Texas Music Journal » Texas Music Genres

North Texas Music Showman Dies

Sam Moore — Fri, 19 Mar 2010 20:58:42 +0000

Editor’s Note: The following story comes from WFAA-TV, Dallas. To see their complete video report, please visit
http://www.wfaa.com/news/entertainment/Performers-honor-country-music-starmaker-Johnnie-High-88498907.html.

ARLINGTON — The spotlight has been turned off on a North Texas music showman. Johnnie High died Wednesday at his home in Bedford after battling heart disease.

High’s Country Music Revue, which airs nationally in syndicated television, is credited with helping to launch the career of many artists — including LeAnn Rimes, the Dixie Chicks and Lee Ann Womack.
High was 80 years old.

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Shy Blakeman Reaches His Final Destination

Sam Moore — Tue, 16 Mar 2010 18:26:39 +0000

Austin, TX — Shy Blakeman, the Texas singer-songwriter with a colorful past and engaging character who was first introduced to audiences during the 2006 season of “Nashville Star,” is scheduled to release his third album LONG DISTANCE MAN today.

Influenced by the eclectic southern mixture representative of The Black Crowes, Waylon Jennings and Ray Charles, Blakeman succeeds in his efforts to break ground on a new sound by melding genres into an album that is equally pleasurable and viably commercial. This new venture allows the listener to go along for a ride with the “Long Distance Man” as he musically meanders through songs that cross the plains of Texas country at “Quarter to Three,” hears the blues and tastes the “Swamp Water Whisky” of Baton Rouge, dances all night in a few of the “So Many Honky Tonks” that decorate the true country landscape, and establishes roots at the Americana homestead that is “Dragon Fly.”

Produced by Ted Russell Kamp (Shooter Jennings) and Executively Produced by Warren Izard, the album also features a bevy of world class players who have graciously lent their time and talent to support the new project. Artists of note include Marc Ford (The Black Crowes), Audley Freed (The Black Crowes, Cry Love, Peter Frampton), Doug Pettibone (Lucinda Williams, Jewel), Kenny Vaughn (Steve Earle, Marty Stuart, Rodney Crowell), Michael Webb (John Fogerty), Jason Sutter (Chris Cornell), Ron Dziubla (Royal Crown Reveue, Ricky Martin), and Gia Ciambotti (Bruce Springsteen, Bonnie Raitt).

The rollicking title track was released to radio on February 23, 2010 and early commendations for the album are already rolling in. “I’ve been drowning in a sea of cookie-cutter music. Thank you Shy Blakeman for throwing me a life preserver [with] LONG DISTANCE MAN,” says Kelley Peterson of KHKX/KMCM/KQRX in Odessa, Texas.

Blakeman will be promoting his new album today during a performance at the Kinetic Entertainment “The Early Bird Gets The Music” showcase at Annie’s West, 706 W. 6th St. Austin, Texas. He has also been invited to perform for the CMT Awards after-party in Nashville, Tenn. Scheduled for June 9, 2010, this unofficial wrap-up to the CMA Music Fest activities will be hosted by Cowboy Troy, the 2006 and 2007 co-host of “Nashville Star.”

For more information visit www.shyblakeman.com

Texas Music Superstars Drawing Rave Reviews

Sam Moore — Mon, 08 Mar 2010 15:14:30 +0000

(Editor’s note: I could not help but share the following I found on CMT’s web site. It appears that the Texas superstar concert series, featuring George Strait, Reba McEntire and Lee Ann Womack – previously announced on TMJ – is causing quite a reaction around the country. The following is from a performance this past Friday night in Memphis.)

MEMPHIS, Tenn. — Approaching the four-hour mark at George Strait’s Thursday night concert (March 4) at Memphis’ FedEx Forum, I kept thinking, “This is where ‘The Cowboy Rides Away’ will bring down the house and bring up the lights.”

After all, he’d already played “Amarillo by Morning” and about 20 other tunes. But Strait was in no hurry, going on to deliver “I Saw God Today,” “Give It Away,” “River of Love,” “Living for the Night” (apparently true), “Troubadour” and his first-ever hit, “Unwound.” Then he came back for a three-song encore.

Thus, fans of traditional country music got their fix when he wrapped after an hour and 45 minutes, while Reba McEntire had already offered about 80 minutes of hits and Lee Ann Womack graced the stage with a brief but engaging 30-minute set. (Strait called them “two of the greatest country performers ever.”) It was just before 11:30 p.m. when the balconies emptied out, yet Strait stayed onstage to personally greet the folks who had floor seats. At that late hour, if you headed west on I-40 right after the show, you really could have made Amarillo by morning.

Strait’s stage was situated in the middle of the arena, surrounded by rows of small folding chairs, squished together. (Being 6 feet 2 inches tall, I couldn’t fit into one without my shoulders pressing into my neighbors’ arms and my knees grinding into the chair ahead of me, so I watched the show from the nosebleed section.) Strait prefers in-the-round concerts where the band essentially stays put and the singer walks to a new corner of the square stage after every song or two. There’s no backdrop at all. Of course, the cameras follow the singer around, so if you watch the show on the big screens overhead, it’s sort of like catching a very special episode of Austin City Limits.

Strait walked the perimeter of the stage upon his much-heralded arrival from a barricaded path from backstage. It’s a rather regal proceeding because he is, after all, King George. He kicked it off with “Twang,” then shuffled through newer hits (“I Hate Everything,” “Wrapped”), modern classics (“Check Yes or No”) and enduring fan favorites (“Run,” “I Can Still Make Cheyenne”). He also indulged himself with tunes that brought modest applause but that he clearly relished singing (“Honk if You Honky Tonk,” Merle Haggard’s “Seashores of Old Mexico,” the anthemic “If It Wasn’t for Texas”).

But you’d think the seats were hot the way people jumped up at the opening bars of “The Fireman,” followed by “Ocean Front Property” and “Heartland.” He dedicated “I Ain’t Her Cowboy Anymore” to all the lonesome cowboys before pulling out a guaranteed crowd-pleaser, “She’ll Leave You With a Smile.” Clearly, “Where Have I Been All My Life” is a sentimental favorite for the singer (and occasional songwriter, this tune included). Meanwhile, the ladies loved seeing themselves captured on the big screens during “How Bout Them Cowgirls.”

Strait mentioned that his son, Bubba, wrote “Arkansas Dave,” a story song that should go over well when the tour continues on to Little Rock this weekend. He also dug into his new album, Twang, for “Gotta Get to You.” But when the cluster of women in front of me heard those distinctively twangy opening bars of “The Chair,” they uniformly leaped to their feet and hollered, “There it is! There it is!” These are the moments when it’s fun to sit in the upper reaches of a venue because on beloved songs like “The Chair,” you really can hear the whole place singing along.

McEntire’s elaborate tours in the ’90s are famous for production value and endless costume changes, and her recent tour with Kelly Clarkson was a high-tech extravaganza. Because of that, the bare-bones approach on this outing is unusual for her. Fortunately, she has the material to make up for it, with an even longer career on the country charts than Strait. She launched her portion of the show with her first No. 1 hit, a modernized version of “Can’t Even Get the Blues” but didn’t follow any sort of timeline. “The Fear of Being Alone” led to “Strange,” while “The Night the Lights Went Out in Georgia” prompted a new number, “I’ll Have What She’s Having.”

For the longtime fans who wore out their copies of Rumor Has It, McEntire’s strong rendition of “Falling Out of Love” was especially satisfying. That title pretty much encapsulates the theme of her early hits, and she can still effectively turn a word like “go” into a 12-syllable warble. After two new tunes (“I Keep On Loving You,” “Nothing to Lose”), she condensed three signature hits into a medley: “Somebody Should Leave,” “For My Broken Heart” and “Does He Love You.” Lee Ann Womack came out for the dueling diva showdown, and when they stood side-by-side at the climax of the ever-dramatic ballad, flash bulbs illuminated the place. Yet at every corner of the stage throughout the night, McEntire was impeccably lighted.

Unlike Strait, McEntire is surprisingly talkative onstage (despite a long list of songs to get through), and her banter is well-rehearsed. She gave the crowd insightful introductions to “I Want a Cowboy,” “The Greatest Man I Never Knew” and “Because of You,” while “Consider Me Gone,” “Why Haven’t I Heard From You” and “Is There Life Out There” speak for themselves. The singer received a “surprise” visit around this time, too, and if you’re seeing the tour in the coming weeks, don’t miss her encore.

Womack wasn’t shy about opening the night with “San Antonio Rose” and later offered a sultry, bluesy take on Patsy Cline’s “She’s Got You” that was well-suited to the Memphis vibe. Naturally, she played quite a few hits, too. This is her first tour since the release of “There Is a God,” a ballad about life’s simple pleasures. With a lineup like this, many traditional country fans would easily agree with her.

