shows with acoustic songwriter the other nights would showcase in an top Americana artists feature Songwriters Night (re-named Songwriters Circle), and through Saturday only. Wednesday nights, of course, would he intended to open Cheatham Street from Wednesday Marcos Consolidated Independent School District at the time, particular. Still working his “day job” as a teacher in the San to showcase good song writing and Americana roots music, in 1999, he did so with renewed purpose and a clear commitment have a contract with Kent. I shake his hand.” and integrity. we play there,” she emphasizes, “When “I don’t she plays at Cheatham Street. She attributes this to his honesty non-contractual basis on which she and Finlay operate when all aspects of her own appreciates business, she particularly the me my first beer night at Cheatham Street.” Songwriters Night had other historical significance: “Rick gave Shefirst performance. also laughingly recalls that her trip to over the years, had offered her encouraging words after her very Hendrix remembers that Bowen, a regular at Songwriters Night a rousing perform she had met at Songwriters Night on her first trip there, to Although Finlay planned to remain closed on Sundays, When Finlay re-opened Cheatham Street on New Years Eve, Although Hendrix is an astute businesswoman who handles a cappella

rendition of “Old Man River.”

–Joe Nick Patoski ea rtr 2003 Texas writer, 58 57

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19 “It’s the Music”: Music”: the “It’s http://ecommons.txstate.edu/jtmh/vol5/iss1/3 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 3 10

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16 “It’s the Music”: Music”: the “It’s was packed...All these people, you know.” played at Cheatham Street: “It my mind. just blew The place vividly recalls the first night they taping of Austin City Limits. He his arrival and after attending a the San Marcos River on the day of immediately after floating down love with the town and music scene sister) on vocals. Whitbeck fell in adding Cindy Burris Bob’s (Joe Butchdrummer Burdette, later band at that time included Burris and Marion Quick, the along with Ace in the Hole. regularly at Cheatham Street, the popular band, which played invited a jubilant Whitbeck to join Ramirez, had just quit. Burris then him that his bass player, Hector phone call from Burris, who told LaPorte, Whitbeck received a nearby Luling. After returning to his belongings from La Porte to Grill Band and prepared to move for a spot in Joe Bob’s Bar and Permenter successfully auditioned Hut. The following day, the bridge near Herbert’s Taco Burris, they spent the night under worked there told them how to get in touch with Joe Bob Reynolds Sisters were playing on stage. After someone who Street, the place was packed with college students, and Street’...We went, ‘Where’s that?’” Joe Bob,’ and he says, ‘Well, he might be over to Cheatham the street, and I said, ‘Hey, [do] you know somebody named Hopkins Street and there’s a guy with long hair walking down That evening, as Whitbeck recalls, “We’re just driving down Shack) and then jumped into the San Marcos River for a swim. arrived in town, they went to the Ice House (now Joe’s Crab to San Marcos, and jumped into his friend’s car. When they house, got some of his stuff, told his family that he was going leaving to find Joe Bob in San Marcos. Whitbeck ran into the whom werewhom other guitarists. of most people, of no more than thirty often consisted audiences that Stevie [Ray] Vaughan and Double Trouble played Street to Cheatham Initially comprised of Joe Bob When Whitbeck and Permenter stepped inside Cheatham 36 Stevie Ray Vaughan. Courtesy, Nancy Barnard 37 The band also crank up the amplifier and really get into the blues: “He’d just “magical nights,” he vividly remembers how Vaughan would to Ace in the Hole and then see George Strait reach stardom so two years. For greatWhitbeck, it was particularly to be so close that played at Cheatham Street Monday every night for about Bennet Spielvogel also formed a blues band, The Razor Blades, Marcos, he, Hale, Cabal, Roy Rushing, Pete Denny, and Ron Cabal. In fact, about a year after Whitbeck moved to San Band, fellow particularly bass player, Terry Hale, and guitarist established friendships with members of the Ace in the Hole were always stars at Cheatham Street.” great commercial success, but as Finlay proudly proclaims, “they (more recently reconstituted as Big Square Sun) never achieved broke up in early January, 1987. Joe Bob’s Bar and Grill Band played Gruene Hall and other venues in the area until they Through Cheatham Street connections, Whitbeck As Finlay looks back on these Vaughan and joined him on stage. and Will (age 10)–opened for Sexton brothers–Charlie (age 12) sions, the phenomenal, young other guitarists. On many occa- people, most of whom werethirty often consisted of no more than Cheatham Street audiences that Double Trouble played to nights. Stevie [Ray] Vaughan and Cheatham Street on Tuesday rocket internationally, electrified whose career would soon sky- singer and phenomenal guitarist wife and newborn child. wife and newborn Wyoming, while Hale was with his for a couple of gigs in Cheyenne, invited him to play with the band suggestion of Terry Hale, Strait thrills came in 1989, when at the Whitbeck’s greatest professional and to see that happen.” One of exciting to be around those days know, a tour bus, it was really when they actually had a bus, you fast. “I remember the first gig In 1980, a young Austin blues 38 39 Produced by The Berkeley Electronic Press, 2005 Charlie Sexton and Kent Finlay, c. mid-1980s. Courtesy, Kent Finlay an old wood stove in the winter, even though there was gas heat aid of a sound system, but during the early days, they sat around Init all started.” the summer, on stage with the writers performed Abravenel, a writer living in San Marcos who “was of getting part to showcase their work. He then discussed the idea with Alex Street grew out of Finlay’s desire to provide writers with a chance Finlay once again return to operate the honky tonk. opening of Cheatham Street on New Year’s Eve, 1999, did business featured mainly Tejano bands. Not until the grand re- he again sold it. For ownership, a brief period under new the operate the honky tonk until nearly end of 1980s, when within a relatively period of time. Finlay short continued to Cheatham Street business ended up back in Finlay’s hands University, musician, and booking agent. Mike Willey, an Austin resident, former student of Texas State music and family, Kent sold the Cheatham Street business to children had been born. In order to focus more on his own and other songwriters. By early 1983, two of the Finlays’ three Texas State University who also has co-written songs with him 1978, Finlay had married Diana Becker, a journalism major at responsibilities also took up an increasing amount of his time. In a honky tonk werethe demands of running confining. Family including at Willie Nelson’s annual Fourth of July picnic, but Express, at Cheatham Street and other places in the area, that loved to play the guitar like Stevie.” lean back, just feel it, you know. I don’t think I ever saw anyone The idea to create a special night for songwriters at Cheatham owner’sBecause of the new financial problems, however, the Finlay also continued to play with his band, High Cotton 40 41 42 Andrews: It's the Music Cheatham Street on one of those “magical” Tuesday nights: Night during those years. Barlow vividly recalls his first trip to careersdeveloped important in music also came to Songwriters Ash, and a number of other budding songwriters who later Justin Treviño, Jimmy Collins, Al Barlow, Jimmy and Tommy kind of like a church, so, it’s a listening thing.” Finlay has nurtured: “That’s what I like about San Marcos...it’s Night at Cheatham Street is the listening atmosphere that Fourth of July enjoys picnics, particularly about Songwriters as the master of ceremoniesyears at served Willie’s annual passed the guitar back and forth.” What Allan, who for several just sat around the old wood stove in a semi-circle of chairs and songs. “It was more intimate than it is now,” he remembers, “we six or ten writers there four or five who would each perform Night in 1983 or 1984. At that time, there would often be only fondly recalls coming to Songwriters when he first started Double A Show on KCTI-AM 1450 Radio in Gonzales, Texas, Music Hall of Fame and DJ’s Hall of Fame who now hosts the in there, but we had wood warmth.” more than just heat on those Tuesday nights: “We had gas heat in Cheatham Street. As Finlay emphasizes, the stove was there for James McMurtry, John Martinez, Hal Arthur Ketchum, Aaron Allan, a prolific writer, member of the Texas Country was a songwriter. little old I told him had a few course, Kent noticed my old guitar and asked me if I woodstove blazing in the center of room. Of into the smokey room and took a seat around an old I’d never experienced anything like it. We walked 43 44

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15 11 “It’s the Music”: Music”: the “It’s

Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

20 “It’s the Music”: Music”: the “It’s vocals and complex harmonies, but also features great showcases a large family band that not only demonstrates rich Family, and others. In the case of Ash Family, Finlay Grant Mazak Band, Island Texas, Big Square Sun, the Ash o’clock p.m., usually featuring top local bands, such as the produced its first studio CD, Cheatham Street large audiences in the area, had produced its first CD, months later, the Randy Rogers Band, which soon attracted Cheatham Street on October 3, 2000. By December, just a few Marcos, Rogers and Foster put together a band that debuted at practice, and to get a band together. Kent changed my life.” my own there. It lit this fire in me to put it together, and to recalls, “It my mind that I’d just blew be able to have a night of on Tuesdays so they could have a regular weekly gig. As Rogers him that, if Rogers put together a band, Finlay would stay open expressed interest in getting a gig at Cheatham Street, Finlay told University regularly who performed at Songwriters Circle, Mass Communications and Public Relations major at Texas State South Austin Jug Monday Band to play every night. nights for awhile, but more recently, Finlay has booked the player, stepped in to help continue the tradition on Monday rich legacy. John Michael Whitby, Asleep at the Wheel’s piano the release CD, of their new crowd at Cheatham Street on August 26, 2004, they celebrated gigs at major festivals in Italy and France. Before a jam-packed dividends. In July, 2004, the band played its first international encouragement and mentoring, soon paid even more to expand their fan base throughout Texas and the Southwest. and Jonguitar), Les Lawless (drums), Richardson (bass) began fellow band members–Brady Black (fiddle), Geoffrey Hill (lead feel about it.” music history. “You walk in there and get chills…that’s how I launched him, about Cheatham Street’s role in important Texas Rogers makes clear how he feels about the small place that the band’s growing stature in major markets, on the charts he signed a major record deal with Mercury Records. Despite attention of several major record companies. On July 30, 2005, It the Hill Country.” By this time, Rogers had attracted the Foster. CD includes one of Finlay’sThe new Call songs, “They Thursday nights to support song swaps and other up-and-coming writers. nights to support Thursday Finlay has often used Tuesday and the end of 1999, Since re-opening at Finlay also decided to open on Sundays from four to eight After discussions with Eddie Foster, a steel player in San In 2000, when Randy Rogers, a promising young writer and The band’s hard work, along with Finlay’s steady 61 . In 2002, when the reconstituted band Rollercoaster Like It Used to Be , produced by Radney , Rogers and 59 Live at Live 60 laughingly remembers that a beauty pageant was once held Kids with Cancer. and to entertain parties, birthday Finlay Cheatham Street has been used for weddings, receptions, honky tonk’splays on the legendary stage. In addition, audiences, and university and community groups have held University have read stories to happy-hour their short students in the Creative Writing program at Texas State and educational purposes. Graduatebroader social, artistic, faculty and students to allow the use of Cheatham Street for annual “Lone Star Award.” Arts Director of the museum, presented Finlay the museum’s first Craig Hillis, and Al Barlow. Charlie Gallagher, Executive Monk Wilson, Denim, Geronimo Treviño, Michael O’Connor, Gibson, Aaron Allan, Randy Rogers, Van Wilks, Foscoe Jones, Willis Alan Ramsey, Allison Rogers, Ponty Bone, Susan that evening, including the Blueperformed Grass Nibblers, dinner with Finlay as its guest of honor. Several songwriters New Braunfels Museum and Music of Art held its annual contributions to Texas music history. On October 2, 2003, the Braunfels Museum and Music of Art for his longstanding Texas Music History, the City of San Marcos, and the New returned to Cheatham Street to record live CDs. Dub Miller, Randy Rogers, and Houston Marchman—have some of Finlay’s favorite writers—Adam Carroll, Terri Hendrix, for a special songwriters’ show, “Kent and Friends.” In turn, Chambers and Audrey Auld–-have joined Finlay on occasion James, Hayes Carll, Max Stalling, and Australians Bill Cleaves, Susan Gibson, Jack Ingram, Walt Wilkins, Davin Morales, P. Gary Nunn, Bob Livingston, Shake Russell, Slaid Willis Alan Ramsey, Clay Blaker, Aaron Allan, Lisa and Roberta addition, veteran writers–-among them, Ray Wylie Hubbard, Castro, Jason Beckett, Jackson Parten, and Foscoe Jones. In Gilmore, Trish Murphy, Django Walker, Ryan Turner, J.R. Ruthie Foster, Angie McClure, Adam Kay, Dub Miller, Colin Carroll, Shelley King, Jeff Plankenhorn, Floramay Holliday, up-and-coming writers, most notably, Colin Brooks, Adam Tuesday and song swaps and other Thursday nights to support weekly Songwriters Circle. at the songwriters, have helped to raise the bar for performers Jimmy and Tommy, two of Finlay’s most highly respected songwriters–brothers Jimmy and Tommy Ash. For years, Finlay has often cooperated with Texas State University Recently, Finlay has received recognition from the Center for Since re-opening at the end of 1999, Finlay has often used 62 Kent’s favorites. to play at Cheatham Street as one of slept on the Finlays’ couch, often returns Martinez, one of several writers who have State Park to write songs together. used to meet in Austin or at the Blanco Wheels Wheels,” on his debut CD, Starry Nights Girl Named Texas” on Martinez’s more than a dozen songs, including “A Harlan Howard–Mr. Songwriter in the eyes of many.” Community, where I met, in the men’s room, the legendary Munchies,’ not far from the creative Hillsboro Village recalls, “because we wound up at a funky place called ‘Professor Finlay who went with him. “I’ll never forget that trip,” Martinez produce his recent CD, to his signing a major deal with Dualtone Records in Nashville to successful appearances on the television show, with his second CD, songwriter and performer. After getting considerable radio airplay Falls High School before devoting himself to a career as a singer- English, Martinez taught English and coached tennis at Marble listeners formed an outer circle around the writers.” songwriters would circle an old wood-burning stove while the music history,professor of country Kent Finlay...We circle of creative minds,” he recalls, “spearheaded by a humble discovered Songwriters Night. “I stumbled into a life-changing University on a tennis scholarship in the mid-1980s when he Grammy Award winner, Martinez was attending Texas State Colin Gilmore, Randy Rogers, and John Martinez. A Arthur graduates of Texas State University, Staedtler, including Darryl several distinguished songwriters and musicians who are wife, Cathy Supple, to play and sing on the historic stage. State University President Jerrry Supple, a banjo player, and his also allowed the Newton Street Regulars with the late Texas there to crown “Miss Honky-Tonk Angel of the World.” He pull broke out with these fine folks.” couldn’t contain my excitement as a guitar memorable experience: “I particularly Newbury. For Martinez, this was a songwriters Ed Bruce and Mickey Howard. Also there that night were out of the bathroom, telling him that inside he had just met laughingly remembers how an excited Martinez came running Likewise, Martinez has neverLikewise, forgotten Martinez and Finlay have co-written When Martinez made his first trip to Nashville in 1987, it was After graduating from Texas State University with a degree in In recent years, Cheatham Street has provided a venue for (1998). Finlay recalls that they , as well as “Spinning Our 68 Stand YourGround Lone Starry Nights Spinning Our 67 Lone (2004). (2001), Martinez’s Terri Hendrix. Courtesy, Texas State University-San Marcos Nashville Star 65 64 66 Finlay 63 , led been diagnosed with bone cancer about four months earlier. raise money for a bone marrow transplant for Finlay, who had family gathered at Cheatham Street for a special benefit to help about twenty-six years. Music,”Country after a hiatus of of History in the Department Director, Finlay of History once again taught a course, “The semester, 2004, at the invitation of Dr. CTMH Hartman, Gary Jenni, formerly worked for the CTMH, in fact. In the fall the Road,” for the CTMH. Finlay’s a benefit concert daughter, CTMH, Cheatham Street Folk hosted Kerrville Festival “On for example, in conjunction with Rod Kennedy and the on its behalf.sponsoring benefit concerts On March 23, 2000, for Texas Music (CTMH) at History Texas State University, stores.” so they’llmemory know what to request on the radio or at the listener with something significant which sinks into their And, finally,hold the listener from the start. you need to leave that...then you need a great first line that is strong enough to with a great hook idea, often the title. He and Kent both agreed songwriting, hook, line, and sinker. He said you have to start recalls, “He told me to take the fisherman’s approach to piece of lasting advice. As Martinezgave him an important Staedtler,those nights Martinez met songwriter Darryl who write better songs than they’re writing in Nashville.” On one of he would ignore the bad...He always told me that we have to share...Kent would point out the good in what I was doing and to to write something new handed so it inspired me to try growth. “Well, I didn’t want to show up to writers night empty how the songwriters culture nurtured by Finlay shaped his On September and 21, 2003, musicians, friends, supporters, In particular, Finlay of the Center has been a big supporter 69 Terri Hendrix, Chris Wall, Lars Albrecht, Hubbard, Shake Russell, Jack Ingram, he entered his teens. playing at Cheatham Street since before Monte Montgomery, who has been musicians, including a guitar donated by with many items donated by Texas 1974, helped to organize a silent auction at Cheatham Street when it opened in Andrews, one of the original bartenders employees from the early days. Monica back many of Finlay’s friends and night of music that brought a wonderful Allen, along with many volunteers, set up Angie McClure, Jenny Doyle, and Sage particular, Cheatham Street employees singer/songwriter Shelley King, in With help of the important On that emotional night, Ray Wylie

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etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

at Cibolo Creek have come back.” though I was an absolute beginner,” she remembers, “I wouldn’t “Had I not been treated with such warmth and respect, even love warmth of the songwriters’ with the nurturing culture. that night, she receivedperformed a warm reception and fell in invited Rick Bowen, a classically trained baritone singer whom Street. To open one of her many shows at Cheatham Street, she never forgotten the culture of Songwriters Night at Cheatham enhanced Hendrix’s national Grammy-winning stature, she has (2002) and San Marcos returned to the small stage there to record her next CD, has played in setting a precedent for other area venues, she historical role that she believesthe important Cheatham Street In(drums). 1997, she released mandolin, dobro), Glen Fukunaga (bass), and Paul Pearcy band–-Lloyd Maines (guitar, lap and pedal steel guitar, 1996, has been highly productive, anchored by an outstanding have any bags he’s to get rid of,” she fondly observes. trying characteristics is the “lack of ego” on Kent’s “He part. doesn’t believes that one of Cheatham Street’s most enduring letting egos, cliques, and competition get in the way. In fact, she Finlay each other without and other songwriters supported her.” he presentedopportunities her with, that ignited spark in to tell you that it was Kent Finlay’s encouragement, and the she is today.self confident entertainer But she’ll be the first one her guitar in tow. She was a shy little woman, and not at all the recalls, “One cold, rainy night, [she] walked in the place with “She got hungry.” impressed him. As he stresses with a smile and sense of pride, hungry.” Her hard work and productivity have since really that when Hendrix first asked him for advice, he told her “to get brought her critical acclaim around the nation. Finlay remembers Cheatham Street stage as a springboard for a career that has and writer, dynamic performer a very Hendrix used the past three decades.”past and showcased the greatest musicians this state has had to offer musiciansand showcased for this state the greatest the rzs.Ahml itese yterira rcs thsnrue,raised, it has nurtured, humble little shed by the railroadBrazos...A tracks, Cheatham Street Cheatham Warehouse will be compared to Washington-on-the- We h naso ea ui r ial rte,I have no doubt that “When the annals of Texas Music are finally written, Hendrix, since releasing her debut CD, impressedWhat particularly Hendrix was the way in which 53 Although Hendrix was very nervous when she Although Hendrix nervous was very , which was released in 2001. Although The Art of Removing Wallpaper (1999) and 56 54 Places in Between Wilory FarmWilory Two Dollar Shoes , followed by (2004) have since (2000). Tohonor Andrews: It's the Music The Ring Live in Live 55 Now Live , in discontinued jam night at Cheatham Street, they left behind a night at the bar. Although Huckaby and Daily have since musicians who put their names on a sign-up sheet each Monday Dalmolin, and Ricky Turpin, along with aspiring singers and Duckworth, Justin Treviño, Al Quaid, Levi Mullen, Phil the area such as Redd Volkert, Bill Whitbeck, Brian nights often drew some of the most outstanding musicians in to join them on stage for a couple of songs each. Jamperformers they and other musicians would play a set then allow other residents of San Marcos, would anchor a weekly show in which steel), both current members of George Strait’s band and Mondays when Huckaby (keyboards) and Mike Daily (pedal call from Ronnie Huckaby, he agreed to set up a “jam” night on Mondays, and Tuesdays, his plans soon changed. After a phone performances. attempt to balance honky-tonk shows with acoustic songwriter the other nights would showcase in an top Americana artists feature Songwriters Night (re-named Songwriters Circle), and through Saturday only. Wednesday nights, of course, would he intended to open Cheatham Street from Wednesday Marcos Consolidated Independent School District at the time, particular. Still working his “day job” as a teacher in the San to showcase good song writing and Americana roots music, in 1999, he did so with renewed purpose and a clear commitment have a contract with Kent. I shake his hand.” and integrity. we play there,” she emphasizes, “When “I don’t she plays at Cheatham Street. She attributes this to his honesty non-contractual basis on which she and Finlay operate when all aspects of her own appreciates business, she particularly the me my first beer night at Cheatham Street.” Songwriters Night had other historical significance: “Rick gave Shefirst performance. also laughingly recalls that her trip to over the years, had offered her encouraging words after her very Hendrix remembers that Bowen, a regular at Songwriters Night a rousing perform she had met at Songwriters Night on her first trip there, to Although Finlay planned to remain closed on Sundays, When Finlay re-opened Cheatham Street on New Years Eve, Although Hendrix is an astute businesswoman who handles a cappella

rendition of “Old Man River.”

