By Connie Strong

It seems a reputation like that of superstar Clint Black’s would overshadow the efforts of many siblings, but not so with singer/songwriter Kevin Black who proves over and over that he can “hold his own” in the music business.

From the time he was eight, performing Elvis classics for anyone willing to lend an ear, Kevin has been musically attuned to what people want to hear—leaving behind the demands and confines of major record labels for the personal satisfaction of making his own kind of music.

Kevin makes it very clear, “What I enjoy doing is doing what I enjoy,” and admits that his determination to remain true to himself musically comes at a price. He says he’s been accused by record producers of having “no direction” and has been told that his music “lacks a common thread.” And yet, Kevin enjoys the success that comes with devoted fans and discerning listeners who appreciate an artist that can tackle any genre of music needed to satisfy their music palates.

Although creatively different, Clint recognizes his brother’s talent and says it was “bittersweet” when he succeeded in the business without having Kevin by his side. Clint began his career with The Full House Band– a band he credits Kevin with starting. The brothers played in small bars all over the Greater Houston area.

Clint says, “Really, we are suited to singing with each other… And when you hear us singing together it always feels like magic, like that great match you always hear about.”

The respect is mutual. Kevin says, without thinking twice, “Billy Joel and Clint Black are my two favorite songwriters of all time.”

You get a sense that regardless of whatever sibling rivalry could have been caused by Clint’s fame is set aside for a larger purpose: a healthy respect for each other’s individual talents and a desire to place family first.

Kevin’s latest record, “Kevin Black: Sold Out Live at the Dosey Doe,” proves that he has carved his own niche in the hearts of his fans. Eclectic throughout, the CD leaves no stone unturned; from the traditional Merle Haggard cover, “Today I Started Loving You Again,” to a bluesy rendition of “Walkin’ After Midnight,” this complex collection is a testament to Kevin’s strong vocal capabilities and impressive fret board talent.

Perhaps no songs are as powerful as those he penned personally. With complex lyrical content, Kevin’s songs introduce new fans to a man who has seen his share of life and has survived his share of heartache. In a powerful song about loving, losing and leaving, Kevin’s “I’m Letting Go” states, “Having the strength just to walk away/Is a weakness of mine/You know there’s gonna come a day/When I leave it all behind.”

In “That’s Life,” he asks, “Why does life always get its way/As if it were planned from the very first day?” Kevin jokes, “That’s a song I wrote for Don Henley. He’s never actually heard it, but I wrote it for him nevertheless,” proving he can quickly elevate a serious “mood” with a bit of levity– with one exception.

“A Tear for You” is written about the ultimate loss, the loss of his 16-year-old daughter, Cortney, due to complications of Rett syndrome (not to be confused with Tourette Syndrome), a rare, devastating neurological disorder affecting mostly girls. Kevin admits that performing the song is difficult and a certain amount of detachment is necessary to get through it.

“It’s not consciously on my mind the whole time leading up to the performance. There’s no emotion in the room connected to Rett syndrome …so I just get involved in it, sing it and don’t let my mind think about anything except getting through the lyrics.”

Since the loss of Cortney, both he and Clint have volunteered their time and talent to finding and funding a cure for the genetic disorder. On October 12, 13, 14 and 22, Kevin will host “Spending Time Ending Rett” –an annual fundraiser which benefits International Rett Syndrome Foundation (IRSF). The event includes a golf tournament, a fishing tournament, a strollathon and a concert at Dosey Doe in The Woodlands, featuring Kevin and son Coleton, Gary P. Nunn, Jamie Richards.

Coleton, following the Black footsteps, has also set his sights on being successful in the music business. Being the son and nephew of successful musicians has its perks, but while Kevin makes sure that 20-year-old Coleton shares the stage, he also encourages independence and wants his sons to see it for what it can be—a hard life.

He feels both sons– twenty-three-year-old Marshall also aspires to be a musician–deserve their chance to make it big in the music industry, but knows the importance of honesty. Kevin says, “[They need] to go out there and find out what it’s really like to drive however far, load in, play, load out, go through all the good, the bad and the ugly that go with it. Then they can go home and ask themselves, ‘was it worth it?’”

When asked what he feels is his greatest accomplishment, Kevin never hesitates. “It would be the day that I put my kids on a bus for school, went to the airport, flew out and did a show, flew back and was home in time to do their homework with them;” and when it comes to success, his definition is quite different from what you might expect.

“When I’m gone, the judging factor of my success will be how well my boys turn out. That will be my biggest success in life.”

This year, Kevin has enjoyed a much-deserved career escalation, including his recent recording of Merle Haggard’s “Fightin’ Side of Me.” With devilish good looks, a mischievous grin that hints at a wicked sense of humor, and enough talent to successfully support his desire to blaze his own trail through the music business maze, Kevin Black is a force of his own to be reckoned with.

Ok, so you might purchase that first Kevin Black concert ticket to see the brother of Clint Black, but make no mistake, after that first concert experience, the next ticket you’ll buy to see Kevin Black will be because you want to see an artist talented enough to cast his own shadow.

To hear “Why Can’t I Get Over You” from Kevin’s “Dream On”–Why Can’t I Get Over You

Catch Kevin Black on Friday, December 7, at The Bugle Boy in La Grange, Texas.

Advance tickets recommended. Purchase online at thebugleboy.org

By Connie Strong

Paula Nelson & The Guilty Pleasures

This year, The Bugle Boy has three of its performing artists featured in the 2010 Independent Music Awards (IMA) “Spotlight.” Woody Russell, Paula Nelson, and Elizabeth Wills have submitted their music to the IMA for consideration in the 10^th annual internationally recognized competition.

