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(Above: Survivor Billy Joe Shaver performs “Old Chunk of Coal” at Farm Aid 2011 in Kansas City, Kan.)

By Joel Francis
The Daily Record

Search the name of country legend Billy Joe Shaver and the phrase “honky tonk hero” isn’t far behind. It’s the name he gave his autobiography and the name of the landmark album Waylon Jenning recorded of Shaver’s songs in the early 1970s. That association earned him a seat at the far end of the outlaw table, another handle that has stuck with Shaver over the years.

It is difficult to summarize a life that reaches back to the Great Depression, when Shaver was born, and a catalog of music that spans five decades, but a better word to describe him may be survivor. Check out this passage from Shaver’s self-penned, online biography:

“I’ve lost parts of three fingers, broke my back, suffered a heart attack and a quadruple bypass, had a steel plate put in my neck and 136 stitches in my head,” Shaver writes, “fought drugs and booze, spent the money I had, and buried my wife, son, and mother in the span of one year.”

billy_joe_shaverWhen Shaver lost his fingers, he taught himself to play guitar again without those digits. The night his son died, he was back onstage, playing the scheduled gig. Guitar and pen are Shaver’s constant companions through crisis.

“I write songs as my way out of life’s corners,” Shaver said in a recent phone interview. “I always just wrote for myself, but it worked out that a lot of people got in the same kind of shape I did and identified with what I was writing and held it close to their chest.”

To Shaver, “Try and Try Again” and “Live Forever” aren’t just classic show-stoppers and sing-alongs – they’re literally lifesavers. When Shaver started writing “I’m Just an Old Chunk of Coal” he was in a particularly bad spot.

“I was set up to be the next big deal in Nashville, but I was drinking, doing drugs, chasing women. I was doing everything you weren’t supposed to do,” Shaver said. “One night, I had a vision of Jesus Christ. He was sitting there, eyes like red coals.”

Too intimidated to make eye contact, Shaver sat there, stewing in humiliation.

“His head was in his hands and he was going from side to side with his head,” Shaver continued. “He did have to say it, but I knew he was asking How long are you going to keep doing this?”

Overcome with guilt, Shaver drove in the middle of the night to a special place away from the city he discovered with his son, planning to kill himself.

“I could have sworn I jumped off a cliff going to do myself in, but I wound up on my knees with my back to the cliff asking God to help me,” Shaver said. “He gave me this song when I was coming down the trail.”

By the time Shaver reached the bottom of the steep, tricky path he had half of the song. Getting the second half was no easier. Pulling his wife away from her friends and his son from his school, Shaver moved the family to Houston to distance himself from his dealers and temptations.

“I went cold turkey from smoking, doping, everything. I couldn’t keep any food down so I dropped to 150 pounds. One night, after I was finally able to eat again, I finally wrote the rest of the song. It took a year to finish.”

Whenever Shaver writes a new song, he holds it up to the standard of “Old Five and Dimers Like Me.” It’s one of the first songs he wrote, not only a key track on Jenning’s “Honky Tonk Heroes” album, but the title song on Shaver’s first album, both released in 1973.

“I wrote that song when I was eight years old,” Shaver said, “and I’m always trying to beat it.”

Next month Shaver plans to release his first new studio album since 2007. He’s been working on the project with Todd Snider, and is finalizing the tracklist, making sure everything is up to the “Five and Dime” standard.

“I don’t want to spill all the beans, but we’ve been doing a few of the new songs live,” Shaver said. “I’ve got a four-piece band that makes enough racket, but still lets people hear the words.”

Keep reading:

Review: Farm Aid

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(Above: Alejandro Escovedo soundchecks “Lucky Day” during a recent stop at Knuckleheads in Kansas City, Mo.)

By Joel Francis
The Kansas City Star 

In a career that spans four decades, Alejandro Escovedo has worked with Bruce Springsteen, Willie Nelson, Mickey Raphael, Ian Hunter, Whiskeytown, a string quartet and a host of other talents in his own ensembles. On Thursday night at 1911 Main he performed with an octet of Kansas City’s finest musicians. The result sounded as strong and invigorating as any of Escovedo’s high-profile collaborations.

There wasn’t much room to get acquainted in the opening number, “This Bed Is Getting Crowded.” Far from intimidated, the ad-hoc band threw plenty of muscle into the hard-driving number from Escovedo’s latest album. The smiles exchanged across the stage confirmed what the fans in the comfortably crowded venue suspected: this was going to be a show to remember.Throughout the nearly two-hour set, Escovedo chatted casually between songs, sharing stories about the songs, recalling past gigs and friends in Kansas City — particularly his numerous shows at Davey’s Uptown Rambler’s Club — and generally having a good time. In a lot of ways, the performance felt more like a night out with friends than a capital-P Performance.

