Since he strapped on a guitar at age 14, Doyle Bramhall II recognizes that he's led a charmed life in the music world. His drummer father grew up and performed in bands with Stevie Ray and Jimmie Vaughan, and by the time the younger Bramhall's talents began to show, he began playing with the best. He toured with the Fabulous Thuderbirds at 18 and released a handful of solo albums, before transitioning into a role as a producer, sideman and songwriter for much of the 2000s, playing alongside Roger Waters (handling the David Gilmour parts), Eric Clapton and Sheryl Crow, among many others.
Given his involvement with so many chart-topping radio hits since 1965, it is astonishing that so few people—including guitarists—have heard of Cornell Dupree. Yet there is little doubt they’ve heard him play. For almost half a century, AM and FM radio stations—and now internet-radio channels—have been broadcasting tunes he played on many times a day.
It looked like the Fort Worth icon Record Town was going to close its doors after 61 years. The University Drive hangout for fans of vinyl and music luminaries was facing a rent increase, and the Bruton family, the brain trust of all things music for decades, was not involved as they had been previously.
The home of soul sensation Leon Bridges, Fort Worth (don’t call it Dallas) has a vibe all its own. Take a rollicking ride through the city’s blossoming music scene
by MATT HENDRICKSON
This interview with Cadillac Johnson was taken from the book “Keith Ferguson – Texas Blues Bass” by Detlef Schmidt in October 2012. Cadillac Johnson was the bass player in ZZ Top prior to Dusty Hill joining the band. He played with Freddie Cisneros (Little Jr. One Hand) in their band The Blasting Caps at The Bluebird in Fort Worth, Texas. Cadillac returned to Houston to join Uncle John Turner and Alan Haynes in the original Step Children. Cadillac is now in full-time ministry and has a gospel/blues group, The Revelators, and lives in Fort Worth, Texas.
Mayor Betsy Price and several business and civic leaders spent a couple of days in Kansas City, Missouri, last week.
They were there to learn how the city also referred to as Cowtown is moving forward with education, entrepreneurship and collaboration.
They probably vowed to cooperate and share information, signed some memoranda, etc., as that’s how most of those things go. If so, they just should have said they were going to follow the example of Euday Bowman, a man who lived and made a career for himself in both Cowtowns.
The streets of Greenwich Village are drizzly wet and the street lamps make soft patterns in the puddles. It's so quiet you can hear the traffic lights change.
But as you approach the corner of 7th Avenue and West 10th Street, another sound pulls you foward. It's the sound of a drummer slapping cymbals and pounding his feet; a bass player thump-wah-thumping; a pianist splashing in rhythm; and a trumpet player blowing as if his life depended on it.
The club is called Smalls; the trumpeter is Roy Hargrove.
Any good songwriter knows when the muse strikes, write it down. For Ray Wylie Hubbard, it was maybe the 10,000th time he was driving southbound on Interstate 35 from New Braunfels toward San Antonio, passing Exit 182 at Engel Road and the so-big-you-can’t-miss-it sign that screamed “SNAKE FARM” in red and black letters. The words, meant to entice drivers to stop at the long-running roadside attraction, conjured the image of a farm full of snakes, and Hubbard physically shuddered.
Mike Buck is a cornerstone of Texas roots music. He played with damn near every Blues and Rockabilly legend during his early years and at the beginning of the 21st Century has backed many of the younger musicians. He's the living thread that keeps it a viable musical form. Like most of his generation Blues, Rock 'n' Roll and Country were all around as a kid. The similarities were readily apparent and there was very little separation of styles.