Winners are chosen by a panel of industry/artists judges and by The Vox Populi (voice of the people); a means by which fans can vote for their favorite Indie artists after the panel has announced their choices. Judges for this year include Ozzy Osborne, Suzanne Vega, Judy Collins, Tom Waits, Jim Lauderdale, Aerosmith’s Joe Perry, Kerrville Folk Festival’s Dalis Allen and many more. Competition is tough, with entrants from 70 countries submitting their work in categories that recognize songs, albums, videos and design.

The IMAs are produced by Music Resource Group which publishes “The Musician’s Atlas/AtlasOnline,” a contact database for indie artists.

Winners receive year-long marketing and sales support along with licensing and performance opportunities.  Both winners and nominees receive continued publicity, placing them at the forefront of over a billion fans.

Woody Russell

Entering his critically-acclaimed blues album, “Up Against It,” is a Bugle Boy favorite, Woody Russell. His previous album, “Salt” was a finalist in the IMAs’ 2006 competition. Woody says, “The IMA nomination of ‘Salt’ was a very positive affirmation of how I felt about the album. It has also been a legitimate marketing tool, every bit as effective as a great review, with regard to presenting an ‘industry’ reaction to the album in my press kit.  I post the IMA finalist ‘badge’ on my website’s storefront. Simply mentioning the IMA nomination when pitching the album from the stage adds to its perceived value. The Independent Music Awards, for me, may as well be the Grammys. In fact, I’m not sure the Grammys can boast such legitimacy! One look at the panel of judges and you know this isn’t just another pseudo-music biz scheme or run-of-the-mill contest. It has helped me promote what I believe in artistically and that kind of ‘support’ is of the highest value to me as an indie-artist.”

Also entered is Paula Nelson’s Americana album, “Little City,” which she introduced to The Bugle Boy listeners at her show on April 3, 2010. Paula has entered the Album, Cover Song  and Song categories.

Paula says this album differs completely from her previous work and believes, “All the songs on Little City are exactly the way I wrote them, and when we perform them they sound exactly like what you hear on the CD. I think that’s the way it should be. I put a lot of time into how I wanted the CD to ‘feel’ and I am very happy with the results.”**

Elizabeth Wills

The Bugle Boy’s Founder’s Choice Talent Trust recipient, Elizabeth Wills, entered “Love Comes Home”– the first album funded by the Trust. Elizabeth introduced her Americana album to a welcoming crowd during her CD release show at The Bugle Boy on Valentine’s Eve. Categories entered are Album and Song.

Elizabeth says the experience of being able to produce an album independent of any outside influence was “amazing.” She realized, “If it worked, it was on me; it if flopped, it was on me. I loved and welcomed that responsibility.”

She continues, “‘Love Comes Home’ came from such a loving space all around—from The Bugle Boy Foundation to the studio, to the producer, to the musicians and to my really dear friends who joined me on the project; it was a love-fest of sorts, and I will never do another record any other way. I will always be grateful to The Foundation for that gift and their belief in me.”**

Lane Gosnay, founder of The Bugle Boy says, “I am thrilled to know that several artists that perform at The Bugle Boy have submitted to the IMAs this year, and that they were also featured in their “Spotlight.”  Obviously, judging talent is very subjective, but the IMAs are aligned with highly credentialed and respected judges. I wish the very best to those Bugle Boy artists that have thrown their heart and soul (‘hat’) into the ring.

“They are already winners in my opinion, but if any of the artists win, or walk away with a nomination for an IMA, I will be overjoyed to see them have their ‘hat’ adorned with the substantial IMA ‘feather’ of great recognition!”

Nominees will be announced in December, winners in January. Kudos to the IMA for continued success in bringing independent artists the worldwide recognition they deserve! As Paula says, the best part of being and indie artist is, “I get to do it MY way!!”

** To read Connie’s full-length “Spotlight” interviews with these artists,  visit http://www.independentmusicawards.com/ima/index.php?s=Woody+Russell; http://www.independentmusicawards.com/ima/index.php?s=Paula+Nelson; http://www.independentmusicawards.com/ima/elizabethwills/.

By Connie Strong

Photograph by Mary Chavoustie

“I surrender to all of the lies

I surrender to all the crying

I’m trying to remember how this happened at all

I’m tired of trying; I’m tired of fighting

I surrender”

Lyrics by Paula Nelson , “Surrender”

************************************************************

In an interview following her April 3 Bugle Boy performance, Paula Nelson spoke fondly about The Live Music Capital of the World. “Austin is a great place. There’s not a lot of competitiveness. It’s a welcoming [music] community and the fans are really fantastic.” Not surprisingly, Paula’s new album, “Little City,” is named for the town that holds this special place in her heart. And Paula Nelson is a gal with a whole lotta heart!

She may be Willie Nelson’s daughter, but her latest CD proves that she can “hold her own” in the music industry. Paula has written all of the songs on the album, with one exception—a classic, Creedence Clearwater Revival’s “Have You ever seen the Rain?”

“I had decided I wanted to do it more like ‘Sitting on the Dock of the Bay.’ So I recorded it and I played it for my Dad and he kept saying, ‘This is good! This is good!’ And I thought, ‘I think he thinks I wrote this!!’ So I said, ‘Yes, this is good. I sure wish I had written it.’ And he said, ‘You didn’t?’ (Laughs) Then he told me, ‘I’d love to sing that.’ So we did it as a duet on ‘Little City.’”