High points included the beautiful back-to-back ballads “Five Hearts Breaking” and “Swallows of San Juan” — both of which featured nice steel guitar playing from Mike Stover — and the joyous “Always a Friend.” Later in the night the band smoothly slid from the smoldering “Everybody Loves Me” into the intimate “Gravity/Falling Down Again,” completely and effortlessly transforming the emotion of the room.

Friend and Midwestern Musical Co. owner Matt Kessler got numerous shout-outs for allowing the band to rehearse in his space, being a good friend and for turning 50 at midnight. His birthday present was being allowed to strap on a guitar and sit in with the band for the party-inducing “Castanets” and encore set.

The band, dubbed the Cody Wyoming Deal, was led by Wyoming on guitar and backing vocals, and also included guitarists Stover and Christopher Meck, Erik Voeks on bass and backing vocals, drummer Paul Andrews. Abigail Henderson, Lauren Krum and Katie Gilchrist also contributed backing vocals.

Setlist: This Bed Is Getting Crowded, Crooked Frame, Real As An Animal, Rosalyn, Five Heart Beating, Swallows of San Juan, Always a Friend, Wave Goodbye, Tender Heart, I Don’t Need You, Down in the Bowery, Sister Lost Soul, Pissed Off 2 a.m., Everybody Loves Me > Gravity/Falling Down Again, Castanets. Encore: Velvet Guitar, Shine a Light (Rolling Stones cover).

Keep reading:

Review: Alejandro Escovedo (2010)

Review: Wakarusa Music Festival (2005)

Review: Los Lobos (2011)

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(Above: Paul McCartney goes to Kansas City with a little help from his friends.)

By Joel Francis
The Daily Record

The Big Apple has “New York, New York,” “Empire State of Mind” and dozens more. The Windy City has “Sweet Home Chicago” and “Jesus Just Left Chicago.” Tom Waits gifted the Twin Cities with not one but two songs (“Christmas Card from a Hooker in Minneapolis” and “9th and Hennipen”). Visitors to the Bay City are encouraged to “wear some flowers in (their) hair” while the City of Angels gets “California Love,” “Beverly Hills” and “Hollywood Swingin’.” Heck, the even the Gateway City has “St. Louis Blues.”

But there’s only one universally known song about my hometown: “Kansas City.” (Only obsessive music fans and listeners of a certain age will recall “Everything Is Up To Date in Kansas City” and “Train to Kansas City.”) When listening to Jay-Z, Frank Sinatra, Tom Waits and Louis Armstrong boast about other American cities I try to find comfort reminding myself that the Beatles only sang about one city during their career and they chose “Kansas City.”

“Kansas City” is the only song visiting performers feel obliged to work into their setlist. Willie Nelson played it at Farm Aid earlier this month and Paul McCartney used it to open his 1993 show at Arrowhead Stadium (the recording from that night also appears the album “Paul Is Live”). I’ve heard the song so many times in concert I feel like someone should tell all touring acts that no, really, they don’t have to play “Kansas City” on our behalf.

It’s not like the song is invisible around town. Twelfth Street and Vine may be gone (typical of my hometown – undermining its greatest assets), but the song is still very present. Go to a Royals game and if you stick around until the end you are guaranteed to hear “Kansas City.” If the boys in blue win, fans are treated to the Beatles version. If they lose then Wilbert Harrison is piped through the speakers.

“Kansas City” was seven years old by the time Harrison got his hands on it. Originally recorded by bluesman Little Willie Littlefield in 1952, the song was written by a couple of 19-year-old Jews inspired by a Big Joe Turner record. Littlefield’s performance featured a somewhat racier chorus, ending with the line “with my Kansas City baby and some Kansas City wine.” When Federal Records received Littlefield’s recording they promptly rechristened it “K.C. Lovin’.”

Wilbert Harrison

Harrison had been performing “K.C. Lovin’” for years before he decided to record it in 1959 under its original title and with the sanitized chorus we all know today. Released on Fury Records, the platter went straight to No. 1 and spawned an army of imitators. Within weeks, interpretations of “Kansas City” by Hank Ballard, Rockin’ Ronald, Little Richard, Rocky Olson and a reissue of Littlefield’s original recording could be found in record shops. Paired with his own “Hey Hey Hey,” Little Richard’s cover hit No. 27 in the UK and inspired the Beatles’ recording.