–Joe Nick Patoski ea rtr 2003 Texas writer, 58 57

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

19 13 “It’s the Music”: Music”: the “It’s

etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

22 “It’s the Music”: Music”: the “It’s Kent Finlay’s signs honoring George Strait outside Cheatham Street Warehouse. Courtesy, Anita Miller “I’m still working on that. I haven’t done it yet...I hope that I’ve of history Texas music, he replies with characteristic modesty: asked to name what he believes is his greatest contribution to the to achieving evenforward greater things down the road. When night,” he points out. Rather than rest on his laurels, he looks hopes to accomplish in the years ahead. “I go home thrilled every plumbing problems–-to dampen enthusiasm for what he still tonk–such as fixing a stubborn leaky roof or dealing with unpleasant, tedious tasks involved in operating a honky from the transplant. song, he promised to come back healthy once he recuperated audience on the power of his vocals and spirit. At the end of at first to find his voice, he then broke into song, lifting the guitar and slowly worked his way to the stage. After struggling the house when Kent, weak but determined, picked up his appreciation to the crowd. There eye was hardly in a single dry his bone marrow transplant, then prepared to express his Kent Finlay,performance, weeks away from who was only a few role in his career.such an instrumental Following Snider’s electrified the audience on behalf of man who had played of spectacular, that was nothing short performance Snider Snider came out to close the special Sunday night show. In a Band the crowd entertained for nearly ten hours before Todd Hamilton, Island Texas, River Train, and the Grant Mazak Finlay, Adam Carroll, Foscoe Jones, Phil Pritchett, Nathan Floramay Holliday, Randy Rogers, Jenni and HalleyAnna Susan Gibson, Shelley King, Houston Marchman, Al Barlow, Finlay has not allowed cancer, a recent divorce, or the us can measure.” Texas and the U.S., so his influence is much bigger than any of at Cheatham Street, back to our home communities across “Many of us have taken the passion for songwriting, nurtured of the heartbeat Texas music scene.” As Martinez emphasizes, Austin and San Antonio, an area which has become the create an environment of creativity in the corridor between experience on the Cheatham Street stage, Kent “has helped to hone their craft and gain performance opportunity “struggling artists” who write well. By giving writers an to him is Finlay’sspecial importance for generous support ground for young writers.” songwriter,” and sees Cheatham Street as a “great training Whitbeck regards Finlay as “a total champion of the always seemed to be secondary to the music.” always seemed to be secondary possible a chance. Money to give everyone trying and profit focus on Texas Music and and the belief in bands artist, still plays steel guitar in George Strait’s band, “in keeping the more dedicated person than Kent,” stresses Mike Daily, who beyond his own modest assessment. “I don’t believe there is a songs of my owna few that people enjoy.” encouraged some people to write better songs...and I hope have club...[his] contribution cannot be overestimated.” a club owner but a singer-songwriter who happened to own a the music above his profit margin...I never thought of Kent as road manager, Finlay “was the first club owner who put I knew Foote, in Ace formerly a drummer in the Hole but now Strait’s For musicians, Finlay’s role in Texas goes far music history 74 73 John Martinez agrees. Arthur Of 70 71 For Tommy 72 Bill tonk and in the Texas music industry. role the honky at continue to play an important Street stage,” Cheatham having “grown up on the who, are also musicians and songwriters and HalleyAnna) Sterling, Finlay’s three children (Jenni, Not surprisingly, Emily, in the Martindale Fish and Tackle Choir. Jenni, the along with Marianneperformed, Miller and her daughter, school, they had written their first song and elementary pool tables while musicians played. By the time they began industry. As toddlers, Jenni and Sterling learned to sleep on the role at the honky tonk and in important Texas music “grown up on the Cheatham Street stage,” continue to play an HalleyAnna) are also musicians and songwriters who, having available to the public. the world-wide web, and to make Finlay’s songs more widely broadcasts from Cheatham Street that would be available on Among their goals is to explore the possibility of live radio cooperative relationship to pursue this goal as well as others. Recording Technology program, have developed a longstanding engineer who teaches in Texas State University’s Sound particular. He Hickinbotham, and Gary a well-known sound record label and to showcase the work of songwriters, in Paper Napkin Music, Inc., to create his own independent build on the success of his song writing publishing company, Street, recording, and his own writing. Among his goals is to District to devote more of his creative energies to Cheatham from the San Marcos Consolidated Independent School Blossom Special as he watched the train go by.” the bandstand,” remembers Steve Finlay, “and playing Orange earlier. “I recall Alvin Crow opening the back sliding door at of a Texas flag on the same stage where years they played thirty especially on the 19th when Crow and his band played in front Many in the audience shared old memories and stories, their appreciation for the years of enjoyment he has provided. audiences over the weekend, friends stopped by to show Finlay Shelley King, Alvin Crow, and Island Texas festive entertained weekend of Cheatham Street. As the Randy Rogers Band, too.”for him as a writer and an artist, gotten,” emphasizes writer Aaron Allan, “I have great respect cleverly and powerfully. “He a lot more credit deserves than he’s delivers the lyrics and expresses emotions in the stories so music business. His songs are crafted, and he masterfully skills have been underappreciatedand performance by the Not surprisingly, Finlay’s three children Sterling, (Jenni, and Earlier that month, Finlay quit his day job when he retired On June 17-20, 2004, Finlay celebrated the 30th anniversary For many musicians and songwriters, Finlay’s own writing 75 76 in the eighth grade began playing happy hour gigs at Cheatham young kid, and first song and learned to play the guitar as a very valuable experience on the Cheatham Street stage. She wrote her a freshman at Texas State University-San Marcos, has also gained operations of Cheatham Street. He, role in the day-to-day too, continues to play an important More recently, he has fronted his own band, Sterling’s Starship. Gougers, the Ash Family, and other top musicians in Texas. played bass with Susan Gibson, Jeff Plankenhorn, the Sidehill band in 2002 and with Foscoe Jones in early 2003. He has also songwriter, he began to play electric bass with Jackson Parten’s he played in the high school mariachi band. A singer- Marcos. Like Jenni, major in high school, and he was a drum with Snider at the Blue Pearl (now The Coffee Pot) in San As a kid, he played writing songs and performing. early start operations of Cheatham Street and Paper Napkin Music. Although she lives in Plano, Texas, she continues to assist in the for Brad Turcotte’s thriving indie label, Compadre Records. helping her father manage Paper Napkin Music. She now works Center for Texas Music at History Texas State University while 2001, she returned to San Marcos and worked temporarily for the realized that it was then-Arkansas Governor Bill Clinton. later got up to address the convention delegates, they both Kent who he was at the time. However, knew when the man fellow musician who played the saxophone. Neither Jenni nor came up to her, complimented her, and introduced himself as a a man impressedthe song. Afterward, with Jenni’s performance Todd Snider. She played a hot fiddle breakdown at the end of where a ten-year-old Jenni sang a song co-written by Kent and Democratic National Convention in Atlanta, Georgia, in 1988, in 1989 and again on other occasions. They also played at the at Austin’sThey performed South by Southwest Music Festival school. and fiddle, played together while she was in elementary sing like Marianne.” emphasized that she wanted “to write songs like Daddy and Russell. As Jenni’s mother recalls, Jenni at an early age folk singer who had played in Kent’s band and with Shake oldest of the Finlay children, was influenced by Marianne, a HalleyAnna, the youngest of the Finlay children and currently Sterling, who grew up idolizing Todd Snider, got an likewise After Jenni graduated from Belmont University in Nashville in Kent and Jenni, who learned to play the guitar, saxophone, 77 79 78

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20 “It’s the Music”: Music”: the “It’s vocals and complex harmonies, but also features great showcases a large family band that not only demonstrates rich Family, and others. In the case of Ash Family, Finlay Grant Mazak Band, Island Texas, Big Square Sun, the Ash o’clock p.m., usually featuring top local bands, such as the produced its first studio CD, Cheatham Street large audiences in the area, had produced its first CD, months later, the Randy Rogers Band, which soon attracted Cheatham Street on October 3, 2000. By December, just a few Marcos, Rogers and Foster put together a band that debuted at practice, and to get a band together. Kent changed my life.” my own there. It lit this fire in me to put it together, and to recalls, “It my mind that I’d just blew be able to have a night of on Tuesdays so they could have a regular weekly gig. As Rogers him that, if Rogers put together a band, Finlay would stay open expressed interest in getting a gig at Cheatham Street, Finlay told University regularly who performed at Songwriters Circle, Mass Communications and Public Relations major at Texas State South Austin Jug Monday Band to play every night. nights for awhile, but more recently, Finlay has booked the player, stepped in to help continue the tradition on Monday rich legacy. John Michael Whitby, Asleep at the Wheel’s piano the release CD, of their new crowd at Cheatham Street on August 26, 2004, they celebrated gigs at major festivals in Italy and France. Before a jam-packed dividends. In July, 2004, the band played its first international encouragement and mentoring, soon paid even more to expand their fan base throughout Texas and the Southwest. and Jonguitar), Les Lawless (drums), Richardson (bass) began fellow band members–Brady Black (fiddle), Geoffrey Hill (lead feel about it.” music history. “You walk in there and get chills…that’s how I launched him, about Cheatham Street’s role in important Texas Rogers makes clear how he feels about the small place that the band’s growing stature in major markets, on the charts he signed a major record deal with Mercury Records. Despite attention of several major record companies. On July 30, 2005, It the Hill Country.” By this time, Rogers had attracted the Foster. CD includes one of Finlay’sThe new Call songs, “They Thursday nights to support song swaps and other up-and-coming writers. nights to support Thursday Finlay has often used Tuesday and the end of 1999, Since re-opening at Finlay also decided to open on Sundays from four to eight After discussions with Eddie Foster, a steel player in San In 2000, when Randy Rogers, a promising young writer and The band’s hard work, along with Finlay’s steady 61 . In 2002, when the reconstituted band Rollercoaster Like It Used to Be , produced by Radney , Rogers and 59 Live at Live 60 laughingly remembers that a beauty pageant was once held Kids with Cancer. and to entertain parties, birthday Finlay Cheatham Street has been used for weddings, receptions, honky tonk’splays on the legendary stage. In addition, audiences, and university and community groups have held University have read stories to happy-hour their short students in the Creative Writing program at Texas State and educational purposes. Graduatebroader social, artistic, faculty and students to allow the use of Cheatham Street for annual “Lone Star Award.” Arts Director of the museum, presented Finlay the museum’s first Craig Hillis, and Al Barlow. Charlie Gallagher, Executive Monk Wilson, Denim, Geronimo Treviño, Michael O’Connor, Gibson, Aaron Allan, Randy Rogers, Van Wilks, Foscoe Jones, Willis Alan Ramsey, Allison Rogers, Ponty Bone, Susan that evening, including the Blueperformed Grass Nibblers, dinner with Finlay as its guest of honor. Several songwriters New Braunfels Museum and Music of Art held its annual contributions to Texas music history. On October 2, 2003, the Braunfels Museum and Music of Art for his longstanding Texas Music History, the City of San Marcos, and the New returned to Cheatham Street to record live CDs. Dub Miller, Randy Rogers, and Houston Marchman—have some of Finlay’s favorite writers—Adam Carroll, Terri Hendrix, for a special songwriters’ show, “Kent and Friends.” In turn, Chambers and Audrey Auld–-have joined Finlay on occasion James, Hayes Carll, Max Stalling, and Australians Bill Cleaves, Susan Gibson, Jack Ingram, Walt Wilkins, Davin Morales, P. Gary Nunn, Bob Livingston, Shake Russell, Slaid Willis Alan Ramsey, Clay Blaker, Aaron Allan, Lisa and Roberta addition, veteran writers–-among them, Ray Wylie Hubbard, Castro, Jason Beckett, Jackson Parten, and Foscoe Jones. In Gilmore, Trish Murphy, Django Walker, Ryan Turner, J.R. Ruthie Foster, Angie McClure, Adam Kay, Dub Miller, Colin Carroll, Shelley King, Jeff Plankenhorn, Floramay Holliday, up-and-coming writers, most notably, Colin Brooks, Adam Tuesday and song swaps and other Thursday nights to support weekly Songwriters Circle. at the songwriters, have helped to raise the bar for performers Jimmy and Tommy, two of Finlay’s most highly respected songwriters–brothers Jimmy and Tommy Ash. For years, Finlay has often cooperated with Texas State University Recently, Finlay has received recognition from the Center for Since re-opening at the end of 1999, Finlay has often used 62 Produced by The Berkeley Electronic Press, 2005 Kent’s favorites. to play at Cheatham Street as one of slept on the Finlays’ couch, often returns Martinez, one of several writers who have State Park to write songs together. used to meet in Austin or at the Blanco Wheels Wheels,” on his debut CD, Starry Nights Girl Named Texas” on Martinez’s more than a dozen songs, including “A Harlan Howard–Mr. Songwriter in the eyes of many.” Community, where I met, in the men’s room, the legendary Munchies,’ not far from the creative Hillsboro Village recalls, “because we wound up at a funky place called ‘Professor Finlay who went with him. “I’ll never forget that trip,” Martinez produce his recent CD, to his signing a major deal with Dualtone Records in Nashville to successful appearances on the television show, with his second CD, songwriter and performer. After getting considerable radio airplay Falls High School before devoting himself to a career as a singer- English, Martinez taught English and coached tennis at Marble listeners formed an outer circle around the writers.” songwriters would circle an old wood-burning stove while the music history,professor of country Kent Finlay...We circle of creative minds,” he recalls, “spearheaded by a humble discovered Songwriters Night. “I stumbled into a life-changing University on a tennis scholarship in the mid-1980s when he Grammy Award winner, Martinez was attending Texas State Colin Gilmore, Randy Rogers, and John Martinez. A Arthur graduates of Texas State University, Staedtler, including Darryl several distinguished songwriters and musicians who are wife, Cathy Supple, to play and sing on the historic stage. State University President Jerrry Supple, a banjo player, and his also allowed the Newton Street Regulars with the late Texas there to crown “Miss Honky-Tonk Angel of the World.” He pull broke out with these fine folks.” couldn’t contain my excitement as a guitar memorable experience: “I particularly Newbury. For Martinez, this was a songwriters Ed Bruce and Mickey Howard. Also there that night were out of the bathroom, telling him that inside he had just met laughingly remembers how an excited Martinez came running Likewise, Martinez has neverLikewise, forgotten Martinez and Finlay have co-written When Martinez made his first trip to Nashville in 1987, it was After graduating from Texas State University with a degree in In recent years, Cheatham Street has provided a venue for (1998). Finlay recalls that they , as well as “Spinning Our 68 Stand YourGround Lone Starry Nights Spinning Our 67 Lone (2004). (2001), Martinez’s Terri Hendrix. Courtesy, Texas State University-San Marcos Nashville Star 65 64 Andrews: It's the Music 66 Finlay 63 , led been diagnosed with bone cancer about four months earlier. raise money for a bone marrow transplant for Finlay, who had family gathered at Cheatham Street for a special benefit to help about twenty-six years. Music,”Country after a hiatus of of History in the Department Director, Finlay of History once again taught a course, “The semester, 2004, at the invitation of Dr. CTMH Hartman, Gary Jenni, formerly worked for the CTMH, in fact. In the fall the Road,” for the CTMH. Finlay’s a benefit concert daughter, CTMH, Cheatham Street Folk hosted Kerrville Festival “On for example, in conjunction with Rod Kennedy and the on its behalf.sponsoring benefit concerts On March 23, 2000, for Texas Music (CTMH) at History Texas State University, stores.” so they’llmemory know what to request on the radio or at the listener with something significant which sinks into their And, finally,hold the listener from the start. you need to leave that...then you need a great first line that is strong enough to with a great hook idea, often the title. He and Kent both agreed songwriting, hook, line, and sinker. He said you have to start recalls, “He told me to take the fisherman’s approach to piece of lasting advice. As Martinezgave him an important Staedtler,those nights Martinez met songwriter Darryl who write better songs than they’re writing in Nashville.” On one of he would ignore the bad...He always told me that we have to share...Kent would point out the good in what I was doing and to to write something new handed so it inspired me to try growth. “Well, I didn’t want to show up to writers night empty how the songwriters culture nurtured by Finlay shaped his On September and 21, 2003, musicians, friends, supporters, In particular, Finlay of the Center has been a big supporter 69 Terri Hendrix, Chris Wall, Lars Albrecht, Hubbard, Shake Russell, Jack Ingram, he entered his teens. playing at Cheatham Street since before Monte Montgomery, who has been musicians, including a guitar donated by with many items donated by Texas 1974, helped to organize a silent auction at Cheatham Street when it opened in Andrews, one of the original bartenders employees from the early days. Monica back many of Finlay’s friends and night of music that brought a wonderful Allen, along with many volunteers, set up Angie McClure, Jenny Doyle, and Sage particular, Cheatham Street employees singer/songwriter Shelley King, in With help of the important On that emotional night, Ray Wylie

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21 15 “It’s the Music”: Music”: the “It’s

