Ah, Robert Earl Keen (with or w/o the Jr.). Saw him a LOT at the Cactus during my UT days '87- '91. Especially the night when he and Hal Michael Ketchum (two dudes w/ three names!) flipped a coin to see who would open/close. First time, Hal 'lost' - so I got to hear that wonderful voice and songs. I HAD to see REK, so who knows what would have happened if REK had opened. (aside - Hal had a rough go of health problems - but his is a story worth recounting, hint, hint)
Had a chance as part of a group to hang backstage w/ REK at a California festival mid-90s after Gringo Honeymoon and trying out some of the Picnic era songs. Someone played a song they had written - e.g. get the ear of someone (e.g. REK) who had 'made it'. It was good, not great. REK complimented the dude on writing a song and putting it out there. And then riffed on songwriting and music as a profession and that not everyone is cut out to be their own boss and work from home versus going into an office and working FOR someone (prescient given these lockdown era times). And how he juggled the 'kick back on the ranch in Bandera' with the need to create songs, put out another album, and go on another tour.
He also noted the transition from personal (No Kinda Dancer, Front Porch Song), to COULD be personal extended to tall tales (Five Pound Bass, Swervin' in my Lane, Merry Christmas from the Family). But the hard part is finding truth in non-personal experiences (e.g. TRGOF)
BTW - I recall someone giving him heck in jest and asking REK "what is a 'fanger' and why do you keep wanting to give one to people?' (IYKYK - e.g. swervin' in my lane)
I recall he mentioned that cranking out tunes, recording, and touring is WORK. But you can control that. What you can NOT control is 'making a hit' (at least at the singer/songwriter/alt country folk level). And he cheerfully admitted that he hit a three way trifecta with ONE song (yes, TRGOF) that generated ROYALTIES - e.g. his version(s), Joe Ely, and yup, the Highwaymen. THAT is what turned the trick from 'write/record/tour' and do what he wanted when he wanted. And he has.
Love this, Michael. Quite a tale you have connected to this record.
Short and sweet --- so nice to see that young REK through your eyes.
Ah, Robert Earl Keen (with or w/o the Jr.). Saw him a LOT at the Cactus during my UT days '87- '91. Especially the night when he and Hal Michael Ketchum (two dudes w/ three names!) flipped a coin to see who would open/close. First time, Hal 'lost' - so I got to hear that wonderful voice and songs. I HAD to see REK, so who knows what would have happened if REK had opened. (aside - Hal had a rough go of health problems - but his is a story worth recounting, hint, hint)
Had a chance as part of a group to hang backstage w/ REK at a California festival mid-90s after Gringo Honeymoon and trying out some of the Picnic era songs. Someone played a song they had written - e.g. get the ear of someone (e.g. REK) who had 'made it'. It was good, not great. REK complimented the dude on writing a song and putting it out there. And then riffed on songwriting and music as a profession and that not everyone is cut out to be their own boss and work from home versus going into an office and working FOR someone (prescient given these lockdown era times). And how he juggled the 'kick back on the ranch in Bandera' with the need to create songs, put out another album, and go on another tour.
He also noted the transition from personal (No Kinda Dancer, Front Porch Song), to COULD be personal extended to tall tales (Five Pound Bass, Swervin' in my Lane, Merry Christmas from the Family). But the hard part is finding truth in non-personal experiences (e.g. TRGOF)
BTW - I recall someone giving him heck in jest and asking REK "what is a 'fanger' and why do you keep wanting to give one to people?' (IYKYK - e.g. swervin' in my lane)
I recall he mentioned that cranking out tunes, recording, and touring is WORK. But you can control that. What you can NOT control is 'making a hit' (at least at the singer/songwriter/alt country folk level). And he cheerfully admitted that he hit a three way trifecta with ONE song (yes, TRGOF) that generated ROYALTIES - e.g. his version(s), Joe Ely, and yup, the Highwaymen. THAT is what turned the trick from 'write/record/tour' and do what he wanted when he wanted. And he has.