The men – boys, really – who penned “Kansas City” wouldn’t visit the town that inspired their song until the mid-‘80s, nearly 35 years after handing the tune to Littlefield. Despite this handicap, Jerry Leiber and Mike Stoller nailed their vision of “a melody that sounded like it could have come out of a little band in Kansas City,” as Stoller later explained on a UK television show.

Hot on the heels of “Hound Dog,” “Kansas City” cemented Leiber and Stoller’s reputation as rock and roll’s hottest songwriters. Before the decade was out they would write scores of hit songs for the biggest singers of the day – Elvis Presley, the Drifters, Phil Spector, Ben E. King and, especially, the Coasters – and shape the young days of rock and roll more than anyone else. A sampling of their songs from the time reads like an early rock and roll greatest hits collection: “Hound Dog,” “Jailhouse Rock,” “Smokey Joe’s Café,” “Riot in Cell Block Nine,” “On Broadway,” “Love Potion No. 9,” “Young Blood,” “Searchin’,” “Yakety Yak,” “Stand By Me” and on and on.

Jerry Leiber (left) and Mike Stoller show the King of Rock and Roll his next hit.

The duo’s use of strings on the Drifters’ “There Goes My Baby” predates (and foreshadows) the Motown sound that would dominate pop music in the coming decade. In fact many of their arrangements and innovations were so prescient that Leiber and Stoller found themselves on the sidelines for much of the 1960s. The Beatles and other British Invasion bands learned to write emulating Leiber and Stoller and other Brill Building songwriters, making third-party songwriters largely redundant. The expansive use of the recording studio rendered Leiber and Stoller’s pioneering arrangements sounding (for a while) like quaint relics of the past.

Despite these advancements, rock and roll and pop music will never outgrow the shadow of Leiber and Stoller. Grammy awards, hall of fame inductions and songwriting royalties stand as a testament to Leiber and Stoller’s perpetual influence. Even “American Idol” paused to pay tribute with an all Leiber-and-Stoller episode last spring.

Jerry Leiber, 78, died Monday. His survivors include Mike Stoller, his songwriting partner of 60 years, his family and everyone who ever picked up the guitar or sat down at the piano and tried to write a song or become a star.

Keep reading:

Solomon Burke’s Sweet Soul Music

Talking King Records with Jon Hartley Fox

Remembering Gennett Records

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(Above: Neil Young preaches and sings his only No. 1 hit at Farm Aid 26 in Kansas City, Kan.)

By Joel Francis
The Daily Record 

Several years ago and less than a quarter mile from the gigantic Farm Aid stage at Livestrong Sporting Park in Kansas City, Kan., Willie Nelson welcomed Bob Dylan onto the stage. It wasn’t that big of a surprise – the pair was playing minor league ballparks together for the first time that summer – but it was incredible to watch the two titans collaborate.

Despite Farm Aid’s star power, Saturday’s nearly 11-hour musical marathon/fundraiser didn’t feature any similar big-name collaborations but that’s about the biggest disappointment that could be leveled at the day.

The first of 16 artists went onstage at 1 p.m., but it wasn’t until Hearts of Darkness, Kansas City’s Afro-beat ensemble, came out a half hour later that the stadium started feeling less like a dress rehearsal and more like a concert.

The first half of the day was heavy on folkies and country music legends. Ray Price, 85, looked frail, but his deep baritone voice is immortal. His delivery on songs like “For the Good Times” and “City Lights” still pack the same emotional punch as it did when they were recorded nearly 40 years ago. Billy Joe Shaver proved to be spry at 71 as he hooted and scooted his way through “Wacko from Waco,” “Georgia on a Fast Train” and “Honky-Tonk Heroes.” It would have been great to witness either Shaver or Price duet with Nelson – Price and Nelson have recorded a handful of albums together – but with mid-afternoon sets, the two were likely well-settled in their hotel rooms by the time Nelson ended the day several hours later.

Robert Francis and British actress Rebecca Pigeon (the only female performer on the bill) each delivered 30-minute sets of fine folk music, but the only performance that stood out was Francis’ cover of Bruce Springsteen’s “I’m on Fire.”