EYB Up for ACM Best New Artist

Sam Moore — Fri, 05 Mar 2010 15:00:37 +0000

Maybe it just seems like all the best new acts in the country are coming from Texas. Miranda Lambert, Pat Green, Jack Ingram and many more trace their successful roots to Texas music. The Eli Young Band is doing nothing to change that.

The Denton-based quartet is up for the Top New Vocal Band award from the Academy of Country Music. The winner will be announced during the ACM Awards later this year.

Fans can vote for EYB. Simply go to www.voteacm.com. Votes are allowed for just one more week, ending March 12.

Young Texas Music Star Goes from Shoe Sales to Songwriting

Sam Moore — Sun, 28 Feb 2010 15:00:34 +0000

In 2001, Jackson Doyle was living in Florida and selling shoes. Who knew that in less than 10 years, he would be living in Texas and heading his own band, Jack County.

Doyle’s journey to country success has not been the typical one for Texas musicians. After graduating from high school, he began playing bass with his church choir. He then moved to Wyoming, where his passion for music really started to develop. Then came his time selling shoes in Florida.

“By a series of strange circumstances, I ended up in Lavon, Texas, playing bass for a band and living on this guy’s floor,” Doyle said. “I was a terrible bass player, but I think they saw my passion and decided to give me a shot. At 21 years old, that first year playing music, I made a whopping $5,700!”

Doyle found his early influences in music – Tom Petty, Credence Clearwater, Bad Religion, Pennywise – helped him in his newfound role as alternative rock bass player. Then something happened that once again changed the direction of Doyle’s life: the rock band he had played for fell apart. He was suddenly an out-of-work rock bass player with thousands of dollars in debt.

For the next two years, Doyle worked seven days a week. He found solace in the late evening hours, writing songs. He felt the only direction to go was up. He took a chance, followed his heart, and created a sound that fans believe is truly exceptional.

So nine years after trying to convince women that red pumps would be a good purchase, Jackson Doyle is a country singer-songwriter, with gospel and alternative rock influences.

“I think it’s just good old American music,” he commented, “songs about love, loss, the good days, the bad days. Sure, we get classified as country music. But nowadays, I think country music is in a sort of an identity crisis. We’re like ‘70s country meets John Mellencamp.”

For Doyle, this means the creation of Jack County, and his first CD, “Lonesome Radio.” The songs are not overly complex. They are reminiscent of classic country clichés, nice melodies and foot-tapping hooks.

“I am most proud of a new song I’ve written called ‘Eyes Closed,’” said Doyle. “It is a story about my teenage years – knowing it all, but not knowing a thing. I think it just means a lot to me. That song really makes me smile.”

This is an example of where he gets inspiration for songs: personal experiences, things he sees his friends and family going through, life in general. “I wrote a song about a barbecue grill the other day. There’s no telling where that one came from.”
One of the biggest advantages Doyle sees to living in Texas, as opposed to Florida, is he is surrounded by musical heritage and influence.

“Townes, Willie Nelson, Billy Joe Shaver, and on and on. There’s so many great artists that have called Texas their home. Growing up in Florida, it’s not like that at all. It seems like everyone moved off and then got famous.”

Jackson Doyle would not mind in the least following that pattern.

“My goal is to provide a way of life for myself, the guys in the band, and my family,” he said. “I love writing, I love performing, and I love traveling. I would love to be able to wake up every day and do those things and make a solid living. Scraping by is not the best way to live; and I hope I can look at my account some day, and not have to worry about money – as much as least.”

Doyle had several mentors who helped him get started. Today, he looks to Fort Worth singer/songwriter Kurt South for help and direction. Doyle is still young, but not too young to give advice for those looking for their start in music.

“I think not giving up is always the best advice,” he said. “When the rubber meets the road, you’ll find out if playing music is something you want to do as a career or a hobby.”

For Doyle, that is the true beauty of music. It can be enjoyed in any facet, “in an arena, a honky tonk, or even just a back porch.”

“Lonesome Radio” is currently available on iTunes. For more information on Doyle and Jack County, visit www.jackcountymusic.com.

Miranda Lambert Ready to Start a New Tour

Sam Moore — Thu, 11 Feb 2010 01:15:36 +0000

Texas music star Miranda Lambert brings her “Roadside Bars And Pink Guitars” Tour to her fans this Spring. Gearing up on March 18th in Beckley, WV, the tour will make stops in at least 22 cities and more to be announced. This is Lambert’s first official headlining tour. She will be joined by David Nail, James Otto, Randy Houser and Wade Bowen among others.

In addition to her own headlining tour, Lambert will take part in the prestigious Lilith Fair Tour and joins an A-list lineup including Kings of Leon, Jay-Z, Dave Matthews Band and Norah Jones, performing at this year’s Bonnaroo Music Festival in June.

“In the last 5 years, I have learned so much from all the amazing artists I’ve toured with,” said Lambert. “Now it’s my turn to venture out and do more shows of my own. I’m happy that there are a lot of great new artists who are willing to come out and support my tour.”

Fans, critics and peers agree it’s time for the award-winning Texas singer/songwriter to take center stage. Recent performances have garnered such praise as “one of modern country’s most formidable talents” from The Oklahoman and from the Dallas Morning News “She can command a stage as good as any of the genre big boys.”

Last week, Lambert, who’s latest single “White Liar” from her album REVOLUTION recently hit #1, taped an episode of ABC’s Extreme Makeover Home Edition, which airs this spring and was a presenter at the Grammy Awards, where she was also nominated for Best Female Country Vocal Performance for her self-penned song “Dead Flowers.” While in Los Angeles as part of Brad Paisley’s “American Saturday Night” Tour, she will tape two upcoming shows for the Late Late Show With Craig Ferguson (air dates TBA.)

The three-time GRAMMY nominee received rare perfect reviews for REVOLUTION from countless publications including 4 stars from Rolling Stone and USA Today, an A from Entertainment Weekly and exuberant praise from SPIN, NY Times, Washington Post and more. Many claimed REVOLUTION the “Best Album of 2009” in any genre including NPR’s “All Things Considered.” Amongst the many accolades, the Nashville Scene Critics Poll voted Miranda Lambert’s REVOLUTION as the year’s best album and her “White Liar” as the year’s best single; they also named her Female Vocalist of the Year and runner-up Artist of the Year.

ROADSIDE BARS AND PINK GUITARS CITIES INCLUDE:
Beckley, WV
Ft Worth, TX
Wichita Falls, TX
Kennewick, WA
Medford, OR
Duluth, GA
Orlando, FL
Airway Heights, WA
Florence, AZ
Cincinnati, OH
Akron, OH
Kalamazoo, MI
Amarillo, TX
Belton, TX
Houston, TX
Jonesboro, AR
Bossier City, LA
Stillwater, OK
Spencer, IA
Mankato, MN
Davenport, IA
New Braunfels, TX

For more information on Lambert’s upcoming events and schedule or for pre-sale ticket information visit www.mirandalambert.com

Eisley Gives a Taste of Things to Come

Sam Moore — Sat, 30 Jan 2010 02:00:39 +0000

By Bianca Montes

Their fall tour is over. But Tyler TX native rock-band Eisley continues to leave fans in anticipation for their soon-to-be released album, thanks to the tour-exclusive EP Fire Kite.

“We’re definitely Southerners,” rhythm guitarist Sherri DuPree said. “We grew up listening to country music.”

Small city roots and an eclectic taste of music set the foundation for the unique styling of Eisley, whose last studio album, Combinations, was declared one of the best albums of the year by MSNBC.

Following the success of Combinations, The Fire Kite EP performs a solid offering of catchy and upbeat tracks, including “Away We Go,” a garage band track that was recorded several years ago.

“Ambulance,” a song written about the divorce of Sherri Dupree and Chad Gilbert of American rock band New Found Glory, touches on the subject from little sister and band-mate, Stacy DuPree.

“She was able to see through my eyes, the pain I was going through,” Sherri said, “and she wrote this amazing song… I can barely listen to it without crying.”

Instrumentally, “Ambulance” is a stripped-down showcase of Eisley’s sound and talent. With a melancholy piano piece and strings that give way to an increased volume during the chorus, “Ambulance” takes the listener on an emotional journey of pain, regret and the need for healing.

For a taste of the band’s upcoming album, “192 Days” creates a coffee house acoustic feel. The simplicity of the instruments and lyrics tell a complex story of love, and how it provides comfort and protection. “192 Days” is a delightful track and does an amazing job completing the Fire Kite EP.

For more information on Eisley, visit www.eisley.com/ and www.myspace.com/eisley.

