!Viva Terlingua!: Jerry Jeff Walker, Live Recordings, And .

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Stimeling: !Viva Terlingua!¡Viva Terlingua!:Jerry Jeff Walker, Live Recordings,and the Authenticity of Progressive Country Music¡Viva Terlingua!:Jerry Jeff Walker, Live Recordings,and the Authenticity of Progressive Country MusicTravis D. StimelingThe progressive country musicscene that flourished in Austinduring the 1970s was rooted in amusical community that shared adeep appreciation of live musicalperformance. Although such majormusic industry centers as New York,Los Angeles, and Nashville focusedlargely on the manufacture anddistribution of studio recordings, theAustin-based progressive countrymovement relied extensively ona vast array of live music venues,including such honky-tonks asthe Split Rail Inn and the BrokenSpoke, smaller folk clubssuch as Castle Creek andthe Saxon Pub, and largeconcert halls, includingthe Armadillo WorldHeadquarters and theAustin Opry House.121Beginning around 1972, several prominentTexas musicians, who had enjoyed moderate successin Los Angeles and San Francisco during the 1960s,began to flock to Austin in order to escape the morestructured regimen of the mainstream recordingindustry and to rediscover their creative voices assongwriters and performers. As Dallas-born singersongwriter B.W. Stevenson explained in a 1974interview in The Gar, the expectations of the musicindustry to create a saleable product on a consistentbasis stifled the creativity of musicians and compelledmany to relocate to Austin between 1972 and 1974:If I’m in L.A.I’m always workin’, even whenI’m off. Before, it was having time to record. Thefirst three albums were done in two weeks—twoweek periods—and that’s just not enough time. Ilike to have time off There’s a lot of times I can’tseem to get through to somebody, you know, that Iwant some time off I have to have time to write or I’m just not happy. I gotta have time to myself.2Inside covertheBerkeley¡Viva ress,2008 MCA Records.1

¡Viva Terlingua!:Jerry Jeff Walker, Live Recordings,Journal of Texas Music History, Vol. 8 [2008], Iss. 1, Art. 4and the Authenticity of Progressive Country MusicSeveral of Austin’s progressive country musicians continuedto travel to Nashville, Los Angeles, Chicago, and New Yorkthroughout the 1970s to make studio recordings. However,they often returned to Austin where the local club scene offeredthem a greater sense of creative freedom and a stronger supportsystem made up of friends, collaborators, and audiences whobetter understood their sense of regional culture.3 As journalistPete Axthelm observed in a 1976 Newsweek piece, “Austin wasa refreshing place to be [I]t was bracing to wander throughhonky-tonks like the Soap Creek Saloon and Armadillo WorldHeadquarters, where down-to-earth musicians swilled beer inlongneck bottles and shared their songs and dreams.”4The spontaneity of live performances and the interaction thattook place between musicians and their audiences in Austinvenues, therefore, were essential to the musical aesthetics ofprogressive country music. Moreover, for many artists and fansalike, the shared belief that progressive country music remainedindependent from the mediating forces of the national musicindustry helped convince them that this “homegrown” musical22and the Authenticity of Progressive Country MusicPerhaps the most important element of live performance thatis missing from studio recordings is the spontaneity enjoyedby the artists. During a typical recording session, musiciansperform songs or parts of songs several times until they have the“best” version possible. This often involves hours of arranging,performing, mixing, and mastering in order to correct thetypes of tone, pitch, or instrumental control irregularitiesthat are common in live performances. Furthermore, studioalbums usually require artists to minimize the kind of musicalimprovisations that are an important element of many liveperformances. Finally, and perhaps most problematic in regardto the “improvisational spirit” of the progressive countrymovement, studio recordings transform the spontaneity of a liveperformance into a fixed musical object, which can be repeatedover and over ad infinitum.7Live albums, on the other hand, create a simulation of theconcert event that allows consumers to feel as if they are partof an unmediated musical experience.8 These recordings oftenpreserve the artists’ stage banter between songs, reveal musicalThe spontaneity of live performances and the interaction that took placebetween musicians and their audiences in Austin venues, therefore, wereessential to the musical aesthetics of progressive country music.genre was more artistically “pure” and more capable of servingas a legitimate means of communicating authentic local culture.Comparing the Austin scene to that of New York City, JeffNightbyrd, writing for the national music magazine Crawdaddy,argued in March 1973 that Austin musicians and audiencesvalued music as a form of expression, not