Archive for January, 2013

Funky New Orleans: The Meters at Mardi Gras

Posted in Rock Moment with tags , , , , , , , on January 31, 2013 by 30daysout

Editor’s Note: This is a repost of an item we ran a couple of years ago, reappearing here to help get everyone in that Mardi Gras mood. The links have been updated and the Meters have still not made it to the Rock and Roll Hall of Fame.

Radio used to be magic. When the stars aligned, and the right artist played the right venue and radio was there, it could be just beautiful. Here’s one of those moments: January 1977, at the Showboat Lounge in the Fat City entertainment district of Metairie, which is a suburb of New Orleans. January in New Orleans is carnival season, and WNOE radio in the Crescent City marked the occasion with an hour-long live show by the always incredible Meters.

The band – featuring Art Neville on keyboards and vocals, Zigaboo Modeliste on drums, George Porter Jr. on bass and Leo Nocentelli on guitar (Cyril Neville may or may not have been an official member of the band, and he wasn’t at this gig) – ripped through some of their Mardi Gras anthems and some seriously greasy second-line funk.

In 1977 the Meters were about as big as they were gonna get: they had put out four albums on Warner Bros., they had opened for the Rolling Stones on their big 1975-76 world tour, they played Paul McCartney’s Venus and Mars party on the Queen Mary in 1974 and later in 1977 they were going to appear on “Saturday Night Live.” But here they are, in a small joint doing shout-outs on local radio.  Only in New Orleans, and only in that era.  Unfortunately, later in 1977 the Meters would also break up.

This recording captures one of American music’s great bands, tight as high-tension wire but playing as loose and funky as humanly possible. The recording has amplifier hum as well as that weird FM noise and a really smooth DJ cuts in every once in a while to let you know who dat. There are also a couple of very minor skips and hiccups (toward the end of “Hey Pocky Way”), but nothing can take away from this great music.

As Art Neville says, “It’s Mardi Gras time all the time, as far as we’re concerned.” Cook up some red beans and rice or cue this up in the car … and wonder why these guys aren’t in the Rock and Roll Hall of Fame.

MP3: The Meters live at the Showboat Lounge, WNOE-FM, January 1977 (70 minutes)

Song order: “Just Kissed My Baby”/ “Big Chief”/ “Jungle Man”/ “They All Ask’d For You”/ “Hey Pocky Way”/ “People Say”/ “Ain’t No Use”/ “Po Boy Jam” /”Feel Da Groove”

The Original Meters official website

Let’s Get The Meters Into The Rock and Roll Hall of Fame Facebook page

Video Du Jour: The Beatles

Posted in Rock Moment with tags , , , , , , , on January 30, 2013 by 30daysout

The Beatles, atop Apple Studios in 1969. Those were the days.

On this day in January, 44 years ago, The Beatles climbed to the rooftop of Apple Studios in London to give what would be their last public live performance.

The unannounced live show was a bit of a stunt, and an improvised ending to the documentary movie they were filming at the time, Let It Be. The movie was to be a fly-on-the-wall look at the Fabs working in the studio, cranking out songs for the planned Get Back album. What it turned out to be was a look at the world’s most famous rock band deteriorating in front of our eyes.

The rooftop show was a temporarily happy ending – the short set included “Get Back,” with Billy Preston on keyboards, “Don’t Let Me Down,” letitbee“I’ve Got A Feeling,” “One After 909,” a snippet of “Danny Boy,” “Dig A Pony,” then finally another run-through of “Get Back.”

We all know what happened: the cops came up and shut ’em down for making too much noise in the middle of a busy work day. And John Lennon’s signoff  “I’d like to say thank you on behalf of the group and ourselves, and I hope we passed the audition” neatly capped the era for the Beatles.

That quote appeared at the end of the Let It Be album from 1970, released after the group had already broken up. But in reality, the 1969 rooftop concert wasn’t the Beatles’ last work. They eventually got together in the spring and summer of that year to record what would become Abbey Road, arguably their best album.

YouTube: The 1969 rooftop concert (Part 1)

YouTube: The 1969 rooftop concert (Part 2)

Rock & Roll Drama Queens

Posted in Rock Rant with tags , , , , , on January 27, 2013 by 30daysout

Annie Lebovitz’s (in)famous photo of Fleetwood Mac, back in the day.