The final acts before the headliners could have filed under nepotism, but provided some of the daytime’s strongest moments. With a singing voice eerily similar to his dad’s, Lukas Nelson and the Promise of the Real married Texas blues with the Allman Brothers Band’s Southern boogie. Backed by former Wallflowers pianist Rami Jaffee, Jakob Dylan delivered several of his old band’s biggest hits, including “Sixth Avenue Heartache,” “Sleepwalker” and “One Headlight.” At times, the pairing of Dylan and Jaffee recalled Tom Petty’s more delicate work with Heartbreakers ivoryman Benmont Tench.

The unfortunate dud in this stretch came unexpectedly from Jamey Johnson, who despite getting an assist from Lukas Nelson and a solid six-piece band filled his time with too many mid-tempo numbers that failed to ignite both onstage and in the crowd.

Taking the stage shortly before 7 p.m., Mraz faced the biggest crowd of the day so far and drew more applause than any of the preceding acts.  Mraz got an assist delivering his bouncy acoustic folk/pop from longtime friend Toca Rivera on percussion and backing vocals. Their jazzy version of “Won’t You Be My Neighbor” (a.k.a. Mr. Roger’s theme song) drew a big reaction.

Several of his songs fit well with the day’s themes. Mraz said he wrote “Frank D. Fixer” for Farm Aid about the first farmer he knew, his grandpa. The second verse, ending with the line “what happened to the family farm?” was especially poignant.

Primed by Mraz, Dave Matthews fans were more than ready for their hero. Matthews – with help from guitarist Tim Reynolds – didn’t disappoint. His 45-minute set was packed with sing-alongs “Crush,” “Where Are You Going?” and the set-closing “Dancing Nancies.”

The crowd was ready for more singing when John Mellencamp emerged with his five-piece band, but Mellencamp played on his own terms. Detours through “Walk Tall,” “Death Letter Blues” and “If I Die Sudden” confused an assembly clamoring for the hits, but they were ultimately rewarded with a spectacular performance of “Check It Out” along with Farm Aid anthem “Rain on the Scarecrow,” “Small Town” and “Pink Houses.” A quiet reading of “Jackie Brown” performed only by Mellencamp and violinist Miriam Sturm was another highlight.

Neil Young needed only a harmonica and acoustic guitar to take the title of the day’s best set. He only played six songs, but the first three were a murder’s row of favorites: “Comes A Time,” “Sugar Mountain” and “Long May You Run.” Attention spans may have wandered during Young’s sermons against corporate farms and a pair of songs from last year’s excellent “Le Noise,” but he easily won the audience back with the opening chords of “Heart of Gold.” This was the fourth time I’ve seen Young but my first with him in coffeehouse mold. Experiencing  these songs in such an intimate way was powerful and emotional, leaving me with goosebumps and a lump in my throat.

After Young’s transcendental set anything would be anti-climatic, and Willie Nelson drew the short straw for ending the day. While neither Mellencamp nor Young emerged beyond their appointed times, Nelson worked the stage all day, opening the concert, accepting checks and thanking people. Understandably fatigued, Nelson’s set was light on his biggest songs – “Whiskey River,” “Still is Still Moving” and “Mama Don’t Let Your Babies Grow Up To Be Cowboys” were the only chestnuts delivered.

He turned the mic over to his son for a blistering version of “Texas Flood” and the family tribute “Fathers and Mothers.” Blessed with a second wind, Willie Nelson serenaded the host city with “Kansas City.” Several backing musicians from the previous bands came back out to help with a trio of gospel numbers that wove through “Will the Circle Be Unbroken,” “I’ll Fly Away” and “I Saw the Light” before ending bizarrely on “Roll Me Up,” a brand new Nelson song with the refrain “roll me up and smoke me when I die.” The subject was incongruous, but the music stayed in the same jubilant spirit.

Nelson’s herb of choice may not be a crop farmers can plant, but it was fitting end to a day focused on agriculture.

Keep reading:

Review: John Mellencamp

Review: Jamey Johnson

“Willie Nelson: An Epic Life” by Joe Nick Patoski

 

Review: “Neil Young – Long May You Run: The Illustrated History”

 

 

 

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(Above:  The song is called “Playing the Part,” but Jamey Johnson is definitely his own man.)

By Joel Francis
The Kansas City Star 

Jamey Johnson stood onstage at Crossroads in a black t-shirt and blue jeans. The wind that pushed temperatures to the mid-century mark on Saturday night frequently floated the long follicles of his hair and beard. Subtract the acoustic guitar and add some tattoos and Johnson could have easily been mistaken for one of the performers at Rockfest, occurring simultaneously just a few blocks away.

