By James T. Bratcher
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Extra info for Analytical Index to Publications of Texas Folklore Society, Vols 1-36
They worked for years learning to play and felt like they had earned it. At that point, Natalie played minimal guitar but now she plays really good rhythms because she’s had to keep up with the sisters. But Emily and Martie can stand up and compete with anybody on fiddle and banjo. They are amazing! Now the Dixie Chicks have had quite a bit of success. They continue to shake up the world of country music, doing things different than most acts are doing it these days. chris: Do you have any other thoughts or inspirations about why there are so many unique musicians from Lubbock?
I would think, “I better get off here,” and then, “Nah, I ain’t getting off here. ” I would make these circles for hours driving terry allen and stubb in front of stubb’s, 1980. 20 around that stupid Loop in Lubbock. Because there was no reason to get off of it, you know? It was like I was going to turn to butter, going ’round and ’round like that. But when I went back and made that record, everything changed, my attitude and all of it; well, nearly all. I really liked Lubbock, really liked its goofiness.
She had roamed all over West Texas. She was a generation removed from us; it was the fucking Depression, but everybody our age in West Texas had it nailed into us how rough the Dust Bowl was, how hard those times were. The diaries were a dense, true history. She documented every song on the jukebox, every movie that played, every band in every juke joint, a total descriptive history. It was the time of Bob Wills and all those touring bands, which are an indelible influence on anybody who likes music and grew up in that part of the country.
Analytical Index to Publications of Texas Folklore Society, Vols 1-36 by James T. Bratcher