Asleep on the Wheel, the Western-swing band launched in West Virginia by Ray Benson and Fortunate Oceans in 1970, was calling San Francisco residence in ’74, when two Texas musicians prompt they relocate. One was Willie Nelson, the opposite was Doug Sahm of the Sir Douglas Quintet.

“Doug was my good pal and Willie was my hero. Willie mentioned, ‘Hey, I’ll put you on exhibits,’ Benson remembers. “After all it didn’t pay however $100, however we didn’t care!”

Fifty years and lots of band members later, Austin stays Asleep’s residence. 4 years after Benson celebrated the band’s half-century with a commemorative album and tour, he noticed that pivotal transfer with Driving Excessive in Texas, a 10-song celebration of their adopted state, recorded at Benson’s studio in Austin.

In selecting these 10 Lone Star-oriented tunes, he prevented the band’s longtime Texas anthem “Miles and Miles of Texas” and frequent covers of Bob Wills Texas tunes for a extra various repertoire.

Lyle Lovett handles vocals on their take of the 1959 rocker “Lengthy Tall Texan,” written by the late Nashville A-Group bassist Henry Strzelecki (lined by the Kingsmen and Seashore Boys), the Texas fiddle favourite “Beaumont Rag,” a funk-driven tackle Man Clark’s “Texas Cookin’,” and singer Darrell McCall’s obscure ’70s ballad “There’s Nonetheless A Lot of Love in San Antone.”

The title observe, written by Americana singer/songwriter Peter Rowan and initially recorded by Tejano accordion nice Flaco Jiménez, was prompt by the band’s latest member, singer/fiddler (and Austin native) Ian Stewart.

“Ian got here with that tune, and with the Carter Household/Hazel Dickens tune ‘Lonesome Pine Particular.’ He was well-versed in nation music and pulled out two actually nice ones.”

Pianist/fiddler Danny Levin, an authentic member of Asleep on the Wheel, was concerned in each taking part in and arranging. Billy Strings’ visitor look on the title tune resulted from their lengthy friendship.

“I produced a part of a Jake Shimabukuro file, and whereas we have been mixing, I mentioned, ‘Billy Strings is on the town,’” mentioned Benson, who approached Strings. “This was earlier than the pandemic. We met then, however the (Strings) growth hadn’t occurred.

“We turned associates,” he provides, noting his on-camera function in Strings’ video for his prison-themed tune “Seven Weeks in County.” “He’s essentially the most accommodating man and the epitome of what you desire a guitar picker to be – any individual who likes to play in any type of scenario.”

Earlier recordings of two songs by Hollywood Western-swing band leaders impressed their hard-edged remedy of Jimmie Rodgers’ “T for Texas.” Benson explains it was “partly stolen” from a Nineteen Forties model by Hollywood band chief Spade Cooley. Whereas Benson knew Willie Nelson’s 1967 rendition of “Texas in My Soul,” he and the band tailored the album’s model from a ’47 recording by Tex Williams’ Western Caravan.

Curtis Clogston, who changed longtime Wheel steel-guitarist Eddie Rivers after he retired, breathes new vitality into the songs and the band with spectacular pedal-steel, lap-steel, and resonator work. Clogston was already a part of the group.

“He was my roadie, a younger child. He was runnin’ sound and (at) one gig, the metal participant didn’t present up, and he mentioned, ‘I play slightly.’ He was clearly learnin’, however I mentioned, ‘Preserve training, man.’ He obtained actually good, so I mentioned, ‘Come on!’”

Clogston’s steels are an early-’50s Fender Twin Professional lap and a ’78 Emmons push/pull with Fender Twins. His reso is a Beard R.

Benson and his son, Sam Siefert, dealt with the guitar work.

“Sam did the stuff I couldn’t play, and Billy Strings did the stuff I couldn’t play. Sam is a extremely good participant. He simply doesn’t like playin’ on the street.”

Benson used his major onstage guitar, the personalized Collings SoCo 16 LC Deluxe, and dipped into his sizable assortment of older gear. “For rhythm, I used my Epiphone Triumph and my early-’60s Fender Deluxe.”

Sam used Ray’s SoCo, a Collings CJ Mahogany, a G&L Customized, and an ASAT Tele with two Fender reissue amps – a ’59 Bassman and ’63 Vibroverb.

Whereas further Asleep on the Wheel albums are down the street, Benson’s speedy recording plans give attention to further solo tasks. He intends to file one album with a swing orchestra (“a mixture of Sinatra-like stuff and Louis Jordan”), and later, a jazz album with piano. He waxes optimistic in regards to the band’s subsequent album. “We’ve got actually good younger guys within the band, and we’re cementing that to see what we will provide you with. That’ll take a little bit of artistic time.” – Wealthy Kienzle

This text initially appeared in VG’s November 2025 concern. All copyrights are by the creator and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.