as a commodity. “InNew York you spend two-fifty to get into a joint where it doesn’ttake very long to figure out they’re using music to sell alcohol.In Austin you pay a buck to get in and get off.”5Despite such praise for the “authenticity” of the CapitalCity’s music scene, some critics also pointed out the difficultyinherent in trying to capture on record the dynamic interplaybetween performers and fans at a live venue. For instance, EdWard remarked in an August 1975 Rolling Stone review of theLost Gonzo Band’s eponymous MCA Records album that“Most of the bands [in Austin] play drinkin’-and-dancin’ musicof the sort that doesn’t easily transfer its excitement to vinyl.”6Of course, the difficulty of recording live performances withoutcompromising either sound quality or the experience of havingactually been present was nothing new. Even the most successfulefforts at capturing on record the “essence” of being at a liveshow fall short, mainly because they simply cannot duplicatethe full sensory experience of being in the 1/4¡Viva Terlingua!:Jerry Jeff Walker, Live Recordings,mistakes that might be removed in a studio recording, andsituate the sounds of the audience in the mix alongside thefeatured artists. In addition to these sonic markers of “liveness,” the packaging of live albums often encourages vicariousparticipation in the concert experience by including imagesfrom the performance, such as candid onstage photographs ofthe musicians and the audience, along with copies of concertadvertisements, tickets, or other memorabilia.Although live albums may allow listeners to perceive a directconnection to a spontaneous concert experience, this perceptionis not entirely accurate. Live records, like all others, are highlymediated cultural products shaped by the marketing strategiesof record companies, the post-production manipulation ofproducers and engineers, and the musical choices of the artiststhemselves. Because they represent the complex and dynamicrelationship among musicians, their audiences, and the musicindustry, live albums reflect the artistic, cultural, and economicpriorities of everyone associated with that particular recordingproject. Nevertheless, live records generally provide the mostaccurate replication possible of the actual concert experience.For members of Austin’s progressive country music movementof the 1970s, live recordings provided an opportunity to reinforcelocal notions of musical authenticity—the value of musicalcollaboration, the importanceof direct communicationbetween musicians and theiraudiences, and, above all, the joyof musical experience—whilealso commodifying the sceneand distributing it for profit toa wider audience. Live albumsoffered the most passionatefans and the least committedaudiences alike an opportunityto partake in the communalexchange that characterizedAustin’s live club scene, whilealso allowing the musiciansthemselves to showcase theirown creativity, spontaneity, andprowess as performers.Despite concerns over losingthe “essence” of a live performJerry Jeff Walker, 1973. Courtesy of Craig Hillis.ance through the studio reFor Walker, the recording studio was a sterile space, andcording process, records did provide artists the potential forhe certainly was not the only musician who felt that way. Asadditional income and greater regional and national exposure. AsWalker noted, the process of recording an album can be ana result, many Austin musicians did, in fact, attempt to capturealienating experience. It eliminates the audience, physicallythe excitement of their live performances on record for such localseparates musicians into individual sound booths, and reducesand national labels as MCA, Capitol, ABC Probe, and Atlantic.the spontaneity of the performance in order to make theIn order to accommodate the limitations of the recordingrecording process more efficient and less expensive. In additionmedium and to convey the excitement of the city’s music scene,to these concerns, recording in a studio can be stressful, becauseseveral progressive country musicians recorded “live” albums init means that musicians face more pressure to create a polished,Austin venues. Still others who hailed from outside of Texas,professional product. Rather than providing the thrill andsuch as Commander Cody and His Lost Planet Airmen, Frankimmediate gratification of performing before a live audience,Zappa and Captain Beefheart, and Phil Woods, came to the citystudio recording places a tremendous amount of demand on theto record concert performances for national distribution.artist to produce a record whose primary purpose is to ensureOne of the first Austin-based musicians to achieve substantialcommercial viability, not artistic creativity. Walker tried to copecritical and commercial success using this model was Jerry Jeffwith these challenges the same way in which the Beatles, BrianWalker, a singer-songwriter from Oneonta, New York, whoWilson, Jimi Hendrix, and others had before. These artistsgained national popularity in late 1968 with