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22 “It’s the Music”: Music”: the “It’s Kent Finlay’s signs honoring George Strait outside Cheatham Street Warehouse. Courtesy, Anita Miller “I’m still working on that. I haven’t done it yet...I hope that I’ve of history Texas music, he replies with characteristic modesty: asked to name what he believes is his greatest contribution to the to achieving evenforward greater things down the road. When night,” he points out. Rather than rest on his laurels, he looks hopes to accomplish in the years ahead. “I go home thrilled every plumbing problems–-to dampen enthusiasm for what he still tonk–such as fixing a stubborn leaky roof or dealing with unpleasant, tedious tasks involved in operating a honky from the transplant. song, he promised to come back healthy once he recuperated audience on the power of his vocals and spirit. At the end of at first to find his voice, he then broke into song, lifting the guitar and slowly worked his way to the stage. After struggling the house when Kent, weak but determined, picked up his appreciation to the crowd. There eye was hardly in a single dry his bone marrow transplant, then prepared to express his Kent Finlay,performance, weeks away from who was only a few role in his career.such an instrumental Following Snider’s electrified the audience on behalf of man who had played of spectacular, that was nothing short performance Snider Snider came out to close the special Sunday night show. In a Band the crowd entertained for nearly ten hours before Todd Hamilton, Island Texas, River Train, and the Grant Mazak Finlay, Adam Carroll, Foscoe Jones, Phil Pritchett, Nathan Floramay Holliday, Randy Rogers, Jenni and HalleyAnna Susan Gibson, Shelley King, Houston Marchman, Al Barlow, Finlay has not allowed cancer, a recent divorce, or the us can measure.” Texas and the U.S., so his influence is much bigger than any of at Cheatham Street, back to our home communities across “Many of us have taken the passion for songwriting, nurtured of the heartbeat Texas music scene.” As Martinez emphasizes, Austin and San Antonio, an area which has become the create an environment of creativity in the corridor between experience on the Cheatham Street stage, Kent “has helped to hone their craft and gain performance opportunity “struggling artists” who write well. By giving writers an to him is Finlay’sspecial importance for generous support ground for young writers.” songwriter,” and sees Cheatham Street as a “great training Whitbeck regards Finlay as “a total champion of the always seemed to be secondary to the music.” always seemed to be secondary possible a chance. Money to give everyone trying and profit focus on Texas Music and and the belief in bands artist, still plays steel guitar in George Strait’s band, “in keeping the more dedicated person than Kent,” stresses Mike Daily, who beyond his own modest assessment. “I don’t believe there is a songs of my owna few that people enjoy.” encouraged some people to write better songs...and I hope have club...[his] contribution cannot be overestimated.” a club owner but a singer-songwriter who happened to own a the music above his profit margin...I never thought of Kent as road manager, Finlay “was the first club owner who put I knew Foote, in Ace formerly a drummer in the Hole but now Strait’s For musicians, Finlay’s role in Texas goes far music history 74 73 John Martinez agrees. Arthur Of 70 71 For Tommy 72 Bill http://ecommons.txstate.edu/jtmh/vol5/iss1/3 tonk and in the Texas music industry. role the honky at continue to play an important Street stage,” Cheatham having “grown up on the who, are also musicians and songwriters and HalleyAnna) Sterling, Finlay’s three children (Jenni, Not surprisingly, Emily, in the Martindale Fish and Tackle Choir. Jenni, the along with Marianneperformed, Miller and her daughter, school, they had written their first song and elementary pool tables while musicians played. By the time they began industry. As toddlers, Jenni and Sterling learned to sleep on the role at the honky tonk and in important Texas music “grown up on the Cheatham Street stage,” continue to play an HalleyAnna) are also musicians and songwriters who, having available to the public. the world-wide web, and to make Finlay’s songs more widely broadcasts from Cheatham Street that would be available on Among their goals is to explore the possibility of live radio cooperative relationship to pursue this goal as well as others. Recording Technology program, have developed a longstanding engineer who teaches in Texas State University’s Sound particular. He Hickinbotham, and Gary a well-known sound record label and to showcase the work of songwriters, in Paper Napkin Music, Inc., to create his own independent build on the success of his song writing publishing company, Street, recording, and his own writing. Among his goals is to District to devote more of his creative energies to Cheatham from the San Marcos Consolidated Independent School Blossom Special as he watched the train go by.” the bandstand,” remembers Steve Finlay, “and playing Orange earlier. “I recall Alvin Crow opening the back sliding door at of a Texas flag on the same stage where years they played thirty especially on the 19th when Crow and his band played in front Many in the audience shared old memories and stories, their appreciation for the years of enjoyment he has provided. audiences over the weekend, friends stopped by to show Finlay Shelley King, Alvin Crow, and Island Texas festive entertained weekend of Cheatham Street. As the Randy Rogers Band, too.”for him as a writer and an artist, gotten,” emphasizes writer Aaron Allan, “I have great respect cleverly and powerfully. “He a lot more credit deserves than he’s delivers the lyrics and expresses emotions in the stories so music business. His songs are crafted, and he masterfully skills have been underappreciatedand performance by the Not surprisingly, Finlay’s three children Sterling, (Jenni, and Earlier that month, Finlay quit his day job when he retired On June 17-20, 2004, Finlay celebrated the 30th anniversary For many musicians and songwriters, Finlay’s own writing Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 3 75 76 in the eighth grade began playing happy hour gigs at Cheatham young kid, and first song and learned to play the guitar as a very valuable experience on the Cheatham Street stage. She wrote her a freshman at Texas State University-San Marcos, has also gained operations of Cheatham Street. He, role in the day-to-day too, continues to play an important More recently, he has fronted his own band, Sterling’s Starship. Gougers, the Ash Family, and other top musicians in Texas. played bass with Susan Gibson, Jeff Plankenhorn, the Sidehill band in 2002 and with Foscoe Jones in early 2003. He has also songwriter, he began to play electric bass with Jackson Parten’s he played in the high school mariachi band. A singer- Marcos. Like Jenni, major in high school, and he was a drum with Snider at the Blue Pearl (now The Coffee Pot) in San As a kid, he played writing songs and performing. early start operations of Cheatham Street and Paper Napkin Music. Although she lives in Plano, Texas, she continues to assist in the for Brad Turcotte’s thriving indie label, Compadre Records. helping her father manage Paper Napkin Music. She now works Center for Texas Music at History Texas State University while 2001, she returned to San Marcos and worked temporarily for the realized that it was then-Arkansas Governor Bill Clinton. later got up to address the convention delegates, they both Kent who he was at the time. However, knew when the man fellow musician who played the saxophone. Neither Jenni nor came up to her, complimented her, and introduced himself as a a man impressedthe song. Afterward, with Jenni’s performance Todd Snider. She played a hot fiddle breakdown at the end of where a ten-year-old Jenni sang a song co-written by Kent and Democratic National Convention in Atlanta, Georgia, in 1988, in 1989 and again on other occasions. They also played at the at Austin’sThey performed South by Southwest Music Festival school. and fiddle, played together while she was in elementary sing like Marianne.” emphasized that she wanted “to write songs like Daddy and Russell. As Jenni’s mother recalls, Jenni at an early age folk singer who had played in Kent’s band and with Shake oldest of the Finlay children, was influenced by Marianne, a HalleyAnna, the youngest of the Finlay children and currently Sterling, who grew up idolizing Todd Snider, got an likewise After Jenni graduated from Belmont University in Nashville in Kent and Jenni, who learned to play the guitar, saxophone, 77 79 78

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23 16 “It’s the Music”: Music”: the “It’s Andrews: It's the Music “It’s the Music”: Music”: the “It’s “It’s the Music”: Music”: the “It’s etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent etFna’ hahmSre aeos nSnMro,Texas Marcos, San in Warehouse Street Cheatham Finlay’s Kent

Street. She, too, performed at the Blue Pearl. Influenced heavily It is also clear from an old picture of Finlay, Hondo Crouch, 20:08:03 US Central 2004]. McIntyre, Willie Nelson, the Osborne Brothers, Charley Walker, 9. Kent Finlay, interview with author, July 30, 2002. and others, recently held a party at Cheatham Street to celebrate by the songs of Jewel, Kasey Chambers, and Slaid Cleaves, she and Jim Cunningham in Terlingua that hangs behind the bar 10. For a brief biographical sketch of John Kenneth Threadgill and the release of his CD, “Time Is” (2005). On Allan’s career, see plays cover songs along with originals. Kent used to take her with that the spiritual influences of Hondo will continue to give his role in Texas music history, see Alan Lee Haworth, “John Jim Gramon, Legendary Texas Storytellers (Plano, Tx.: Republic of Kenneth Threadgill.” The Handbook of Texas Online. Texas Press, 2003), 136-150, and Tony Wilson, “Aaron Allan him when he and Cleaves would meet to co-write songs at the shape and character to the old warehouse along the tracks in http://www.tsha.utexas.edu/handbook/online/articles/view/TT/ likes to keep it simple: ‘Me and My Guitar,’” San Marcos Daily fth58.html [Accessed Jun 10 19:58:12 US/Central 2004]. Record, January 28, 2005. playscape in the children’s park in San Marcos. HalleyAnna, who San Marcos. At the end of every Songwriters Circle, when 11. Kent Finlay, interview with author, July 30, 2002. See also 45. Al Barlow, e-mail to author, February 2, 2005. at times works at Cheatham Street, performs at Songwriters Finlay pulls up a chair out in the audience and listeners move Laurie E. Jasinski, “Cheatham Street Warehouse,” in Barkley, et 46. Ibid.; Todd Snider Road Journal, Volume 5, May 2003, al, eds., Handbook of Texas Music, 48-49. http://www.toddsnider.net/journal_may03.html; John Arthur Circle, and plays bass guitar in Sterling’s Starship, intends to in closer to hear him finish the show with a few of his songs, it 12. Steve Finlay, e-mail to author, July 27, 2004. Martinez, e-mail to author, October 25, 2004. remain involved with her father’s honky tonk.80 is quiet enough to hear a pin drop. For those who close their 13. Kent Finlay, interview with author, July 30, 2002. 47. Diana Hendricks, conversation with author, October 28, 2004. 14. Steve Finlay, e-mail to author, July 27, 2004. 48. Quoted in Richard Skanse, undated interview with Todd Snider, Whatever Finlay’s future endeavors, Songwriters Circle will eyes and perhaps allow themselves to be transported back in 15. Kent Finlay, interview with author, July 30, 2002. http://www.lonestarmusic.com. 16. On the origins of the progressive country movement, see Jan 49. For Kristofferson’s quote, see: htttp://www.ohboy.com. Reid, The Improbable Rise of Redneck Rock (Austin: University of 50. Kent Finlay, interview with author, July 30, 2002. Texas Press, New Edition, 2004). 51. Ibid; Todd Snider Road Journal, Volume 5, May 2003, 17. Ibid., 280-285; Damon Arhos, “‘Austin City Limits,’” in Barkley, http://www.toddsnider.net/journal_may03.html. “It’s late at night, I slip out back. The folks are sleeping, well, I’m dressed in et al, eds., Handbook of Texas Music, 10-11. For a discussion of the 52. Terri Hendrix, interview with author, August 29, 2002. black . The place I’m going to is by the railroad tracks.” relationship between “redneck rock” musicians, especially Willie 53. Barlow, e-mail to author, February 2, 2005. singer-songwriter, “Cheatham Street,” 2003 Nelson and Jerry Jeff Walker, and a number of well-known Texas 54. Hendrix, interview with author, August 29, 2002. —Dave Teichroeb literary outlaws in the late 1960s and 1970s, see Steven L. Davis, 55. Ibid. Texas Literary Outlaws: Six Writers in the Sixties and Beyond (Fort 56. Kent Finlay, interview with author, July 30, 2002. Worth, Texas: TCU Press, 2004), passim. 57. Ibid. For Hendrix’s discography, see her website, http://www. 18. Kent Finlay, telephone conversation with author, July 13, 2004. terrihendrix.com. See also Rob Booth, “Terri Hendrix–No Tacky 19. Mike Daily, e-mail to author, January 9, 2005. Wallpaper Here,” The Texas Rising Star 2 (July 2004): 7. 20. Kent Finlay, interviews with author, June 25, July 30, 2002; 58. Hendrix, interview with author, August 29, 2002. “Kent Finlay is back at Cheatham to stay,” San Marcos Daily 59. Kent Finlay, interview with author, July 30, 2002; Rose Marie continue to be at the core of his plans. That night holds a special time, they might well find themselves sitting out under the stars Record, December 30, 2001; Tommy Foote, e-mail to author, Eash, “An art gallery for Texas music: 27 years of nurturing Lone place not only in his heart, but also in the hearts of songwriters with Finlay, Hondo, Willie, Gary P. Nunn, Dotsy, and Jerry Jeff February 1, 2005. Star sounds,” San Marcos Daily Record, June 2, 2001. 21. Mike Daily, e-mail to author, January 17, 2005. 60. The quote is from an interview with Randy Rogers on the Texas who, in turn, regard Finlay with special affection. To honor him Walker in Luckenbach. As the audience sings softly with Finlay 22. Kent Finlay, interviews with author, June 25, July 30, 2002; “Kent Troubadours website, http://www.texastroubadors.com. Finlay is back at Cheatham to stay,” San Marcos Daily Record, 61. Http://www.randyrogersband.com. For the quote, see http:// and raise money for Finlay’s medical fund, Dave Teichroeb, a on the final verse of his mournful song, “They Call It the Hill December 30, 2001; Daily, e-mail to author, January 9, 2005. www.texastroubadours.com. See also Jeff Walker, “No Place Like singer/songwriter from Guelph, Ontario, who lived in San Country,” a sense of loss permeates the warehouse. The 23. Foote, e-mail to author, February 1, 2005. Home: Rising Country act Randy Rogers returns to Cheatham 24. Daily, e-mail to author, January 17, 2005. Street to play with his mentor Kent Finlay,” San Marcos Daily 24 Marcos and performed regularly at Cheatham Street at the time audience is left to reflect on more than the environmental 25. Quoted in “Kent Finlay is back at Cheatham Street to stay,” San Record, October 27, 2004. 25 Finlay underwent his bone marrow transplant, produced a consequences of so-called economic progress in Central Texas. Marcos Daily Record, December 30, 2001. On the role of the 62. The Ash Family recently released a CD, “Bread and Wine” Broken Spoke in Texas music history, see Tanya Krause, “Broken (2004), engineered and mixed by Gary Hickinbotham at the compilation CD, Kent Finlay’s Songwriters’ Circle. The CD One senses that Finlay is also mourning the passing of a cultural Spoke,” in Barkley, et al, eds., Handbook of Texas Music, 38. Firestation Studio, produced by Jim and Tommy Ash and Gary 26. On the history of Gruene Hall, see Brandy Schnautz, “Gruene Hickinbotham, and mastered by Jerry Tubb at Terra Nova contains songs by a number of writers who often perform on era shaped significantly by Hondo. As Dave Teichroeb puts it Hall,” in Barkley, et al, eds., Handbook of Texas Music, 126. Digital Audio, Inc., Austin, Texas. Wednesday nights. It surprised no one that Finlay, after so well in his song, “Cheatham Street,” it may well be, however, 27. Kent Finlay, interview with author, July 30, 2002. 63. Kent Finlay, telephone conversation with author, July 13, 2004. 28. Daily, e-mail to author, January 17, 2005. 64. “JAMsession with John Arthur Martinez,” Austin Songwriter, recuperating from his transplant, made his first post-transplant that the ghost of Finlay’s spiritual guru from Luckenbach still 29. Kent Finlay, interview with author, July 30, 2002. September, 1999, 3. I would like to thank songwriter Regan 30. Ibid.; Daily, e-mail to author, January 11, 2005. For Strait’s Brown for calling my attention to this interview with Martinez. appearance at Cheatham Street on a Wednesday night. “It never haunts the creaky warehouse every Wednesday night: “At this discography, see his internet website: http://www.georgestrait.com. 65. See the biography section on Martinez’s website, http://www. has been a money maker night,” he points out, “but it sure is a old honky-tonk down Cheatham Street, yeah, you can still hear 31. Ev Swinney, e-mail to author, July 8, 2004. johnarthurmartinez.net. 81 82 ■ 32. Department of History Personnel File, James Kent Finlay, and 66. John Arthur Martinez, e-mail to author, October 25, 2004. great night for keeping our integrity.” old Hondo tapping his feet.” Class Rosters File, Spring 1979, Department of History 67. Ibid.; Kent Finlay, telephone conversation with author, July 22, Archives, Texas State University, San Marcos; Kent Finlay, 2004. interview with author, July 30, 2002. 68. Ibid.; http://www.johnarthurmartinez.net; Diana Finlay, inter- music. For a class-based analysis of country music in the South, 33. Clay Blaker, telephone conversation with author, May 16, 2003; view with author, October 28, 2004. Notes see Bill C. Malone, Don’t Get Above Your Raisin’: Country Music Daily, e-mail to author, January 11, 2005; Foote, e-mail to 69. John Arthur Martinez, e-mail to author, October 25, 2004. 1. On the quotes by Ford and Barlow, see www.cheathamstreet.com. and the Southern Working Class (Urbana: University of Illinois author, February 1, 2005. 70. Kent Finlay, interview with author, July 30, 2002. 2. “Fife, TX.” The Handbook of Texas Online. http://www. Press, 2002), and Jeffrey J. Lange, Smile When You Call Me 34. Mike Daily, e-mail to author, January 11, 2005. For Blaker’s 71. Daily, e-mail to author, January 17, 2005. tsha.utexas.edu/handbook/online/articles/view/FF/hnf18.html Hillbilly: Country Music’s Struggle for Respectability, 1939-1954 discography, see his internet website: http://www.clayblaker.com. 72. Foote, e-mail to author, February 1, 2005. [Accessed Wed June 9 9:45:34 US/Central 2004]. (Athens: University of Georgia Press, 2004). The best, most On D Records, see Linda Hellinger, “Pappy Daily,” in Barkley, et 73. Whitbeck, interview with author, August 19, 1902. 3. Kent Finlay, interview with author, June 25, 2002. well-researched treatment of the role of Jimmie Rodgers in the al, eds., Handbook of Texas Music, 75. See also the internet 74. John Arthur Martinez, e-mail to author, October 25, 2004. 4. Gary Hartman, “The Roots Run Deep: An Overview of Texas growth of country music in the 1920s and 1930s is Nolan website of the Glad Music Company, a publishing company 75. Aaron Allan, interview with author, June 30, 2002. Music History,” in Lawrence Clayton and Joe W. Specht, eds., The Porterfield’s Jimmie Rodgers: The Life and Times of America’s Blue created by Pappy Daily in 1958: http://www.gladmusicco.com. 76. Steve Finlay, e-mail to author, July 27, 2004. Roots of Texas Music (College Station: Texas A&M University Press, Yodeler (Urbana: University of Illinois Press, 1979). On West 35. Blaker, telephone conversation with author, May 16, 2003. 77. Quoted in Diana Finlay, conversation with author, October 28, 2003), 3-36, provides an overview of Texas music history that Texas, see also Porterfield’s ‘“Sandstorm’: Reflections on the 36. Bill Whitbeck, interview with author, August 19, 2002. 2004. stresses its diversity and cross-fertilizing cultural influences. See also Roots of West Texas Music,” Journal of Texas Music History 2 37. Ibid. 78. Austin American Statesman, February 10, 1989; Kent Finlay, Bill C. Malone, “Texas Myth/Texas Music,” Journal of Texas Music (Fall 2002): 39-44, and Joe Carr and Alan Munde, Prairie Nights 38. Kent Finlay, interview with author, July 30, 2002. interview with author, June 25, 2002. History 1 (Spring 2001): 4-11. George Lipsitz, Rainbow at to Neon Lights: The Story of Country Music in West Texas 39. Bill Whitbeck, interview with author, August 19, 2002. 79. Diana Hendricks, conversation with author, October 28, 2004. Midnight: Labor and Culture in the 1940s (Urbana: University of (Lubbock: Texas Tech University Press, 1995). 40. Kent Finlay, interview with author, July 30, 2002. On Vaughan’s 80. Ibid. Illinois Press, 1994), ch. 13, discusses the class-based roots of rock- 6. Interview with author, June 25, 2002; “Kent Finlay is back at career, see, for example, Joe Nick Patoski and Bill Crawford, 81. Kent Finlay, interview with author, July 30, 2002. The and-roll in the blues and country music—traditional musical Cheatham Street to stay,” San Marcos Daily Record, December Stevie Ray Vaughan: Caught in the Crossfire (Boston: Little, compilation CD, which was conceived, recorded, mixed, and forms of black and white working-class communities. 30, 2001. Brown and Company, 1993). mastered by Teichroeb at Peach Tree Studio, contains songs by 5. Kent Finlay, interview with author, June 25, 2002. On the 7. Kent Finlay, interviews with author, June 25, July 30, 2002; 41. Kent Finlay, interview with author, June 25, 2002; Tad Rick Bowen, Gregg Andrews, Becky Purcell, Mel Mason, Regan broader context in which the country music industry thrived as Diana Hendricks, conversation, October 28, 2004. For a brief Hershorn, “Cheatham Street switches hands,” San Marcos News, Brown, Stan Harlan, Angie McClure, and Teichroeb. Finlay came of age in the post-World War II era, see Bill C. history of Luckenbach, see Glen E. Lich and Brandy Schnautz, March 20-26, 1983. 82. Teichroeb’s recent CD, Canadian Whiskey, Peach Tree Studio, Malone, Country Music, U.S.A. (Austin: University of Texas “Luckenbach, Texas,” in Roy Barkley, Douglas E. Barnett, Cathy 42. Jasinski, “Cheatham Street Warehouse,” 48. 2004, is largely the product of a three-year stint in San Marcos Press, second rev. ed., 2002), chs. 7-8, and Joe W. Specht, “Put Brigham, Gary Hartman, Casey Monahan, Dave Oliphant, and 43. Kent Finlay, interview with author, July 30, 2002. For a during which he performed regularly at Cheatham Street and a Nickel in the Jukebox: The Texas Tradition in Country Music, George B. Ward, eds., The Handbook of Texas Music (Austin: collection of interviews with some of Texas’s most distinguished was influenced by the singer-songwriter culture nurtured by 1922-1950, in Clayton and Specht, eds., The Roots of Texas Texas State Historical Association, 2003), 193-94. songwriters, see Kathleen Hudson, Telling Stories, Writing Songs Kent Finlay. For a full discography, see his website: Music, ch. 3. Richard A. Peterson, Creating Country Music: 8. Kent Finlay, interviews with author, June 25, July 30, 2002. For (Austin: University of Texas Press, 2001). http://www.Davet.ca Fabricating Authenticity (Chicago and London: The University the history of Luckenbach, see Glen Lich, “Luckenbach, Texas.” 44. Aaron Allan, interview with author, June 30, 2002. Allan, whose of Chicago Press, 1997), emphasizes the role of the music The Handbook of Texas Online. http://www.tsha.utexas. songs have been covered by Stoney Edwards, Claude Gray, Chet industry in creating and shaping the development of country edu/handbook/online/articles/LL/hn148.html [Accessed Jun 10 http://ecommons.txstate.edu/jtmh/vol5/iss1/3 18 Olsen: San Antonio's West Side Sound San Antonio’s Sound Side West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. different groups during this period, including Sonny and the The result has been the development of Rhythm Rockers, Sonny and the Montclairs, and Sonny Ace a rich and complex regional musical and the Twisters. Regional hits included covers of the Louis style, of which the West Side Sound has Prima songs “Just a Gigolo” and “Oh, Marie.” Ace’s own become an integral part. compositions included “Take My Love,” “You Tear My Dreams Some of the musicians who helped develop San Antonio’s West Side Sound in its various forms are well known to both Texans and others across the country and around the world. The style was first brought to national prominence with Sunny Ozuna’s 1963 hit, “Talk to Me.” “She’s About A Mover,” the 1965 Top Twenty hit by the Sir Douglas Quintet soon brought additional recognition to the Alamo The Texas Tornados, courtesy of Reprise Records. Photo: Will Van Overbeek City’s music scene.2 Two musicians who were part of that band, Augie Meyers and the late Doug Sahm, went on to build nationally and internationally successful careers. Also It is a rare privilege indeed when a scholar has the opportunity to bring to famous around the world is the ubiquitous Flaco Jiménez, who the public’s attention a musical genre that has been largely unstudied in has five Grammy Awards, and has recorded with such 1 wheneverthe past.The these understanding less-well-known of our genres nation’s are musical recognized heritage and is enhancedexamined, prominent artists as Bob Dylan, the Rolling Stones, and Dwight Yoakam. especially those that have a rich history steeped in multi-ethnic traditions. Sahm, Meyers, and Jiménez, along with Freddy Fendder, once San Antonio’s West Side Sound is just such a genre, having drawn from a again brought the West Side Sound to a global audience during the broad array of regional influences to become a truly distinct musical style. 1990s with their musically eclectic super group, the Texas 3 Outside of South-Central Texas, however, the West Side Sound is a largely Tornados. The late Randy Garibay was a less-well-known but also very influential member of the West Side Sound. His contributions unknown phenomenon. Even within San Antonio itself, there are many who to the evolution of the genre have made him somewhat of a legend would have difficulty defining the West Side Sound. The goal of this article in San Antonio, and his passing in early 2002 has been difficult for is to explain what the West Side Sound is and to examine its origins and musicians and fans throughout the state.4 However, most of the other musicians involved in the development as a unique component of Texas music. development of the West Side Sound are not as well known, but Flaco Jiménez with multiple Grammy Awards. Produced by The Berkeley Electronic Press, 2005 1 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 San Antonio’s Sound Side West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. different groups during this period, including Sonny and the The result has been the development of Rhythm Rockers, Sonny and the Montclairs, and Sonny Ace a rich and complex regional musical and the Twisters. Regional hits included covers of the Louis style, of which the West Side Sound has Prima songs “Just a Gigolo” and “Oh, Marie.” Ace’s own become an integral part. compositions included “Take My Love,” “You Tear My Dreams Some of the musicians who helped develop San Antonio’s West Side Sound in its various forms are well known to both Texans and others across the country and around the world. The style was first brought to national prominence with Sunny Ozuna’s 1963 hit, “Talk to Me.” “She’s About A Mover,” the 1965 Top Twenty hit by the Sir Douglas Quintet soon brought additional recognition to the Alamo The Texas Tornados, courtesy of Reprise Records. Photo: Will Van Overbeek City’s music scene.2 Two musicians who were part of that band, Augie Meyers and the late Doug Sahm, went on to build nationally and internationally successful careers. Also It is a rare privilege indeed when a scholar has the opportunity to bring to famous around the world is the ubiquitous Flaco Jiménez, who the public’s attention a musical genre that has been largely unstudied in has five Grammy Awards, and has recorded with such 1 wheneverthe past.The these understanding less-well-known of our genres nation’s are musical recognized heritage and is enhancedexamined, prominent artists as Bob Dylan, the Rolling Stones, and Dwight Yoakam. especially those that have a rich history steeped in multi-ethnic traditions. Sahm, Meyers, and Jiménez, along with Freddy Fendder, once San Antonio’s West Side Sound is just such a genre, having drawn from a again brought the West Side Sound to a global audience during the broad array of regional influences to become a truly distinct musical style. 1990s with their musically eclectic super group, the Texas 3 Outside of South-Central Texas, however, the West Side Sound is a largely Tornados. The late Randy Garibay was a less-well-known but also very influential member of the West Side Sound. His contributions unknown phenomenon. Even within San Antonio itself, there are many who to the evolution of the genre have made him somewhat of a legend would have difficulty defining the West Side Sound. The goal of this article in San Antonio, and his passing in early 2002 has been difficult for is to explain what the West Side Sound is and to examine its origins and musicians and fans throughout the state.4 However, most of the other musicians involved in the development as a unique component of Texas music. development of the West Side Sound are not as well known, but http://ecommons.txstate.edu/jtmh/vol5/iss1/4 Flaco Jiménez with multiple Grammy Awards. 2