This week the music world will celebrate the 35th anniversary of the landmark album Rumours, by Fleetwood Mac. The occasion is marked by the release Tuesday of a super deluxe, three-disc set of the 1977 album that went on to sell more than 40 million copies worldwide.

We’ve all heard the album many times, almost as many times  as we have also heard the soap opera that went on as the album was being recorded. Producer Ken Caillat told us a little about the intrigue, but apparently that’s just the tip of the iceberg.

Apparently the best rock and roll is created when there’s tension, pressure and drama. Abbey Road, some of the Beatles’ greatest music, came together when the four members of the band could supposedly barely stand to be in the same room with each other. Elvis Presley’s finest hour came during his late 1960s “comeback,” dramatically righting a career that had become a series of horrible movies and bland soundtracks.

Rockers have had their share of hard times and downright tragedy, just like all of our other beloved entertainers. So let’s slap on a vintage vinyl copy of Rumours, and while it’s popping and ticking away, come with us down memory lane:

David Bowie is gay – Forty one years ago this month, David Bowie shocked no one when he announced to Melody Maker: “I’m gay and I always have been.” Well, probably the shocking part was that he had already been married to a woman.

Nevertheless, the announcement gave Bowie’s career new life. His album at the time, Hunky Dory, became a hit, and “Changes” would appear on the U.S. Billboard charts while “Starman” went to the top 10 in England. Later in 1972, Bowie released The Rise and Fall of Ziggy Stardust and the Spiders From Mars, also a hit and a critics’ favorite to this day. He’d close out the year with the single “John, I’m Only Dancing,” with homosexual overtones that would prevent its release in the United States.

Four years later, Bowie would confess to Playboy that he is really bisexual. At that point, very few people cared about his sexual orientation any more.

YouTube: David Bowie with “Oh You Pretty Things”

Eric Clapton is a heroin addict – Perhaps insecure about his abilities as a guitar player (despite the graffiti “Clapton Is God”) Eric Clapton became a serious drug addict in the late 1960s. Heroin was his drug of choice, and in his autobiography Clapton says when he wrote “Layla” to woo Patti Boyd from her then-husband George Harrison he was spending about $16,000 a week on the stuff.

Patti, in her own autobiography, remembers that when she finally hooked up with Clapton he kicked heroin by becoming an alcoholic. “He began in the morning and drank all day until four o’clock when Roger Forrester, his minder and later his manager, made him stop,” she writes. Clapton also dabbled in cocaine and hallucinogens along the way.

Clapton eventually cleaned himself up, long after he’d left Patti Boyd/Harrison/Clapton. He had some real tragedy in his life in 1991 when his four-year-old son (with another wife) fell out of an open window and was killed. Clapton channeled his grief into the hit song “Tears In Heaven,” which earned three Grammy Awards.

YouTube: Eric Clapton with “Cocaine”

Jerry Lee Lewis marries his cousin – In 1957, piano-pounding wild man Jerry Lee Lewis had already been married twice. He married his second wife before the divorce from his first was final, so it shouldn’t have been a shock if he married his third wife before the second divorce was also final.

Nobody noticed – because the Killer married Myra Brown, his third cousin! Who was only 13 years old! Both husband and wife downplayed it, saying it was pretty common in the part of the country they were from. Well, hardly anyone else saw it their way; it became a huge scandal in the U.S. and Europe and pretty much shut down Jerry Lee’s career.

Lewis would manage a bit of a comeback in the late 1960s-early 1970s as a country music performer. He and Myra would divorce in 1970. Lewis, still alive today at age 77, will always be remembered for his wild, unrepentant attitude and his “cradle robbing.”

For the record, when asked about his fellow Memphis musician’s troubles back then, Elvis Presley reportedly said if the two were truly in love, then getting married was all right with him. Of course, Elvis would later fall in love with a 14-year-old girl … but that’s another story.

YouTube: Jerry Lee Lewis with “Whole Lotta Shakin’ Goin’ On”

Jim Morrison’s penis – Perhaps the greatest rock and roll drama queen was Jim Morrison, front man of The Doors. He was no stranger to run-ins with the law, but his most (in)famous arrest came in 1969, in Miami.

Visibly intoxicated during the concert, Morrison asked the crowd “You didn’t come here for music, did you?” He continued to rant and finally asked, “You want to see my cock?”  Ray Manzarek recalls that Morrison did some little peek-a-boo striptease thing with a bandana or something, and supposedly Mr. Mojo’s Risin’ was indeed seen.