Earl Bailey – Guitarist and Innovative Educator

John South — Tue, 26 Jan 2010 03:24:27 +0000

By John South

Evenings in Plano are generally fairly quiet, not that Plano is the small, sleepy bedroom community it used to be. But on most evenings, outside one particular house, one can hear the distinctive low frequencies of guitars and the thumping of a drum machine that signal that you have reached the studio of a music teacher.

This is not the studio of just any teacher though. As you enter the studio, you hear two of the students playing a chord progression in G major; another is improvising over the progression. In front of the small class, sits the teacher. He alternates from helping the students stay in time with the drum track, providing his own improvisation, and assisting one the students who doesn’t have a chord properly shaped. All watch as his large hands float across the fretboard.

Earl Bailey has taught many students from his studio–many who were learning to play their first instrument, others who were accomplished musicians with other instruments, and some with college degrees in music. He starts each student with the same fretboard chart – where he shows them the five easy areas to memorize. If a vacancy occurs in a class, the new student starts with the same blank fretboard chart with the more experienced students assisting in initial education.

How did Earl Bailey become a music teacher?

Bailey, originally from Oklahoma City, fell in love with rock guitar when he saw Def Leppard on MTV in 1981. He spent four years perfecting the air guitar, even after his mother bought a guitar from a pawn shop sometime in 1982 or 1983. He never learned to play that guitar, as its warped neck and the lack of an amp never allowed him to determine if it actually worked.

Bailey says, “I didn’t realize until years later that it was that guitar that gave me hope that one day I’d have a real guitar. The first guitar I bought was an Aria Pro II Les Paul copy in 1984. I paid for it by mowing lawns and with my allowance. But, my official start date was September of 1985 when I got my first amp, a Crate 110. A friend showed me how to play “Rock You Like A Hurricane” from the Scorpions. I took it from there.”

Bailey bought books and tapes, and learned whatever anybody would teach him. The key to his early success was the fact that he played every day for several hours at a sitting. He even competed in guitar contests after only playing for six to nine months – no wins but he gained great experience.

Bailey continues, “I took two lessons in my third year. That is where I learned the major scale and some basic arpeggios. I played in some garage bands in high school like CYRUS and CAPTAIN BLOOD. I played in some talent shows but the garage bands were just that…garage bands. After high school I played in a reggae band called DUB FACTOR.”

In 1991, Bailey moved to Texas to attend the Art Institute of Dallas for its music and video business program. Bailey says, “Around this time I was doing a lot of recording of my own music, going to school 20 hours a week, playing in a metal band called X-MAN, studying kung-fu, doing tournaments, and discovering who I was as a person and a musician. My solo project was called SHAOLIN. “

In 1994, Bailey released a local consignment album called “Year of the Dog.” Six years later, he compiled another album under a project simply called “EARL”. The album that resulted from this effort was titled “Harder Than It Seems.”

“I met my teacher Philippe Willem in 1998. I studied with him for 3 years alltogether. That is where I learned how music really works, “ Bailey tells us. “He encouraged me to teach, telling me that by teaching I would always continue to learn. That is the main reason why I teach to this day! I will always be a student.”

What has 11 years of teaching and 25 years of guitar playing taught Bailey?

“The problem today is that there is too much information,” Bailey says, “It’s hard to know where to begin. “ He quotes Ralph Waldo Emerson, “’There are many methods, but few principles. The one who can grasp principles can successfully select their own methods. ‘ That is how I teach.”

There are many guitar methods on the market today. Some go into extreme detail showing you one scale after another. But, they don’t teach you the principles behind the scales. That is where Bailey focuses his students – learn the principles, then practice what you have learned, and experiment to find your own voice.

What do his students think about Bailey’s teaching method?

Jerry Fitzpatrick is an architect that has been studying with Bailey. “Earl Bailey is a unique talent, aside from his mastery of music theory and guitar. Earl has the ability to teach. Sounds easy, but not so! Earl is one of the few who can immediately “dial-in” on a student’s level of experience and understanding, tailoring his response, while the student feels supported and encouraged. Watching him relate to students of all levels (and ages) is amazing. Everyone leaves feeling confident that their individual goal as a musician is entirely possible. You leave, knowing “I can do this.” Amazing teacher, kind person, talented musician! You can’t find better and you are blessed to study under him.”

What is the next phase in teaching for Bailey?

This year represents a new direction in teaching the guitar for Bailey. He is bringing his method of teaching out to people who can’t join him in the studio. The first phase is to provide a set of backing tracks against which students can practice improvising. He illustrates his concept of learning scale principles by keeping all of the tracks in G major (Em). The tracks allow you to practice all seven degrees of G major as well as the three pentatonic options. Each of the tracks provides a different feel for the music, but allows a player to fully express their feeling in the music.

The backing tracks are available from iTunes (http://itunes.apple.com/us/artist/earlsguitar/id338743929).

The backing tracks are only the first phase of this project. Bailey is recording a video to work in conjunction with the backing tracks. The video will be on the market shortly, but the backing tracks are available now. They are valuable for budding, as well as accomplished guitarists.

The Bailey guitar method cuts through the confusion that most other guitar methods provide as the meat of their lessons. However, whether sitting in class or using the video and backing tracks, in the end, it’s up to the student to have the desire and fortitude to learn how to play. Bailey sums it up, “For those who want to learn to express themselves honestly through the guitar, there is a better way. I know not everyone wants to be enlightened. But music is a beautiful language that allows us to communicate with each other without saying a word. “

You can learn more about Earl Bailey by checking out his website (http://www.earlsguitar.com) or by going to his Facebook page (http://www.facebook.com/profile.php?id=100000116710452#/profile.php?v=info&id=100000116710452).

The Truth Is

John South — Tue, 19 Jan 2010 01:11:04 +0000

By John South

On the back porch of a house in a small Texas town, a little girl sat and dreamed of playing guitar and being a singer. She made up songs – singing through the day. She listened to the music of Joni Mitchell – she wanted to be just like her, to sing just like her. She also found inspiration in the Beatles and the Rolling Stones. Jeanie Sliva grew up loving music – any music other than country music.

Then, as fate would have it, a friend invited her to travel to Nashville; that’s when she “heard” country for the first time. Actually she had heard country music all her life, she heard it in a different way. She realized that she had a new musical direction to explore.

In 2000, Sliva concentrated on a song for a group like Boys to Men. She spent an entire year working on the song and received a single song contract. She had a bite from Sony in NY for Mandy Moore, but the song went no further.

The question they asked, however, shocked her, “Do you have anything else?” Sliva learned a very valuable lesson at that point in her music career – the importance of having a song catalog. She has dedicated herself since to developing her craft and her songs.

Sliva tells us that she learned another very valuable lesson from her early experience in Nashville. She went into the process of writing country songs thinking that writing country was easy. She found that that certainly wasn’t the case. It fact, she found the writing of country to be humbling.

Having fallen in love with Nashville, the city as well as the music, Sliva took advantage of many of the opportunities to learn about the craft. She has attended several of the songwriter workshops offered in Nashville which she has found extremely insightful about the craft of writing music. She has also attended the pitches to producers to see what others are writing.

The song critiques were the hardest part of writing songs for Nashville. Though she felt she had a pretty good product, Sliva found through her first song critique how difficult writing a quality country was going to be. Nashville offered up its own version of tough love. But she persevered and rewrote, and rewrote. The efforts are reflected in her new album, Truth Is…

One of the efforts that Sliva has found fulfilling in her effort to develop her craft is to join organizations like the Austin Songwriters Group and the Nashville Songwriters Association International where she is a member of the North Texas Chapter. In each organization, she finds the kind of social networking, learning and inspiration that helps her move forward in her craft.

How do you describe Sliva’s music? Is it country? Is it pop? Is it folk?

If you look at her current musical influences, K. D. Lang, Alison Krauss, Rosanne Cash, Lucinda Williams, and Keith Urban, you would think that she is country; however, like most Texas musicians, Sliva is the amalgam of many different musical approaches. You hear a lot of country, but you still hear the Joni Mitchell and Lucinda Williams influence. You also feel the pop influences of the Beatles, the Stones and others from her earlier musical development. Overall, though, you hear a well-developed musical talent.

Sliva’s new album, Truth Is…, illustrates how much the combination of a hardworking songwriter, a group of talented musicians and impressive producer can accomplish. Each track is well-polished with each vocals and instrumentation supporting each other. The producer, Patrick McGuire out of his studios in Arlington, TX, assembled the perfect set of musician for Sliva’s album:

Rocky Dribble – acoustic and electric guitars, banjo
Milo Deering – dobro, fiddle, mandolin, acoustic guitar, pedal steel and lap steel
Lou Carfa – acoustic and electric bas
Brent Dacus – drums, percussion
Roland Elbert – piano
Joey Carter – piano, percussion
Brad Neher – piano and B3 organ

Supporting Sliva and the instrumentalists is Andrea Wallace providing the backup vocals.