the AM radio single9viewed the recording studio not simply as a place to create“Mr. Bojangles.” Walker had always balked at the process ofthe most polished and marketable music possible, but also asmaking records in professional studios, stating in a 1974 Rollinga space within which they could experiment with new soundsStone interview that studios cause musicians to:and document their creative process.In Jerry Jeff Walker’s case, he came to Austin in large partlose all sense of time and space. Because no matterto escape the pressures of the “big city” recording studios. Hewhat time you go in there and close the door, it’shad been in the Capital City during the 1960s while touringtwelve o’clock midnight. It always was. You don’tthroughout Texas, but he would not settle there permanentlyknow if you’re making a rally or dying. It drives meuntil the early 1970s. In 1971, Walker rented a cabin in Redfucking nuts. I don’t like to play music in a deadRiver, New Mexico, a resort town in the Sangre de Cristospace. I’m always saying, “Okay, can I be excusedMountains that had become home to many young expatriatenow? Can I go out in the street and be with realTexas songwriters. Walker came to Red River intending to writepeople?” You have to play music over and over too10new material for his debut album with MCA Records. Shortlymuch. It loses all spontaneity.232

¡Viva Terlingua!:¡Viva Terlingua!:Stimeling: !Viva Terlingua!Jerry Jeff Walker, Live Recordings,Jerry Jeff Walker, Live Recordings,and the Authenticity of Progressive Country Musicafter arriving, he met bassist Bob Livingston, who had just leftMichael (Martin) Murphey’s band to join Texas Fever, a RedRiver-based group featuring Oklahoma-born songwriter RayWylie Hubbard. The three musicians quickly became friends,and Walker shared several of his new compositions with them,including “Hill Country Rain,” “Charlie Dunn,” and “OldBeat-Up Guitar.” By 1972, Livingston had rejoined Murpheyin Austin. Soon afterward, Walker also moved to Austin andbegan searching for a band to accompany him on his upcomingMCA sessions. As Livingston recalled, “Jerry Jeff shows up inAustin so I called him up, and I said, ‘Jerry Jeff, you need tocome and hang out with us. We’re rehearsing with Murphey.’And he goes, ‘Really?’ So he shows up, and when he sticks hishead in the door, it’s like an instant band.”11Walker recruited Murphey’s band, which included pianistGary P. Nunn, pedal steel guitarist Herb Steiner, fiddler MaryEgan, and guitarist Craig Hillis. Walker then contacted MichaelBrovsky, his manager and producer in New York, to arrange a24and the Authenticity of Progressive Country Musicto a playback [that] we never listened to anythingback. We just would go in there, and [Jerry Jeff ]’dstart making sangria in a big tub around 7 o’clock,and everybody’d have several glasses of sangria, andthen we’d start recording at about 8:00 or 8:30. Wewould go until midnight or 2:00 in the morningand then listen to everything we’d done. It was realragtag. Really funky.13Mickey Raphael, one of two harmonica players who took partin these sessions, remembered that the musicians all were:set up pretty close together. I mean, pretty tight.It wasn’t like everybody was spread out in differentrooms with lots of separation. Everybody was setup where they could see each other, and there was,y’know, recording gear, a tape machine somewherein the room, and we would just It would be likeFor members of Austin’s progressive country music movement of the1970s, live recordings provided an opportunity to reinforce local notions ofmusical authenticity—the value of musical collaboration, the importanceof direct communication between musicians and their audiences, and,above all, the joy of musical experiencesession at Odyssey Sound, the only recording studio in Austincapable of producing a record for a major label. Although itproved to be adequate, Odyssey Sound did not match the levelof quality found in most commercial studios in Nashville, LosAngeles, or New York. As Walker later recounted in the album’sliner notes, “We found a tape machine in the old Rapp CleanerBuilding (Steve and Jay’s Odyssey Sound), and anyone whowanted to contribute came by and picked or just listened.”12Livingston recalls that the studio was primitive, but theunorthodox setting fostered a more collaborative atmosphereand minimized the pressure on the performers to produce aslick, polished recording:We go into this funky studio situation. They didn’teven have a board It was on 6th Street in thisold converted dry-cleaning house that was noteven converted. All it was was burlap all over thewall, big ceilings, and a sixteen-track tape recordersitting in the middle of the room. No board. Abunch of microphones. Everybody just pluggedinto this tape recorder It was so involved to listenProduced by The Berkeley Electronic Press, 2008a picking session. That’s exactly what transpired They could’ve had an audience in there. It wouldhave been great. It was just like sitting up on stageand playing.14Unlike