By Michael Corcoran
From state and blues to rap and punk, Texas track is everywhere in the map, figuratively and actually. Texas musicians have pioneered new musical genres, tools, and taking part in kinds, proving themselves to be bold innovators who frequently name the music for musicians round the nation or even overseas. To introduce a few of these trailblazing Texas musicians to a much wider viewers and pay tribute to their accomplishments, Michael Corcoran profiles thirty-two of them in "All Over the Map: actual Heroes of Texas Music".Corcoran covers musicians who paintings in quite a lot of musical genres, together with blues, gospel, kingdom, rap, indie rock, pop, Cajun, Tejano, conjunto, funk, honky-tonk, rockabilly, rhythm and blues, and Western swing. His concentration is on lower than liked artists, pioneers who have not totally got their due. He additionally comprises recognized musicians who have been underrated, comparable to Stevie Ray Vaughan and Selena, and invitations us to take a more in-depth examine the original skills of those artists.Corcoran's profiles come from articles he wrote for the "Dallas Morning News", "Austin American-Statesman", "Houston Press", and different guides, that have been extended and up to date for this quantity. His musical detective paintings even uncovers a case of unsuitable id (Washington Phillips) and corrects a lot incorrect information on Blind Willie Johnson and Arizona Dranes. Corcoran closes the e-book with vigorous items at the Austin song scene and its most famed, if not extant, golf equipment, in addition to his own lists of the 40 maximum Texas songs of all time and the twenty-five crucial CDs for Texas song lovers.
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Extra resources for All Over the Map: True Heroes of Texas Music (Jack and Doris Smothers Series in Texas History, Life, and Culture)
That he was well versed in the varying beliefs and customs of diﬀerent churches is evident in ‘‘Denomination Blues,’’ his most famous song via covers by Sister Rosetta Tharpe (who renamed it ‘‘That’s All’’) and Cooder. ’’ The lyrical bitterness, perhaps born from too many Sundays waiting to be called while less pious men hogged the pulpit, didn’t seem to apply to a musical career that never took oﬀ. ‘‘He knew he had talent,’’ Keeton said. ‘‘But he was just ol’ Wash Phillips, you know? ’’ He was known more for his mule cart, from which he sold homemade ribbon cane syrup, than for a handful of records that gave him a blip of recognition many decades ago.
Texas Troubadours (left to right) Butterball Paige, Jack Drake, Ernest Tubb, unknown, Bill Drake. Photo by Walden S. Fabry. Courtesy Tracy Pitcox Collection. Backstage at the Armadillo, ‘‘The House That Freddie Built,’’ on October 3, 1970. Burton Wilson photo. Ronnie Dawson began his career as Ronnie Dee. Courtesy Doug Hanners/Texas Music Museum. The only known photograph of Arizona Dranes, seated at the piano. Willie Nelson performs at the Backyard in Austin in March 2003, a month before turning seventy.
The next day an appraiser at Rue’s Antiques in Austin conﬁrmed that the bottle once held Garrett’s snuﬀ circa the early ﬁfties. What do you know? Annie Mae Flewellen’s seventy-four-year-old memory was on the mark. If there’s anything the story of Washington Phillips has told me, it’s that sometimes what’s true and what’s false comes from where you least expect it. The great musician Wash Phillips didn’t die in the insane asylum. And his instrument almost certainly was not a dolceola. The legend lessens with the mundane facts.
All Over the Map: True Heroes of Texas Music (Jack and Doris Smothers Series in Texas History, Life, and Culture) by Michael Corcoran