The album, itself, is well-composed – each song supporting the others. Sliva brought together 12 significant examples of her work. The opening work, The One You Keep, starts off with a guitar riff that immediately draws you into the song and the album. The song provides a good foundation for what is to follow.

Softer, the second track, Take You There, provides an intimate conversation between the singer and her love. You really feel like the singer is talking directly to you. The chorus is the vocal equivalent of the singer reaching out to take you by the hand and walking with you down to the place that she finds special.

Stolen Moment highlights the yearning of one who can’t quite catch the heart of the one she desires. This is another example of Sliva’s softer works. It is highlighted by the steel work of Milo Deering which really emphasizes the yearning in the singer’s heart.

Sweet Memories is one the best offerings on the album. From the lyrics to the instrumentation this song really highlights the qualities of the artists. The fiddle and steel work help to develop the emotion of the singer. You feel her pain, her desire to really hold on to someone that she’s lost.

The fifth track, I Can’t Let It Go, follows with some of the same emotion that Sliva developed in Sweet Memories – love lost. You can feel the pain in the singer’s heart as she continues to reach out to her lover trying to recapture the lost love.

Beautiful Girl is one of Sliva’s more recognized pieces. It won the September, 2006 “Song of the Year” competition in the Pop category. The song reminds you of your early days of being in love, when you could not keep your girl out of your mind, or out of your heart. An interesting aspect of this song is that the reference to “beautiful girl” is how you view her beauty in your mind. She may not have that Swedish model kind of beauty, but in your heart she is someone that you can’t live without – “there’s no one like her in this whole wide world. “

I’d Give Anything also explores the love the artist feels for her love. She is reaching out try to find a way to bring her love back. You’ll enjoy the production work on this track. In combination with the melodic tones of the singer, the producer has added in harmonics and strong reverb in parts of the song to really emphasize the sense of loss.

Your Choice presents a sharp approach to the music led by the percussionist and fiddle work. Each instrument is played with something of a staccato attack to illustrate the singer’s hurt as she’s tries to pull the pieces of her life back together after her lover made his choice. The fiddle, in particular, guides you through the work, taking you up and down with the singer’s emotion.

Truth Is is a very elegant song, again, one of the best tracks on the album. Lyrically very romantic, it reminds you of the classic country tunes that graced the halls of the Ryman Auditorium in the day. With the exquisite piano work of Roland Elbert and the heart wrenching steel work of Milo Deering, Sliva presents a strong performance with lyrics and music that opens her heart and pain to the listener.

The album finishes strongly with Heart of Gold, an acoustic version of I Can’t Let It Go, and Heaven Bound. Each shows another dimension of the musical talent of Sliva. In the first two songs, she shows the difficulties of love, being in love and staying in love. In Heaven Bound, Sliva changes directions slightly by taking us through an internal journey of searching for self. The answer is not just religion, but in how we treat our fellow man. Andrea Wallace adds a strong spoken part in the middle of the song that drives the point home, “Coretta Scott King quoted her husband at a speech in 2003 where she said, Injustice anywhere is a threat to justice everywhere.” That’s where the “Truth Is.”

Overall, Truth Is is an excellent debut album for Sliva. Her songs take us through the emotional thread of love – love found, love struggling and love lost. McGuire blended the elements of Sliva’s song in a manner that each instrument and each voice adds something to the composition. When asked what she thought of the finished album, Sliva just smiled (that same proud smile that you give your child when they accomplish something great). Anyone listening to Sliva’s album will get that same sense of pleasure.

You can learn more about Jeanie Sliva on her MySpace site, and on Sonic Bids. The album is available on iTunes and at CD Baby.

LaRue Has Red Dirt on His Boots

Sam Moore — Sat, 09 Jan 2010 19:02:29 +0000

When I was growing up in Shreveport, LA, my family used to go to a little section of Kisatchie National Forest for day trips. The area was known as “Red Dirt.” We had miles of hiking trails, and it was the closest thing to a mountain that I saw until we finally went to the Smoky Mountains.

Today, “red dirt” has a different meaning for me. It’s a sound, it’s a style, it’s a group of musicians. And it is a lot of fun.

One of the leaders of the Red Dirt music movement is Stoney LaRue. And whether he is at home in Oklahoma, or traveling throughout the country, this Texas music fan favorite is always belting out the tunes that help make Red Dirt music popular.

“I was singing as long as I can remember,” LaRue said during a recent TMJ interview. “I grew up in southeast Oklahoma with my grandparents. When I turned 21, I got my first job singing in a bar.”

Nothing about LaRue is ordinary. Even the way he got that first job is a story in itself.

“Three of us lived together and wrote songs,” he said. “The boys got a job performing. They got me to sing some songs. Later that evening, while I was at the urinal, the bar owner saw me and offered me a singing position. I haven’t had a job since!”

What exactly is Red Dirt music? It’s hard to define. According to LaRue, it is not any one particular style of song, but more of an understood thing.

“It’s not really a place, but more like the air, the vibe, the good old boy, the hippie, the redneck, the free will, the truth, all that style of writing. My own songs range from country and rock to soul. It is not so much a genre as it is an idea, to give music to the people who need it, like Woody Guthrie did,” he said.

So Red Dirt can mean different things to different people. And LaRue reaches a lot of those people. One night may find him in a small honky tonk, and the next night could place him in front of a concert hall full of screaming fans.

“I like every level of playing music, from playing to your dog to playing to thousands of people,” LaRue commented. “They get it at different levels. Clubs have people who look forward to Friday, cashing their check and listening to music, while there are other people who look forward to a concert for months.”

LaRue enjoys both environments. My music could turn them on to something completely different.”

Different moments give him different thrills. Regardless of where LaRue is playing, he says he doesn’t limit himself to the stage. His music, his environment, his memories often take him somewhere else.

“It will bring me back to a certain moment,” he said. “It’s amazing how it opens a portal for an onslaught of emotions. There’s a lot of different places I go on stage.”

Songwriting is as important to performing for LaRue. He has been working recently with a unique co-writer: his 7-year-old daughter. She’s been bitten by the bug. They have started on a song called “I Love Butterflies.” He wants to record it and have her perform it live.

LaRue said, “Songwriting is totally a reflection of who you are as a person. It is an inward look to stay outward. It’s therapeutic, really. People like to see the emotion. I have seen artists who are songwriters, and they deliver it like they meant to write it.

“Sometimes I can hear somebody say something, and I can write around it. It presents itself when it needs to be written. I try to latch on to those moments, and that line. I just sit down, focus on the idea from start to finish, and with the melody try to put some fantastic music behind it.”

LaRue’s music is indeed fantastic. You can hear a little Willie or Merle, then swear you hear the CCR influence. And that is what comes with the Red Dirt movement: it’s not a genre, it’s an idea.

—————————————————————————————
Stoney LaRue will appear Thursday night at Winstar Casino, just over the Oklahoma state line on Interstate 35, as part of their Red Dirt music series.

Blues Festival To Benefit Community Radio

Sam Moore — Wed, 06 Jan 2010 03:23:42 +0000

They’ll be singing the Texas music blues in downtown Dallas later this month. And a community radio station will be the beneficiary.

The 11th annual KNON Blues Festival will take place January 30 and 31 at Poor David’s Pub. Hours are 3pm to midnight on Saturday and 4pm to 10pm on Sunday.

Lucky Peterson

Saturday’s headliner is the Lucky and Tamara Peterson Band Revue, featuring Greg Smith. Sunday’s main performer will be Denny Freeman, who has worked with some of the biggest names in the music business.

Stevie Ray Vaughan and Denny Freeman

Proceeds will benefit KNON 89.3 FM Community Radio. KNON is a non-profit, listener-supported radio station, deriving its main source of income from on-air pledge drives and from underwriting or sponsorships by local small businesses. The volunteer disc jockeys play their own music or conduct talk shows during specifically targeted programs.

Tickets are $10 in advance. For more information, visit www.knon.org.

Eli Young Staying Busy During the Holidays

Sam Moore — Sat, 02 Jan 2010 04:01:42 +0000

It’s been a busy 24-hour period for Texas music stars Eli Young Band. And the weekend is not over yet.

The New Year’s holiday began Thursday night, as EYB headlined a show for New Year’s Eve at the Verizon Wireless Theatre in Houston.

“It’s only one of a handful of times in ten years that we have actually played a New Year’s Eve show,” said bassist Jon Jones. “We had a great time.”

When that show ended, the guys had to pack up and head north on Interstate 45. This was to fulfill their role as Grand Marshals in the Dallas Comerica New Year’s Day Parade.

