Since the early '70s, Asleep at the Wheel has been the most important force in keeping the sound of Western swing alive. In reviving the freewheeling, eclectic sensibility of Western swing godfather Bob Wills, the Wheel earned enthusiastic critical praise throughout their lengthy career; they not only preserved classic sounds that had all but... [+] Read More

Since the early '70s, Asleep at the Wheel has been the most important force in keeping the sound of Western swing alive. In reviving the freewheeling, eclectic sensibility of Western swing godfather Bob Wills, the Wheel earned enthusiastic critical praise throughout their lengthy career; they not only preserved classic sounds that had all but disappeared from country music, but were also able to update the music, keeping it a living, breathing art form. Typically featuring 8-11 musicians, the group has gone through myriad personnel changes (at last count, over 80 members had passed through their ranks), but 6'7" frontman Ray Benson has held it together for over three decades, keeping Asleep at the Wheel a viable recording and touring concern and maintaining their devotion to classic-style Western swing.

Singer/guitarist Benson was born Ray Benson Seifert and grew up listening to a variety of music in Philadelphia, especially jazz. He formed Asleep at the Wheel in Paw Paw, WV, in 1970, along with longtime friend Lucky Oceans (born Reuben Gosfield; steel guitar) and Leroy Preston (rhythm guitar). They soon added a female singer in Chris O'Connell, who was fresh out of high school. Initially, the group played straight-ahead country in local venues, but quickly switched to Western swing when they discovered the music through Merle Haggard (specifically his Bob Wills tribute album) and eclectic country-rockers Commander Cody & His Lost Planet Airmen. In fact, Commander Cody helped the group sign with his own manager, Joe Kerr, who convinced them to move to San Francisco in late 1971. They subsequently added keyboardist Floyd Domino, and secured a residency at Berkeley's Longbranch Saloon. Praise from Van Morrison in a Rolling Stone article helped them land a record deal with United Artists, which released their debut album, Comin' Right at Ya, in 1973.

In 1974, Asleep at the Wheel relocated to the roots music haven of Austin, TX, and also switched labels to Epic. Their self-titled label debut appeared that same year, and their cover of Louis Jordan's "Choo Choo Ch'Boogie" became their first single to hit the country charts. Afterwards, they added fiddler Lisa Silver and trumpeter Bobby Womack, and hopped labels again to Capitol. 1975's Texas Gold was their breakthrough album, climbing into the country Top Ten and producing their only Top Ten hit on the country singles charts, "The Letter That Johnny Walker Read." That year they performed on the first non-pilot episode of Austin City Limits, and although they continued to experience personnel shifts, they turned out a string of excellent albums over the rest of the decade: Wheelin' and Dealin' (1976), The Wheel (1977), and Collision Course (1978), the latter of which featured their first Grammy winner in the instrumental cover of Count Basie's "One O'Clock Jump."

Asleep at the Wheel moved to MCA for 1980's Framed, but all was not well: founding member Lucky Oceans left the group that year, and Chris O'Connell took a leave of absence to start a family not long after. Plus, the group was heavily in debt, forcing them to work on commercials and movie soundtracks. The financial problems conspired to keep them off record for the next few years, and when they returned on Dot/MCA with a self-titled album in 1985, they were virtually ignored. Following the small-label release Pasture Prime later that year, Benson did some moonlighting as a producer, and soon managed to get a second shot with Epic. By now, O'Connell had returned, and the new lineup featured fiddler Larry Franklin, steel guitarist John Ely, pianist/accordionist Tim Alexander, saxophonist Mike Francis, bassist Jon Mitchell, and drummer David Sanger. This unit recorded the major comeback effort, Asleep at the Wheel 10, in 1987, which brought them back to the Top 20 of the country album and singles charts (the latter via "House of Blue Lights") for the first time in over a decade. Additionally, the album's "String of Pars" won them their second Grammy for Best Country Instrumental, and featured contributions from fiddle legend and onetime Texas Playboy Johnny Gimble. The 1988 follow-up, Western Standard Time, continued their momentum, winning another Best Country Instrumental Grammy for "Sugarfoot Rag."