Call him the last Highwayman or forgotten outlaw, Johnson’s music is wedged in a narrow crevasse in today’s country landscape, too traditional for the alt. country/no alternative scene and rarely sweet and polished enough for the new/young country machine. (Johnson has tasted mainstream success in co-writing Trace Adkin’s “Honky Tonk Badonkadonk,” George Straight’s No. 1 hit “Give It Away” and his own “In Color.” He performed the latter two to great response, letting the audience take over on the chorus.)

Johnson basks in the music of his idols, both stylistically and aesthetically. Littered with signatures, his blonde acoustic guitar is clearly a tribute-in-progress to Willie Nelson’s famous six-string Trigger. Johnson’s 24-song was an immaculate honky tonk playlist, seamlessly crisscrossing between original material, Nelson, Merle Haggard, Waylon Jennings, Don Wilson, Hank Williams – both father and son – George Jones and Ray Price.

The one-third-capacity crowd oscillated in their responses throughout the 100-minute set. They were either completely invested, whooping and hollering and singing along with every word as on “Get Straight,” “In Color” and several of the better-known covers, or completely disinterested and conversing over the performance. Perhaps the consistently low-key, understated arrangements wore thin, but given their overwhelming responses at times it’s hard to believe this crowd didn’t know exactly what they were getting beforehand.

High points included a steamrolling “That Lonesome Song” that gained energy from the interplay between the pedal steel and electric guitarists. During a spirited reading of “Tulsa Time,” Johnson gave each of his six band members time in the spotlight as they passed solos across the stage. “By the Seat of Your Pants” opened with an a cappella verse capped with a rare Johnson solo on his acoustic guitar.

After slowing the set to a crawl with the romantic “Amanda” and remorseful “Walkin’,” the night ended with the crowd-pleasing “In Color” and jubilant “I Saw the Light,” the most energetic number of the night. A few more moments like this would have kept the crowd in hand more consistently.

When the houselights came up few could believe it was over. There was no encore and Johnson had barely acknowledged the crowd beyond working our town into his lyrics a couple of times. It was clear as he left, however, that Johnson was satisfied he’d made his mark.

Setlist: High Cost of Living; Lonely at the Top; Cover Your Eyes; Night Life (Willie Nelson cover); Country State of Mind (Hank Williams Jr. cover); Can’t Cash My Checks; The Door Is Open (Waylon Jennings cover); Playin’ the Part; Mary Go Round; Tulsa Time (Don Williams cover); I Remember You; That’s the Way Love Goes (Merle Haggard cover); That Lonesome Song; For the Good Times (Kris Kristofferson/Ray Price cover); unknown slow blues cover; Still Doing Time (George Jones cover); Misery and Gin (Merle Haggard cover); By the Seat of Your Pants; Give it Away; Set ‘Em Up, Joe; Amanda (Don Williams cover); Walkin’ (Willie Nelson cover); In Color; I Saw the Light (Hank Williams cover).

Keep reading

Meet the New Boss: Pat Green

“Willie Nelson: An Epic Life” by Joe Nick Patoski

Rock Hall commemorates 35 years of Austin City Limits

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(Above: Arlo Guthrie pays tribute to his father as their friend Pete Seeger aids in a performance of “Deportees (Plane Wreck at Los Gatos).”)

By Joel Francis
The Daily Record

Illegal immigration is a hot-button topic in the current political landscape, but it is hardly a new issue. In January, 1948, a plane crashed carrying 28 migrant farmers being deported by the U.S. government. All 32 passengers were killed in this tragedy, but when newspapers and radio stations reported the incident they only mentioned the names of the pilot, co-pilot, stewardess and guard. The workers were described only as “deportees.”

This incensed Woody Guthrie, who felt the workers were just as human as the other victims. Thus inspired, he wrote a poem expressing the injustice of the situation. Since the workers’ names were not known – 60 years later, 12 of the victims are still unknown – he made up names.

Ten years later, Guthrie had been hospitalized at Greystone Park Psychiatric Hospital for what would later be diagnosed as Huntington’s disease. Although Guthrie was very much out of the public eye, learning his music became a rite of passage for the musicians in the burgeoning folk revival. Schoolteacher Martin Hoffman was inspired by Guthrie’s “Deportee” poem and set the words to music. The song was quickly passed around the folk community and Guthrie’s friend Pete Seeger added it to his repertoire.

Guthrie’s lyrics not only pay respect to the departed workers, but question the system that seduces workers to leave their families and risk their lives to find unsecured work under questionable conditions. In addition to the 28 workers who died in the plane crash, Guthrie jumps to first person and pays tribute to the other workers who either died on the job in America or perished trying to reach a better life.