“It’s a real honor,” said lead singer Mike Eli. “I think the hardest part was performing on a shaky stage,” he said as the band got off their float. “But we only had to play a couple of songs, so it wasn’t bad at all.”

Eli has another date to keep this weekend. He will perform the National Anthem Saturday prior to the kickoff of the Cotton Bowl, being held for the first time in the new Cowboys Stadium.

EYB has a few days off from live performances, before they play again at the Winstar Casino in Oklahoma on Thursday night. Between performances, the guys are busy working on their new CD, which guitarist James Young said should be released sometime in the Spring.

“I have to get used to saying this Spring instead of next year,” said drummer Chris Thompson. “I keep forgetting that this is now 2010!” Don’t worry, Chris. A lot of us have that problem.

Pat Green Looks to the Future

Sam Moore — Mon, 28 Dec 2009 21:52:05 +0000

I was watching KXAS-TV, the NBC affiliate in Dallas, last night, when an interesting story came on about Pat Green. Anchor-reporter Meredith Land interviewed the Fort Worth native, asking what he expects to happen during the next ten years.

“I don’t think I’ll ever stop doing music,” Green said. “I’ll just slow down to a slow crawl.”

Green has had 15 songs hit the top country charts during his career. He has also had several Grammy nominations. He believes the next decade will present a challenge for record labels, as they shift from selling full albums to selling individual songs.

“I think the recording industry is going to see a change, the same way it changed when it went from tapes and cassettes to CD’s, and from records to tapes,” he said.

Green is not a big fan of the current country music scene. He is hopeful that north Texas will produce a talent base that shifts country music, perhaps away from the current pop country.

“I guess it’s a cycle,” he commented. “Music goes through these times where it’s really plastic and not fun to listen to. Everything sounds like a commercial for something that’s really cool. Then it goes back to being organic and something that’s more heart felt.”

Green sees the Dallas metroplex catching up as far as having more good places to hear music. But he hopes Dallas does not become the next Nashville. As for his suggestion for the next ten years?

“I guess my advice for anyone looking forward to 2020 is to take more pictures, between here and there, so you can at least have some memories of it.”

And who does he see as the act with the biggest potential for the next ten years? No surprise here, the Eli Young Band.

Houston Arts Supporter Dies

Sam Moore — Mon, 28 Dec 2009 21:35:15 +0000

HOUSTON—Houston iconic figure, philanthropist and lover of arts, Cynthia Woods Mitchell, died early Sunday after a long battle with Alzheimer’s disease. She was surrounded by friends and family when she peacefully passed away.

Cynthia Woods Mitchell, with her characteristic gracious reserve, seemed an unlikely champion of artistic and humanitarian causes. Yet, she leaves an abundant and empowering legacy from her lifelong devotion to personal and charitable interests.

Born one of twin identical girls on September 24, 1922 in New York City, Cynthia was raised by a single mother and extended family during the Great Depression, and came to Houston with her sister in 1939 to study literature, art and psychology at the University of Houston.
On Thanksgiving, 1941, while traveling by train from College Station to Houston, she met Lieutenant George Mitchell. At the height of World War II, Captain George Mitchell and Cynthia Woods were married by an Army chaplain in a double wedding with her twin sister and brother-in-law on Halloween in 1943. Their marriage and partnership spanned six decades, joyfully filled by 10 children, 23 grandchildren, and four great-grandchildren.

The Mitchell partnership was equally as prolific outside the home, developing major real estate and oil and gas holdings; creating a visionary new town, The Woodlands, and its premier outdoor performance arts venue, the Cynthia Woods Mitchell Pavilion; and preserving and revitalizing their beloved Galveston Island.

In 2002, Cynthia was diagnosed with Alzheimer’s disease, and on December 27, she died at home, surrounded by family. She was 87 years old. Cynthia met her diagnosis with optimism and dignity, retaining a zest for life and quick sense of humor, even as the disease progressed. George poured resources and attention into Alzheimer’s research, funding Dr. Claudio A. Soto’s contributions at the George and Cynthia Mitchell Center for Neurodegenerative Diseases at The University of Texas Medical Branch in Galveston and the George P. and Cynthia Mitchell Center for Research on Alzheimer’s Disease and Related Brain Disorders at The University of Texas Health Science Center, and Dr. Rachelle S. Doody’s work at Baylor College of Medicine.

Always the consummate volunteer even as a young mother, Cynthia led multiple troops of Girl Scouts and Brownies, Boy Scouts and Cub Scouts – often at the same time – and served on the board of the Houston Girl Scouts. She held leadership roles in the Parent Teachers Associations of Houston and Spring Branch school districts, volunteered at Trinity Episcopal Church and Texas Children’s Hospital. Her extraordinary dedication to family, community, and philanthropy seemed boundless, even contagious; she created a culture of service and contribution within her own family, starting with United Way neighborhood drives; Christmastime deliveries to those less fortunate; and a futuristic household recycling program before most people had even heard of recycling. Later, other social and artistic concerns would benefit from her financial and creative influence, and the list is impressive.

Tapping her knowledge and love of restoration, Cynthia was selected by the National Trust for Historic Preservation to serve on its board. Within that organization, she and George endowed the Cynthia Woods Mitchell Fund for Historic Interiors, and she served on the grants selection committee. As a passionate environmentalist, Cynthia joined the board of the World Wildlife Fund, underwrote art exhibits focused on endangered species at Houston’s Museum of Natural History, and was sole underwriter for Margaret Mee’s exhibition of her research in the Brazilian Amazon Rainforest. With a passion for arts and letters, Cynthia underwrote a Distinguished Authors program at the University of Houston; was a generous benefactor of the Houston Symphony, Houston Grand Opera, and Houston Ballet; and co-chaired the Texas Festival at the Kennedy Center for the Performing Arts in Washington, D.C. Honoring youth in the arts, she supported the Houston Youth Symphony and Ballet, and the University of Houston’s Texas Music Festival, which draws the best music students across the country and prepares them for a career in music. The festival also features the Cynthia Woods Mitchell Young Artists Competition. As a compassionate defender of childhood physical and emotional well-being, Cynthia sponsored Kid-Care, The United Way, and established the Global Children’s Foundation that provides safe havens to children affected by war.

Cynthia joined forces with her husband in the revitalization of Historic Galveston, beginning with the restoration of the 1871 League Building in 1976, and continuing with the Strand Historic District. They purchased and restored the Leon and H. Blum Building to become the luxury, European-style Tremont House; purchased and restored the famed beachfront Galvez Hotel; added another significant luxury destination to the Seawall in 1984 with The San Luis Hotel; and created an authentic waterfront haven, Harbor House, a charming Inn on Pier 21. Through it all, Cynthia’s deep appreciation for fine architecture and quality design became the watermark on each of the 17 nineteenth century commercial iron-front buildings she and her husband restored. Each reflects her sense of style, attention to detail, and natural aesthetic eye. In 1985, the Mitchells turned their collaborative attention to Galveston’s renaissance, and brought back the long-dormant Mardi Gras celebration, a traditional mid-winter festival born in 1867 that today draws 500,000 visitors to the island.

To honor Cynthia’s often-stated wish to benefit her alma mater and foster her love of creativity, the Cynthia Woods Mitchell Center for the Arts was born. Acting as a center for artistic collaboration, the Mitchell Center forms an alliance among five units at the University of Houston to cultivate interdisciplinary relationships in the performing, visual, and literary arts.

For those who knew her best, Cynthia will be remembered for her intelligence and wit; benevolence and social equality; and devotion to all that she loved.

A memorial service will be held in her honor on January 4, 2010 at 2 p.m. at Trinity Episcopal Church in Galveston, Texas followed by a reception at the Tremont House.

Last Drifting Cowboy Dies

Sam Moore — Sat, 05 Dec 2009 16:58:03 +0000

Bill Lister played rhythm guitar. For the last year of Hank Williams’ life, Lister was the rhythm guitarist in the icon’s “Drifting Cowboys” band. Tuesday, Lister became the last to go.

The 86-year-old musician died Tuesday in San Antonio. He was a native of Brady, TX.

Lister was known as radio’s tallest singing cowboy. That came from the fact that he was 6 feet, 7 inches tall. Until just a few months ago, Lister still performed. He would play every night on a Caribbean cruise that originated from Galveston.

Lister’s wife was responsible for one of Hank Williams Jr.’s most enjoyable hits. In 1988, she found a demo of Hank and the Cowboys singing “There’s a Tear in My Beer.” No one until then knew the recording existed. Lister gave it to Williams’s son, who took it and made it a number-1 duet with his father.

Bill Lister is survived by one son.