Sound Side West Antonio’s San 28 horn section, piano, and drums.” depended more on the interplay of electric guitar with as the “rhythm and blues band sound became tighter transformed the relationship between the horns and guitar saxophone as a premier In solo instrument. so doing, Walker the role of the electric guitar, a role that would “supersede” the another Texan, T-Bone Walker, was responsible for furthering to underlie the voice and horn sections.” According to Govenar, jazz scene. Both established the guitar “as a rhythm instrument pioneered this interplay between horns and guitars in the state’s Texas musicians Eddie Durham and Charlie Christian Alan Govenar has noted that guitar. Texas music historian and its relationship to the the role of the horn section that end, a key component is (also known as R&B). To pop, and rhythm blues country, conjunto, swamp of rock and roll, blues, At its core are the influences multifaceted musical entity. West Side Sound is a make a gig. of the group were unable to Sahm sat in when members a fifteen-year-old Doug Orchestra, in which Century combo called the Twentieth hit. Later, Barnett had a Shuffle,” became a regional recording, Ebony “The Club. Barnett’sCountry first the famous Eastwood he also played regularly at Ebony Club,legendary and house band at San Antonio’s Barnett Combo, was the for Doug Sahm and Augie Meyers. Barnett’s band, The Spot Rodarte. Scott and Barnett were certainly a source of inspiration players, including Charlie Alvarado, Rocky Morales, and Frank as mentors for many younger Mexican-American saxophone Garibay contributed to the voicing of the guitar as a rhythm Perhaps more than any other San Antonio musician, Randy Antonio sax players for years. which the unique saxophone solo became a model for San Apart,” and “Darling of Mine.” In its present form, the This orchestration is a key element in the West Side Sound. Clifford Scott is best known for his song “Honky Tonk,” from 8 Scott and Spot Barnett also served Randy Garibay, promo for 7 9 Barbacoa Blues. other country artists. other country big fans of Hank Williams, Lefty Frizzell, Jimmie Rodgers, and 12 years old, were influenced by black music, but they also were Barnett, and his Twentieth Orchestra often included a Century previously noted, the African-American musician, Spot bands were themselves racially and ethnically integrated. As to borrowing from a variety of ethnic genres, many of these racial boundaries to include a broad range of styles. In addition musicians developed an eclectic genre that cut across ethnic and “Progressive Country” music scene of the 1970s. influences after they became involved in Austin’sthese country basically took the lead note in chord, and depending on musician’s point of view, we have a voicing. player The trumpet West Side Sound is the voicing. Barnett says that, “From the to Spot Barnett, the contribution of horns in San Antonio’s guitar never completely replaces the horns, however. According of that interplay between guitar and horns. exemplary The decade. Garibay’s signature song, “Barbacoa Blues,” is for the and solo instrument West Side Sound during the last repertoires. and Meyers often included polkas and boleros in their musical Because of their diverse influences, the West Side Sound 11 Sahm and Meyers, close friends since they were 11 or 12 Sahm and Meyers would more fully express that’s our sound there.” G, and C on top. Now, the chord, we would put D, Bb…Then, on the top of would put [an] E, and a Okay, on the bottom, we a big, round full C chord. instance we wanted to have “Allintervals. right, say for elaborates on the role of the third.” Barnett further whether we put the tenor on lean high or low, is we wanted the chords to how much power, whether Garibay. Jiménez, Ozuna, Sonny Ozuna, and Randy Augie Meyers, Flaco Jiménez, contributions of Doug Sahm, largely through the rock and roll. This happened country, swamp pop, and conjunto, blues, R&B, American influences, such as American, and Anglo- Mexican-American, African- Side Sound absorbed Over the years, the West 13 10 neighborhood was predominantly African-American, so the Meyers all grew up on the East Side of San Antonio. That musicians got along so well musically. Sahm, Rodarte, and at that time [in the 1950s].” everybody leader Spot Barnett. “He was the greatest influence for affection he and others had for fellow African-American band for Doug Sahm, commented on the level of admiration and Sound band, the West Side Horns, and a long-time sax player other and for a broad range of ethnic musical genres. different ethnic groups developed a love and respect for each factor in howan important West Side Sound musicians from Homophily, was defined as similarity between friends, certainly homophily and proximity are most relevant to our discussion. communicative competence, and proximity. Of these six, formative and Clifford period. this early admired Barnett Scott during as well as Anglos, musicians, Morales and other Mexican-American culture, personality, homophily, an adjustment state, factors contributing to successful inter-ethnic relationships: students in the United States suggests that there are six key human relationships. to look briefly at some case studies involving inter-ethnic differences to create this unique musical form, it may be helpful musicians overcame social barriers and cultural contemporary racial equality. For a better understanding of how these overundergoing violent upheaval in the struggle civil rights and at a time when much of the rest of the Deep South was of the West Side Sound is that this music rooted in the 1950s, United Nations band there.’” Benny Easly, black, and myself, Chicano. They said ‘You got a Pineapple, Hawaiian mix, and I had Jitterbug Web, black. I had As Alvarado says, “I had James Kelley, Irish, and I had because it featured musicians from several ethnic backgrounds. and the Jives, has been called the “United Nations Band,” young, white Doug Sahm. Charlie Alvarado’s band, Charlie everybody, he gives it soul.” how he distributes his talent. He gives it to whites, blacks, good Lordhe replied, has control “The over that. He knows Rodarte was asked how it was that Chicanos can play the blues, a passion for what they called “soul music.” When Frank Garibay, Meyers, Sahm, Rodarte, Barnett, and others all shared Barnett and Clifford Scott during this early formative period. Mexican-American musicians, as well as Anglos, admired Proximity in understanding how is also important these Rocky Morales, an original member of the premier West Side Elisabeth Gareis’s case study of five German exchange intriguing about the multi-ethnic origins What is particularly 17 14 16 Morales and other 15 pioneer and bassist extraordinaire Jack Barber: on this subject by the observations West Side Sound Chicano the Ebony Club, and other venues. Perhaps most revealing are identity listening to various acts that played the Eastwood Club, culture” more attainable for these young San Antonio ‘know’ cultures is made rigid.” group. They can overcome this, however “when the desire to people have difficulty identifying themselves within a particular force to them.” According to the idea of “elusive culture,” young as a counter social life and cultural practices rather than serving processes…implicated in the ambivalence and contradictions of “Elusive culture…gestures towards of culture a view as on-going Toronto, Canada, high school, Daniel A. Yon argues that influences. In a study of adolescent adjustment carried out in or choosing not to borrow, from surrounding cultural people define their own sense of identity, by borrowing, in part, “elusive culture.” Elusive culture has to do with how young influences may be related to what some researchers have called the youngsters to hang around the club and watch musicians. friend who shopped at the Meyer’s family store, and he allowed was possible, because the club’s owner, Johnny Phillips, was a American bands at San Antonio’s Club. Eastwood Country This example, as little boys, Sahm and Meyers listened to African- Meyers, were nurtured in a multi-ethnic environment. For Chicano Rodarte, as well as the Anglos Doug Sahm and Augie Antonio. in orchestras as a teenager in the multi-cultural setting of San Charlie and the Jives, formed his sense of self-awareness playing musicians of the West Side Sound. Charlie Alvarado, founder of their own individual identities can be seen among the young relation to the identities and cultures of others. people must be able to explore their personal identities in Thus, the conditions were in place to make this “elusive Another factor in this willingness to exchange musical A number of examples this inter-cultural quest to formulate think it’s that want to know a chosen few more. anything more progressive than what they’re doing…I just stay black on the east side, you know, they don’t play They stay that way. There are a lot of black people that Mexican, or Chicano, whatever you want to call it. Antonio, and they just stay San Antonio. They stay There are some Chicanos that are raised in San 19 Meyers and Sahm developed much of their musical 18 In order to do this, young 20

29 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 3

Sound Side West Antonio’s San 28 horn section, piano, and drums.” depended more on the interplay of electric guitar with as the “rhythm and blues band sound became tighter transformed the relationship between the horns and guitar saxophone as a premier In solo instrument. so doing, Walker the role of the electric guitar, a role that would “supersede” the another Texan, T-Bone Walker, was responsible for furthering to underlie the voice and horn sections.” According to Govenar, jazz scene. Both established the guitar “as a rhythm instrument pioneered this interplay between horns and guitars in the state’s Texas musicians Eddie Durham and Charlie Christian Alan Govenar has noted that guitar. Texas music historian and its relationship to the the role of the horn section that end, a key component is (also known as R&B). To pop, and rhythm blues country, conjunto, swamp of rock and roll, blues, At its core are the influences multifaceted musical entity. West Side Sound is a make a gig. of the group were unable to Sahm sat in when members a fifteen-year-old Doug Orchestra, in which Century combo called the Twentieth hit. Later, Barnett had a Shuffle,” became a regional recording, Ebony “The Club. Barnett’sCountry first the famous Eastwood he also played regularly at Ebony Club,legendary and house band at San Antonio’s Barnett Combo, was the for Doug Sahm and Augie Meyers. Barnett’s band, The Spot Rodarte. Scott and Barnett were certainly a source of inspiration players, including Charlie Alvarado, Rocky Morales, and Frank as mentors for many younger Mexican-American saxophone Garibay contributed to the voicing of the guitar as a rhythm Perhaps more than any other San Antonio musician, Randy Antonio sax players for years. which the unique saxophone solo became a model for San Apart,” and “Darling of Mine.” In its present form, the This orchestration is a key element in the West Side Sound. Clifford Scott is best known for his song “Honky Tonk,” from 8 Scott and Spot Barnett also served Randy Garibay, promo for 7 9 Barbacoa Blues. other country artists. other country big fans of Hank Williams, Lefty Frizzell, Jimmie Rodgers, and 12 years old, were influenced by black music, but they also were Barnett, and his Twentieth Orchestra often included a Century previously noted, the African-American musician, Spot bands were themselves racially and ethnically integrated. As to borrowing from a variety of ethnic genres, many of these racial boundaries to include a broad range of styles. In addition musicians developed an eclectic genre that cut across ethnic and “Progressive Country” music scene of the 1970s. influences after they became involved in Austin’sthese country basically took the lead note in chord, and depending on musician’s point of view, we have a voicing. player The trumpet West Side Sound is the voicing. Barnett says that, “From the to Spot Barnett, the contribution of horns in San Antonio’s guitar never completely replaces the horns, however. According of that interplay between guitar and horns. exemplary The decade. Garibay’s signature song, “Barbacoa Blues,” is for the and solo instrument West Side Sound during the last repertoires. and Meyers often included polkas and boleros in their musical Because of their diverse influences, the West Side Sound 11 Sahm and Meyers, close friends since they were 11 or 12 Sahm and Meyers would more fully express that’s our sound there.” G, and C on top. Now, the chord, we would put D, Bb…Then, on the top of would put [an] E, and a Okay, on the bottom, we a big, round full C chord. instance we wanted to have “Allintervals. right, say for elaborates on the role of the third.” Barnett further whether we put the tenor on lean high or low, is we wanted the chords to how much power, whether Garibay. Jiménez, Ozuna, Sonny Ozuna, and Randy Augie Meyers, Flaco Jiménez, contributions of Doug Sahm, largely through the rock and roll. This happened country, swamp pop, and conjunto, blues, R&B, American influences, such as American, and Anglo- Mexican-American, African- Side Sound absorbed Over the years, the West 13 10 http://ecommons.txstate.edu/jtmh/vol5/iss1/4 neighborhood was predominantly African-American, so the Meyers all grew up on the East Side of San Antonio. That musicians got along so well musically. Sahm, Rodarte, and at that time [in the 1950s].” everybody leader Spot Barnett. “He was the greatest influence for affection he and others had for fellow African-American band for Doug Sahm, commented on the level of admiration and Sound band, the West Side Horns, and a long-time sax player other and for a broad range of ethnic musical genres. different ethnic groups developed a love and respect for each factor in howan important West Side Sound musicians from Homophily, was defined as similarity between friends, certainly homophily and proximity are most relevant to our discussion. communicative competence, and proximity. Of these six, formative and Clifford period. this early admired Barnett Scott during as well as Anglos, musicians, Morales and other Mexican-American culture, personality, homophily, an adjustment state, factors contributing to successful inter-ethnic relationships: students in the United States suggests that there are six key human relationships. to look briefly at some case studies involving inter-ethnic differences to create this unique musical form, it may be helpful musicians overcame social barriers and cultural contemporary racial equality. For a better understanding of how these overundergoing violent upheaval in the struggle civil rights and at a time when much of the rest of the Deep South was of the West Side Sound is that this music rooted in the 1950s, United Nations band there.’” Benny Easly, black, and myself, Chicano. They said ‘You got a Pineapple, Hawaiian mix, and I had Jitterbug Web, black. I had As Alvarado says, “I had James Kelley, Irish, and I had because it featured musicians from several ethnic backgrounds. and the Jives, has been called the “United Nations Band,” young, white Doug Sahm. Charlie Alvarado’s band, Charlie everybody, he gives it soul.” how he distributes his talent. He gives it to whites, blacks, good Lordhe replied, has control “The over that. He knows Rodarte was asked how it was that Chicanos can play the blues, a passion for what they called “soul music.” When Frank Garibay, Meyers, Sahm, Rodarte, Barnett, and others all shared Barnett and Clifford Scott during this early formative period. Mexican-American musicians, as well as Anglos, admired Proximity in understanding how is also important these Rocky Morales, an original member of the premier West Side Elisabeth Gareis’s case study of five German exchange intriguing about the multi-ethnic origins What is particularly 17 14 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 16 Morales and other 15 pioneer and bassist extraordinaire Jack Barber: on this subject by the observations West Side Sound Chicano the Ebony Club, and other venues. Perhaps most revealing are identity listening to various acts that played the Eastwood Club, culture” more attainable for these young San Antonio ‘know’ cultures is made rigid.” group. They can overcome this, however “when the desire to people have difficulty identifying themselves within a particular force to them.” According to the idea of “elusive culture,” young as a counter social life and cultural practices rather than serving processes…implicated in the ambivalence and contradictions of “Elusive culture…gestures towards of culture a view as on-going Toronto, Canada, high school, Daniel A. Yon argues that influences. In a study of adolescent adjustment carried out in or choosing not to borrow, from surrounding cultural people define their own sense of identity, by borrowing, in part, “elusive culture.” Elusive culture has to do with how young influences may be related to what some researchers have called the youngsters to hang around the club and watch musicians. friend who shopped at the Meyer’s family store, and he allowed was possible, because the club’s owner, Johnny Phillips, was a American bands at San Antonio’s Club. Eastwood Country This example, as little boys, Sahm and Meyers listened to African- Meyers, were nurtured in a multi-ethnic environment. For Chicano Rodarte, as well as the Anglos Doug Sahm and Augie Antonio. in orchestras as a teenager in the multi-cultural setting of San Charlie and the Jives, formed his sense of self-awareness playing musicians of the West Side Sound. Charlie Alvarado, founder of their own individual identities can be seen among the young relation to the identities and cultures of others. people must be able to explore their personal identities in Thus, the conditions were in place to make this “elusive Another factor in this willingness to exchange musical A number of examples this inter-cultural quest to formulate think it’s that want to know a chosen few more. anything more progressive than what they’re doing…I just stay black on the east side, you know, they don’t play They stay that way. There are a lot of black people that Mexican, or Chicano, whatever you want to call it. Antonio, and they just stay San Antonio. They stay There are some Chicanos that are raised in San 19 Meyers and Sahm developed much of their musical 18 In order to do this, young 20

