Randy Rogers Band

Randy Rogers Band

William Clark Green

Fri, March 29, 2019

Doors: 7:00 pm / Show: 9:00 pm

$28 - $500

This event is 18 and over

Outdoors - Standing Room Only. All Minors Will Be Charged an Additional $5 At the Door. Rain or Shine Show. General Admission. 17 & Under Admitted with Parent or Guardian Only. $28 Advance/$33 Day of Show

Randy Rogers Band
Randy Rogers Band
Authenticity isn’t something that can be manufactured in a studio. It’s not a craft that can be learned or artfully practiced. It comes from living life. It’s the byproduct of blood, sweat and tears and as the foundation for music, it elevates mere entertainment to compelling art. Every note, every word on the Randy Rogers Band’s new album Nothing Shines Like Neon rings with authenticity that makes each song linger with the listener long after the music fades.
“You’ve just got to be true to yourself and you can’t fool anybody,” Rogers states matter of factly of the band’s philosophy. “As a whole, our body of work is pretty consistent to our live show and the band that plays on the record is the band that you go see.”
The same line up has been performing together since 2002 and the music has evolved as they’ve soaked up life experience. “As men we’ve all matured and lived a lot of life together,” Rogers says. “We’ve had a few breakups happen to us. We’ve had babies. We’ve had life changes. We’ve been on the road 200 shows a year. I’ve been in this band 15 years so a lot has changed. I still listen to Merle Haggard every night. I mean that hasn’t changed, but a lot has changed for us musically and privately. We all are in a good spot and we all are just as good friends as when we started.”
Camaraderie and creativity have made Rogers and bandmates Geoffrey Hill (guitar), Johnny “Chops” Richardson (bass guitar), Brady Black (fiddle), Les Lawless (drums) and Todd Stewart (utility player) one of the top bands on the competitive Texas music scene. Nothing Shines Like Neon continues the momentum established by the band’s four previous albums—Randy Rogers Band, Burning the Day, Trouble and Homemade Tamales, each of which went to No. 1 on iTunes. Earlier in 2015, Rogers joined friend Wade Bowen to record the critically acclaimed album Hold My Beer Vol. 1.
Produced by Nashville legend Buddy Cannon (Willie/Merle) at Cedar Creek in Austin, RRB’s news album Nothing Shines Like Neon showcases the band’s taut musicianship as well as Rogers’ earnest vocals and insightful songwriting on such instant classics as the groove laden “Rain and the Radio,” the heartbreak anthem “Neon Blues” and the playful “Actin’ Crazy,” a duet with Jamey Johnson. “Jamey and I wrote that song together,” Rogers notes. “I met a movie star a few days before Jamey and I were going to write. I was in LA playing at the House of Blues and he came out to the show. I was thinking about him …and thinking about being a struggling actor living in LA and having to put up with all the bullshit that LA is. I just wrote that song about him.”
The album opens with the fiddle driven shuffle “San Antone”. “That is a Keith Gattis song. He wrote by himself. Being from Texas and living so close to San Antonio, I don’t think that song is going to hurt me at all,” Rogers laughs. “It’s one of those songs when I heard it I was like, ‘Oh hell! Why didn’t I write this song?’”
“Takin’ It As It Comes” features Lone Star legend Jerry Jeff Walker. “I’ve been a big fan of Jerry Jeff’s all my life,” Rogers says. “He came in the studio with us, got in there with the band, jumped around and played guitar and sang. We had a great time.”
“Rain and the Radio” is Rogers’ homage to Ronnie Milsap. “I wrote that with Sean McConnell. He and I have written a lot of songs through the years. I’ve always been a huge Ronnie Milsap fan and to me that song has a little Milsap feel to it, kind of a bluesy country thing, which we haven’t done before. Any artist that I look up to always tries to create something different and pushes the envelope a little bit. I think we do with that song in particular. It’s very country. It’s just very different. As a band, we’re trying to broaden our horizons and I don’t think that’s a bad thing. If we were all just stuck doing the same old thing, we would all be bored. We probably wouldn’t still be here. It’s just a matter of spreading your wings a little bit.”