most professional studios, the “funky” setting ofthe Rapp Cleaner Building ensured that Walker’s recordingproject would be an organic outgrowth of the Austin musicscene and a genuine reflection of the local music community’screative output. Whereas formal recording studios are repletewith technology designed to mediate between musicians andtheir audiences, Odyssey Sound did not even have a mixingboard. Therefore, by plugging directly into a tape recorderand performing “live,” Walker and his collaborators were ableto produce a record that could literally and metaphoricallyminimize the distance between themselves and their audiences.15This album, which would be titled Jerry Jeff Walker, would notremain entirely free of the influence of a major studio, however.Walker finished making the record, which included Guy Clark’s“L.A. Freeway,” with engineer Tom Cacetta at Soundtek Studiosin New York. Nevertheless, Walker later would reminisce aboutthe spontaneous and organic nature of the recording processto describe the sessions. He mentioned that he was inspiredto enter the studio after spending a weekend at a farm nearHudson, New York, casually jamming with folk musiciansDavid Bromberg and Larry Packer. Adding to the impromptunature of the situation, Michael Murphey’s band, with whomWalker had recorded at Odyssey Sound, happened to be in NewYork City playing at the Bitter End in Greenwich Village. TheGood Lovin’ Grace,” Walker asks the band for “one of thoseintros,” to which a musician laughingly replies “one of thoseintros?” The slow, blues-inflected introduction that followssounds like a false start, as the pianist, guitarist, and bassiststruggle to find the downbeats. Likewise, the album’s concludingsong, “The Continuing Saga of the Classic Bummer, or Is ThisMy Free One-Way Bus Ticket to Cleveland?” begins with afalse start that is met with exuberant laughter, and the ensembleJust as Walker’s narrative involving the Jerry Jeff Walker album place itwithin the context of a jam session, the songs themselves also provideample evidence of the loose atmosphere of the recording sessions.fact that the very same musicians who had been involved in thestruggles to find a consistent tempo throughout the record.17original “spontaneous” recording sessions in Austin also wereIn a typical studio session, such “mistakes” as those presentable to participate in the New York tapings helped alleviate muchon the Jerry Jeff Walker album would be corrected by having theof Walker’s discomfort over being in the studio, and this helpedmusicians play as many additional takes as necessary to rendercause “new songs [to] start flowing.”16 For Walker, the abilitya polished final product. However, Walker indicates his distasteto record with familiar musicians in a less-structured settingfor such multiple takes in the song’s tag by saying “Thank Godmade the entire process more artistically rewarding. Becauseyou don’t have to hear the take after this.” The rather sloppyWalker intended for these sessions to document the process ofperformance, the exuberant and sometimes overmodulatedcreativity and provide the engineer with enough material forvocals, and even the muddy mix all contribute to Walker’s visionan album, he believed he wasable to reclaim the studio as aworkspace, thereby displacingultimate responsibility for thefinal product from himself tothe creative minds employed bythe studio.Just as Walker’s narrativeinvolving the Jerry Jeff Walkeralbum place it within thecontext of a jam session, thesongs themselves also provideample evidence of the looseatmosphere of the recordingsessions. The final mix,supervised by Steve Katz at NewYork’s Electric Lady Studios,includes spontaneous banter,hand-clapping, laughter, andshouts of approval by musiciansand others present. All of thishelps lend the recording moreof a “live” feel. For example, atthe beginning of the song “HerCraig Hillis, 1974. Courtesy of Craig Hillis.253

¡Viva Terlingua!:Jerry Jeff Walker, Live Recordings,Journal of Texas Music History, Vol. 8 [2008], Iss. 1, Art. 4and the Authenticity of Progressive Country Music26space and redefines it as asocial space. In the case ofthe Luckenbach sessions, thissocial space involved not onlythe musicians, but also twoof the town’s most uniqueand colorful residents—John“Hondo” Crouch and hisdaughter, Cathy Morgan.Crouch and Morgan purchasedthe town in 1970 with hopes oftransforming Luckenbach froma ghost town into a hangoutwhere people could come torelax and drink beer. Adoptingthemotto“Everybody’sSomebody in Luckenbach,”Crouch and Morgan created inLuckenbach an environmentin which people from allbackgrounds could meet,exchange ideas, and make newfriends.20Walker began traveling toLuckenbach shortly after hisarrival in Austin and found inHondo Crouch a close friendwho encouraged his creativityFront cover of the ¡Viva Terlingua! album. Courtesy MCA Records.by providing a nurturingatmosphere in which to work.of a recording that captures an imperfect, unmediated, andAs Bob Livingston observed, Crouch “was like a surrogatetherefore, more organic musical performance. This reflectedfather for [Jerry Jeff ], and he was kind of a rambler andWalker’s conscious desire to abandon the more polished andyarn spinner and even played pretty good Spanish guitar “professional” sound typically created in a conventional studioHondo was the ‘grand imagineer’ of Luckenbach. And Jerryin favor of emphasizing the communal experience of musiciansJeff really took to him.”21 Crouch’s almost constant presence“jamming” in an informal, spontaneous setting. As a result, theand his empathy for Walker’s own ceaseless search for freedomJerry Jeff Walker album helped reinforce the notion that Austin’swas, it seems, a comfort to Walker and created a supportiveprogressive country music scene welcomed impromptu musicalenvironment in which he could compose and perform musicinteraction and exchange through unmediated live performance,freely. Moreover, as physical manifestations of a bygone era,jam sessions, and creative collaboration.both Crouch and Luckenbach represented a very tangibleconnection to the unique history and culture of Texas, whichWalker further explored the concept of “live-ness” in his next18was essential to the progressive country movement’s efforts atalbum, ¡Viva Terlingua! The ¡Viva Terlingua! sessions werebucking national trends.held in August 1973 in Luckenbach, a tiny hamlet located justWhile Walker’s experimentation with unorthodox recordingoutside of Fredericksburg in the Central Texas Hill Country.venues had proven to be relatively successful, Michael Maitland,Walker had hinted in the liner notes to Jerry Jeff Walker thatthe president of MCA, was understandably worried about theLuckenbach—a town “where they barely have electricity!”—proposed Luckenbach sessions. The financial risks that thewould be the ideal place for his next recording.19 Much like thecompany might incur were substantial, since it would need to1972 sessions, Walker’s decision to record in an unconventionalsupply the type of mobile recording unit that cost considerablyand, in fact, impractical location subverts the standard musicmore than a conventional studio. Another logistical andindustry conception of the recording studio as a /vol8/iss1/4¡Viva Terlingua!:Jerry Jeff Walker, Live Recordings,and the Authenticity of Progressive Country Musicfinancial concern was that, rather than following the standardstudio protocol in which musicians arrive with pre-arranged andrehearsed compositions in order to minimize costly delays, thematerial for the Luckenbach sessions was to be created, arranged,and performed for the first time right there on location. What thismeant was that Walker and Brovsky were asking MCA not onlyto underwrite the costs of recording Walker’s material, but alsoto pay for the time it took to compose, arrange, and perform thesongs. This was almost unheard of for an artist with as limited atrack record as Walker. Further complicating matters was the factthat Luckenbach offered little in the way of amenities, includingits undependable supply of electricity, which created significanttechnical problems for the recording engineers.22Despite the extensive financial and technical risks inherent inthe project, Brovsky managed to convince Maitland to financethe Luckenbach sessions. For nearly two weeks, Walker and theLost Gonzo Band—Michael Murphey’s former group—joinedwith several of Austin’s leading session players to create ¡VivaTerlingua! Much like his 1972 recording sessions at OdysseySound, Walker worked to create a casual environment in whichindividual musicians could rekindle old friendships, writesongs, and contribute their musical talents to the larger project.Mickey Raphael, who had been touring with Willie Nelsonand Waylon Jennings, remembered, “It was a good time foreverybody to hang out, because, if we all had different jobs withdifferent people, we’d be out on the road separately. So, thiskind of brought other musicians that were friends that didn’t getto play together a lot.”23The casual mood of the sessions is reflected in the ¡VivaTerlingua! album cover, which includes a sepia-toned photographshowing the musicians relaxing around the woodstove in theLuckenbach post office. Other photographs taken duringthe sessions and included on the album cover document thepersonal relationships developed among participants. Theyshow the smiling faces of Crouch, Walker, and backgroundsinger Joanne Vent, along with the conversations, meals, anddrinks shared by the musicians. The overall visual effect of thealbum cover underscores the key themes of Walker’s approach tothe songwriting and performing process. More specifically, thevisual message transmitted by these photographs is that this wasa communal effort on the part of these musicians, whose prioritywas exercising creative freedom in an informal setting ratherthan producing a marketable commodity in a sterile studio.24With the exception of Guy Clark’s “Desperados Waitingfor a Train” and Michael Murphey’s “Backslider’s Wine,” thesongs