At any rate, he was not charged until three weeks later, only after the incident became a huge media scandal. Morrison was charged with lewd and lascivious behavior (a felony with a maximum three-year sentence), indecent exposure, public drunkenness and such. After a lengthy and much publicized trial in 1970, Morrison was found guilty and sentenced to six months of hard labor on one charge, and 60 days of hard labor on another charge.

But he never went to prison – the sentence was still on appeal when Morrison died in Paris in 1971.

YouTube: Jim Morrison’s arrest coverage from 1969

Video Du Jour (Part Deux): Al Jardine & The Beach Boys

Posted in Rock Moment with tags , , , , on January 24, 2013 by 30daysout

Al Jardine of The Beach Boys released his solo album A Postcard from California in 2011, but it was released as a physical CD last year. And since then, of course, Al went on to tour with the reunited Beach Boys for a 50th anniversary celebration.

And after the tour was over Jardine, along with Brian Wilson and David Marks, was unceremoniously dumped from the group by Mike Love (or came to the end of their contract, depending on who you believe).Al Jardine

Anyhow, Al’s offering up a new video for the song “Don’t Fight The Sea,” which has an interesting history. Jardine wrote the environmentally conscious song years ago, and had begun recording vocals.

He had recordings of the late Beach Boys guitarist/singer Carl Wilson doing the song, and when he started work on his solo album he solicited the surviving Beach Boys to add their vocals to it as well.

“Don’t Fight The Sea” was released in 2011 as a charity single to help victims of the earthquake in Japan that year. This video has stunning photography and has won the Best Video award at The Blue Ocean Film Festival.

Al Jardine official web site

Video Du Jour: Bob Mould

Posted in News with tags , , on January 24, 2013 by 30daysout

Go behind the scenes with alt-rock icon Bob Mould as he tapes “Austin City Limits.”  Bob Mould’s “Austin City Limits” episode airs Jan. 26 on PBS stations (check listings for time and channel).

Also appearing on the episode is Delta Spirit, the California roots outfit.

Austin City Limits official web site

Classic Blues Joint Antone’s To Switch Location

Posted in News with tags , , , , , , , on January 23, 2013 by 30daysout

Antone’s in its current location at 5th and Lavaca in Austin, Texas.

Antone’s, the fabled Austin, Texas, blues and rock club that’s been in business more than 37 years, will move from its current location into a new, more customer friendly spot this April.

This will be the fourth move in the history of the club, which opened in 1975 on Austin’s Sixth Street. It was the first live music club on that street, which has now become the heart of Austin’s lively music scene.


Yes, that’s Clifford Antone.

The club’s Frank Hendrix said Antone’s current downtown location has discouraged customers due to traffic and lack of parking. Last year, Hendrix relocated both Emo’s and the Beauty Ballroom to larger spaces on East Riverside, about three miles from downtown.

Club owners are considering five possible sites, with some in the downtown area, others on the east side. The club will finalize relocation plans by the end of January and will make the move after the SXSW music festival in March.

By establishing his club in downtown Austin, Clifford Antone gave the region’s musicians a place to call home. He helped jump start the careers of Stevie Ray Vaughan and the Fabulous Thunderbirds, among others, and featured legendary blues artists like Muddy Waters, John Lee Hooker and Clifton Chenier in extended multi-night stands at the club.

Antone died in 2006 with the club, as well as a record store and label, continuing the tradition with his name. No musical mecca to Austin is complete unless you visit the iconic Antone’s. It will be rich with history and soul, no matter where it opens its doors this spring.

This iconic shot of Jimmie Vaughan of the Fabulous Thunderbirds was shot at Antone’s in 1980, by the great Art Meripol.

MP3: “Down At Antone’s” by the Fabulous Thunderbirds

Antone’s Home of the Blues club official website

Art Meripol’s Concert Photography Blog

Video Du Jour: Richie Havens

Posted in Rock Moment with tags , , on January 21, 2013 by 30daysout

It’s an important today in America: not only is it Martin Luther King Jr. Day, celebrating the life and achievements of the civil rights leader, it’s also the ceremonial inauguration of President Barack Obama.

People in this country disagree about a lot of things, including President Obama. That comes with the territory, which is freedom. Freedom to speak your mind, freedom to make the choices you want to make, freedom to disagree with just about anyone if you wish. We cherish our freedom, and we are proud of it.