“Look Out Yonder” is a poignant tune Rogers recorded in honor of his mentor, the late Kent Finlay. “Kent gave me my start in the music business. Up until the day that he died, we talked about songs and about music,” Rogers says. “We actually named the record, Nothing Shines Like Neon after a lyric in one of his songs as a tribute to him. Alison Krauss and Dan Tyminski are singing on ‘Look Out Yonder’, which was written by Earl Bud Lee, who is most famous for writing ‘Friends In Low Places’. He and I have been friends for 10 years and he has always wanted me to cut that song. I’ve never had a record where it fit and just thinking about losing Kent and Kent going to heaven and joining his mom, ‘Look out yonder coming down the road’ it just fit. I haven’t performed that song yet live, but I know I’m going to have a hard time getting through it. The day we started our record, I got a call that Kent passed away so this record is definitely dedicated to Kent. That song makes me think about all of us musicians and how we are crazy as hell and lead the most unorthodox lives. Most of us return back to our roots, so hopefully this is an album that glorifies Kent’s life and is also a nod to the traditional sounds that we all grew up loving.”
A native of Cleburne, Texas, Rogers grew up addicted to traditional country music. “I wanted to be George Strait when I was in the sixth grade,” he says with a smile. “And I grew up listening to Willie Nelson and Merle Haggard, I’ve listened to them more than anybody else, my whole life. I always liked songs. I always wanted to find out who wrote the songs and what the songs were about. I always liked the art and the craft of being a songwriter. My dad’s Beatles records got played a lot and Michael Martin Murphy is another one I listened to a lot as a kid. My dad was a huge fan.”
Like many artists, Rogers got his start performing in church and then expanded to local venues. “I could write a song when I was pretty little, 11, 12 or 13,” he says. “It’s like a kid who could do calculus or something. It was just something that clicked in my brain for me. I went and finished college and got a degree in public relations and then started a band.”
Since then the Randy Rogers Band has steadily built a following that has spilled beyond their native Texas. For the past 10 years they’ve recorded for Universal Music Group, but on Nothing Shines Like Neon, Rogers again takes the reins, releasing the album on his own Tommy Jackson Records, named after a song he wrote for their very first album. “It’s a very obscure Randy Rogers Band song and to this day there is always this one drunk kid at a show that says, ‘Play “Tommy Jackson!” Play “Tommy Jackson!”’ It’s kind of a running joke within our band. It’s like, ‘How in the hell did this kid in Iowa City, Iowa remember that stupid song “Tommy Jackson?”’ It’s about a guy who is on the run from the cops, wanted for murder. It’s a story song and we just felt like it was a unique way to name a record label.”
Nothing Shines Like Neon is a stellar collection in an already impressive body of recorded material that owes a lot to the band’s potent live show. “You come to a show, you know what you’re going to get,” Rogers says. “We’ve worked hard at making ourselves better on stage and we care about our live show. It’s a way to come out and unwind, and we’ve stuck to writing songs that are about real life, about breakups or divorces, falling in love or babies being born, and in the case of this record even death, the ups and downs of life. People can relate. That’s what country music is supposed to be. Our band has been around for a long time because there’s no bullshit to us. We’re not in it to be rich and famous. We’re in it to make a living, provide for our families and do something that we all love. You can’t fool people and we haven’t ever tried. I think that’s the key.”
William Clark Green
William Clark Green
William Clark Green
Ringling Road
William Clark Green Is not one for pulling punches. Where some songwriters trade in subtlety
and dancing around blunt truths with clever feints and metaphor, Clark aims his words straight
to the point and, when needed, right through the heart. His music is unrelentingly direct and
hard-hitting, too, charged with a palpable rock ’n’ roll immediacy that’s as evident in his most
intimate solo acoustic performances as it is in the full-tilt band shows that have packed rooms
across his native Lone Star State from the Blue Light in Lubbock to the world’s biggest honkytonk,
Billy Bob’s Texas in Fort Worth. And with the April 21st release of Ringling Road, his
eagerly awaited fourth album, Green is set to make his biggest impact on the booming
Texas/Red Dirt music scene — and beyond — yet.
But just don’t call him the “Next Big Thing,” because as Green makes patently clear on Ringling
Road’s riotously myth-busting opening track, that’s a laugh, buddy. And even with tongue firmly
in cheek, William Clark Green is only interested in being real.
“Oh it’s hard to pay your dues when there ain’t no money in the bank
It’s a shame
I gotta make it to the show but there ain’t no gas in the tank
It’s insane