recorded for ¡Viva Terlingua! were fully or at least partiallycomposed at Luckenbach. As such, they serve as musicalanalogues to the album cover’s images, further documenting thecasual atmosphere of the sessions. The opening cut, “Gettin’By,” draws Maitland into the narrative by poking fun at thepresident of MCA Records’ initial resistance to the Luckenbachsessions. In the second verse, Walker comments:Last week I was thinking, it’s record time again, AndI could see Mike Maitland pacing his floor.Ah Mike, don’t you worry, something’s bound tocome out.Besides, I’ve been down this road once or twice before.During the instrumental interlude, Walker reassures Maitlandthat the song will work, even though “it’s not really a monstertrack,” creating ironic distance between himself and the visiblymediated album upon which this comment is documented. Inaddition to “Gettin’ By,” many of the songs that made the albumbegan simply as improvised lyrics or melody lines and werecobbled together on the spot. This rather haphazard approach tocomposing helped create instrumental and vocal arrangementsthat reflected the spontaneous nature of the informal pickingsessions and the communal process of making the record.“Sangria Wine,” for instance, began simply as a recipe for makingdrinks, along with the refrain “Oh, oh, I love sangria wine.”While Walker worked on the lyrics, the band experimented withthe accompaniment, trying to match the theme of the song withthe ideal groove. As Livingston recalled:27We would try everything “reggae” at least once. Wemight take a song like “London Homesick Blues”and try it bluegrass and rock and reggae and everykind of way, just for fun. And so Jerry said, “Weought to do [‘Sangria Wine’] reggae.” But we didn’tknow anything about reggae. Michael McGeary,our drummer, said, “Man, it’s just kind of thisthing. You have to have some guitar parts. LikeCraig [Hillis], you should go ‘do-do-do-do-dut’,and then Bob, you answer it with the bass ‘boomboom-boom’ something.”25Another example of the informal approach to arranging andrecording the album is evident on how the Lost Gonzo Bandperformed background vocals on several of the songs. Theirimprecise vocal performance, which includes tuning, control,and timing problems, adds an element of realism and suggeststhat the band is drinking alcohol while making the record.By highlighting this improvisational technique of composing,arranging, and performing, ¡Viva Terlingua! rejects the morestructured, commercially-oriented approach to recordingcontemporaneous country music and, instead, celebrates anattitude of mutual artistic respect and communal enjoymentsymbolized by the entire progressive country music movement.The Luckenbach sessions concluded with a “live recording4

¡Viva Terlingua!:¡Viva Terlingua!:Stimeling: !Viva Terlingua!Jerry Jeff Walker, Live Recordings,Jerry Jeff Walker, Live Recordings,and the Authenticity of Progressive Country Musicconcert” held in the town’s dancehall on August 18, 1973.Nearly three hundred people paid one dollar each to be partof what turned out to be the only true “live” segment of ¡VivaTerlingua! According to some of the musicians, the concert wassomewhat of an afterthought. Despite last-minute planningand minimal advertisement, the hall was filled with friends ofthe band and a few others who found out about the concertat the last minute. Bob Livingston remembered that “peoplejust showed up and said, ‘What’s going on here?’ and the townof Luckenbach was jumping.” Mickey Raphael observed that“most of [the audience members] were kids from Austin thatwere into that ‘cosmic cowboy,’ ‘progressive country’ scene at thetime It was the same crowd that was going to the Armadilloand Castle Creek.”26In many ways, the concert also was a realization of theidealized, collaborative, and free-wheeling recording session28and the Authenticity of Progressive Country MusicMother,” Walker and Brovsky help convey the exuberance oflive performances. This helped reinforce the notion that fansare an essential ingredient of the progressive country musicphenomenon, and it gave listeners the sense that they were partof an authentic and unmediated concert experience, whether ornot they actually were there in person.28While the loose vocal arrangements of ¡Viva Terlingua! andthe direct involvement of an audience reinforce the “live” feel ofthe record, most of the album is not truly live. The liner notesmention that the songs are part of a “live recording concert,”but, in fact, only “Up Against the Wall, Redneck Mother” andGary P. Nunn’s “London Homesick Blues” are from the liveshow. Everything else on ¡Viva Terlingua! was recorded prior tothe August 18 concert.

people?” You have to play music over and over too much. It loses all . spontaneity. 10 Jerry Jeff Walker, 1973. Courtesy of Craig Hillis. For Walker, the recording studio was a sterile space, and he certainly was not the only musician who felt that way. As Walker noted, the process of recording a

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