One thing that you quickly discover in talking with Paula is that she is genuine, funny and warm. She is very quick to point out that one of the biggest misconceptions about her is that people feel “Everything is handed to me.” Not so. Paula Nelson is more than just a talented singer/songwriter. She’s a hard-working stunt-actor with a black belt in Tae Kwon Do (not unlike “Papa Bear” Willie) and is appearing as Britney in the upcoming political thriller “Corruption.Gov,” starring Michael Madsen, set for release in December. Through it all, Paula remains grounded.

While admitting that she has no set doctrine, Paula says she is undeniably spiritual and believes firmly in angels and God. “Surrender,” from her “Lucky 13” CD, speaks to that quiet, private side of the girl who grew up in the proverbial glass house.

“Surrender,” Paula states, “is one of the songs that is closest to my heart. I wrote it during my divorce and it was a really bad time. I have this white rock fireplace… and I just sat down in front of it and I was crying, crying. And all of a sudden I just looked at that rock; and in that rock– where the grays had come together– there was a perfect cross. At that time it was exactly what I needed to see. I just stopped, looked up, and I said, ‘I surrender. I can’t cry anymore.’ I wrote the whole song right there.”

In her new album, there is something to satisfy every music palate. In addition to the classic “Have You Ever Seen the Rain?” there’s the calypso beat of “Sunny Days” and the slow, bluesy sound of “Riddles and Rhymes.” In the title track, Paula’s lyrics speak to the melancholy night life of Austin (“Secrets beside us/Shadows around us/All live here amongst us/In this town”) and, like the other songs, “Little City” shows that she is capable of boundless diversity.

But perhaps no song on the album is more notable than the raw, sultry, Southern-rock/honky-tonk duet with Carolyn Wonderland, “Drink.”  Even though some of her songs, as well as her concerts, prove that she knows how to party– and she sports a wicked sense of humor– she also has a very tangible, sensitive side.

“Little City” is a collaborative effort in which Paula brings to the table the best of the best she has to offer. Joined by family (Dad Willie, sister Amy and brother Lukas), friends (Carolyn Wonderland and Michael Crow) and her band, The Guilty Pleasures (Landis Armstrong, Mark Epstein and Kevin Remme), Paula’s new album is a shining example of what happens when inherent talent meets skilled collaboration.

Although she frequents the larger venues, Paula has a soft spot for the more intimate settings, as well. “I love places like The Bugle Boy, the smaller listening rooms. We’ve played a lot of sports bars and you are in competition with TVs and people who are there to power-drink; the music is just there for background noise. It’s nice to come to a place where people really listen to you.”

On Friday, July 30, she managed to rock the walls of Austin’s #1 music venue, The Saxon Pub, during her CD release party. Paula and The Guilty Pleasures proved again that they take a party with them wherever they go, and if audience response is any indication of an album’s success, “Little City” is well on its way to the top.

Paula Nelson says she can recognize her Dad’s songs and voice anytime, anyplace and jokes, “You know that show ‘Name That Tune’? Even now, when I hear Dad’s voice on the radio I can recognize [the song] in the first note.”

Well, Paula, since your new CD release, your Dad’s instantly recognizable voice is no longer the only distinctive Nelson voice on the airwaves. You may have a whole lot of heart, but “Little City” proves you’ve also got a whole lot of soul~!

Visit Paula’s website to order CDs: www.paulanelsonband.com.

“Before the Music Dies”

By Connie Strong

“Music can save people. But not in the commercial way it’s being used. It’s just too much. It’s pollution.”

Bob Dylan

Imagine the music world with no Ray Charles, sans Stevie Wonder, void of icons like Bruce Springsteen or Elvis Presley. Where would we be if those who dared to be different had “played it safe” and sang the same song as everyone else? “Before the Music Dies,” a documentary by Andrew Shapter and Joseph Celis, examines the issue of art versus commerce and challenges the homogenization of today’s music.

Narrated by Forest Whitaker, this film seeks opinions from the legends– Bonnie Raitt, Eric Clapton, Dave Matthews and Elvis Costello, among others– in an effort to explore the effect that pop culture, synthesized sound and the video age has had on “original” music:  music that goes beyond technology, is borne of raw talent and can stand on its own, without artificial digitized intervention.

“Before the Music Dies” takes a brutally honest look at what the Telecommunications Act, and subsequent radio consolidation, has done to the industry and to today’s musicians.  Gone are the days of individuality, of having something unique to share with the listening public. The God-given talents that redefined music, introduced new music genres, and documented our cultural history have been replaced by redundant noise that sells—provided that “noise” is coming from someone that our culture considers beautiful and who fits the current definition of sexy. Sadly, sex and beauty sell music more so than gripping lyrics and memorable melodies.

Perhaps Grammy-winning jazz saxophonist Branford Marsalis said it best: “Superficiality is in and depth and quality is kind of out… Today, Ray Charles would not get a shot. Stevie Wonder would not get a shot; they’re blind.”

This documentary speaks directly to the fact that the music industry has a “bottom dollar” mentality that has killed the possibility of hearing anything other than the redundant offerings found on the vast majority of radio stations. There is a wealth of talent to be uncovered, but will not be heard on “the right side of the dial.”  Luckily, there is a movement by music fans, independent musicians, and venues like The Bugle Boy that is desperately fighting against this massacre of music.

Founder Lane Gosnay says, “Supporting original music always seems like an uphill battle. The hurdle for a venue like mine is the amount of time it takes to educate folks that there is plenty of amazing talent to
discover. There is music that you will never experience if you always use the noise of mainstream hype as your talent meter.”