what you do for a broken heart and some busted strings
And everybody saying I’m the next big thing!”
“I’m actually a little nervous about what people are going to think of that song, and if they’ll think
I’m being an asshole,” Clark admits with a laugh. “And that’s not the case at all, because it’s
actually sarcastic as hell. But we’ve been hearing that ‘you’re the next big thing’ thing for a long
time now — and I’m guilty of saying the same to some of my songwriter friends who are
struggling out there, too. And even though it’s always meant in a nice way, you can’t help but
think, ‘What? I have no idea what you’re talking about. I’m actually sleeping in my truck tonight!”
Not that he’s complaining. Green is nothing if not fully committed to his chosen path. Granted,
had a few chips fallen a little differently, he could have just as easily — and happily — devoted
his life to ranching, but fate dictated pretty early on that he was meant to be a troubadour. He
may have started taking guitar lessons at 13 primarily out of boredom — his family had just
moved from Flint, Texas to College Station in the summer, and he didn’t have any new school
friends yet — but it wasn’t long before he developed a keen interest in songwriting. A healthy
obsession with his father’s copy of Willis Alan Ramsay’s classic 1972 debut had a lot to do with
that (“That’s still the best album I’ve ever heard, and the reason I use three names,” Green
enthuses). So did timing: “I remember seeing Robert Earl Keen and Pat Green and even Jerry
Jeff Walker at the Wolf Pen Creek Amphitheater in College Station when I was in high school,”
he says. “The scene was really kind of in its birth then, and I was right there in the middle,
paying attention and really intrigued by all of it.”
College originally wasn’t part of his game plan — “I was a very poor student, and I still wanted to
be a cowboy” — but after a lead on a ranch-hand job fell through and a miserable two-week stint
at a feed lot scared him straight, Green enrolled in junior college and eventually found his way to
Texas Tech. He majored in agriculture economics, but spent more time songwriting and playing
guitar at every open-mic night and hotel bar gig he could find than actually studying. By the time
fellow Red Raider and Texas country rising star Josh Abbott handed him the keys to his
Tuesday-night residency at the Blue Light, Green and his own band were on their way.
“That’s when things got really serious for me,” Green recalls. “I came out with my first record
[2008’s Dangerous Man], and it kind of got to the point where I knew if I was going to pursue
music, I’d have to give it everything I had, because there’s just no room for half-assing it in this
business. School went to the wayside — I ended up graduating, but it took six years because
music was my priority. And here I am now at 28 — about to release our fourth album and hoping
to get to five before I’m 30. That’ll be a pretty quick turn around, but that’s the goal.”
The aforementioned “next big thing” rumors started up in the wake of his second album, 2010’s
Misunderstood, but it was 2013’s Rose Queen that proved his real breakthrough. Green
recorded the album, produced by Rachel Loy in Nashville, at a real crossroads in his career —
with momentum and high expectations at his back but barely enough money in the bank to foot
the bill (and that only after a desperate call for help to angel investor Wade Bowen saved the
day). “It was a huge leap of faith,” Green says today, “but I told the band, ‘We’re going to pull out
all the stops, and we’re going to find a way to make exactly the record we want to make and
need to make.” The end result was a triumph, yielding Green’s first three top-10 Texas Radio
hits, including two chart-toppers in “She Likes the Beatles” and “Hanging Around” (the former
also won “Song of the Year” honors at the fan-voted Lone Star Music Awards).
Of course, all of that set the bar even higher for the follow-up — and Ringling Road delivers in
spades. Returning to Nashville to team once again with Loy (Green calls working with the gifted
up-and-coming producer “the best decision I’ve ever made in my musical career”), the band
overcame a a couple of early setbacks — longtime drummer Jay Saldana had recently left for a
new gig with Wade Bowen, followed by guitarist Steve Marcus breaking his arm a week before
they went into the studio — to come through like champs under pressure. Saldana ended up
coming back as a guest to drum on most of the record (along with new band member Ryan
Garza), while the lead guitars duties were initially shared between Nashville session vet Kenny
Greenberg and band friend Josh Serrato, recruited out of fellow Texas band Six Market
Boulevard for what originally supposed to be “fill-in” duty. By the time Marcus’ arm healed up