El Paso To Talk Stevie Ray Tonight

Sam Moore — Thu, 03 Dec 2009 17:31:12 +0000

For the past few months, the El Paso Museum of History has hosted a lecture series focusing on Texas music history. Tonight, the final lecture will focus on Texas blues and Stevie Ray Vaughan.

The goal of the series is to offer something special for the museum’s membership, and to attract potential new members. Admission is $4 for members and $8 for non-members. However, a museum membership purchased tonight will allow for free admission to tonight’s lecture.
The El Paso Museum of History exists for the educational benefit of the community and visitors. It promotes the understanding and significance of the rich multicultural and multinational history of the border region known as the Pass of the North.
Anyone interested in attending tonight should RSVP to 351-3588.

Hendrix Shares Holiday Song with Friends

Sam Moore — Wed, 02 Dec 2009 03:53:32 +0000

If you are looking for something to put you in the holiday spirit, look no further than Terri Hendrix. The Texas music sensation has put out her song “Christmas in August” on a website for fans. To here the tune, go to: http://terrihendrix.bandcamp.com/track/christmas-in-august

“Christmas in August” was originally released in November 2008. If you have a holiday song you would like to share, please let us know.

Will Polka for Beer

John South — Fri, 27 Nov 2009 00:07:38 +0000

The one thing that is a constant in Texas is that if it is Friday night, there is music playing somewhere. It’s not always the Stevie Ray Vaughan or ZZ Top wannabes that you find. In fact, in many bars, grills and restaurants, you can hear some really talented people performing either their own songs, music written by others but with a personal interpretation, or even songs that are part of their national heritage. Texas, being the cultural crossroads of many styles of music, allows us to experience virtually any type of domestic or international music.

When I entered the Bavarian Grill (www.bavariangrill.com) on Friday night last, two things immediately were quite evident, the friendliness of the staff, and the lively music filling the cafe (I’ll speak more about the Bavarian Grill below). Luckily, we were seated virtually in front of the musicians, Alan Walling (accordion, vocals) and Wolfgang Lackner (guitar, vocals) – AlpenMusikanten. Walling and Lackner punctuated the evening of music with a humor that made the whole experience wunderbar. An example of their humor comes from the Walling’s bio on the AlpenMuzikanten website (www.willpolkaforbeer.com) – you thought I made up the polka reference didn’t you. He tells us that he is from the Alpine region of Houston. Now those of you not from Texas may not see the humor in this, but considering that the highest point in Houston (not in a building) is probably standing on one of the overpasses of I-10, you get the point! What’s even more fun is the muscians made the evening an audience participation event. They constantly asked the audience for suggestions of music, or reasons to celebrate with another beer! When a young boy asked if they could play any rock, the two musicians showed their versatility by breaking out in a rock tune. BTW, you haven’t heard “Proud Mary” until you have experienced it the AlpenMusizkanten way.

Alan Walling began playing the accordion at age 7 when he was six feet tall (he is certainly the tallest member of the band, or the audience, or probaby the north-side of Plano). He began playing professionally at age 16 with his his career culminating in AlpenMusikanten. His bio says that “singing, yodeling and having a knack for being in the wrong place at the right time has driven his career to dizzying heights.” Though Walling’s humor provides a comedic transition between songs (and during songs) throughout the evening, his accordian work is exceptional. His seemingly effortless playing shows that Walling has mastered the instrument.

Wolfgang Lackner from the Steiermark in Austria is quite an artist in his own right. Both an excellent vocalist and guitarist, Lackner plays off of Walling’s accordion and vocals providing a playful entertaining performance. Lackner plays both bass and guitar. He has also entertained as a member of the Stratton Mountain Boys and the Sauerkrauts. The combined musicianship of Walling and Lackner was a real treat.

There are three other members of AlpenMusikanten: Paul Durapau, Manfred Zehentmayr, and Gordon Strand. As they provide percussion and horn support to the band, it would have been fun to listen to the whole group. Those who would like to see the entire band can do so on December 19th at 7:30 PM in the indoor Biergarten of the Bavarian Grill. Though the Biergarten is spacious, call the Bavarian Grill (972-881-0705) for reservations to ensure that you have a seat for the show.

You can hear the whole band on their two albums: Desparate Times and Live at Helen, GA (a two disc album). Both albums are enjoyable to listen to. In addition to the music, you can experience the humor that the band intersperses into the program. I purchased both albums and have enjoyed them immensely. Check out Auf der Jogler Alm, Wolfgang’s Appenzeller Jodler, Lili Marlene and all of the other selections. Whether live or on CD, you’ll find yourself tapping your feet. If you would like to order the albums, find out where the group is playing, or book the band, contact Alan Walling at alan_walling@mindspring.com.

For Alpenmusikanten, “Will Polka for Beer” is more than a tagline, it’s a musical genre and performance style that is entertaining for both them and the audience. Buy the boys a beer and enjoy an entertaining night of music.

Now the plug for the #1 German restaurant in America (seriously). Bavarian Grill (www.bavariangrill.com) in Plano was selected recently as the #1 German eatery in America. Having eaten there many times, I can independently validate the voting! In fact, I have eaten at both the #1 and #2 (Hollerbach’s Willow Tree Cafe in Sanford, FL) restaurants. Both offer great fare and music. However, I have to give the nod to the Bavarian Grill. It has a wider menu selection with excellent specials (particularly around Oktoberfest). Bavarian Grill also has a larger selection of German beers.

One thing that I really enjoyed this evening was the friendliness of the staff. From the warmth and cheerfulness of Connie, my waitress for the evening, to those bringing out the food, everyone on the staff treats you as family. In combination with some excellent food, excellent beer and great music, the staff of the restaurant made for a complete dining experience. Juergen Mahneke and his wife Elke have been operated the Bavarian Grill in Plano since 1993 with this philosophy. With the atmosphere that they have created, they will be there for many years to come.

If you enjoy a fine German beer, Bavarian Grill has a Stein Club (www.bavariangrill.com/stein_club.html) for those that complete drinking all of the beers listed on a card available at each table. They have a diverse selection of 50-plus light and dark beers that provides something for everyone’s taste. I am working on my stein, but I have a way to go yet. Texas Music Journal reminds you to drink responsibly. Don’t try to complete the Stein Club card in one evening! Members of the Stein Club get to experience German beer beyond drinking it. Representatives of various breweries often meet with the group to discuss their breweries and their particular beverages. The club also does many good things for the community like food drives.

I can summarize the evening – good music, good food, good beer and great staff ; truly a Texas experience with a Bavarian flair.

Alternative Rock Band Produces Memorable CD

Sam Moore — Mon, 23 Nov 2009 17:36:24 +0000

By Bianca Montes, Richland College

It has been a journey for Texas-based rock band Flyleaf. With nearly a decade of touring, 1,296,700 albums sold and a life of 155 weeks on Billboard charts, this band shot straight for the stars and never turned back.

With roots running from Arlington to Temple TX, this alternative rock band played over 100 shows in Texas in a two year span before being recruited by record label, Octone Records in 2004. Their hard work and dedication did not end there. The band went on to tour over 600 shows all-the-while gaining fans in every city.

It has been more than four years since Flyleaf released its self-titled debut album. The album influenced many lives, and I am not the exception. Involving myself with a review is not something I do often, but I think this is a day to play homage to all that Flyleaf has done in my life. Their music played a big part in saving my life, and has opened my eyes to love, forgiveness and grace. When my heart was broken, the lyrics of Flyleaf sang to it while addressing my darkest fears.

Once announced, the sophomore album of Flyleaf entitled Memento Mori became one of the most anticipated and slightly delayed albums of the year. The title, a Latin phrase which calls for people to remember their mortality, and is a perfect fit for this albums message. The urgency found in the debut album of Flyleaf is slightly toned down in Momento Mori’s tone, but once you dive into the lyrics you will find a whole new level of urgency.

The album bursts to life with “Beautiful Bride.” The track contains driving and forceful beats that perfectly capture what Flyleaf has been known for. While the song may not fit entirely with the Memento Mori phrase, the anthem that is just for us, the bride, is beautiful in its own.

Tracks such as “In The Dark,” “Break Your Knees” and “Chasm” hint at the styling we have grown to love from Flyleaf. “Chasm,” a personal favorite, set my heart on fire as I fell into the lyrics and meaning of this song. Based on a story in the Bible (Luke 16:22-31) the song warns that “The Chasm isn’t fixed yet,” and ties in with the reminder to remember our mortality.

“Set Apart This Dream,” an anthem for girls across the world, is said to be based on the book “Wild At Heart” according to lead singer Lacey Sturm; however, I believe it is most likely based on the sequel “Captivating” by John Eldredge and his wife Stasi. The song is a beautiful decree to women and girls to remember that they have been set apart. While the beats are less driving and more melodic the song still packs a powerful message.