29 4 Sound Side West Antonio’s San

Sound Side West Antonio’s San 30 put aside their cultural differences at a very youngput aside their cultural differences age. at a very majority of the musicians West Side Sound decided to actively political. With regards of Shi-Xu, to the assertions the Hernandez in the 1970s and Randy Garibay in the 1990s, were situation at hand, however. Only two of the musicians, Joe half. classes and ethnic groups in Texas for over and a a century he argues that a “dialectic of conflict” has existed between social historian Manuel Peña might agree with this assessment, since Advancement of Colored People (NAACP), characterized San the local branch of National Association for the Burns,climate tempered a leader of their opposition.” Harry racial segregation and inequality, but the moderate racial that, “Blacks asserts Goldberg in San further Antonio opposed but it did not elicit violence or impassioned defenses.” that “Segregation was woven into the fabric of San Antonio life, segregationist customs. other way when individual African Americans challenged city, but, according to Spot Barnett, the police often looked during the 1950s. Indeed segregation did exist was not a major factor in their lives in San Antonio bigotry figure out.” See, God puts the puzzle there, and then he leaves it to us figure it out scientifically; how to, you know, how to look at it. God gave it out. He gave us twelve different sounds and let us write in prejudices, and add in prejudices, but that’s not how You might take the same notes to play everything…we American Spot Barnett responded by saying “music is music. Anglos or Chicanos had the right to play blues, African- musicians, Peña’s thesis also can be challenged. When asked if cultural situation of San Antonio as experienced by these young environment of San Antonio. Because of the unusual ethno- cities. compared to other southern when “‘heaven on earth’ San Antonio as characterized Advancement of Colored People (NAACP), a leader of the local branch National forAssociation the Burns, Harry ethnic musical traditions is the unique racial and cultural Sound musicians to blend together such a diverse array of practice of domination, exclusion, or prejudice.” intercultural encounters, where power is defined as textual communication,” because it allows for “power saturation of the “mainstream pedagogy of intercultural contact and own culture to explore others. internal desire of the musicians to go beyond their on the part musicians. As Jack Barber suggests, there also existed an All of the musicians interviewed for this article stated that for this article All of the musicians interviewed factor in the ability of Another important West Side Intercultural studies researcher Shi-Xu does not agree with 22 These assessments are marginally applicable to the 24 25 Historian Robert A. Goldberg asserts de facto 21 Texas music 23 in the southern cities.” Antonio as “‘heaven on earth’ when compared to other lovers had access to a number of T.V. and radio programs in San music some that transmitted from outside of the state. Country radio stations to listen to, including had a number of country music. San Antonio during the 1950s and 1960s was country of the new supervision Texas Quality Group Network. Dallas, KPRC in Houston, and WOAI, merged under the the state’s four largest stations, WBAP in Fort Worth, WFAA in station joined the first national radio network, NBC. In 1934, upgraded from 500 to 5,000 watts in 1925, and, 1928, the went on the air in 1922. Founded by G.A.C. Holff, the station radio stations by the 1950s. The city’s leading station, WOAI, of music could be shared. There were dozens of San Antonio venues and outlets around the city through which different types local residents to interact more freely, there were numerous poly-cultural environment of the city. ethnic musical genre, the West Side Sound, which reflected the young San Antonio musicians developed a unique, multi- explore other cultures in a more moderate racial climate, these and ethnic boundaries. Because of this relative freedom to contemporaries elsewhere in the South to interact across racial people probably had more than their opportunities development of San Antonio during the 1950s, city’s young more quickly than most other southern cities. public school districts had integrated by the fall of 1955, far to desegregateruling all public schools, many of San Antonio’s resisted the Supreme Court’s 1954 point, it should be noted that, while most Texas communities ground for racial peace and cooperation.” chip “away at the community consensus and prepare the leading role played religious by certain leaders, who worked to bases in and around Sandesegregated Antonio; and the military to obscure color lines in the city; existence of several large (approximately 40% of the overall population), which helped the city; existence of a large Mexican-American population African Americans were relegated primarily to the east side of population); minimal contact between whites and blacks, since relatively small size of the black community (7% overall racial climate” in San Antonio during the 1950s and 1960s: Perhaps the most popular musical genre in San Antonio In addition to a “moderate racial climate,” which allowed As can be seen both in the intercultural studies and historical There were several factors that contributed to this “moderate 26 Brown vs. Board of Education 27 In regard to the last 28 29 conjunto band called Las Caminantes, whose accordionist was was the case in 1956, when Jorge Sareli featured a weekly as incubators for promoting young served Texas musicians. Such Sareli and other popular local figures. These shows sometimes United States featured numerous programs hosted by Jorge KCOR-TV 41 debuted. forms of Latin music. In 1955, the Spanish-language station had a number of T.V. and radio stations that broadcast different appearances by the beloved star of radio and movies. promoted the event,newspapers which was to include several broadcast nationally on NBC. Coliseum. Rogers’s arrival on June 18th was scheduled to be by Roy Rogers and his horse, Trigger, to San Antonio’s Freeman in the Alamo City. One of the most publicized events was a visit a young Elvis Presley. Reeves, George Jones, Johnny Cash, and Young, Kitty Wells, Slim Whitman, Jim acts, such as Webbcountry Pierce, Faron New Mexico. The Hayride featured top Louisiana, that broadcast as far west as “hillbilly” station in Shreveport, aired on KWKH, a 50,000 watt broadcast from outside of the state. It programs, the “Louisiana Hayride,” was billed as the “First King of Cowboys.” such as Charley Tompkins, who was Dance” and featured local musicians, broadcasts of “Red River Dave’s Barn Channel 4 carried Saturday night KTSA 550 at 12:30 P.M. WOAI-TV swing band could be heard Fridays on own Adolph Hofner and his honky tonk “Hillbilly Hit Parade.” San Antonio’s 630 featured the daily program, that aired each day at 12:30 P.M. KMAC addition to a “Western Swing” program could be heard from 8 to 11 P.M., in show called the “Cowboy Jamboree” that Antonio. KONO 860 AM had a daily shook hands with the small fry.” eight magnificently trained palominos and stories, performed Rogers did arrive, the grin, and a frontier costume award contest. grinnin” contest, which awarded a prize to the kid with best Celebrations included square dances in downtown streets, a “b’ar first “Davy Crockett Week” beginning on August 17th. release of the film “Davy Crockett,” San Antonio sponsored its The large Mexican-American pop-ulation of San Antonio also music fans The summer of 1955 was a special time for country One of San Antonio’s best-loved Light 31 35 This first Latin-owned station in the reported that “Roy sang, danced, told h a noi Light The San Antonio 33 Also, in 1955, to mark Disney’s 30 34 courtesy of the courtesy 1953 Advertisement for Nat King Cole, and other 32 When 1952 Advertisement of the for B. King, courtesy San Antonio Register. band would appear for seven days at the National Theater. great attractions of Fiesta week and informed readers that the 1956 promoted a group called Los Michoacanos as one of the San Antonio. An ad from the newspaper mariachi bands from Mexico and elsewhere also toured through shows from Mexico. that included other performers a young Flaco Jiménez. artists, such as Antonio Badu,artists, headlined language films, and famous Mexican The Alameda Theatre featured Spanish- Auditorium Circle. downtown at what once was Municipal Auditorium located September 1955 to play at the circuit, came to San Antonio in popular in the Spanish-language music Famosa Conjunto, who were quite frequented the city. Okie Jones y su Fiesta Club on Pleasanton. and played at local venues, such as the Sundaysperformed on KIWW radio was another conjunto group that Allegre, led by Armando Almendarez, corner of St. Mary’s and Commerce. San Antonio at the Aztec Theatre on the actor appeared for the film’s premiere in young Ricardovery Montalban, the released promote their films. After MGM from Mexico and Hollywood to Mexican-American touring acts also Sombrero La Prensa San Antonio Register. in 1953, starring a 38 Artists also came Artists 36 37 San Antonio in February, 40 Several 41 39

31 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 5

Sound Side West Antonio’s San 30 put aside their cultural differences at a very youngput aside their cultural differences age. at a very majority of the musicians West Side Sound decided to actively political. With regards of Shi-Xu, to the assertions the Hernandez in the 1970s and Randy Garibay in the 1990s, were situation at hand, however. Only two of the musicians, Joe half. classes and ethnic groups in Texas for over and a a century he argues that a “dialectic of conflict” has existed between social historian Manuel Peña might agree with this assessment, since Advancement of Colored People (NAACP), characterized San the local branch of National Association for the Burns,climate tempered a leader of their opposition.” Harry racial segregation and inequality, but the moderate racial that, “Blacks asserts Goldberg in San further Antonio opposed but it did not elicit violence or impassioned defenses.” that “Segregation was woven into the fabric of San Antonio life, segregationist customs. other way when individual African Americans challenged city, but, according to Spot Barnett, the police often looked during the 1950s. Indeed segregation did exist was not a major factor in their lives in San Antonio bigotry figure out.” See, God puts the puzzle there, and then he leaves it to us figure it out scientifically; how to, you know, how to look at it. God gave it out. He gave us twelve different sounds and let us write in prejudices, and add in prejudices, but that’s not how You might take the same notes to play everything…we American Spot Barnett responded by saying “music is music. Anglos or Chicanos had the right to play blues, African- musicians, Peña’s thesis also can be challenged. When asked if cultural situation of San Antonio as experienced by these young environment of San Antonio. Because of the unusual ethno- cities. compared to other southern when “‘heaven on earth’ San Antonio as characterized Advancement of Colored People (NAACP), a leader of the local branch National forAssociation the Burns, Harry ethnic musical traditions is the unique racial and cultural Sound musicians to blend together such a diverse array of practice of domination, exclusion, or prejudice.” intercultural encounters, where power is defined as textual communication,” because it allows for “power saturation of the “mainstream pedagogy of intercultural contact and own culture to explore others. internal desire of the musicians to go beyond their on the part musicians. As Jack Barber suggests, there also existed an All of the musicians interviewed for this article stated that for this article All of the musicians interviewed factor in the ability of Another important West Side Intercultural studies researcher Shi-Xu does not agree with 22 These assessments are marginally applicable to the 24 25 Historian Robert A. Goldberg asserts de facto 21 Texas music 23 in the southern cities.” Antonio as “‘heaven on earth’ when compared to other lovers had access to a number of T.V. and radio programs in San music some that transmitted from outside of the state. Country radio stations to listen to, including had a number of country music. San Antonio during the 1950s and 1960s was country of the new supervision Texas Quality Group Network. Dallas, KPRC in Houston, and WOAI, merged under the the state’s four largest stations, WBAP in Fort Worth, WFAA in station joined the first national radio network, NBC. In 1934, upgraded from 500 to 5,000 watts in 1925, and, 1928, the went on the air in 1922. Founded by G.A.C. Holff, the station radio stations by the 1950s. The city’s leading station, WOAI, of music could be shared. There were dozens of San Antonio venues and outlets around the city through which different types local residents to interact more freely, there were numerous poly-cultural environment of the city. ethnic musical genre, the West Side Sound, which reflected the young San Antonio musicians developed a unique, multi- explore other cultures in a more moderate racial climate, these and ethnic boundaries. Because of this relative freedom to contemporaries elsewhere in the South to interact across racial people probably had more than their opportunities development of San Antonio during the 1950s, city’s young more quickly than most other southern cities. public school districts had integrated by the fall of 1955, far to desegregateruling all public schools, many of San Antonio’s resisted the Supreme Court’s 1954 point, it should be noted that, while most Texas communities ground for racial peace and cooperation.” chip “away at the community consensus and prepare the leading role played religious by certain leaders, who worked to bases in and around Sandesegregated Antonio; and the military to obscure color lines in the city; existence of several large (approximately 40% of the overall population), which helped the city; existence of a large Mexican-American population African Americans were relegated primarily to the east side of population); minimal contact between whites and blacks, since relatively small size of the black community (7% overall racial climate” in San Antonio during the 1950s and 1960s: Perhaps the most popular musical genre in San Antonio In addition to a “moderate racial climate,” which allowed As can be seen both in the intercultural studies and historical There were several factors that contributed to this “moderate 26 Brown vs. Board of Education 27 In regard to the last 28 29 http://ecommons.txstate.edu/jtmh/vol5/iss1/4 conjunto band called Las Caminantes, whose accordionist was was the case in 1956, when Jorge Sareli featured a weekly as incubators for promoting young served Texas musicians. Such Sareli and other popular local figures. These shows sometimes United States featured numerous programs hosted by Jorge KCOR-TV 41 debuted. forms of Latin music. In 1955, the Spanish-language station had a number of T.V. and radio stations that broadcast different appearances by the beloved star of radio and movies. promoted the event,newspapers which was to include several broadcast nationally on NBC. Coliseum. Rogers’s arrival on June 18th was scheduled to be by Roy Rogers and his horse, Trigger, to San Antonio’s Freeman in the Alamo City. One of the most publicized events was a visit a young Elvis Presley. Reeves, George Jones, Johnny Cash, and Young, Kitty Wells, Slim Whitman, Jim acts, such as Webbcountry Pierce, Faron New Mexico. The Hayride featured top Louisiana, that broadcast as far west as “hillbilly” station in Shreveport, aired on KWKH, a 50,000 watt broadcast from outside of the state. It programs, the “Louisiana Hayride,” was billed as the “First King of Cowboys.” such as Charley Tompkins, who was Dance” and featured local musicians, broadcasts of “Red River Dave’s Barn Channel 4 carried Saturday night KTSA 550 at 12:30 P.M. WOAI-TV swing band could be heard Fridays on own Adolph Hofner and his honky tonk “Hillbilly Hit Parade.” San Antonio’s 630 featured the daily program, that aired each day at 12:30 P.M. KMAC addition to a “Western Swing” program could be heard from 8 to 11 P.M., in show called the “Cowboy Jamboree” that Antonio. KONO 860 AM had a daily shook hands with the small fry.” eight magnificently trained palominos and stories, performed Rogers did arrive, the grin, and a frontier costume award contest. grinnin” contest, which awarded a prize to the kid with best Celebrations included square dances in downtown streets, a “b’ar first “Davy Crockett Week” beginning on August 17th. release of the film “Davy Crockett,” San Antonio sponsored its The large Mexican-American pop-ulation of San Antonio also music fans The summer of 1955 was a special time for country One of San Antonio’s best-loved Light 31 35 This first Latin-owned station in the reported that “Roy sang, danced, told h a noi Light The San Antonio 33 Also, in 1955, to mark Disney’s Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 30 34 courtesy of the courtesy 1953 Advertisement for Nat King Cole, and other 32 When 1952 Advertisement of the for B. King, courtesy San Antonio Register. band would appear for seven days at the National Theater. great attractions of Fiesta week and informed readers that the 1956 promoted a group called Los Michoacanos as one of the San Antonio. An ad from the newspaper mariachi bands from Mexico and elsewhere also toured through shows from Mexico. that included other performers a young Flaco Jiménez. artists, such as Antonio Badu,artists, headlined language films, and famous Mexican The Alameda Theatre featured Spanish- Auditorium Circle. downtown at what once was Municipal Auditorium located September 1955 to play at the circuit, came to San Antonio in popular in the Spanish-language music Famosa Conjunto, who were quite frequented the city. Okie Jones y su Fiesta Club on Pleasanton. and played at local venues, such as the Sundaysperformed on KIWW radio was another conjunto group that Allegre, led by Armando Almendarez, corner of St. Mary’s and Commerce. San Antonio at the Aztec Theatre on the actor appeared for the film’s premiere in young Ricardovery Montalban, the released promote their films. After MGM from Mexico and Hollywood to Mexican-American touring acts also Sombrero La Prensa San Antonio Register. in 1953, starring a 38 Artists also came Artists 36 37 San Antonio in February, 40 Several 41 39