“We died in your hills, we died in your deserts,
We died in your valleys and died on your plains.
We died ‘neath your trees and we died in your bushes,
Both sides of the river, we died just the same. “

After restoring humanity to the anonymous deportees and chronicling the plights of their families and countrymen, Guthrie delivers some damning questions in the final verse.

Is this the best way we can grow our big orchards?
Is this the best way we can grow our good fruit?
To fall like dry leaves to rot on my topsoil
And be called by no name except “deportees”?

In the 2004 book “Reefer Madness,” author Eric Schlosser raises many of the same questions with his essay “In the Strawberry Fields.” Drawing on firsthand accounts, Schlosser describes the conditions of the illegal farmers in the California strawberry fields. The workers’ living conditions and treatment are amount to slavery in all but name, he argues. Schlosser’s questions, like Guthrie’s, remain unanswered.

“Deportee (Plane Wreck at Los Gatos)” has been covered so often that Guthrie biographer Joe Klein declared it the “last great song” Guthrie wrote. Artists who have recorded their vision of the song, either in tribute, in protest or both, include Pete Seeger, Guthrie’s son Arlo Guthrie, the Byrds, Bruce Springsteen, the Kingston Trio, Joan Baez, Bob Dylan, Dolly Parton, the country super group the Highwaymen, Peter, Paul and Mary, Concrete Blonde, Nanci Griffith, the Los Lobos side group Los Super Seven, Old Crow Medicine Show and Billy Bragg.

Keep reading:

Bob Dylan – “Workingman’s Blues No. 2”

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

KC Recalls: Johnny Cash at Leavenworth prison

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(Above: Roy Orbison performs “(Oh) Pretty Woman” on “Austin City Limits” in 1983.)

By Joel Francis
The Daily Record

The musical landscape of television was of a different world when “Austin City Limits” debuted on Public Television 35 years ago. Brief performances on late night talk shows or segments on “Don Kirshner’s Rock Concert” were the only options for fans hoping to catch a glimpse of their favorite act.

Baloons and the capital building, trademarks of the Flaming Lips and Austin City Limits.

The Rock and Roll Hall of Fame celebrates the show that put long-form performances on the air with the new exhibit “Great Music. No Limits. Celebrating 35 Years of Austin City Limits.”

“There were certainly music shows on television before, like Ed Sullivan, ‘Shindig’ or ‘Hullabaloo,’” said Jim Henke, vice president of exhibitions and curatorial affairs for the Rock Hall. “But ‘Austin City Limits’ was the first show where the performers didn’t lip synch and were provided with a platform that extended beyond just a song or two.”

The exhibit includes photographs, setlists, documents and video footage of the show’s greatest moments.

“A big part of the exhibit are the photos from the show. We have 30 or more pictures of artists ranging from B.B. King, Dolly Parton and Elvis Costello to Pearl Jam, R.E.M. and the Dave Matthews Band,” Henke said. “We also have a lot of different documents, including lots of early stuff like the proposal for underwriting the pilot episode and several handwritten memos.”

The memos show the evolution of the show’s title from “River City Country” to “Austin Space” before finally settling on the current title.

The Hag on ACL.

“We also have three setlists from Wilco’s performance where you can see which songs were added and changed before they went on,” Henke said.

“MTV Unplugged,” “Sessions at West 54th Street” and “Soundstage” are but a few of the shows Austin City Limits has inspired during its run. In 2002, the show spun off into the three-day Austin City Limits Music Festival.

“The show started out with Willie Nelson on the first episode then expanded,” Henke said. “If you look at who’s appeared since then it’s been a nice mix of artists.”

Henke pointed out recent episodes with Ben Harper sitting in with Pearl Jam and Mos Def with K’Naan as examples of the show’s continued innovation.

“The producers don’t just book established artists. They’re looking at younger artists as well,” Henke said. “Our video reel has everyone from Ralph Stanley and Bill Monroe to Damian Marley. It’s not just focused on one era or genre. I think this is not only what made the show so innovative, but has given it such longevity.”

For museum hours and ticket and general information, visit the Rock and Roll Hall of Fame Website.

Keep Reading:

Rock Hall Celebrates 50 Years of Motown

George Kalinsky: Painting with Light (Rock Hall photo exhibit)

Rock Hall celebrates the 40th anniversary of Woodstock

(Below: The Polyphonic Spree party on Austin City Limits in 2004.)

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