Sometimes we take it too far, and use our freedom to intrude upon other people’s freedom. Today’s inauguration will just underscore what we already know: we have to keep working at it, maybe one day we’ll get this freedom thing right.

Today is also Richie Havens’ birthday, so let’s share an appropriate song that Richie played a long time ago. It’s a little short on meaningful lyrics but long on feeling.


Video Du Jour: Michael Des Barres Band

Posted in Rock Moment with tags , on January 18, 2013 by 30daysout

January in Texas means one thing: SXSW is close at hand. Now the big event doesn’t happen until March but it’s not too early to begin getting ready for the annual craziness in Austin.

For us, one of the perennial fixtures of SXSW is singer/actor/raconteur Michael Des Barres. The former Power Station singer and “MacGyver” TV bad guy has shown up and played in Austin more times than we can count – although we’ve missed him the past two years. But he’s a sure bet to make a reappearance on South Congress or one of the backwaters of SXSW this year.

So, to kick off the anticipation, here’s “You’re My Pain Killer” from Michael’s latest CD, Carnaby Street.

Michael Des Barres official web site


30 Days Out Interview: Ken Caillat (Producer of Fleetwood Mac’s ‘Rumours’)

Posted in Rock Moment with tags , , , , , , , , , on January 14, 2013 by 30daysout
Fleetwood Mac

Fleetwood Mac, around the time of ‘Rumours’

by Denny Angelle

Fleetwood Mac was one of the most successful and unique rock bands of the 1970s. After toiling for nearly a decade as a journeyman British blues-rock band, the Mac exploded into mainstream consciousness when they added American pop rockers Lindsey Buckingham and Stevie Nicks to the lineup.

The peak came in 1977 when Fleetwood Mac released the album Rumours, which yielded four Top 10 singles, sold more than 40 million copies and won a Grammy Award for Album of the Year. The band took almost a year to cut Rumours and while doing so lived a rock and roll soap opera marked by divorce, infidelity and constant drug use, all of which threatened to tear the band apart.

Ken Caillat

Ken Caillat

Buckingham and Nicks were no longer a couple, and they wrote thinly disguised songs about their failed relationship. Christine and John McVie were in the throes of their own divorce, as was drummer Mick Fleetwood. And all the while, the drugs and booze flowed freely.

Ken Caillat, as one of the producers of Rumours, had a ringside seat to the drama. He’s written a book, Making Rumours: The Inside Story of the Classic Fleetwood Mac Album, that pulls back the curtain on the making of this masterpiece rock album. We caught up with him after he visited Austin to talk about his book at the Texas Book Festival.

30 Days Out: How did you come to write the book?

Caillat: It was a time and an event that means a lot to many people. It was extraordinary to be a part of this album. I’m one of the only people who can write about how this great album was made. It’s kind of my responsibility to tell the story, I wish somebody had done that with the Beatles. While we were making Rumours I wanted to try and jot it all down, and I have extensive records and track sheets of everything we did. Not only was I a producer, I was also a kind of documentarian, I knew the facts of everything we did and when we did it.

Caillat: Actually when I began writing the book I had the intention of going to the band and getting their perspective. So I started trying to set up the interviews with the band, telling them I wanted to make sure it’s 100 percent correct and accurate. And after a while I got this phone call … They declined! They said they don’t help people, that’s not what they do.

30 Days Out: What does that mean?

Caillat: You got me!

30 Days Out: We really like the way you did it, sticking only to your point of view. You really didn’t need the band, right?

Caillat: Well, I am sure there was something they could have enlightened me on … the type of guitar strings they used, or some trick they did that I didn’t know about. I made a rule I wasn’t going to speculate on what they did when they went home. What I knew, what I saw, that’s what I wrote about. It would have been cool to have some of the intrigue that went on, that I only heard about. For example with Christine (McVie) … John (McVie) kept sniffing around the hotel, she didn’t want anything to do with him. Christine had to hide in Stevie’s room.

Making-Rumours-Cover30 Days Out: We get the impression from the book that Christine was sort of your favorite person in the band.

Caillat: Um, you know, sort of, but not necessarily. She was constant, she could be (unreasonable) at times, but most of the time you could just talk to her. Mick and the others, it wasn’t so easy.  Sometimes you didn’t know what was going on and where you stood with them. If they were too high, you couldn’t talk to them.