6 San Antonio’s West Side Sound Side West Antonio’s San

Sound Side West Antonio’s San 32 rock and roll to the and gaveWest birth Side Sound by 1950s. the late coming from a variety of musical blended with and cultural traditions that and Anglo influences Black, it was this hybridization of Chicano, In the end, were always welcome.” places wherethe few people, no matter what color they were, Eastwood was one of 1954. Phillips once pointed out that “The Eastwood Club was thoroughly integrated from its inception in synthesize their eclectic musical influences. further The a chance to work with nationally prominentartists acts and to touring acts that played the Eastwood. This gave these younger Randy Garibay to back up Bobby Bland, Bo Diddley, and other called on Doug Sahm, Rocky Morales, Frank Rodarte, and Orchestra was on vacation, mingled freely. Sometimes, Phillips regular, and Clifford Scott, who sat in when Lionel Hampton’s play.” Here locally influential musicians, such as Barnett, a music, as well as giving well-known a place to black performers in helping young up-and-comers to practice their instrumental Peterson club, owned points out, “The by Johnnie Phillips, was the town of St. Hedwig. As Texas music historian Karla Club, far out on Nebraskawas the Eastwood Country Street in as the main seedbed for emerging served West Side Sound by the middle of 1950s. Spot Barnett’s Twentieth Orchestra as its house band Century touring acts of the day and, as previously mentioned, featured Boulevard) hosted some of the most popular African-American Ebony Club on Nebraska Street (now Martin Luther King, Jr., Express News the emergence of rock and roll in the mid-1950s. at 210 West Market, and at the Municipal Auditorium. Club on Austin Highway,Country Auditorium at the Library appearedwith many prominent R&B artists, at the Seven Oaks African-American customers. establishment for the enjoyment of Anglo, Hispanic, and Louis Armstrong, Dizzy Gillespie, and the Ink Spots, to his number of jazz giants, such as Louis Jordan, Nat “King” Cole, club owners to allow integrated audiences. He brought a great jazz musician in his own right, was one of the first local Keyhole Club at the intersection of Iowa and Pine. a Albert, especially prevalent. In 1944, Don opened the original Albert influence on the local music scene. Jazz and R&B were Americans, seemed to have strong a disproportionately 1950s is that one of the city’s smallest ethnic groups, African As important as these differentAs important venues were, the club that The final factor that solidified the early West Side Sound was During the 1940s and 1950s, these great jazz players, along One of the remarkable things about San Antonio during the columnist Jim Beal, Jr., Alamo wrote that, “The 44 42 San Antonio 43 The compared to earlier styles: difference in the musicians’ approach to rock and roll as the West Side Sound, Charlie Alvarado, commented on the genrethe new of rock and roll. One of the elder statesmen blended their blues, jazz, country, and conjunto influences with conscious of the transformation they were undergoing, as they continued to matureyoung artists musically, they were “Two Hearts in Love.” that recorded regional hits, such as “Crazy, Crazy Daisy” and Meyers. Sahm had a band called Doug Sahm and the Markays formed a group called The Goldens, which featured Augie Charlie and the Jives.Alvarado started Denny Esmond soon formed Mando and the Chili Peppers. In 1958, Charlie Armandarez broke ranks with San Antonio Allegre in 1956 and rock and rollaccommodate the new market. Armando embrace rock and roll and began reforming their bands to but several early West Side Sound musicians did quickly the genre had a name.” City’s love about 15 seconds after affair with rock music started the desegregated military bases around the city.the desegregated military musicians also played in the officer’s clubs and NCO on venues were integrated by the late 1950s. Many of these up the majority of these night clubs’ clientele, all of these Vegas on Dolarosa Street. Although Mexican Americans made Commerce Street, the Cabaret on Houston Street, and the Las polka repertoire. Vegas. Even Flaco Jiménez began to mix rock and roll into his bandleader of the Del Kings and later moved the group to Las These artists and others played at such clubs as the FiestaThese artists on instead of just having my head down in the notes. way. I was involved with the crowd while I was playing within the changes. And it was just in a way different that, then your improvisation comes in. You just stay And you go from there. Once you know how to play and the fifth depending on what key you arefourth, in. progressions. Of course blues is just the first, and the chordalready the instrumentation knew everything. When rock and roll came along, you to get the right notes and eyes pealed on the charts [before]. It was more like a job to me. I had have my The big difference was that it more like a job 45 46 This may be a bit of an overstatement, In 1959, Frank Rodarte became the 47 While these 48 hit with “She’s About A Mover.” Douglas Quintet had its first big mid-1960s. A year later, the Sir so-called “British Invasion” of the other groups who were of the part the success of Beatles and to capitalize on of an effort part sounding name and appearance as band and give it a British- Meaux, suggested they form the producer and promoter, Huey Douglas Quintet. Houston Meyers teamed up to form the Sir South Texas. Hernandez’s band had originated as Little Joe and Temple, Texas, frequented the Alamo City during his tours of himself, Joe Hernandez, of Little Joe y La Familia, based in influenced during the 1970s. Although not from San Antonio Antonio itself, the West Side Sound became chiefly Latin- before they converged again musically in the 1990s. Within San Side Sound took the genre directions in a number of new international level. In the meantime, these pioneers of West West Side Sound had success again at the national or like a conjunto-styled accordion. Augie Meyers intentionally works to make his Vox organ sound while the snare follows In on the second and fourth. addition, strikes resoundinglyThe bass drum on the first and third beats also evidence of a Mexican-American polka styling in the song. out “Oh yeah, what I say!” at the end of several verses. There is that seems to be influenced by Ray Charles, Doug Sahm yells “She’s About a Mover,” a song corrido, and bolero styles. In like those used in mariachi, of major thirds,intervals much horns, which are spaced in slow R&B number that utilizes early 1960s. The former song is a of the West Side Sound of the a Mover” representative are very Bandstand Dick Clark’s earned the band an appearance on and the Sunglows, had a national hit with “Talk to Me,” which the 1960s. In 1963, Sunny Ozuna’s San Antonio group, Sunny West Side Sound by the late 1950s. traditions that blended with rock and roll to the and gave birth Anglo influences coming from a variety of musical and cultural Several years passed before the musicians who created the “Talk to Me” and “She’s About The West Side Sound exploded onto the national stage during In the end, it was this hybridization of Chicano, Black, and . 49 In 1964, Sahm and American 50 51 Sunny of Freddie Ozuna, courtesy records. police officers abusing the [Mexican] people, too.” people by the white establishment. And sometimes even brown brutality, about abuse of the citizens…Abuse of the brown Jail in San Antonio. with his Jalapeñoperformance Blues Band at the Bexar County producer Jeremy Marre filmed Rodarte during a 1978 time, but Rodarte movie active. remained Documentary very such as Charlie and the Jives, actually broke up during this influences throughout the 1970s. Most of the founding bands, continued to draw heavily from African-American musical overt political messages. and jazz into their repertoire, which also included songs with “hippie” look and began to mix polkas, corridos, rock and roll, in their suits and middle-class caught up in the burgeoning Chicano movement. They traded mostly pop music. By the early 1970s, however, the group was the Latinaires in 1959, wearing tailor-made suits and playing prisoners] getting a kick out of it, because he’s requesting all humorous. “See, the song is called ‘Last Meal,’ and they’re [the that the song is not political but, instead, intended to be of prison life. Rodarte refutesbrutality that claim. He insists narrator mistakenly reports that the song is a comment on playing an upbeat blues shuffle called “Last Meal,” and the Frank Rodarte was one West Side Sound pioneer that 56 In the film, Rodarte and his band are 52 According to the band’s keyboard downtown Market Square. Antonio at such venues as the frequently appeared in San Hernandez and the group growing Chicano movement. hippie counter-culture with the that reflected their blending of the cultural and political statement abandonment of the suits was a player, Sauce Gonzalez, the Dallas and Houston. Americans in Texas cities, such as police mistreatment of Mexican At times, he spoke openly about of the most politically-oriented. Joe Hernandez was one certainly impact on the West Side Sound, in the city like abuse of police that were happening at the time writing more about the things address social issues. “He was to use his musical career to political activism and willingness commented on Hernandez’s Antonio native Frank Rodarte orquesta Of those musicians who had an image in favor of a more 55 54 53 San

33 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 7

Sound Side West Antonio’s San 32 rock and roll to the and gaveWest birth Side Sound by 1950s. the late coming from a variety of musical blended with and cultural traditions that and Anglo influences Black, it was this hybridization of Chicano, In the end, were always welcome.” places wherethe few people, no matter what color they were, Eastwood was one of 1954. Phillips once pointed out that “The Eastwood Club was thoroughly integrated from its inception in synthesize their eclectic musical influences. further The a chance to work with nationally prominentartists acts and to touring acts that played the Eastwood. This gave these younger Randy Garibay to back up Bobby Bland, Bo Diddley, and other called on Doug Sahm, Rocky Morales, Frank Rodarte, and Orchestra was on vacation, mingled freely. Sometimes, Phillips regular, and Clifford Scott, who sat in when Lionel Hampton’s play.” Here locally influential musicians, such as Barnett, a music, as well as giving well-known a place to black performers in helping young up-and-comers to practice their instrumental Peterson club, owned points out, “The by Johnnie Phillips, was the town of St. Hedwig. As Texas music historian Karla Club, far out on Nebraskawas the Eastwood Country Street in as the main seedbed for emerging served West Side Sound by the middle of 1950s. Spot Barnett’s Twentieth Orchestra as its house band Century touring acts of the day and, as previously mentioned, featured Boulevard) hosted some of the most popular African-American Ebony Club on Nebraska Street (now Martin Luther King, Jr., Express News the emergence of rock and roll in the mid-1950s. at 210 West Market, and at the Municipal Auditorium. Club on Austin Highway,Country Auditorium at the Library appearedwith many prominent R&B artists, at the Seven Oaks African-American customers. establishment for the enjoyment of Anglo, Hispanic, and Louis Armstrong, Dizzy Gillespie, and the Ink Spots, to his number of jazz giants, such as Louis Jordan, Nat “King” Cole, club owners to allow integrated audiences. He brought a great jazz musician in his own right, was one of the first local Keyhole Club at the intersection of Iowa and Pine. a Albert, especially prevalent. In 1944, Don opened the original Albert influence on the local music scene. Jazz and R&B were Americans, seemed to have strong a disproportionately 1950s is that one of the city’s smallest ethnic groups, African As important as these differentAs important venues were, the club that The final factor that solidified the early West Side Sound was During the 1940s and 1950s, these great jazz players, along One of the remarkable things about San Antonio during the columnist Jim Beal, Jr., Alamo wrote that, “The 44 42 San Antonio 43 The compared to earlier styles: difference in the musicians’ approach to rock and roll as the West Side Sound, Charlie Alvarado, commented on the genrethe new of rock and roll. One of the elder statesmen blended their blues, jazz, country, and conjunto influences with conscious of the transformation they were undergoing, as they continued to matureyoung artists musically, they were “Two Hearts in Love.” that recorded regional hits, such as “Crazy, Crazy Daisy” and Meyers. Sahm had a band called Doug Sahm and the Markays formed a group called The Goldens, which featured Augie Charlie and the Jives.Alvarado started Denny Esmond soon formed Mando and the Chili Peppers. In 1958, Charlie Armandarez broke ranks with San Antonio Allegre in 1956 and rock and rollaccommodate the new market. Armando embrace rock and roll and began reforming their bands to but several early West Side Sound musicians did quickly the genre had a name.” City’s love about 15 seconds after affair with rock music started the desegregated military bases around the city.the desegregated military musicians also played in the officer’s clubs and NCO on venues were integrated by the late 1950s. Many of these up the majority of these night clubs’ clientele, all of these Vegas on Dolarosa Street. Although Mexican Americans made Commerce Street, the Cabaret on Houston Street, and the Las polka repertoire. Vegas. Even Flaco Jiménez began to mix rock and roll into his bandleader of the Del Kings and later moved the group to Las These artists and others played at such clubs as the FiestaThese artists on instead of just having my head down in the notes. way. I was involved with the crowd while I was playing within the changes. And it was just in a way different that, then your improvisation comes in. You just stay And you go from there. Once you know how to play and the fifth depending on what key you arefourth, in. progressions. Of course blues is just the first, and the chordalready the instrumentation knew everything. When rock and roll came along, you to get the right notes and eyes pealed on the charts [before]. It was more like a job to me. I had have my The big difference was that it more like a job 45 46 This may be a bit of an overstatement, In 1959, Frank Rodarte became the 47 While these 48 http://ecommons.txstate.edu/jtmh/vol5/iss1/4 hit with “She’s About A Mover.” Douglas Quintet had its first big mid-1960s. A year later, the Sir so-called “British Invasion” of the other groups who were of the part the success of Beatles and to capitalize on of an effort part sounding name and appearance as band and give it a British- Meaux, suggested they form the producer and promoter, Huey Douglas Quintet. Houston Meyers teamed up to form the Sir South Texas. Hernandez’s band had originated as Little Joe and Temple, Texas, frequented the Alamo City during his tours of himself, Joe Hernandez, of Little Joe y La Familia, based in influenced during the 1970s. Although not from San Antonio Antonio itself, the West Side Sound became chiefly Latin- before they converged again musically in the 1990s. Within San Side Sound took the genre directions in a number of new international level. In the meantime, these pioneers of West West Side Sound had success again at the national or like a conjunto-styled accordion. Augie Meyers intentionally works to make his Vox organ sound while the snare follows In on the second and fourth. addition, strikes resoundinglyThe bass drum on the first and third beats also evidence of a Mexican-American polka styling in the song. out “Oh yeah, what I say!” at the end of several verses. There is that seems to be influenced by Ray Charles, Doug Sahm yells “She’s About a Mover,” a song corrido, and bolero styles. In like those used in mariachi, of major thirds,intervals much horns, which are spaced in slow R&B number that utilizes early 1960s. The former song is a of the West Side Sound of the a Mover” representative are very Bandstand Dick Clark’s earned the band an appearance on and the Sunglows, had a national hit with “Talk to Me,” which the 1960s. In 1963, Sunny Ozuna’s San Antonio group, Sunny West Side Sound by the late 1950s. traditions that blended with rock and roll to the and gave birth Anglo influences coming from a variety of musical and cultural Several years passed before the musicians who created the “Talk to Me” and “She’s About The West Side Sound exploded onto the national stage during In the end, it was this hybridization of Chicano, Black, and . 49 In 1964, Sahm and American 50 51 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 Sunny of Freddie Ozuna, courtesy records. police officers abusing the [Mexican] people, too.” people by the white establishment. And sometimes even brown brutality, about abuse of the citizens…Abuse of the brown Jail in San Antonio. with his Jalapeñoperformance Blues Band at the Bexar County producer Jeremy Marre filmed Rodarte during a 1978 time, but Rodarte movie active. remained Documentary very such as Charlie and the Jives, actually broke up during this influences throughout the 1970s. Most of the founding bands, continued to draw heavily from African-American musical overt political messages. and jazz into their repertoire, which also included songs with “hippie” look and began to mix polkas, corridos, rock and roll, in their suits and middle-class caught up in the burgeoning Chicano movement. They traded mostly pop music. By the early 1970s, however, the group was the Latinaires in 1959, wearing tailor-made suits and playing prisoners] getting a kick out of it, because he’s requesting all humorous. “See, the song is called ‘Last Meal,’ and they’re [the that the song is not political but, instead, intended to be of prison life. Rodarte refutesbrutality that claim. He insists narrator mistakenly reports that the song is a comment on playing an upbeat blues shuffle called “Last Meal,” and the Frank Rodarte was one West Side Sound pioneer that 56 In the film, Rodarte and his band are 52 According to the band’s keyboard downtown Market Square. Antonio at such venues as the frequently appeared in San Hernandez and the group growing Chicano movement. hippie counter-culture with the that reflected their blending of the cultural and political statement abandonment of the suits was a player, Sauce Gonzalez, the Dallas and Houston. Americans in Texas cities, such as police mistreatment of Mexican At times, he spoke openly about of the most politically-oriented. Joe Hernandez was one certainly impact on the West Side Sound, in the city like abuse of police that were happening at the time writing more about the things address social issues. “He was to use his musical career to political activism and willingness commented on Hernandez’s Antonio native Frank Rodarte orquesta Of those musicians who had an image in favor of a more 55 54 53 San

33 8 Sound Side West Antonio’s San Augie Meyers, of courtesy White Boy Records & Tapes other worlds out there.” same crater like my papa did. Doug showed me there were conjunto music.’ There are so many players who stayed in the ‘you’re not supposed to play just that simple, traditional helped introduce him to the larger music world. “Doug told me with Aaron Howard,an interview Jiménez told of how Sahm beyondexpand even his traditional conjunto roots. further In with such a high-profile and eclectic group allowed Jiménez to Bob Dylan on Sahm’s album Doug Sahm recruited Jiménez to play alongside Ry Cooder and of the other leading figures of the West Side Sound. In 1973, requesting all these things.” these [things like] blue banana split. For his last meal he’s The 1970s also was a transitional time for Flaco Jiménez, one 58 57 ogSahm and Band Doug . Working the Progressive movement, Country in which hippies, rednecks, 35 to Austin during the early 1970s. Austin was the epicenter of worlds” even more. Together,” from their 1994 CD Musslewhite, and, on the Rolling Stones’ “Sweethearts Cooder, Jiménez has played with Dwight Yoakam, Charlie larger international arena. minds would prompt Jiménez to play for the first time in of him, but then he opened my eyes” and that meeting of the and found out my history. He tracked me down. I never heard accordion. Jiménez recalls that Cooder “checked out conjunto greatly appreciated the Tex-Mex style of Jiménez and his The West Side Sound also migrated northward up Interstate- Ry Cooder also brought Flaco Jiménez out into “other 59 Cooder, a musician and musicologist, 60 Since working with Dylan and Voodoo Lounge .

[ n okadrl,sung in both English and Spanish. and rock and roll,

sound that has become a hallmark of the Austin music scene. Austin, but he also contributed significantly to the eclectic the unique diversity of San Antonio’s West Side Sound to and Soap Creek Saloon. In so doing, Sahm not only brought Austin clubs, such as the famed Armadillo World Headquarters be widely popular in Austin. Sahm soon became a regular in from one genreeffortlessly to another. This approach proved to pointing out that Sahm used a “scatter-gun approach,” moving was still more a reflection of the diversity of San Antonio,” Sahm’s contribution to the Austin scene, saying that “his music began spending more time in Austin. Reid acknowledges record, which also features Flaco Jiménez. started playing in Austin:started commented on The Western Head Band two years after Meyers Joe Nick Patoski, who later wrote Selena’s biography, album.” and Dr. John and resurfaced with a country-rock-blues enlisted a superstar array of sidemen that included Bob Dylan Quintet, lapsed into semi-retirement for a while, then, in 1973, “Sahm got extremely tired of the routine with the Sir Douglas which the Quintet had played for years. As Reid points out, Both had grown of the San Francisco weary “hippie” scene, in Augie Meyers also were of the 1970s migration to Austin. part Country, sometimes called “Redneck Rock.” Doug Sahm and combined their diverse musical influences to spawn Progressive elsewhere. Nelson and others who moved to the Capitol City in Nashville,music industry New York, Los Angeles, and early 1970s, because they were disillusioned with the state of Nelson and many other musicians relocated to Austin in the Rise of Redneck Rock and roll, R&B, and even reggae. In his book, musical hybrid that celebrated blues, country,new folk, rock their socio-economic and ideological differences and revel in this college students, and other disparate groups seemed to set aside the audience and said, “Austin just keeps growing, don’t it?” growth of the Austin music scene. Between songs, he turned to there,performance Meyers quickly recognized the tremendous his group, the Western Head Band. During the group’s first The Texas Tornados It was around this time, in the early 1970s, that Doug Sahm Soon after Sahm moved to Austin, Augie Meyers arrived with first made their reputation here in Austin two years definitely has a countrified flavor to it and the group Their loose, easy going type of dance music 61 That album, of course, is the Doug Sahm and Band , Jan Reid discusses the fact that Willie D etrdamxo ald,cuty &,conjunto, R&B, country, a mix of ballads, CD] featured The Improbable 62 63 Huerta), to create the super group, the Texas Tornados. this time with Flaco Jiménez and Freddy Fender (born Baldemar during the 1990s, Meyers and Sahm came together once again, Side Sound. During the explosion of interest in Latino music of the development of the had always been an essential part West our neighbors as well.” is uniquely American, to celebrate one’s own culture, and that of especially among young Latinos, is that it became “OK, columnist Ramiro Burr, one reason for this upswing in interest, music and culture. According to national and international groundswell in popularity of Latino Sound occurred during the 1990s, with an unprecedented redefine music. mainstream country impact on the Progressive scene, which, in turn, helped Country Austin in the 1970s, West Side Sound had an important study, further this topic deserves it is clear that, in regard to conjunto, the Chicano, and country-western.” Sahm, says that “It was just a mix of all those styles. The Lucky Tomblin, a singer-songwriter and long-time friend of Tex-Mex background…it was that conjunto/country, etc.” of it was that Sanpart Antonio sound. It was that great, great, something different; it had this great creative energy, and a huge Texas] was giving us of the country…This to this part coming up [from San all started artists Antonio and South because of Doug, and all the players, all the hipsters, and publicly by Young says that the Progressive movement, Country lauded so developed as it did because of Doug Sahm’s presence there. Danny Roy Young, believes that much of the Austin music scene evolving musical environment there. Veteran Austin musician, brought the West Side Sound to Austin of the and made it part music community. In reality, Meyers and Sahm had simply of the Austinthought of by many fans as being an integral part the unique musical environment of San Antonio, yet they were Meyers, Sahm, Jiménez, and Fender actually formed the The most recent phase in the evolution of the West Side It ironic that Meyers is somewhat and Sahm were steeped in octet is a San Antonio product. member of the high time real funny because every play in comparison to pure country. And which gets all the Tex-Mex originals, polkas, and Dixieland they the Southwest. Which is kind of amusing considering ago before they began extensive touring throughout Rolling Stone 66 , “Started developing…in large part This celebration of collective culture 64 San Antonio Express-News 65 Although