One of the most revealing aspects of the film is a segment that shows how the viewing public is manipulated by videos. In the documentary, songwriter Steve Poltz (Jewel’s “You Were Meant for Me,”) is challenged to write a song, given no time for preparation. The song was then handed to the beautiful, but less than talented, Taylor Hannah for a recording session. “Lights, camera and action!” were added, along with MUCH digital correction to her vocal attempts and the end result was amazing:  a “star” is born, based solely on beauty, sex appeal, youth and technology.

Gosnay says, “This film is a marvelous educational tool that enlightens people to the fact that mainstream music is more often ‘smoke and mirrors’ for the end result of appealing to the masses than something that introduces the public to real talent on a wide-range scale.”

Music lovers have a choice: follow the lead of mass-marketing experts who offer only what is familiar, or take a chance and invest the time required to discover original talent in an acoustic setting. There are multitudes of “unsung” heroes that can bring predisposed talent back to the forefront of listening pleasure.

According to Gosnay, “It is far more fulfilling to discover wonderfully talented musicians that are worthy of your support on your own, or with friends, than it is to be persuaded by clever marketing skills. I recommend this film to everyone that enjoys live concerts; but more importantly I recommend it to those who may think they don’t [enjoy live concerts], or to those haven’t taken that chance in a long time.”

Director Andrew Shapter says, “We must do what we can to preserve the diversity of American music. It’s that diversity that is disappearing in favor of commercial formulas. Today, musical innovation and variety may be harder to find, but there is certainly no shortage. You just have to look under the surface of the commercial pavement.”

The Bugle Boy is presenting “Before the Music Dies” on Saturday, July 10, at 8:00. There will be no charge for this screening.

Gosnay concludes, “After you watch the film, I encourage you to search out a ‘listening room’ type concert. Go see someone you have never heard of. Be your own talent buyer.”

Is the music dying? Certainly not, if The Bugle Boy has any influence. Consider this: someone took a chance on the music of Ray, Stevie, Bruce and Elvis. Invest in the opportunity to experience originality.

As Lane Gosnay knows so well, “The joy is in the discovery!”

Make your reservations for the free screening.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

Bugle Boy Founder on KEOS 89.1 FM

By Connie Strong

On Saturday morning, May 29, Lane Gosnay took her continuing efforts to save independent, quality music to the airwaves.

In the Bryan studio of KEOS 89.1 FM, Lane spent an hour with radio DJ Gary Mortensen—someone who shares The Bugle Boy founder’s passion for promoting original music, and the talented musicians who choose to “play by their own rules” and, many times, sacrifice fame in order to maintain creative independence and artistic excellence.

During the one-hour live program, Lane and Gary discussed the mission of La Grange’s listening room, the history of The Bugle Boy, their shared respect for independent musicians and Lane’s hope that her strong belief in her venue and its artists will encourage others to join in support of this worthy cause. It is her ultimate goal to “run [herself] out of business.”

In a perfect world, others who crave music that is not synthesized, or “generically engineered,” will recognize the need for opening venues such as The Bugle Boy: venues that—according to Lane—“elevate the artist” to a new level of presentation, expectation and opportunity.

Gary and Lane both agree that local house concerts and their hosts are also mainstays for keeping independent music alive and are “the crown jewel of the listening world.” Lane says that house concerts (along with listening rooms) are “the economic backbone of the independent artist.”

According to Gary, the hosts of house concerts are the “unsung heroes” of the industry.

Between the lively, thought-provoking conversation, listeners were treated to songs by Elizabeth Wills, Jonathan Byrd and Diana Jones, Tom Russell, and Natalia Zuckerman. To Lane, these musicians—and hundreds more like them—are more than just people that pass through on their way to something bigger, or more commercial. These are talents that she has nurtured and greatly respects.

Likewise, the artists love and respect a venue that is truly there to showcase what they have to offer. They know that they will receive the undivided attention of the listeners, and they know that they will leave The Bugle Boy having made a connection which cannot be made in a larger venue.

Listening rooms, house concerts, and radio stations like KEOS are for the discerning. They are for those with a discriminating music palate. They do not submit to the will of the masses.

Gary says, “For me, independent music serves as evidence that the human spirit hasn’t been totally subordinated by the forces of mass culture which dominate so much of our life experience. I need to hear the thoughts and sounds of the individual, created without concern for their mass appeal.”

If the artists are brave enough to think outside the box, and The Bugle Boy and stations like KEOS are courageous enough to continue the fight to save the vanishing breed of entertainment at its best, maybe we can all learn to “think outside the box” musically.

Gary is proud to volunteer at KEOS, the community station that claims it’s “the left end of the dial done right,” and which celebrates its 15th anniversary in June. Perhaps if we all think a little left of center, maintain our individuality and expect more from music than the “canned” offerings found on the right end of the dial, we could “raise the bar” when it comes to what we choose to spend our money and time enjoying.

Gary feels, “It’s really important to me to help support the independent musician, now more than ever.” Lane has devoted the last six years of her life to this effort. This is a fight worth fighting—the alternative is to live a redundant music existence on the right side of the dial, or in an over-crowded venue, listening to song after song that sounds just like the one before.

Let’s help them keep independent music alive.

Listen to the interview here

For more information about KEOS, www.keos.org.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

***** Watch for Connie’s upcoming article about the film Before the Music Dies, a documentary that Lane will share, free of charge, with The Bugle Boy audience on July 10.

Make your reservations for the free screening.
Limited seating available.

Keeping it all in Perspective

By Connie Strong

Every once in awhile a story comes along that restores your faith in mankind.  Those seem to be harder and harder to come by as times get tougher; but when Susan Gibson left The Bugle Boy on February 13, after her performance there, she was involved in an unfortunate incident that led to one such story.