The climax for the album shines in the 8th track “Swept Away.” The song starts off hard and ends hard. The lyrics “Evil fell from your pretty mouth, wrapped in your classic voice” are tough and in your face, and they truly showcase the maturity of the band.

Love song, “Treasure” starts out slowly and then builds as the song progresses. The song was written after lead singer Lacey Sturm was proposed to by husband Joshua, and the emotions she felt at that moment. The beauty of the lyrics speaks highly to their love, “Refined I’ll become the most dazzling precious treasure.”

Overall, Memento Mori is a wonderfully pieced together album that weaves a coherent and beautiful story. The album leaves the listener with the sense that all things have an ending, and that while we are fortunate enough to have time now, we must constantly be mindful of our mortality.

Womack Joins Strait Tour

Sam Moore — Mon, 23 Nov 2009 17:08:43 +0000

The King of Country Music George Strait has added award-wining and platinum recording artist Lee Ann Womack to his previously announced arena tour with Entertainment Superstar Reba McEntire. The tour kicks off in early 2010 and continues through late Spring.

“I can’t imagine a better tour to be on than George Strait and Reba McEntire — and now I’m not imagining!” Womack added jokingly, “I’m trying to figure out what to wear…cause you can’t out-starch George and you sure can’t out-spangle Reba!”

Greenville Doctor Also a Very Talented Songwriter

Sam Moore — Fri, 20 Nov 2009 21:25:36 +0000

(Editor’s note: Matt Koger will perform Saturday night at the Blue Armadillo Winery, in Greenville.)

Every songwriter’s journey is different. Some of us write songs very early in life. Others often stumble across the art in the midst of living their lives. For Matt Koger, music did not happen immediately. First he became a doctor.

The Greenville native can be found in his doctor’s office during the week, and in various performing venues during the weekend. Between that, he has found time to record two CD’s.

“My interest was first in writing in general,” Koger said. “I have always enjoyed writing and good writers. I picked up a guitar at 30, with hopes of giving my children some musical influence. The writing was a natural progression that I had never considered. My first song was about a patient whose story touched me.”

Matt Koger

Koger gets many of his song ideas from people he meets, things he sees and stories he’s gold. He believes there is a genuine inspiration behind 90% of his songs.

“I write when I’m inspired. The songs often seem to write themselves,” he said, adding that songwriting never intrudes on his other profession. “I’m not thinking of songs when I’m working as a doctor. The songs find their way in idle moments. It’s as Sinatra sang…sometime in the wee small hours of the morning.”

Koger loves north Texas. He often performs to raise money for various local causes. He also believes that living in Greenville has put him in touch with good musical influences. The history of the area is a big reason.

“Local history in Greenville is fascinating,” he said. “Lots of good stories are there if you listen. The flip side is, Greenville is not necessarily handy to a big music scene. But that’s OK with me, as a songwriter. I work best alone. I have only one co-write and I have never recorded it.”

Koger’s first CD is Blackland. It provides the promise of creative writing and storytelling. In the first cut, “Nature of the Beast,” he says “Nothing makes a man hungry like the promise of a feast.” “Ally’s Song” is a lullaby. He writes “This one’s for the sisters of the brothers who don’t know what it’s like to be Daddy’s little girl, and they don’t know what it’s like to bloom like a desert rose and be beautiful in spite of the world.”

His newest CD, The Coyote’s Call, is his favorite – at least, for now.

“I always think of the new CD as the good one,” Koger commented. “Then I’ll listen to the first one and think, ‘I forgot it was that good.’ The main difference is the level of production. The Coyote’s Call is the best I could afford to produce. I mean that in a financial sense, as well as in a pound of flesh sense.

“I love the songs on both discs. As opposed to Blackland, the Coyote songs were written with an audience in mind. I wrote most of the songs after Blackland had been released.”

One of those, “The Hangover Song’” is Koger’s attempt at a commercial song. It is a clever, foot tapping tune. I laughed at one line, in which he describes – after getting home from a night in the clubs – “scrubbing stamps off the back of my hand.” Anyone who has ever paid their way into a night club or honky tonk can appreciate that!

Another great song on the CD is “Black-Eyed Susan,” a song reminiscent of many of the Ray Stevens classics. And “Monday Morning Blues” stands out for its musical excellence.

John Kent, a good friend to Koger, produced both CD’s.

“As a producer, John was instrumental in helping the songs find their voice,” said Koger. “Sometimes, I have a vision for the finished work, but John is very creative when it comes to the nuances of the song. He is also an accomplished musician who can play virtually any instrument that he puts his mind to.”

Like many songwriters, Matt Koger had a hard time believing that anyone would take him seriously.

“At first, I really didn’t believe the songs were that good,” he said. “I felt like people were humoring me. Now, I have received compliments from all over the world. I’m proud to play a song for anybody. I have never, however, claimed to be a great singer or guitar player. The best I can do is give a rough voice to these songs and that’s just what I’ll continue to do.”

Matt believes a good song allows the listener to interpret it to their own story, by letting them incorporate their vision into the song. Writing a song feels natural, but “I always tell my daughter – who likes to write stories – that I think good writing finds interesting ways to say ordinary things.”

So what does the doctor/songwriter foresee for the future?

“I hope to be a better guitar player and songwriter. I think the writing is getting better, but I’m biased!” he said. “I would love to see someone record some of my songs. I’m not motivated financially. But to me, it would be a wonderful validation to have another songwriter like my material enough to want to perform it. That being said, I have no five-year plan, other than being a good father, husband and physician. Those priorities will help keep my music in its proper place, and therefore preserve the reason I write. To paraphrase Townes, may I always just sing for the sake of the song.”

For more information, visit www.kogersongs.com.

New Orleans Group Rocks It in North Texas

Sam Moore — Thu, 19 Nov 2009 21:23:40 +0000

(EDITOR’S NOTE: The Texas Music Journal is constantly striving to bring stories from all forms of music, from all parts of the state. We are excited to announce that we have begun partnering with various colleges and universities in Texas, to provide entertainment coverage. The following story is from Bianca Montes, a student at Richland Community College in Dallas. The story also appears in the Richland Chronicle.)

New Orleans-based rock band MuteMath took the stage Oct. 29 at The Dallas Palladium Ballroom.

MuteMath

Since the band was formed in 2003, MuteMath, whose cool, calm and flowing style ranges from alternative rock to experimental pop, has been toying with their brand of music. Many thoughts passed my mind as I watched the show such as; Oh my God and Wow: however it is hard to find words that describe the charisma of MuteMath.

As I sat behind my camera, it was hard for me to imagine the feelings the audience gets. There was so much going on during the performance, that by the time I left the photographer’s pit I was exhausted.

The Palladium was filled with blue, yellow and green lights that flashed across the stage. Everyone was lit up in psychedelic coloring and the vibe in the air was ripe. Watching MuteMath is almost like watching four live performances feeding off each other’s creativity. The energy of the band-mates blends perfectly into one amazing show.

While MuteMath has strong ties to New Orleans, bassist Roy Cardenas had his start in Houston, Texas and later moved to McAllen, Texas with his family. He is most known for his work in MuteMath, but he also has strong ties to working as a session bassist for the last ten years.

The highlight of the show for me was the percussionist, Darren King. I do not have a thing in the world that I can compare him to, but I want you to picture this guy. Every single beat of the songs MuteMath played were complimented by the true raw styling of King. With his headphones duct taped to his head, symbols flying and water splashing from his drum set, I almost forgot there was anyone else in the room.

MuteMath

Weeks ago when I sat down with Grammy-nominated King for a phone interview, I would never have imaged that this, well spoken drummer from Missouri, would be the wildebeast that I saw at The Palladium Ballroom. Sure, I had heard the rumors about his wild-child antics on stage, and even addressed them in our interview, but somehow I was flabbergasted once I saw him in person.

When asked about his roaring onstage persona, King quoted an old Elliot Smith interview in regard to why his music was so quiet. According to King, Smith responded that, “When you grow up with screaming in your house, the last thing you want is screaming in your work, in your music, in your art,” King explained his styling as, “I think that I have the exact opposite to blame. I have a very quiet, simple Marshfield, Missouri, safe, comfortable, cozy, imaginary friend’s childhood. I get a little carried away whenever it comes time to play a show. I get excited.”

Excited does not seem to entirely grasp what happens when he and the drums become one on stage. King is the sort of drummer that could make the deaf take notice of his startling performance. What more could one expect from a guy who coined “Monster from the Muppets, The King of Crazy Drummers.”

One of the band’s biggest successes is their song “Typical.” The music video for “Typical,” which made its way to the New York Post Hit list, after premiering on YouTube in March of 2007, features the band performing the song backwards. The song features an alternative-styled guitar part accompanied by a similar drum set. These features are mixed with an almost techno-sounding piano and bell section.