35 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 9 Augie Meyers, of courtesy White Boy Records & Tapes other worlds out there.” same crater like my papa did. Doug showed me there were conjunto music.’ There are so many players who stayed in the ‘you’re not supposed to play just that simple, traditional helped introduce him to the larger music world. “Doug told me with Aaron Howard,an interview Jiménez told of how Sahm beyondexpand even his traditional conjunto roots. further In with such a high-profile and eclectic group allowed Jiménez to Bob Dylan on Sahm’s album Doug Sahm recruited Jiménez to play alongside Ry Cooder and of the other leading figures of the West Side Sound. In 1973, requesting all these things.” these [things like] blue banana split. For his last meal he’s The 1970s also was a transitional time for Flaco Jiménez, one 58 57 ogSahm and Band Doug . Working the Progressive movement, Country in which hippies, rednecks, 35 to Austin during the early 1970s. Austin was the epicenter of worlds” even more. Together,” from their 1994 CD Musslewhite, and, on the Rolling Stones’ “Sweethearts Cooder, Jiménez has played with Dwight Yoakam, Charlie larger international arena. minds would prompt Jiménez to play for the first time in of him, but then he opened my eyes” and that meeting of the and found out my history. He tracked me down. I never heard accordion. Jiménez recalls that Cooder “checked out conjunto greatly appreciated the Tex-Mex style of Jiménez and his The West Side Sound also migrated northward up Interstate- Ry Cooder also brought Flaco Jiménez out into “other 59 Cooder, a musician and musicologist, 60 Since working with Dylan and Voodoo Lounge . http://ecommons.txstate.edu/jtmh/vol5/iss1/4

[ n okadrl,sung in both English and Spanish. and rock and roll,

sound that has become a hallmark of the Austin music scene. Austin, but he also contributed significantly to the eclectic the unique diversity of San Antonio’s West Side Sound to and Soap Creek Saloon. In so doing, Sahm not only brought Austin clubs, such as the famed Armadillo World Headquarters be widely popular in Austin. Sahm soon became a regular in from one genreeffortlessly to another. This approach proved to pointing out that Sahm used a “scatter-gun approach,” moving was still more a reflection of the diversity of San Antonio,” Sahm’s contribution to the Austin scene, saying that “his music began spending more time in Austin. Reid acknowledges record, which also features Flaco Jiménez. started playing in Austin:started commented on The Western Head Band two years after Meyers Joe Nick Patoski, who later wrote Selena’s biography, album.” and Dr. John and resurfaced with a country-rock-blues enlisted a superstar array of sidemen that included Bob Dylan Quintet, lapsed into semi-retirement for a while, then, in 1973, “Sahm got extremely tired of the routine with the Sir Douglas which the Quintet had played for years. As Reid points out, Both had grown of the San Francisco weary “hippie” scene, in Augie Meyers also were of the 1970s migration to Austin. part Country, sometimes called “Redneck Rock.” Doug Sahm and combined their diverse musical influences to spawn Progressive elsewhere. Nelson and others who moved to the Capitol City in Nashville,music industry New York, Los Angeles, and early 1970s, because they were disillusioned with the state of Nelson and many other musicians relocated to Austin in the Rise of Redneck Rock and roll, R&B, and even reggae. In his book, musical hybrid that celebrated blues, country,new folk, rock their socio-economic and ideological differences and revel in this college students, and other disparate groups seemed to set aside the audience and said, “Austin just keeps growing, don’t it?” growth of the Austin music scene. Between songs, he turned to there,performance Meyers quickly recognized the tremendous his group, the Western Head Band. During the group’s first The Texas Tornados It was around this time, in the early 1970s, that Doug Sahm Soon after Sahm moved to Austin, Augie Meyers arrived with first made their reputation here in Austin two years definitely has a countrified flavor to it and the group Their loose, easy going type of dance music 61 That album, of course, is the Doug Sahm and Band , Jan Reid discusses the fact that Willie Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 D etrdamxo ald,cuty &,conjunto, R&B, country, a mix of ballads, CD] featured The Improbable 62 63 Huerta), to create the super group, the Texas Tornados. this time with Flaco Jiménez and Freddy Fender (born Baldemar during the 1990s, Meyers and Sahm came together once again, Side Sound. During the explosion of interest in Latino music of the development of the had always been an essential part West our neighbors as well.” is uniquely American, to celebrate one’s own culture, and that of especially among young Latinos, is that it became “OK, columnist Ramiro Burr, one reason for this upswing in interest, music and culture. According to national and international groundswell in popularity of Latino Sound occurred during the 1990s, with an unprecedented redefine music. mainstream country impact on the Progressive scene, which, in turn, helped Country Austin in the 1970s, West Side Sound had an important study, further this topic deserves it is clear that, in regard to conjunto, the Chicano, and country-western.” Sahm, says that “It was just a mix of all those styles. The Lucky Tomblin, a singer-songwriter and long-time friend of Tex-Mex background…it was that conjunto/country, etc.” of it was that Sanpart Antonio sound. It was that great, great, something different; it had this great creative energy, and a huge Texas] was giving us of the country…This to this part coming up [from San all started artists Antonio and South because of Doug, and all the players, all the hipsters, and publicly by Young says that the Progressive movement, Country lauded so developed as it did because of Doug Sahm’s presence there. Danny Roy Young, believes that much of the Austin music scene evolving musical environment there. Veteran Austin musician, brought the West Side Sound to Austin of the and made it part music community. In reality, Meyers and Sahm had simply of the Austinthought of by many fans as being an integral part the unique musical environment of San Antonio, yet they were Meyers, Sahm, Jiménez, and Fender actually formed the The most recent phase in the evolution of the West Side It ironic that Meyers is somewhat and Sahm were steeped in octet is a San Antonio product. member of the high time real funny because every play in comparison to pure country. And which gets all the Tex-Mex originals, polkas, and Dixieland they the Southwest. Which is kind of amusing considering ago before they began extensive touring throughout Rolling Stone 66 , “Started developing…in large part This celebration of collective culture 64 San Antonio Express-News 65 Although

35 10 San Antonio’s West Side Sound Side West Antonio’s San San Antonio’s West Side Sound Side West Antonio’s San

Olsen: San Antonio's West Side Sound San Antonio’s West Side Sound Side West Antonio’s San

Texas Tornados in 1989. The following year, they released their commented that, one of the two CDs they produced, Juke Box van. Crawling over a startled Rocky Morales, she shut and Garibay won a number of awards during his career. In 1994 first album, Texas Tornados. The CD was very much a reflection Music, included some of his favorite musicians. “We had locked the door and insisted that the driver “get going.” The and 1995, he won the Pura Vida Hispanic Music Award. In of those earlier influences from San Antonio’s unique West Side George Raines from [Austin] on drums, and Jack Barber [on driver finally began moving.71 1996, he received the West Side Rhythm and Blues Award, and Sound. It featured a mix of ballads, country, R&B, conjunto, bass],” as well as one of Antone’s favorite San Antonio vocalists, Flaco Jiménez also gained further national and international just before Garibay died in 2002, Charlie Alvarado presented and rock and roll, sung in both English and Spanish. In 1991, Randy Garibay. Following the recordings, Antone and his recognition during the 1980s and 1990s. In addition to the him the first Jiveman Award.73 Garibay also was chosen as the the album charted on Billboard’s rock, Latin, and country record label helped sponsor a tour of the group that included Grammy he won with the Tornados, he received one for Best featured performer at the 1998 Chicano Music Awards. charts, and also won a Grammy.67 The West Side Horns, a horn Los Angeles and New York.69 Mexican-American Music Performance in 1987 with Ay Te Chicano filmmaker Efrain Guiterrez perhaps paid Garibay the section formed by several veteran San Antonio musicians, often Sahm’s second release on the Antone’s label, The Last Real Dejo en San Antonio, another for Best Mexican-American highest compliment of all when he used eight of his songs in Music Performance in 1995 with Flaco Jiménez, in 1996 as Best the soundtrack for his 2001 film Lowrider Spring Break en San Mexican-American/Tejano Music Performance with the same Quilmas. Before he passed away, Garibay teamed up with I went down Nogalitos, looking for barbacoa and Big Red; recording from the previous year, and yet another Grammy in Ricardo Montalban and Cheech Marin in an ongoing effort to Yes, I went down Nogalitos, looking for barbacoa and Big Red; 1998 for the Tejano category with Said and Done. Jiménez says make Chicanos more “visible,” as he put it, to mainstream I could have had some menudo, but I had some cabeza instead! that, what works best for him is to play a combination of America. Garibay called it the “Power of visibility for polkas, boleros, country, and even rock and roll. Jiménez, and Chicanos.”74 To that end, he wrote the title track for his 2001 most conjunto musicians, also have drawn from the musical CD, Invisible Society. It is a hard rocking tune that carries a backed up the Tornados when they toured nationally and Texas Blues Band, came in 1994 and included the West Side traditions of the large German-American population around strong political message: internationally. Spot Barnett, a founding member of the Horns, Horns. It featured covers by Lowell Fulson, T-Bone Walker, and San Antonio. In fact, the accordion and the polka tradition recalls that the group was the “icing” on the cake when they several Louisiana “Swamp Pop” tunes, such as “Bad Boy” and probably entered the Mexican-American musical repertoire in I fought your wars, washed your cars played behind the popular Tornados: “I’m a Fool to Care.” The CD was recorded live at Antone’s in the mid-1800s, as a result of the large influx of German I even shined your shoes. Austin. Although it did not win, the record was nominated for immigrants into Central Texas around that time. As Jiménez I cooked your meals, worked your fields Now, this is what we did all through Europe. And a Grammy in 1995. describes it, “I mean, you know, sharing cultures, sharing But me you still refuse. I’m talkin’ about London, Paris, Germany, Holland, Sahm had developed a large international fan base long music, blending different kinds of music together man, it’s just Invisible society – is what you want to see. 36 Switzerland. They would put the light on us when we before he joined the Texas Tornados, and his worldwide fun, fun, fun and having a good time. It’s the main thing.”72 Invisible Society – won’t even look at me. 37 were actively playing…Yeah, we gave the show class. popularity continued to grow throughout the 1990s. Debora Jiménez recorded his latest two CDs, Sleepy Town and Squeeze We gave it the icing.68 Hanson, Sahm’s personal manager during the final years of his Box King, in his own studio. In keeping with his West Side Garibay’s songs represented how far some parts of Texas life, recalls how popular he was in Europe. At a concert in Sound roots, these CDs feature a mix of country, conjunto, and society had progressed, in terms of cross-cultural interaction, Other members of the West Side Horns include Rocky Lucerne, Switzerland, in 1998, Sahm and his Last Real Texas rock and roll, with lyrics in both English and Spanish. Like but they also reflected the persistent barriers to true social Morales, Louis Bustos, Al Gomez, and Sauce Gonzalez, who Blues Band played at a casino in which the proprietors opened Doug Sahm, Jiménez has become very popular in Europe and equality. For generations, Mexican Americans had faced played keyboards with Sonny Ozuna on American Bandstand in several doors to let the large crowd in. Hanson remembers that elsewhere throughout the world. The popularity of his widespread discrimination in employment, education, and 1963 and with Joe Hernandez during his heyday in the 1970s. it was “wall to wall people. You couldn’t get through the crowd; accordion playing has spawned numerous conjunto bands in other areas. This began to slowly change in the latter half of the Having the West Side Horns join the Texas Tornados to it was that tight.” Perhaps, because of poor planning on the part such seemingly unlikely places as Japan and the Netherlands. twentieth century, but only after Mexican-American activists, perform a variety of musical styles was perhaps the ultimate of the casino’s management, the musicians were brought into Another key figure in the development of the West Side including such musicians as Randy Garibay and Joe fruition of the West Side Sound. Because of the band’s the building at the opposite end of the room from the stage and Sound was the late Randy Garibay. He never became as well Hernandez, convinced other Americans to recognize the social, tremendous popularity worldwide, the unique musical had to force their way through the massive crowd to get to the known outside of Texas as Sahm, Meyers, and Jiménez, but political, and economic significance of Mexican Americans. amalgamation born in San Antonio in the 1950s was finally front of the hall. The band’s normal routine was to start Garibay’s rendition of the West Side Sound style, steeped Another pioneer of the West Side Sound who has left an making its way out to nearly every corner of the globe during without Sahm to get the crowd warmed up and then bring him heavily in blues and R&B, resonated well beyond the San indelible mark on Texas music is Clifford Scott. Before his the 1990s. Sadly, this marriage of diverse musical talents did out on stage. When the time came for Sahm to appear, Antonio music community. His three CDs, Chicano Blues Man, death in 1993, the man who was known by his friends as not last long. Dough Sahm died suddenly in 1999, and the however, Hanson had to push people out of the way, so that Barbacoa Blues, and Invisible Society, reflect a strong blues and “Scotty,” played throughout San Antonio. He did release one Texas Tornados have remained largely inactive ever since. Sahm could finally reach the stage. A similar situation occurred R&B influence, but they also reveal the impact Mexican- record, “Mr. Honky Tonk is Back in Town,” on the New Rose Sahm also had been quite active as a solo artist at the same after the show, as hundreds of adoring fans tried to get close American music had on Garibay, who grew up as a child of label in 1992.75 Frank Rodarte has referred to Scott as his time that the Texas Tornados were becoming so internationally enough to touch Sahm.70 migrant Mexican farm workers. His signature song, “Barbacoa “mentor,” and, along with Randy Garibay, San Antonio jazz popular. He went back to his West Side Sound roots with two In Belgium, during the same tour, Sahm and the band were Blues,” which features Al Gomez on trumpet and Garibay on bassist George Prado, and others, Rodarte had the honor of releases, Juke Box Music and Last Real Texas Blues Band, both being transported in a van to and from the stage area at an lead guitar, blends blues with distinct Chicano lyrics. His playing at Scott’s funeral. Rodarte recalled, “His sister requested released on Antone’s Records. These CDs reflect a variety of outdoor festival. After the show, Hanson ushered the musicians soulful voice, which has been compared to Bobby Bland’s, that I play at his funeral…I did ‘Honky Tonk’ at the open regional influences, including Guitar Slim, T-Bone Walker, and into the van in an attempt to leave quickly. According to immediately cuts through to the listener: casket…We played all of Clifford’s favorite songs,” such as other Texas and Louisiana blues artists. In 1988, Clifford Hanson, when Sahm got into the van, “The fans were literally “There Is No Greater Love” and “As Time Goes By.”76 In Antone, owner of the legendary Austin blues club, Antone’s, coming in right behind Doug.” Hanson told the driver to I went down Nogalitos, looking for barbacoa and Big Red; addition to the great respect he earned from fellow musicians, heard Sahm and Randy Garibay performing songs from some “Drive on,” but he would not move, because the frenzied fans Yes, I went down Nogalitos, looking for barbacoa and Big Red; Clifford Scott’s legacy is his unique tenor saxophone style, of these artists. Antone told them, “Let’s record this; don’t wait were still trying to come through the door. Finally, in I could have had some menudo, but I had some cabeza instead! which is still celebrated by Rodarte, Charlie Alvarado, Spot any longer,” and they soon went into the studio. Antone later desperation, Hanson had to push her way to the front of the Barnett, Rocky Morales, Al Gomez, and Louis Bustos, of which Produced by The Berkeley Electronic Press, 2005 11 San Antonio’s West Side Sound Side West Antonio’s San

Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 San Antonio’s West Side Sound Side West Antonio’s San

Texas Tornados in 1989. The following year, they released their commented that, one of the two CDs they produced, Juke Box van. Crawling over a startled Rocky Morales, she shut and Garibay won a number of awards during his career. In 1994 first album, Texas Tornados. The CD was very much a reflection Music, included some of his favorite musicians. “We had locked the door and insisted that the driver “get going.” The and 1995, he won the Pura Vida Hispanic Music Award. In of those earlier influences from San Antonio’s unique West Side George Raines from [Austin] on drums, and Jack Barber [on driver finally began moving.71 1996, he received the West Side Rhythm and Blues Award, and Sound. It featured a mix of ballads, country, R&B, conjunto, bass],” as well as one of Antone’s favorite San Antonio vocalists, Flaco Jiménez also gained further national and international just before Garibay died in 2002, Charlie Alvarado presented and rock and roll, sung in both English and Spanish. In 1991, Randy Garibay. Following the recordings, Antone and his recognition during the 1980s and 1990s. In addition to the him the first Jiveman Award.73 Garibay also was chosen as the the album charted on Billboard’s rock, Latin, and country record label helped sponsor a tour of the group that included Grammy he won with the Tornados, he received one for Best featured performer at the 1998 Chicano Music Awards. charts, and also won a Grammy.67 The West Side Horns, a horn Los Angeles and New York.69 Mexican-American Music Performance in 1987 with Ay Te Chicano filmmaker Efrain Guiterrez perhaps paid Garibay the section formed by several veteran San Antonio musicians, often Sahm’s second release on the Antone’s label, The Last Real Dejo en San Antonio, another for Best Mexican-American highest compliment of all when he used eight of his songs in Music Performance in 1995 with Flaco Jiménez, in 1996 as Best the soundtrack for his 2001 film Lowrider Spring Break en San Mexican-American/Tejano Music Performance with the same Quilmas. Before he passed away, Garibay teamed up with I went down Nogalitos, looking for barbacoa and Big Red; recording from the previous year, and yet another Grammy in Ricardo Montalban and Cheech Marin in an ongoing effort to Yes, I went down Nogalitos, looking for barbacoa and Big Red; 1998 for the Tejano category with Said and Done. Jiménez says make Chicanos more “visible,” as he put it, to mainstream I could have had some menudo, but I had some cabeza instead! that, what works best for him is to play a combination of America. Garibay called it the “Power of visibility for polkas, boleros, country, and even rock and roll. Jiménez, and Chicanos.”74 To that end, he wrote the title track for his 2001 most conjunto musicians, also have drawn from the musical CD, Invisible Society. It is a hard rocking tune that carries a backed up the Tornados when they toured nationally and Texas Blues Band, came in 1994 and included the West Side traditions of the large German-American population around strong political message: internationally. Spot Barnett, a founding member of the Horns, Horns. It featured covers by Lowell Fulson, T-Bone Walker, and San Antonio. In fact, the accordion and the polka tradition recalls that the group was the “icing” on the cake when they several Louisiana “Swamp Pop” tunes, such as “Bad Boy” and probably entered the Mexican-American musical repertoire in I fought your wars, washed your cars played behind the popular Tornados: “I’m a Fool to Care.” The CD was recorded live at Antone’s in the mid-1800s, as a result of the large influx of German I even shined your shoes. Austin. Although it did not win, the record was nominated for immigrants into Central Texas around that time. As Jiménez I cooked your meals, worked your fields Now, this is what we did all through Europe. And a Grammy in 1995. describes it, “I mean, you know, sharing cultures, sharing But me you still refuse. I’m talkin’ about London, Paris, Germany, Holland, Sahm had developed a large international fan base long music, blending different kinds of music together man, it’s just Invisible society – is what you want to see. 36 Switzerland. They would put the light on us when we before he joined the Texas Tornados, and his worldwide fun, fun, fun and having a good time. It’s the main thing.”72 Invisible Society – won’t even look at me. 37 were actively playing…Yeah, we gave the show class. popularity continued to grow throughout the 1990s. Debora Jiménez recorded his latest two CDs, Sleepy Town and Squeeze We gave it the icing.68 Hanson, Sahm’s personal manager during the final years of his Box King, in his own studio. In keeping with his West Side Garibay’s songs represented how far some parts of Texas life, recalls how popular he was in Europe. At a concert in Sound roots, these CDs feature a mix of country, conjunto, and society had progressed, in terms of cross-cultural interaction, Other members of the West Side Horns include Rocky Lucerne, Switzerland, in 1998, Sahm and his Last Real Texas rock and roll, with lyrics in both English and Spanish. Like but they also reflected the persistent barriers to true social Morales, Louis Bustos, Al Gomez, and Sauce Gonzalez, who Blues Band played at a casino in which the proprietors opened Doug Sahm, Jiménez has become very popular in Europe and equality. For generations, Mexican Americans had faced played keyboards with Sonny Ozuna on American Bandstand in several doors to let the large crowd in. Hanson remembers that elsewhere throughout the world. The popularity of his widespread discrimination in employment, education, and 1963 and with Joe Hernandez during his heyday in the 1970s. it was “wall to wall people. You couldn’t get through the crowd; accordion playing has spawned numerous conjunto bands in other areas. This began to slowly change in the latter half of the Having the West Side Horns join the Texas Tornados to it was that tight.” Perhaps, because of poor planning on the part such seemingly unlikely places as Japan and the Netherlands. twentieth century, but only after Mexican-American activists, perform a variety of musical styles was perhaps the ultimate of the casino’s management, the musicians were brought into Another key figure in the development of the West Side including such musicians as Randy Garibay and Joe fruition of the West Side Sound. Because of the band’s the building at the opposite end of the room from the stage and Sound was the late Randy Garibay. He never became as well Hernandez, convinced other Americans to recognize the social, tremendous popularity worldwide, the unique musical had to force their way through the massive crowd to get to the known outside of Texas as Sahm, Meyers, and Jiménez, but political, and economic significance of Mexican Americans. amalgamation born in San Antonio in the 1950s was finally front of the hall. The band’s normal routine was to start Garibay’s rendition of the West Side Sound style, steeped Another pioneer of the West Side Sound who has left an making its way out to nearly every corner of the globe during without Sahm to get the crowd warmed up and then bring him heavily in blues and R&B, resonated well beyond the San indelible mark on Texas music is Clifford Scott. Before his the 1990s. Sadly, this marriage of diverse musical talents did out on stage. When the time came for Sahm to appear, Antonio music community. His three CDs, Chicano Blues Man, death in 1993, the man who was known by his friends as not last long. Dough Sahm died suddenly in 1999, and the however, Hanson had to push people out of the way, so that Barbacoa Blues, and Invisible Society, reflect a strong blues and “Scotty,” played throughout San Antonio. He did release one Texas Tornados have remained largely inactive ever since. Sahm could finally reach the stage. A similar situation occurred R&B influence, but they also reveal the impact Mexican- record, “Mr. Honky Tonk is Back in Town,” on the New Rose Sahm also had been quite active as a solo artist at the same after the show, as hundreds of adoring fans tried to get close American music had on Garibay, who grew up as a child of label in 1992.75 Frank Rodarte has referred to Scott as his time that the Texas Tornados were becoming so internationally enough to touch Sahm.70 migrant Mexican farm workers. His signature song, “Barbacoa “mentor,” and, along with Randy Garibay, San Antonio jazz popular. He went back to his West Side Sound roots with two In Belgium, during the same tour, Sahm and the band were Blues,” which features Al Gomez on trumpet and Garibay on bassist George Prado, and others, Rodarte had the honor of releases, Juke Box Music and Last Real Texas Blues Band, both being transported in a van to and from the stage area at an lead guitar, blends blues with distinct Chicano lyrics. His playing at Scott’s funeral. Rodarte recalled, “His sister requested released on Antone’s Records. These CDs reflect a variety of outdoor festival. After the show, Hanson ushered the musicians soulful voice, which has been compared to Bobby Bland’s, that I play at his funeral…I did ‘Honky Tonk’ at the open regional influences, including Guitar Slim, T-Bone Walker, and into the van in an attempt to leave quickly. According to immediately cuts through to the listener: casket…We played all of Clifford’s favorite songs,” such as other Texas and Louisiana blues artists. In 1988, Clifford Hanson, when Sahm got into the van, “The fans were literally “There Is No Greater Love” and “As Time Goes By.”76 In Antone, owner of the legendary Austin blues club, Antone’s, coming in right behind Doug.” Hanson told the driver to I went down Nogalitos, looking for barbacoa and Big Red; addition to the great respect he earned from fellow musicians, heard Sahm and Randy Garibay performing songs from some “Drive on,” but he would not move, because the frenzied fans Yes, I went down Nogalitos, looking for barbacoa and Big Red; Clifford Scott’s legacy is his unique tenor saxophone style, of these artists. Antone told them, “Let’s record this; don’t wait were still trying to come through the door. Finally, in I could have had some menudo, but I had some cabeza instead! which is still celebrated by Rodarte, Charlie Alvarado, Spot any longer,” and they soon went into the studio. Antone later desperation, Hanson had to push her way to the front of the Barnett, Rocky Morales, Al Gomez, and Louis Bustos, of which http://ecommons.txstate.edu/jtmh/vol5/iss1/4 12 San Antonio’s West Side Sound Side West Antonio’s San