Leaving La Grange, Susan was in a car crash that broke her arm in three places and dislocated her elbow. With no health insurance to help defray medical expenses, a touring schedule that would have to be partially cancelled, and an inability to play her guitar, things looked bleak.

In the true Southern style of neighbors helping neighbors, what started out as disastrous, turned into something much more palatable. Lane Gosnay, Elizabeth Wills, Walt Wilkins and a host of other friends, fans, and fellow performers came to her rescue in ways that, she says, will leave a lasting impression on her.

“The response is something that I have been absolutely amazed with, but not surprised by, because these people are people that will help anybody they meet who needs help.”

On Saturday, April 10, The Bugle Boy held a very successful benefit concert for Susan. Headlining there with her were Walt Wilkins and the Mystiqueros and Jana Pochop who, in her time of need, Susan says, “became an army of one.”

Music lovers enjoy the songs, purchase the tickets and albums, attend the concerts and support the artists. But once the songs have all been sung and the lights go out, little thought is given to the artists with regards to their personal lives. And most probably, no one has ever thought about the fact that, while the professional spotlight may seem to be an enviable place to be, there is no real job security in the case of a crisis—and no medical insurance.

Susan was working on an album, “Tightrope,” that was to be released in the spring. Because of the accident, its production was halted and the release date postponed until fall. Even though she was back on the road by March 6, she is still unable to “carry” a show by herself. She has had to reduce her performance schedule, cancelling all of her East Coast shows.

“It’s one thing to perform in front of those who know your work, and support you unconditionally. But you don’t want to make a first impression when you’re not at the top of your game.”

Reduced schedules equal reduced income. Add to that mounting medical expense, and it creates a serious personal and financial crisis for the artist.

And yet, Susan has managed to maintain a joie de vivre. Always maintaining a sense of humor is one of the things that have helped her through the healing process.

She states, “Humor is a great way to keep your perspective on things. It really is good medicine. If you can laugh at something, it takes all the scariness away.

“For instance, in the same batch of mail, we got the ER bill, the surgeon’s bill and a plaque for Entertainer of the Year from Texas Music Hall of Fame! Receiving that plaque on the same day as the bills was like, ‘Here. Here’s the ice pack to place on the other two major jabs that came in my mailbox!’”

On April 11, Susan performed in Luckenbach, and another benefit is scheduled for April 18 at Gruene Hall.  There is a real sense of “family” when it comes to members of the Austin music scene. If there’s a benefit, people are always willing to lend a helping hand.  “There are a lot of us that can’t take out our checkbooks to help somebody, but we can donate our time and our talents. It’s a real grassroots, personal type of campaign to take care of each other.”

Susan is passionate about playing the iconic dancehalls of Texas, like Gruene Hall and Luckenbach. She explains, “You can’t play a bad note because there are just too many good ones that have been played there before. You get the sense that all of that history has been absorbed in the wood. It’s an honor to play there; you stand on the shoulders of the giants. The floors are worn, but those places have character– and they bring that character to your performance.”

Luckenbach is presenting shows with the female artist in mind called, “She Writes, She Sings.” Susan says, “Abbey has done a great job promoting female singer/songwriters. Aside from having the big shows out there on Friday or Saturday nights with the solid, traditional guys like Jerry Jeff Walker, she has really brought fresh blood into the mix by having a different kind of thematic performance going on. It’s been really fun to be a part of that experience.”

But on Saturday night, Susan toned it down a bit, playing a more subdued venue at The Bugle Boy as opposed to the rowdy dancehall scene. She loves both venues, but says there’s something special in what Lane has created.

“You adjust and adapt to the place you are playing and Lane sets you up to be an honored guest. That makes you want to do your best.

“Lane has such a great venue there. She treats it so respectfully and she is militant about getting respect for the songwriter… She’s a staunch advocate for a respectful, attentive crowd. You don’t have to have theatrical-type songs. You can do your softer stuff and it comes across because you are allowed to be subtle; you’re not competing with anything else going on in the room. There are only a handful of venues like that in the country.”

Susan describes what she terms as “the elevator effect” of performing in front of large crowds: “I’m not going to make eye contact with you, and you’re going to pretend that I’m not here.” She says that never happens at The Bugle Boy.

“With so many of my songs, I need to be able to make eye contact with the people. That’s where I recognize what lines resonate with them. You don’t get that at a larger venue; you don’t get that opportunity to have a one-on-one conversation with 30 people at the same time.  It’s a great playground to refine what your show is like.”

Funny. Grateful. Humble. Three words, aside from talented, that probably best describe Susan Gibson.

Although she wrote the title track for the Dixie Chicks Grammy-winning album, “Wide Open Spaces”—and even though they invited her onstage when they accepted their award, she is very modest in discussing it. She places the credit where she feels the credit belongs: to the performers that brought her words to life.

She describes the Chicks as “a gracious group of people who wanted to recognize me as the writer of that song.”

Susan states, “It was a really great song, but it was an awesome group of artists that performed it. That song would not have had the impact if it were done by [a different artist at a different time]. It was an absolutely magical blend of good artists and good timing. They were so sincere with it. They sang the lyrics as if it were something they thought of, and they did it so beautifully.”

The bottom line is this: Susan’s spirit is intact, held together by a bit of luck, a ton of friends, lots of fans and a musical community that has risen to the occasion to support one of their own.