30 Days Out: Were the members of Fleetwood Mac upset when they learned you were going to write this book?

Caillat: I don’t know … the funny thing is, I have done two DVDs about Rumours for two different companies at two different times. I interviewed the band for each one, and there was no problem. This time, though, after about two months of not getting any answers, I get a phone call saying the band has decided not to participate in my book. I think it was because Lindsey Buckingham may want to write his own book at some point. So he doesn’t want the band helping.

30 Days Out: You had a few problems with Lindsey down the road. How was he to work with?

Caillat: He was just a real nervous, intense guy. I used to say he’d walk in and suck the fun out of the room. There was an engineer who worked on the album after MirageTango In The Night – the engineer read my book and called me up. He said ‘it’s so true. Whenever everyone walked out of the room and I was alone with Lindsey, it was very uncomfortable.’ You know he’s judging you, he’s thinking about something.  He’s thinking that you are thinking something about him. At that point, while we were doing Rumours, he was a nervous nellie. He’s just like that: he’d come in in the morning, always rubbing his hands together. He kept a big tape box full of pot, and he was always rolling a joint. Nonstop, rolling a joint. One time I got into an argument with Lindsey in Reno at a casino … he starting yelling at this dealer. I said you don’t treat people like that, you are just a fucking asshole.

30 Days Out: But musically, he’s a genius …

Caillat: Absolutely, he’s a genius.

30 Days Out: When we look back at 1977 and Rumours, there really was nothing like that album or anything that even sounded like it at the time. When you were making that album, did you have a sense you were doing something really special?


The Mac won an armload of Grammy Awards for Rumours.

Caillat: Never got that idea. We were all so tired, we were exhausted. If you go to my website and listen to some of these songs in their original form, you’d probably say this is not very good. How those songs grew over 12 months to become these amazing things, it’s truly astonishing. We didn’t know!

Caillat: A friend of mine got to listen to Rumours when it was almost done. He said “I don’t hear a hit.” And we were totally devastated. It’s astonishing to me, that album had 10 radio hits out of the 11 songs. But at the time it came out we were so tired, working 15-18 hours a day on it for the good part of an entire year. I remember at one point driving into the studio in Hollywood, and I saw Christmas decorations on Hollywood Boulevard. And I said ‘Oh, is it Christmas again already?’

30 Days Out: There must have been incredible pressure from the record company to follow up their “white album” (Fleetwood Mac from 1975) with another hit.

Caillat: Just the opposite, no pressure. The record company was sitting back smoking big cigars, they weren’t in our face. I guarantee it would not be like that if we did the same record today. With a record already sliding down the charts, they’d come in and say who the hell are these new guys? We’re going to use our ‘genius’ which they don’t have to try and make it more commercial. They would ask, why don’t you make it more like Adele?

Caillat: My daughter (singer Colbie Caillat) is going through that now. On her second album the label had a whole team, they came in … and said you should try everything, do some hip hop, do some rap stuff. I said, ‘would you like it if we dyed her hair red and got her a boob job? Would you like that too?’

30 Days Out: With that kind of atmosphere, could you make another Rumours today?


Christine McVie and Stevie Nicks

Caillat: Sure! The thing that was amazing was that budgets were big then, and costs were relatively small. We were able to spend 12 months in the studio perfecting every little bit. Analog tape was our tool at the time, it rolled on a heavy reel, and you built a song from top to bottom. When it came time to rewind the tape it may take 2-3 minutes to rewind. While you’re doing it the artist sitting in the studio at the microphone, and you end up talking, you talk about what you did, you played this, I thought you were going to go here … you get this kind of conversation which doesn’t happen in today’s digital world. Now you instantaneously you go back to the top. I have to tell my engineer don’t press play every time, so we can have that time to communicate with each other.

30 Days Out: Rumours is about to come out in a 35th anniversary edition. Are you involved with that reissue?

Caillat: No. Why not? I don’t know, it always astounds me. I’m sure it’s the money. I would have done it for nothing! There was some of that in the first two years, but as time has passed I have really nothing to do with it anymore.

30 Days Out: Going beyond the scope of the book a bit, how did you get to Tusk (1979)? It was so different than Rumours.

Caillat: Yeah, well that’s Lindsey Buckingham. I had full intentions of improving our work on Rumours and making Tusk be Rumours II . Do better on everything. But the second or third day Lindsey came in, he had a bunch of home recordings all full of distortion and grunge. Punk was getting big then, and he was into all of that. He had this big hairdo during and after Rumours …, but now he had freaked out in the shower and cut all his hair off with scissors. It was really weird looking. He said OK, we’re going to do everything different. He made me take all the edge off the guitars, saying that’s how we are going to make this record. It wasn’t what I wanted. Tusk became something totally different, kind of experimental. I said to Lindsey, so you want a darker album? There was a lot of decadence at the time … a lot of drugs, excessive living. It was tough to work with Lindsey at that point. He was just a pain in the ass.