Olsen: San Antonio's West Side Sound San Antonio’s West Side Sound Side West Antonio’s San

the latter four are current members of the West Side Horns. unique place, especially as a major urban center in the South, of an ongoing power struggle, people do have the power to 47. The San Antonio Light ran a four-part series on the rock and roll transform themselves. This is what the West Side Sounds craze, largely reiterating the fears that local authorities had The West Side Horns still perform today, both as a band and and its uniqueness has allowed for a more pluralistic, multi- musicians did. regarding the raucous nature of the genre. See the Light June 17- as a back up group for such acts as Cats Don’t Sleep, Randy cultural environment to flourish. The West Side Sound is a 24. Author’s interview with Spot Barnett, 25. All of the musicians 20, 1956. interviewed agreed that race is not an issue here. This refutes 48. Author’s interview with Charlie Alvarado, 8. Garibay’s former band. Garibay’s brother, Ernie, now leads Cats dynamic musical manifestation of that multi-culturalism assertions made by music historians, such as Jon Michael 49. Joe Nick Patoski “Uno, Dos, One, Two Tres, Quatro,” Journal of Spencer, who insist that only African Americans can legitimately Texas Music History, Vol. 1, No. 1, 12-14; Author’s interview Don’t Sleep. Randy’s daughter, Michelle Garibay-Carey, who present in San Antonio. play black music. See Jon Michael Spencer Blues and Evil with Sauce Gonzalez and Spot Barnett, June 4, 2004. Gonzalez sang a soulful rendition of “At Last” on Invisible Society, also As a topic of scholarly research, the West Side Sound (Knoxville: The University of Tennessee Press, 1993). recalled that, while the band was told that they would be 25. Interview with Spot Barnett; also see Robert A. Goldberg, performing live, they did resort to lip-syncing. performs with the group and with the modern jazz group, Planet phenomenon deserves more attention. It should be recognized “Racial Change on the Southern Periphery: The Case of San 50. Coincidentally, Meaux also managed Sunny and the Sunglows. Antonio, Texas, 1960-1965,” The Journal of Southern History, Apparently, neither Meyers nor Sahm really liked the “Fab Four.” Soul. The West Side Horns also performed on the recent CD, I as a distinctly Texas genre that blends African-American, Vol. 49, No. 3 (Aug., 1983), 349-374. On page 351, Goldberg 51. Interview with Augie Meyers. The Sir Douglas Quintet later Heard it on the X, by the eclectic Texas group Los Super Seven. Mexican-American, Anglo-American, and even German- says “The city had never passed a segregation ordinance, but moved to San Francisco and played at the Avalon Ballroom and custom and the Police Department enforced racial segregation.” Golden State Park. They had a minor hit in 1969 with Augie Meyers continues to make and market his own CDs, American influences into one complex yet broadly appealing Segregation was enforced in settings such as public education, “Mendocino.” including his latest, Blame it on Love, and he recently played style. In a very real sense, the West Side Sound reflects the rich public facilities, and civic activities. However African Americans 52. Peña, The Mexican-American Orquesta, 233. Peña calls this did not express their displeasure of the existing order with more musical mixing within a song “bimusicality.” organ on Bob Dylan’s CD, Love and Theft. Although semi- and diverse cultural influences that have made Texas music so assertive methods that often were used elsewhere throughout the 53. Interview with Sauce Gonzalez and Spot Barnett, June 4, 2004. Deep South during this period. 54. Documentary film producer Jeremy Marre’s Tex-Mex: Music of the retired, Flaco Jiménez still performs in the Alamo City and unique and dynamic. As historian Gary Hartman notes, “Partly 26. Goldberg, Racial Change on the Southern Periphery, 351. I am Texas Mexican Borderlands, (Newton, New Jersey: Shanachie, occasionally tours Europe. Frank Rodarte has a Catholic music because Texas was less strictly segregated than the Deep South, indebted to Dr. Thomas Clarkin of San Antonio College’s 1982). Hernandez, and later Garibay, were the only two who history department for bringing this article to my attention. frequently spoke out on political issues. While Flaco Jiménez ministry called Unidos that plays weekly in churches and partly because the rugged environment of the western 27. Ibid., 350-352. Goldberg does an excellent job of describing the recorded a number of boleros during the 1960s, he admits that he difficulties facing blacks in the city before 1960 and how did it more to put bread on his table than for his personal views of throughout San Antonio. Rodarte and his musical partner, frontier necessitated cooperation among traditionally disparate religious leaders worked closely with city leaders to peacefully race and politics. See author’s interview with Flaco Jiménez. Danny Ornales, also perform in small venues around the city.77 groups, people of different racial, ethnic, and socioeconomic address segregationist issues. 55. Author’s interview with Frank Rodarte, 12-13. 28. See “San Antonio Taking Calm Attitude Toward Mixing of 56. Marre, Tex-Mex. The West Side Sound musicians made substantial, if largely backgrounds interacted somewhat more freely in Texas than in Races in Schools,” San Antonio Light, June 24, 1955, 14 A; 57. Author’s interview with Frank Rodarte 12. The narrator of Te x- overlooked, contributions to the development of Texas and other parts of the South, exchanging musical ideas and “More San Antonio School Districts Integrate,” San Antonio Mex made another mistake, this time in his analysis of Flaco Register, July 22, 1955, 1; and “Stop Political Quibbling on Jiménez’s “Pantalone Blue Jeans,” by saying that the song is about American music. They are a remarkable example of people influences in the process.”78The West Side Sound represents the Integration,” San Antonio Light, August 28, 1955, 2B. The a young Chicano who cannot find his place in Anglo society. Catholic schools in San Antonio desegregated the year before. Jiménez refutes this claim. See author’s interview with Flaco from different ethnic and racial backgrounds who made a open acceptance of such diverse cultural backgrounds and goes However, blacks still faced segregation in the Alamo City at Jiménez, 33, as well as Ingrid Kokinda’s 1986 oral interview with conscious decision to transcend social barriers and share their beyond simple tolerance to actually embracing the best that lunch counters, movie theaters, and the annual policeman’s ball. Jiménez in the University of Texas at San Antonio’s Institute of ■ What is striking is that these issues were settled peacefully and Texan Cultures Archives, OHT 781.764 J61, 8. culture with others. The city of San Antonio has long been a each of these ethnic groups has to offer. without much incident. 58. Aaron Howard, “Flaco Jiménez about fame and music on the 39 38 29. Bernard Brister, “Radio,” The Handbook of Texas Music, 191-192. Texas border,” accessed at http://www.rootsworld.com/ 30. San Antonio Light, June 25, 1955, p. 2A; March 8, 1956, p. 4F; interview/flaco.html. Notes Dialectic of Conflict (Austin: University of Texas Press, 1999). April 29, 1956, 4F. 59. Author’s interview with Flaco Jiménez, 30. 1. See Jim Beal, Jr. “Rockin’ S.A.: Local Scene Always had a 12. Author’s interview with Augie Meyers, February 9, 2004, 2. Meyers 31. Cathy Brigham “Louisiana Hayride,” The Handbook of Texas 60. Howard, “Flaco Jiménez about fame and music on the Texas Spanish Accent,” San Antonio Express-News, Section G, Page 1, says that he and Sahm, at the ages of 12 and 13, were able to sit in Music, 191-192. border.” October 4, 2000; Hank Harrison San Antonio Jazz: The Golden at the Eastwood Country Club and listen to such famous 32. San Antonio Light, June 10, 1955, 24 and June 17, 1955, 61. Reid, The Improbable Rise of Redneck Rock, 1-12, 43. Reid notes Years, (San Antonio: KLRN Learning Place, 1998); and Allen O. musicians as T-Bone Walker, Bobby Bland, and Albert King. 26. HEB took out a full page add on June 16, in which the grocery that the best known musician to tire of Nashville and return to Olsen, “The Native Born Troubadours of San Antonio and the 13. See Jan Reid, The Improbable Rise of Redneck Rock (Austin: chain offered prizes, such as free tickets to the show, 45 Roy Texas was Willie Nelson. Roots of the West Side Sound,” Buddy, April 2002. The author Heidelberg Publishers, 1974); See also Cory Lock, Rogers buck horses, and 60 Roy Rogers pup tents. 62. Ibid. See also author’s interviews with Debra Hanson, Gary would like to thank Beal, Harrison, and the many musicians “Counterculture Cowboys: Progressive Texas Country of the 33. David Nevin “Roy Rogers Puts on More Show than Rodeo,” San Hartman, Lucky Tomblin, and Danny Roy Young, September who gave of their time for oral interviews. Thanks also to Sauce 1970s and 1980s,” The Journal of Texas Music History, Vol. 3, Antonio Light, June 19, 1955, 8D. 10, 2004. Gonzalez, who has legal rights to the names Sauce and the West No. 1, 15-23. 34. San Antonio Light, August 19, 1955, 1 and August 24, 1955,1. 63. Ibid. 83. Side Sound and Sauce and the West Side Horns. 14. Author’s interview with Charlie Alvarado, May 10, 2004, 13. In The article of June 19 reported that the winner of the pre-school 64. Joe Nick Patoski Papers, Southwestern Writer’s Collection/Texas 2. Texas Monthly has recently dubbed this song the number one the formative period of the genre, Alvarado’s “For the Rest of my frontier costume award went to two Mexican-American siblings, State University, San Marcos, Box 408, Folder 3, Document 1. Texas song of all time. See “The 100 Best Texas Songs,” Texas Life” featured a multicultural variant of the West Side Sound. Julio and Esmerelda Benavides. 65. Author’s interview with Debora Hanson, Lucky Tomblin, and Monthly, April 2004. The song is clearly rhythm and blues, but the harmonies are in 35. San Antonio Light, June 10, 1955, 22. Danny Roy Young, September 10, 2004. 3. “Hey Baby, Que Paso?” is one well-known example. This song thirds, as is the sax solo, both of which are exemplary of the 36. Author’s interview with Flaco Jiménez, April 2, 2004, 15; La 66. Ramiro Burr, The Billboard Guide to Tejano and Regional helped give rise to the city’s “Puro San Antonio” tourist promotion. mariachi and bolero styles of voicing in thirds. Prensa, February 16 and February 12, 1956, 2; La Prensa, Mexican Music, (New York: Billboard Books, 1999), 44. 4. During the early years of the West Side Sound, Garibay played 15. Elisabeth Gareis, “Intercultural Friendship: Five Case Studies of February 23, 1956, 2; and La Prensa, March 1, 1956, 2. 67. James Head, “Douglas Wayne Sahm,” The Handbook of Texas with San Antonio bands, such as the Del Kings and Charlie and German Students in the USA,” Intercultural Studies, April 2000, 37. La Prensa, March 25, 1956,. 2. Music, 281. the Jives. Vol. 21, Issue 1., 79-158. 38. La Prensa, September 13, 1955, 2. This is one of the few large 68. Author’s interview with Spot Barnett, March 10, 2004, 29-30. 5. La Prensa March 11, 1956, 2, March 18, 1956, 2, and March 16. Author’s telephone interview with Rocky Morales, March 3, 2004. advertisements that the newspaper used to promote a conjunto 69. Author’s interview with Clifford Antone, September 10, 2004. 25, 1956, 2. 17. Author’s interview with Frank Rodarte, January 30, 2004, 11. group. This paper represented mostly middle-class Mexican 70. Author’s interview with Debra Hanson, September 10, 2004. 6. The Del Kings became Los Blues toward the end of their tenure 18. Daniel A. Yon, “Urban Portraits of Identity: on the problem of Americans, who often looked down on the music of working- 71. Ibid. at the Sahara and made one record for United Artists in 1971. knowing culture and identity in intercultural studies,” Journal of class Mexican Americans. For an analysis of the cultural tensions 72. Author’s interview with Flaco Jiménez, April 2, 2004, 37. 7. Jim Beal, Jr. “Rockin’ S.A.” Intercultural Studies, Vol. 21, No. 2, 2000, 144. between working and middle-class Tejanos, see Peña’s Música 73. Jackie Potts, “Randy Beltran Garibay,” The Handbook of Texas 8. Few know of Scott’s influence, as well as the fact that Scott 19. Author’s interview with Charlie Alvarado, May 10, 2004. Tejana and Texas-Mexican Conjunto. Music, 114. Part of the Jivemen Award given to Garibay states joined Lionel Hampton’s orchestra. See author’s interviews with Alvarado’s exposure to African-American music came at a very 39. San Antonio News, April 7, 1953, 3A. that “The first award of The Jiveman goes to the artist who wrote Spot Barnett, March 10, 2004, Charlie Alvarado, May 10, 2004, early age when he and his brother shared a radio set on which 40. La Prensa, May 8, 1958, 16, and May 12 through 18, 16. ‘Where Are They Now?’” Garibay was a member of Charlie and Rocky Morales, March 3, 2004, and Frank Rodarte, January 30, they listened to such styles as Bebop. Alvarado later listened to 41. La Prensa, March 19, 1956. the Jives in the early 1960s. 2004. San Antonio’s Scratch Phillips and his “Ebony Theater,” which 42. Hank Harrison, San Antonio Jazz: The Golden Age, San Antonio: 74. Author’s phone interview with Randy Garibay, November 9, 2000. 9. Alan Govenar, “The Blues,” The Handbook of Texas Music, edited aired on KCOR TV channel 41. Charlie and the Jives later KLRN, 1998. 75. Karla Peterson, “Clifford Scott,” The Handbook of Texas Music, 284. by Roy Barkley, et al, (Austin: Texas State Historical Association, appeared on that show. 43. Author’s interview with Spot Barnett; San Antonio Register, 76. Author’s interview with Frank Rodarte, January 30, 2004, 26. 2003), 25. 20. Author’s interview with Jack Barber, August 5, 2004. October 16, 1953, 7, October 30, 1953 7, November 2, 1953, 77. Unfortunately Rodarte never recorded his own material after Los 10. Author’s interview with Spot Barnett, March 10, 2004, 28. 21. Shi-Xu “Critical Pedagogy and Intercultural Communication: 7, November 6, 1953, 7, November 13, 1953, 7, July 8, 1955, Blues Volume 1 in 1971. 11. For very good studies of these Latin styles and others, see creating discourses of diversity, equality, common goals, and 7, and September 23, 1955, 7. 78. Gary Hartman, “Country and Western Music,” The Handbook Guadalupe San Miguel, Jr., “Música Tejana: Nuestra Música,” rational-moral motivation,” Journal of Intercultural Studies, Vol. 44. Karla Peterson “Eastwood Country Club,” The Handbook of of Texas Music, 66. It should be noted that this is not to suggest Journal of Texas Music History, Vol. 1, No. 1, 24-35; See also the 22, No. 3, 2001, 279. Texas Music, 91. More open and frequent jam sessions were held that intolerance and racial discrimination have not had a strong following by Manuel Peña: Música Tejana: The Cultural Economy 22. See Peña’s The Texas-Mexican Conjunto, 164, in which he argues at Club Ebony where Spot Barnett and the various combos he presence throughout Texas history. They certainly have. of Artistic Transformation, (College Station, Texas: Texas A&M that “the existence of ethnic differences have often been the led there often invited Doug Sahm, Rocky Morales, Randy However, Texas tended to have a more ethnically diverse University Press, 1999), The Texas-Mexican Conjunto: History of friction that sets off the spark of conflict in intercultural contact.” Garibay, and others to play with them. population and a less rigidly structured system of racial a Working Class Music (Austin: University of Texas Press, 1985), 23. In Critical Pedagogy and Intercultural Communication, 283, Shi- 45. Beal, “Rockin’ S.A.” segregstion than many other southern states. and The Mexican-American Orquesta: Music, Culture and the Xu agrees that, although groups interact from the point of view 46. Author’s interview with Augie Meyers.

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