She says, “Nobody died, my arm will heal and hopefully I’ll keep the perspective gained from the [incident] — and I will carry that with me when I’m back 100%. I won’t lose sight of anyone who helped me.

“I’ll be there for them if they ever need me, for sure.”

If love and music are universal languages, then Susan’s experience has taught us all to speak with a little bit more compassion, and never lose sight of that wonderful joie de vivre.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

By Connie Strong

“Puppies Eat Pizza!” “Christmas is Fun!” “I’m Just Like You!”  These three songs may not knock the “musician du jour” off the Billboard Top 100, but these songs are “hits” nonetheless. Sponsored by The Bugle Boy, singer/songwriter Darden Smith brought his Be An Artist Program to La Grange Intermediate on Dec. 11, 2009, and by the end of the event, Darden and the eager students had made a CD!

Because of his desire to see kids value their own unique creativity, Darden founded the Be An Artist Program in 2003. Through this worthwhile project, Darden encourages school children to find their own talent. “Do what makes you happy and give it your all” is the principle idea behind this successful endeavor.

Adapted for children of all ages, the Be An Artist Program has been presented in the states as well as in France, England, and Germany. Darden teaches children that “artists are not created,” rather it is an inherent gift within each of us, and he uses music to encourage children’s creativity.

According to teacher Nancy Hajek, of La Grange Intermediate, “The kids really loved listening to Darden, especially getting to contribute to writing their own songs. They got a big kick out of being able to hear their songs played back so quickly!”

Darden says, “The Be An Artist Program continues to bring the message to students that everyone is an artist.  The trick is to find what your interests are and then pursue them.  The time spent at La Grange Intermediate was great.  Growing up in Brenham, I remember being that kid in the back of the class who felt a little different than the norm.  If someone had come to my school and told me that I was OK, and that I should pursue my crazy dream of being a musician and songwriter, it would have saved me a lot of time later on!”

It’s a long way from Mill Creek to Paris, but Darden Smith has successfully made the journey.  Playing by his own rules and armed with an arsenal of talent, soul and “luck,” this Brenham native has 12 critically acclaimed albums to his credit and is currently working on an interpretive presentation for the theater.  “Marathon” is a theme song-cycle that is being adapted for stage through University of Texas Performing Arts Center.  The album is due to be released in September 2010 and the stage production is set to begin in spring.

Although his success is a true testament that life can flourish outside of “Bluebonnet Country,” Darden speaks fondly of the region and attributes much of his inspiration to his years spent in Washington County. “Naomi Simon, my fifth grade guitar teacher, introduced me to Neil Young’s ‘Harvest’ and ‘After the Gold Rush.’”

After his family moved to the suburbs of Houston in 1976, 13-year-old Darden began to spend hours of alone-time, writing.  Suffering from culture shock, he let the musical influence of Guy Clark, John Prine, Bob Dylan and Leon Russell shape his musical taste into a style that is now uniquely his own.  This pensive adjustment phase would pave the way for the release of his first album in 1986, “Native Soil,” for which Lyle Lovett and Nanci Griffith provided harmony vocals.  Later, in 1993, he hit the pop charts with “Loving Arms,” which he performed during a guest appearance on the “Tonight Show.”

From that point, Darden has gone on to open for Stevie Nicks and Joan Baez, has given a performance with “Austin City Limits,” and has performed in 48 states. He is also widely recognized in Europe, having reached #3 on the BBC2 radio charts with the hit single “After all this Time” from his 2002 “Sunflower” CD. Recorded in an adobe house in Ojo Caliente Hot Springs, New Mexico in 2006, “Ojo,” is his first live CD. In 2009, Darden released yet another CD, “After All This Time,” which includes cuts from all 10 of his acclaimed albums.

What’s next?  Darden says, “I’ve been co-writing a lot here in Austin, which is good, and I’m also going to Nashville quite often to write.  There will be at least three trips to Europe this year, to do shows and [share] the Be An Artist Program… in Germany, France and the UK.  Sarajevo is a possibility.  ‘Marathon’ comes out in September, so around that time I’ll be doing more dates in Texas and the U.S.”

In December, Darden will again be performing at The Bugle Boy. “The Bugle Boy is a great place to perform, because that’s the whole point of the place — performance.  Basically it gets down to Lane, and all the people who work there.  They mean for it to be nothing short of a great place to hear music.  So when you walk into a place like that how can you not be inspired?”

Mark your calendars for Dec. 10, 2010. You’ll come for good music in a “laid-back” atmosphere. After witnessing Darden’s soulful presentation of life’s raw emotions, you will leave with a renewed appreciation for high musical standards, and an acquired respect for one of the industry’s finest Texas musicians.

Oh, and if you bump into one of those 4^th graders, be nice! Some day you may see that student on the top of Billboard charts, and you’ll be able to look back and say, “I knew him when…”

And the former student will be able to say, “Thanks, Darden.”

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

By Connie Strong

“I’ll go home, I’ll go home
Where the wild shadows roam
And the dawn over mountaintops spills
Where the deer pause in flight
On the edge of the night
I’ll go home to my Tennessee hills”

Lyrics by Janis Ian, duet by Janis and Dolly Parton

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“Hi there! Need any help? I’m Janis!”

Walking up to my car with a big smile on her face and offering to help us lug cameras was certainly not the first impression I was expecting  to have of a Grammy winner, but then again you just never know what to expect from Janis Ian. It didn’t take long to realize that here was an artist that is not afraid to “color outside the lines,” as well as one who is able to dispel just about any preconceived notion you could possibly have about fame.