The vocals on the song fit perfectly with the very eclectic instrumentation and composition of the track. Lyrically, the song is wonderfully timed with the music flowing well from verse to chorus. The song begs to ask the question, how long does one have to wait, work and suffer before they can be someone and accomplish all they want? The verses allude to the speaker’s life and all he has been through while declaring that something of “another level” is out there. With the urgency of the lyrics blending into a perfect marriage with the music this song is anything but typical.

Another huge success for MuteMath is their song “Spotlight” which was featured in the box office smash, “Twilight.” The song is fast-paced and driving in comparison to “Typical.” The music is punctuated with an amazing cymbal beat that drives through the song while being accompanied by a steady, bass and drum part. These three instruments set the tone and pace for the entire piece. The song fit perfectly with the story of “Twilight,” which makes perfect sense. Stephenie Meyer, author, called MuteMath her muse while she wrote her three-book saga. When asked if MuteMath was interested in scoring more music for “Twilight,” King said, “I don’t think that would be smart on their part to work with the same bands each time. I don’t think it would be smart on our part, either, because we could become the Twilight band.”

Overall, the experience of watching MuteMath exceeded anything that I expected. This band is a must see and a truly unique experience.

Wade Bowen Preparing for Big Recording

Sam Moore — Sat, 07 Nov 2009 15:43:54 +0000

(Editor’s Note: The following is courtesy of Rodeo Attitude News.)

Award winning singer/songwriter Wade Bowen is heading to the world famous Billy Bob’s Texas to record his highly anticipated cd/dvd compilation – “Live at Billy Bob’s.” Bowen and his band will head to Ft. Worth on Nov. 21 to document the evening of amazing music for their fans.

“The thought of preserving a performance at my favorite venue for years to come is really exciting,” said Bowen. “And, to top it off, I don’t think there is a better band in the world to do it with than the one that plays with me every night. It’s definitely something we’re really proud about doing.”

Fans can expect to see Bowen perform some his biggest radio hits, along with many fan-favorite tracks from his latest award-winning album, “If We Ever Make It Home.”

“This is going to be a show that fans definitely will not want to miss,” explains Bowen. “There are going to be a few special guests and some big surprises!”

In April, Bowen took home the Texas Music Awards’ Male Vocalist of the Year Award. Additionally, he snagged the industry voted Album of the Year for “If We Ever Make it Home” as well as Vocal Performance of the Year for the title track at the Lone Star Music Awards.

Bowen also scored three #1 singles on the Texas Music Chart and the Texas Regional Radio Chart for “You Had Me at My Best,” “If We Ever Make It Home” and “Nobody’s Fool.” After only two weeks, his new single “Trouble” is currently at #18 on both charts, and the video debuted at No. one on CMT’s Pure channel.

Bowen also recently took a break from his extensive tour schedule to make his debut at the legendary Grand Ole Opry. For a full list of upcoming tour dates, visit www.wadebowen.com.

Tom Russell Prepares for a Busy Week

Sam Moore — Fri, 06 Nov 2009 16:06:24 +0000

Tom Russell

Texas music legend Tom Russell will be busy in the next week. His tour dates will take him from New Mexico to Dallas, and finally to Houston and San Antonio.

Tonight, Russell is appearing at the Silco Theater in Silver City, outside of El Paso. Tomorrow he goes to Las Cruces, then to Santa Fe. Then on consecutive nights, Russell goes to Fort Worth, Dallas, Austin, Fischer, Houston and finally San Antonio.

Russell has recorded 25 records, and his songs have been used by Johnny Cash, Dough Sahm, Nancy Griffith, Jerry Jeff Walker, Joe Ely, k.d. lang and many others.

He and cohort Dave Alvin have been credited with inventing the Americana radio format with their 1994 Merle Haggard tribute “Tulare Dust.” He has appeared on The Late Show with David Letterman four times in recent years and his songs have appeared in a dozen movies and television shows from “Tremors” to “Northern Exposure.”

Texas Giants Team for Concert Tour

Sam Moore — Wed, 04 Nov 2009 04:47:30 +0000

Nashville, Tenn. (November 2, 2009) – The “King of Country” is back! George Strait will kick off his arena tour early next year and this time, he’s bringing along Reba McEntire.

The superstar acts performed together for the first time in many years for a sold-out crowd at the Cowboy’s Stadium inaugural event in Dallas. The concert was hailed by the Dallas Morning News as “an extravaganza” that “showcased Strait at the pinnacle of his musical game” and Ft. Worth Star Telegram wrote “Reba McEntire’s performance was a breathtaking master’s class in effortless brilliance.”

With 57 number one hits, 33 multi-platinum albums and countless sold-out shows year after year, Strait who holds the record for the most CMA wins and a record 17 CMA Entertainer of the Year nominations, is known for giving fans exactly what they want and expect. This year will be no exception.

“I can’t wait to get back out there and perform some of my new favorites from Twang along with hits the fans already love,” says Strait. “And with my friend Reba, we will make it a really spectacular night.”

Strait’s recent release TWANG debuted at #1 on The Billboard 200 and the Top Country Albums chart. This is the fourth time in Strait’s career that a new release has debuted at #1 on the Billboard 200 chart and the 13th time debuting at #1 on the Top Country Albums chart. It has become a critically acclaimed album and received rave reviews in USA Today, Entertainment Weekly, People, Los Angeles Times, The Washington Post, Houston Chronicle, The Dallas Morning News, The Boston Globe, Billboard and many more.

Strait co-wrote three songs on TWANG including the debut single, “Living for the Night.” The current single and title track of the album sits at #22 on Billboard and Mediabase/Country Aircheck chart.

At last year’s CMA Awards, George became the artist with the most CMA Awards in history with Album of the Year for Troubadour and Single of the Year for “I Saw God Today.” He adds 4 nominations this year with nods for “Entertainer of the Year,” “Male Vocalist of the Year,” “Video of the Year” for “Troubadour” and “Vocal Event of the Year” for “Everything But Quits” with LeeAnn Womack.

His platinum-selling Troubadour was named “Best Country Album” at the 51st Grammy Awards and in April, Strait was the fifth artist ever to receive the Academy of Country Music’s Artist of the Decade honor. Strait has won 19 Academy of Country Music Awards including “Entertainer of the Year.”

With a career spanning more than 25 years, Strait has the most number one singles of any artist in history including Elvis (57 To Date). He has sold more than 67 million records and with 33 different platinum or multi-platinum albums has the most RIAA platinum certifications in country music and the third in all genres, behind The Beatles and Elvis Presley.

One of the most successful female recording artists in history, Reba has sold over 55 million albums worldwide, earned 33 #1 singles and was recently recognized as the biggest female hit-maker in country music history by “Billboard,” “Mediabase” and “Country Aircheck.” She is the winner of 15 American Music Awards, 12 Academy of Country Music Awards, 9 People’s Choice Awards, 7 Country Music Awards and 2 GRAMMY Awards.

Reba’s new album, Keep On Loving You, debuted at #1 on the Billboard Top 200 Albums Chart – her first solo studio album to do so. With 11 #1 albums, Reba holds the record as the female artist with the most #1 albums in the history of the Billboard Top Country Albums chart. The superstar also recently scored her third consecutive Top 10 single of 2009, as her new song “Consider Me Gone” jumped into the Top 10 this week on both the Billboard Country Singles and the USA Today/ Country Aircheck Chart powered by Mediabase) charts.

In November 2008, McEntire signed with The Valory Music Co. reuniting her with multimedia entertainer and industry leader Scott Borchetta, President & CEO of Big Machine Records and sister label The Valory Music Co.

2010 TOUR DATES
Date City Venue

22-Jan Baltimore, MD 1st Mariner
23-Jan Greensboro, NC Coliseum
29-Jan Knoxville, TN Thompson Boling
30-Jan Charlottesville, VA JPJ Arena
5-Feb Phoenix, AZ US Airways
6-Feb Las Vegas, NV MGM
18-Feb St Louis, MO Scottrade Center
19-Feb Wichita, KS Intrust Bank Arena
20-Feb Tulsa, OK BOK Arena
25-Feb Atlanta, GA Philips Arena
26-Feb Orlando, FL Amway Arena
4-Mar Memphis, TN FedEx Forum
5-Mar New Orleans, LA New Orleans Arena
6-Mar Little Rock, AR Verizon
26-Mar Portland, OR The Rose Garden
27-Mar Tacoma, WA Tacomadome
8-Apr Omaha, NE Qwest Center
9-Apr Kansas City, MO Sprint Center
10-Apr Des Moines, IA Wells Fargo Arena