Ken Caillat, checking microphones in the studio back in the 1970s.

30 Days Out: Do you think you’ll write another book, maybe about Tusk and beyond?

Caillat: You’re the fourth guy to ask me that just today! I have all the information … I went through the tape vaults, all the scans of all the track sheets, instrumentation, date they were recorded. I’ve got all that … I was ready to go, ready to write a Tusk book. In fact, I got about a quarter of the way through. But I stopped because I’m not sure there’s a market for it. This book has only had modest success … for us to get another book out it’s gonna take somebody to come in and say we can do better with a second book. Rumours is a pleasant story, it has a happy ending. I don’t think books about Tusk and Mirage are gonna have happy endings.

30 Days Out: Tell us a little about working with John McVie.

Caillat: It’s weird, John was kind of like Jekyll and Hyde, he was the greatest guy in the world. So soft spoken, then all of a sudden he’d turn on you. Mostly he’d do that when he was drinking, he was a closet drinker. Ninety percent of the time he was just great. Great bass player. He was always complaining I never had the bass loud enough. He made me very conscious of the bass, so I’d leave it up in the mix. One time Gary Katz, Steely Dan’s producer, came in and said you have the best bass sound – how do you do it? I told him, bitching! Have your bass player complain to you all the time!

Buckingham Nicks

Stevie Nicks and Lindsey Buckingham, in the days before Fleetwood Mac.

30 Days Out: What about Stevie Nicks?

Caillat: Back then she was just the cutest little hippie chick. Adorable! She was funny, she had a cute giggle. She loved music, she only knew about three chords on the piano but she could make about 30 songs out of them. Her quirky side was she was always thinking about herself. I learned not to ask how she was doing that day. You’d spend 10 minutes just listening to her talk about herself.

Caillat: I always thought it was amazing, Lindsey and Stevie could never pass a mirror without looking at themselves. That’s just the kind of people they are. They are the kind of people who see a stage and want to be up there. They want the limelight. It’s kind of a double-edged sword … I’ve seen this sweet picture of Lindsey, taken right before Rumours, he’s sitting on the floor in an airport playing guitar. That guy’s gone. As they grew, as the Tusk album got really difficult for me, everybody became an asshole, really decadent, rather full of themselves. Not saying that’s a bad thing, it’s natural. But it wasn’t pleasant.

30 Days Out: How did it end with you and Fleetwood Mac?

Caillat: I had done Mirage (1982) and the live album, and they were gonna do Tango In The Night (1987). It was taking about a year to do and I just said, you know I’m gonna bow out this time. It ended great. I’m still friends with them, I think.

30 Days Out: So what’s next for you?

Caillat: I am starting a new label, Sleeping Giant records. Gonna be working with new artists, our main thrust will be artist development. And I’m going to continue working with my daughter Colbie. I can take no credit for her, she was born with this perfect voice and she loves to sing. She’s the nicest person in the world, she’d rather roll on the floor with the dogs and do just about anything else.  And right now I’m working on on Spanish, Japanese and Portugese translations of Making Rumours. The audio book comes out in April, paperback comes out in April too. And I’m going to keep producing, all the time. Making the best music I can.

Making Rumours: The Inside Story of the Classic Fleetwood Mac Album web site (links to purchase)

YouTube: Fleetwood Mac playing “Go Your Own Way” in 1977

Ken Caillat Productions official web site

Video Du Jour: Ray Wylie Hubbard

Posted in Rock Moment with tags on January 10, 2013 by 30daysout

The great Texas singer/songwriter Ray Wylie Hubbard was on “Late Night with David Letterman” last night. He performed “Mother Blues,” which is the best song off his latest album The Grifter’s Hymnal.

According to Ray’s Facebook page, the band also performed the classic “Screw You, We’re From Texas” at Letterman’s request. Surely that will turn up eventually.

If you ever have a chance to catch Ray live, don’t pass it up. He’s one of the old school Texas pickers, with plenty of stories and excellent songs that could fill up at least three live sets.

Ray Wylie Hubbard official web site