In 2008, “At Seventeen” was placed in the Grammy Hall of Fame. Having earned Janis five nominations and two Grammy Awards, this song is one of those rare recordings that has timeless, universal appeal. Performed by Janis on the very first episode of “Saturday Night Live” (1975), its lyrics tell the all-too-often truth about “ugly duckling girls” and their struggles with both societal and personal acceptance.

Janis knows, firsthand, about personal trials. In 1966, at the age of only 15, she found instant fame, along with harsh criticism, through her controversial song about a romantic, interracial relationship. “Society’s Child” soared to the top of the charts, despite its divisive subject matter.

In her recent memoir, “Society’s Child; My Autobiography,” Janis writes, “People got crazy. A radio station in Atlanta dared to put [the song] in rotation, and someone burned the station down. Strangers walked up to me in restaurants and spit in my food. Sometimes, when I tried to walk onstage from the audience, a person would deliberately put their foot out to trip me.”

Those difficult years were underscored by days spent in Greenwich Village, writing and performing– living the lifestyle so typical of the 70s’ music scene, befriending music artists who were cultural icons of the age.   Jimi Hendrix, Janis Joplin and Odetta were part of her inner circle, and each did much to cultivate the other’s creativity. During these years, her song “Jesse” became a hit record for Roberta Flack, another Grammy Award nomination was gained for her duet (”Silly Habits”) with Mel Torme, and Janis Ian had become a global household name.

But after years of disenchantment with the industry, and after seven albums—two of which were platinum– Janis resolved to take what eventually became a nine year hiatus from the music business.   During those “absent” years, Janis continued to write and faced many personal challenges: marriage, divorce, illness and much self discovery.

Resurfacing in 1993 with “Breaking Silence,” she was once again a Grammy nominee.  In 2006, Janis released her 20^th major-label album, “Folk is the New Black,” followed by “The Essential Janis Ian” which was released in September 2009 in support of her critically acclaimed autobiography, “Society’s Child; My Autobiography.”

Speaking candidly, and many times poetically, Janis pens a painfully revealing look at her struggles with IRS, losing her home and belongings to an unscrupulous business manager and surviving an abusive marriage–giving her reader clear insight to the days of living in Greenwich Village, coping with the drugs and ugliness that can accompany fame.

She turned down Woodstock. She turned down an offer to write the score for “The Graduate.” And in 2002 she shocked the industry when she wrote “The Internet Debacle” in which she argues that free music downloading will boost, not impede, music sales. (Yes, check it out, she has free downloads available on her website.)

Although never hesitant to take a stand, there is also a softer side to Janis. In 1998, after an internet auction that raised $65K, a scholarship program was started as a tribute to Janis’ mother, Pearl, who lost her battle with Multiple Sclerosis, but not before she earned her Master’s in Playwriting from Goddard. The Pearl Foundation scholarship is given to “returning students” to help them attain a degree, despite seemingly insurmountable odds.  Janis says, “Our sole [criterion] is that they’ve been out of school for 3 years or more.” Her worthwhile project has been very successful, “Last year we were able to donate $180,000 to various schools to establish scholarships.”

On Oct. 25, 2009, Janis brought her globally acknowledged talent to The Bugle Boy. Even though she has performed in some of the largest arenas, she loves the smaller venues. “They are wonderful. They provide the artists a wider range of places to play; the audience is attentive and respectful. These venues are an integral part of the community.”

Referring metaphorically to those who have good intentions, but cannot bring to fruition the opportunity to promote live, quality music, Janis says, “Many people write about the dance, yet don’t dance. Somehow, magically, [Lane] has built an audience and made it happen.”

Living in Nashville since 1988, and happily with her partner, Pat, since 1989, Janis Ian has managed to weave a beautiful tapestry from the, at times, threadbare fabric of her life. She is at the top of her game, comfortable in her own skin.

Janis has written the chapters of her life, both literally and figuratively, in a way that makes no apologies for the choices she has made or for the person that has evolved from the once-fragile “Society’s Child.” There is a peace and easiness about her that made The Bugle Boy listeners—and this interviewer—feel as though we had spent the afternoon with a friend.

After two long standing ovations, it was clear: despite her 4’ 10” frame, Janis Ian is still “standing tall.”

And she does not stand alone.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

By Connie Strong

Dressed casually in black jeans and a red pullover sweater, Blues Music Awards’ former Piano Player of the Year and Contemporary Blues Female Artist of the Year made a confession: “Usually, I wear a dress and cross my legs—and play with a band! I’m not that relaxed!” But no one at The Bugle Boy’s January 31 concert would have ever guessed. Enjoying the intimate setting of a small stage, great acoustics and laid-back atmosphere, the sold-out crowd welcomed four-time Grammy nominee Marcia Ball, and the instant her fingers touched the keyboards, it became clear: nothing, at all, was missing from this show.

Performing, primarily, songs she had written, Marcia very quickly connected with her audience, leaving no emotional stone unturned. Her lyrics address every aspect of the human condition. From the tragedy of the Louisiana hurricanes to the joy found in simple pleasures, Marcia sang of everything from leaky roofs, watermelons and two-timing men to little blue houses, mama’s cookin’ and voodoo juice.

Growing up in the Golden Triangle is what has given her music a heavy dose of Cajun influence. Born in Orange, Texas, she spent most of her youth “on the party side of the Sabine River.” In her latest CD, “Peace, Love and BBQ,” songs like the title cut, along with “Party Town,” give the listener a clue that Marcia is, most probably, never too far away from the next good time. And yet, there is a serious side to this 2010 Gulf Coast Music Hall of Fame inductee.

