The Road Trip Remix

Corcoran, Michael
All Over the Map: True Heroes of Texas Music
Austin, TX: University of Texas Press, 2005

Did you know that Lubbock’s own Buddy Holly and the Crickets was the first self-contained and independent rock combo to write, produce, perform, and arrange their own records? Were you aware that The Beatles’s name was created in homage to The Crickets? Can you imagine the distinctive, experimental improvisations of saxophonist and free-jazz pioneer Ornette Coleman in some smoky basement bar in 1950s Fort Worth?

In All Over the Map, author Michael Corcoran uncovers some of the most brilliant and underappreciated musicians in Texas. The book profiles thirty-two musicians who have pioneered new styles, techniques, instruments, and musical genres, attempting to prove Corcoran’s point that “no state is more musical than Texas” (ix). Covering an array of musical genres including blues, gospel, country, rap, indie-rock, pop, Cajun, Tejano, conjunto, funk, honky-tonk, rockabilly, rhythm and blues, and Western swing, Corcoran focuses on pioneers who have yet to receive their well-earned dues.

The author asserts that Texas is, of course, “not the only state that can boast incredible musical heroes” (xi); however, he certainly proves that it “stands out for its sheer number of musical pioneers, spanning several genres. The range is spectacular, and it seems that for every superstar like Ray Charles, there’s a Texan like Charles Brown of Bay City, who showed him the way” (xi). For example, he speaks of Henry “Buster” Smith, a bebop saxophone player who was lured from Dallas to Kansas City in 1925 to join the Blue Devils Big Band, sharing the stage with such notables as Lester Young and Count Basie. More importantly, he uncovers the not-so-widespread news that Smith was in fact legendary saxophonist Charlie Parker’s teacher, thus confirming his stature as a true hero of Texas music. In addition, Corcoran delves into underrated yet big-name artists such as Willie Nelson and Sly Stone. He also includes chapters on Stevie Ray Vaughan and Selena, two talented artists who died tragically.

Writing in an investigative fashion, Michael Corcoran examines Texas as a melting pot “stirred to the sounds of Cajun waltzes, polkas, honky-tonk, conjunto, funk, and jazz” (x). Chapters are divided by artist, with profiles that are comprehensive, widely informative, and with much attention to detail. Information was gathered through interviews, recollection, research, personal experience, and from articles the author wrote for the Dallas Morning News, Austin American-Statesman, Houston Press, and other publications. The tone is at times abrasive or even sarcastic, and at others sincere or delicate. Consistently, however, Corcoran’s writing is vibrant and passionate in its delivery.

I found the book both clever and entertaining. Rather then divide the musical profiles chronologically, Corcoran creates a musical road-trip through Texas, beginning in Houston then moving through Dallas, the Rio Grande Valley, and finally West Texas. Along the way, he uncovers a case of mistaken identity (Washington Phillips), and corrects other misinformation and myths. The book closes with a section entitled Bonus Tracks, which includes a lively write-up of the current Austin music scene, a chapter on the Dead Clubs of the Live Music Capital, and a list of the Best Texas Recordings Ever, with his own personal list of the top-40 Texas recordings and twenty-five essential CDs for any fan or newcomer. Fascinating black-and-white photographs of the artists, their live performances, record covers, and concert memorabilia appear throughout the book.

All Over the Map is certainly accessible to a wide audience. It is a perfect companion to the Doc Wallace Trio’s Rags Riffs and Reels, but would also benefit anyone interested in becoming familiar with the musical regions, sounds, stories, and secrets of Texas. Regardless of how much one may already know about Texas and its music, they are sure to discover something new and enlightening upon reading this work. As Michael Corcoran states and proves, “Many extraordinary people are felled before they have a chance to reach their potential. Many leave the world without artistic proof that they have ever existed” (148). This work shines a well-deserved, detailed light upon such artists and their noteworthy accomplishments.

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