Journal of Texas Music History
Permanent URI for this collectionhttps://hdl.handle.net/10877/66
The Journal of Texas Music History is the first academic journal to focus on all aspects of southwestern music history, first published in 2001 and now with subscribers from around the world. The journal is published by the Texas State University Center for Texas Music History
Official Journal Site: Journal of Texas Music History
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Browsing Journal of Texas Music History by Subject "Austin music scene"
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Item Charlie Sexton: Too Many Ways to Fall(The Center for Texas Music History, 2019-01) Crouch, JasonCharlie Sexton’s story reads like the quintessential Texas music fable: raw talent and sheer determination tempered by frustration and missed opportunities, much of it lived in the public eye. Sexton’s career began as child prodigy guitarist in the Austin music scene, fostered by some of the most celebrated artists there. He became an international heartthrob in his teens, struggled with major label woes, and rubbed elbows and performed with jet-setting rock stars. He searched for his lyrical voice and found success in the recording studio as an acclaimed producer. The journey has been costly in many regards, but at this point in his life, Charlie Sexton is the essence of the Austin music scene distilled in one career and man. More than thirty-five years into his career, Sexton remains a vital guitarist, a commanding vocalist, and, now, an in-demand producer.Item Home with the Armadillo: Public Memory and Performance in the 1970s Austin Music Scene(The Center for Texas Music History, 2010-01) Mellard, Jason Dean"I wanna go home with the Armadillo Good country music from Amarillo and Abilene The friendliest people and the prettiest women You've ever seen." These lyrics from Gary P. Nunn’s “London Homesick Blues” adorn the wall above the exit from the Austin Bergstrom International Airport baggage claim. For years, they also played as the theme to the award-winning PBS series Austin City Limits. In short, they have served in more than one instance as an advertisement for the city’s sense of self, the face that Austin, Texas, presents to visitors and national audiences. The quoted words refer, if obliquely, to a moment in the 1970s when the city first began fashioning itself as a key American site of musical production, one invested with a combination of talent and tradition and tolerance that would make of it the self-proclaimed “Live Music Capital of the World.”Item !Viva Terlingua!: Jerry Jeff Walker, Live Recordings, and the Authenticity of Progressive Country Music(The Center for Texas Music History, 2008-01) Stimeling, TravisThe progressive country music scene that flourished in Austin during the 1970s was rooted in a musical community that shared a deep appreciation of live musical performance. Although such major music industry centers as New York, Los Angeles, and Nashville focused largely on the manufacturer and distribution of studio recordings, the Austin-based progressive country movement relied extensively on a vast array of live music venues, including such honky-tonks as the Split Rail Inn and the Broken Spoke, smaller folk clubs such as Castle Creek and the Saxon Pub, and large concert halls, including the Armadillo World Headquarters and the Austin Opry House.Item When We Were Young and There Were Rats on the Wall: Punk in Austin, the Raul's Years(The Center for Texas Music History, 2013-01) Hooker, MikeThe formative years of the Austin punk and new wave scene were creative and impactful times. From the beginning of 1978 through the spring of 1981, a small club called Raul's served as the cornerstone of this innovative movement. Raul's was situated along a section of Guadalupe Street known as "the Drag" on the western edge of the University of Texas. Its proximity to campus and the club's willingness to give any new band a stage on which to perform helped solidify the foundation of a unified, alternative network of fans and musicians.