“Where Do You Go?” poignantly speaks to the broken lives of the displaced victims of hurricane Katrina—a subject near and dear to her heart. Shortly after Katrina, she “with a lot of help from friends,” held a benefit concert to help NOLA Relief, a project with which she is still very involved. “This [tragedy] is not over. These people are still rebuilding. I have a lot of friends in New Orleans; it is a part of me.”

Last year, Marcia Ball’s Great Big Birthday Bash celebrated the singer/songwriter/pianist’s 60th birthday in a successful, fun-filled three day event that brought in $106K. In keeping with her mission to help those less fortunate, proceeds were given to the Health Alliance for Austin Musicians, and to Sweet Home New Orleans.

It’s been a long road from the days of Freda and the Firedogs to becoming the success that she is today, and yet Marcia admits that she takes nothing for granted. “Many of us [musicians] stand at the threshold of every New Year, and every new calendar, and think ‘Hmmmm. Is this going to work?’ It’s always a challenge to watch the calendar fill up; and you realize it’s ‘not just about me.’…I have other people counting on me for groceries.”

But the calendar continues to fill, and Marcia continues to do what she does best: bring to her audience a blend of rhythm and blues, Cajun, zydeco and what The Boston Globe refers to as “An irresistible, celebratory blend of rollicking, two-fisted New Orleans piano, Louisiana Swamp rock and smoldering Texas blues….”

Marcia says, “I love what I do and I’m very well suited to this. I like traveling, meeting people, playing—of course–, and I love writing.”

Working on a new CD, continuing to travel and perform, and enjoying her family certainly keeps her date book “penned in” to the max. And yet, she makes time to bring her Cajun-flavored Louisiana/Texas talent to the smaller venues like The Bugle Boy. “I do about four solo gigs a year. This is a terrific place. I have played in similar venues, but there are not many like this, particularly in our region. It takes someone like Lane to make it work, someone who puts their heart and soul into it. It’s truly a labor of love.”

Abraham Ybarra traveled from New Braunfels for this concert. “Ann and I come here because of the listening room quality. You can actually hear the artists and their lyrics. We love the personal interaction with the performers.”

After more than two hours of an entertaining musical salute to the lives, lies, loves and luck (good or bad) of everyday people, followed by a thunderous standing ovation, it was obvious that, in jeans or a dress, with or without a band, relaxed or not, Marcia Ball is welcome at The Bugle Boy. There was her occasional, “I miss my drummer,” and the humorously noted “The sax goes here”; but the listeners were given the two main ingredients for a fabulous Sunday afternoon show: Marcia and her keyboard.

And—with apologies to the band—on this day nothing seemed to be missing. Nothing at all.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

by Connie Strong

Every once in a while, folks are given a chance to witness a small part of local history. The recent event at The Bugle Boy was one such opportunity. Elizabeth Wills, Bugle Boy’s first Founder’s Choice Talent Trust recipient, was warmly welcomed into the Fayette County community on Thursday, January 28, in a memorable presentation during the local Fayetteville Lions Club meeting.  La Grange Mayor Janet Moerbe and Fayette County Judge Ed Janecka were on hand to present the honors.

“I am very humbled by this whole experience.” —Elizabeth Wills

Elizabeth was presented the Key to the City by Mayor Moerbe, who considers it a “real privilege” to be able to take part in the event. “[Elizabeth] is one of my favorite artists, so this is a very special occasion for us!”

Elizabeth and The Bugle Boy have won the hearts of the community, as indicated by the Proclamation presented by Judge Ed Janecka, officially declaring January 28 to be Elizabeth Wills Day in Fayette County. “The Bugle Boy is truly a wonderful venue, and anytime we can bring new talent to the forefront is, indeed, an exciting thing.”

Elizabeth’s songs speak to the very essence of a life observed through the eyes of an artist. Her soulful rendition about everything from highways and diners to a touch of exposed soul, is what places this confessional songwriter‘s music a notch above the rest.

Writing her first song at the age of six, playing guitar by her early teens and recording the first of five albums by the age of 19, Elizabeth is no stranger to the music business. Greatly influenced by Nanci Griffith, Willie Nelson, U2 and—most of all—Joni Mitchell, she has managed to carve a niche into the list of today’s highest quality performers.

Founder Lane Gosnay says “Elizabeth Wills possesses the perfect intrinsic combination of talent & tenacity.  She is publicly poised to make this release a cornerstone in her career as an independent performing singer songwriter. Her draw comes from her pure accessibility and the emotional connection she makes with her listener by delivering her songs through a voice that is at minimal angelic and can be best described as viscerally intoxicating.”  The Bugle Boy acknowledged this exceptional talent by presenting Elizabeth with the Founder’s Choice Talent Trust award on October 10th, 2009.

Although Elizabeth has performed from New York to LA, and has shared the stage with legendary performers like Willie Nelson, Janis Ian and Ruthie Foster, she considers The Bugle Boy her “favorite place to play.”

“Lane has managed to create something here, built from love and respect—not just for the artist, but for the love of the music.” Crediting Lane’s “selfless giving of time and energy,” Elizabeth feels “Places survive by the people who live in the community. La Grange is a family, community-oriented town and Bugle Boy is an extension of that.”

As Mayor Janet Moerbe so aptly stated, “The Bugle Boy has become a part of our cultural community.”

According to Elizabeth, Lane is the true hero—someone who has created a nurturing environment,   “fostering a truth and a love, and creating a beautiful canvas for artists to present their music.”

Fortunately for all, that canvas can be illuminated by the likes of Elizabeth, whose voice and talent touch the lives of even Small Town USA, and express the true grit of Americana.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.