enough for him to join the sessions halfway through, though, Serrato had been promoted from
temp to full-time band member. Greenberg ended up staying on for the rest of the record as
well.
“All three of those guys are monster talents on guitar, so It was a really incredible experience to
have them all working with each other in the studio,” Green marvels. “It all just happened the
way it was supposed to, and we weren’t going to get in the way of that!”
With that formidable triple-guitar threat augmented by Green on acoustic, seasoned band
member Cameron Moreland on bass and key assists from Loy and others on background
vocals and a few other instrumental tracks, it’s no wonder that Ringling Road boasts the fullest
sound of any WCG album to date. But as has been the case since day one of Green’s career,
it’s the quality of his songs that ultimately makes the boldest statement. And it’s not just the flatout
rockers (“Next Big Thing”) and irresistibly catchy, up-tempo numbers (“Sticks and Stones,”
“Creek Don’t Rise,” “Going Home”) that hit hard, either. Other highlights include “Old
Fashioned,” a stirring elegy for a bygone Texas (“The interstate’s pumping just like a vein full of
California license plates”), and the uproarious, Todd Snider-worthy title track, which takes its
name from a real road in Green’s current hometown of Eastland, Texas. Back in the day, the
Ringling Bros. Circus used Eastland as a regular resting stop between shows, where the
elephants and other animals were let off the train for a drink and the myriad circus folk would
unwind and do whatever circus folk usually do on their nights off. As colorfully imagined by
Green and co-writers Ross Cooper and Randal Clay, that was a helluva lot more wild and
entertaining than the actual ticketed performances.
“Ross is a good friend of mine from Lubbock, and Randal is a guy he met in Nashville who was
actually a roustabout for 10 years,” Green explains. “I mean, what better way to write a song
about the circus than to write it with a guy like that? Randal brought in a lot of truths about what
really does happen behind the scenes in the circus. To be honest, after I told them about
Eastland and the history of Ringling Road, he and Ross just got going on this tangent that was
so good, I kind of just sat back and was like, ‘keep going!’”
“Ringling Road,” the song, may be a freak-show blast, but the rest of the album is hardly all fun
and circus games. “Final This Time” is a devastatingly frank post-mortem of a divorce Green
witnessed between two close friends. “Fool Me Once” and “Hey Sarah,” two of the three songs
(along with “Sticks and Stones”) that Green wrote solo, are unflinching accounts of his own
firsthand experiences at bad (or at least uncertain) love. And the lead single “Sympathy”
(already a No. 1 on Texas radio) offers anything but sympathy to a former lover looking for a
shoulder to cry on.
Most brutal of all, though, is the hauntingly plaintive “Still Think About You,” in which the kind of
sympathy Green does offer an ex comes laced with painfully bitter honesty: “Sorry that you fell
in love with someone you could never inspire …”
“You know, it’s not that I’m an asshole,” Green says again, laughing. “But I feel like everybody
has those selfish feelings sometimes, but they’re never said in songs. I actually showed that
song — I had the chorus written but still needed the verses — to Randy Rogers and Sean
McConnell, and they both went, ‘oh, that’s not my style.’ And I thought, ‘Well, maybe this is a
terrible idea …’”
Before giving up on it, though, Green showed it to one other trusted friend: Kent Finlay,
songwriter’s songwriter, founder of the legendary Cheatham Street Warehouse in San Marcos,
Texas, and, not for nothing, Green’s co-writer on Rose Queen’s hit single “Hanging Around.”
Sage soul that he was, Finlay — who sadly passed away on March 2, 2015 after a long illness
— took a shine to the unfinished song at first pitch.
“I took it to Kent and said, ‘I’ve got this song, and no one seems to like it,’” Green recalls. “But I
played what I had for him, and he went, ‘Oh, I like that!’ And I was like, ‘Thank God, finally
somebody does!’ So we ended up finishing it together, and I’m really glad we did.
“Taking uncomfortable feelings like that and putting them to paper and writing songs about them
— that’s kind of been my staple, really,” Green continues. “And that song is about as true as it
gets.”
He pauses on that thought for a moment. “Now, I don’t know if that’s a good thing or a bad
thing,” he adds with a laugh, “but I guess the truth prevails! And that makes me able to sleep at
night.”
Venue Information:
John T. Floore Country Store
14492 Old Bandera Rd.
Helotes, TX, 78023