In 1990, Asleep at the Wheel moved to Arista and recorded Keepin' Me Up Nights, which flopped in comparison to its two predecessors. Major personnel turnover ensued, with O'Connell leaving a second time, and Benson regrouped with Francis, Sanger, fiddler Ricky Turpin, bassist David Miller, and steel guitarist/dobroist Cyndi Cashdollar. They issued two albums on Liberty/Capitol, the acclaimed, guest-laden A Tribute to the Music of Bob Wills and the Texas Playboys (1993; featuring the Grammy-winning instrumental "Red Wing") and The Wheel Keeps on Rollin' (1995). Their next major studio project, Ride With Bob, was released by DreamWorks in 1999 and featured fiddler Jason Roberts (a young relative of Johnny Gimble) and pianist/second fiddler Chris Booher. It was the group's second explicit tribute to Bob Wills, and it attracted even more positive attention than the first, winning multiple Grammys and drawing non-country collaborators like the Manhattan Transfer and Squirrel Nut Zippers. ~ Steve Huey, All Music Guide [-] Hide

Fiddler Johnnie Lee Wills led the most popular pre-war Western swing band around the Oklahoma area; that is, after older brother Bob moved his Texas Playboys to California in 1940. He was born in Jewett, TX, on September 2, 1912, the second of four musical sons and seven years behind Bob. Johnnie Lee learned about music from his father, and... [+] Read More

Fiddler Johnnie Lee Wills led the most popular pre-war Western swing band around the Oklahoma area; that is, after older brother Bob moved his Texas Playboys to California in 1940. He was born in Jewett, TX, on September 2, 1912, the second of four musical sons and seven years behind Bob. Johnnie Lee learned about music from his father, and began playing banjo with Bob when the Texas Playboys moved to KVOO-Tulsa in 1934. He formed the Rhythmairs in 1939, but returned to the fold the following year when Bob split the Playboys into two groups. Johnnie Lee took over the second unit (switching from banjo to fiddle), with younger brother Luther Jay on bass. A few months later, Bob moved to California and left Johnnie with his own band, christened Johnnie Lee Wills & His Boys. The brothers remained close though, and when Bob needed a substitute as leader, he called Johnnie.

Johnnie Lee Wills & His Boys signed with Decca in 1941, and recorded ten initial sides. The group played on another session when a recording ban was lifted after World War II, but moved to Bullet Records in 1949. Wills' Bullet recordings proved to be the most popular of his career. Early in 1950, "Rag Mop" spent five weeks at the number-two spot in the country charts, and crossed over to the popular Top Ten; though a version by the Ames Brothers did even better. Later that year, "Peter Cotton Tail" also hit the country Top Ten. He moved to RCA Victor in 1952, but none of his recordings sold very well. Western swing's popularity was declining, though Wills' regional fame remained unchanged and he continued to appear regularly on KVOO until 1958.

Wills recorded several albums for Sims in the early '60s, but his band broke up in 1964. He continued to work occasional shows and dances, and opened a Western clothing store in Tulsa with his son, John Thomas Wills. By the late '70s, the Western swing revival took notice of Johnnie Lee Wills, and releases of his early-'50s material appeared on Rounder and Bear Family. He also recorded reunion albums for Flying Fish and Delta with many former Texas Playboys. ~ John Bush, All Music Guide [-] Hide

Hank Thompson was perhaps the most popular Western swing musician of the '50s and '60s, keeping the style alive with a top-notch band, tremendous showmanship, and a versatility that allowed him to expand his repertoire into romantic ballads and hardcore honky tonk numbers. Born September 3, 1925, in Waco, TX, Henry William Thompson was the son... [+] Read More

Hank Thompson was perhaps the most popular Western swing musician of the '50s and '60s, keeping the style alive with a top-notch band, tremendous showmanship, and a versatility that allowed him to expand his repertoire into romantic ballads and hardcore honky tonk numbers. Born September 3, 1925, in Waco, TX, Henry William Thompson was the son of immigrants from Bohemia and grew up idolizing Western swing and country musicians like Bob Wills, Jimmie Rodgers, and Gene Autry. He began learning harmonica and guitar as a child, and appeared in local talent shows as a teenager, which eventually led to his own local radio program (billed as Hank the Hired Hand). After graduating from high school in 1943, Thompson joined the Navy as a radio technician and often wrote songs to entertain his fellow soldiers. Following his discharge, Thompson studied electrical engineering at Princeton through the G.I. Bill, but eventually decided to pursue music as a career. He returned to Waco and to the radio business, and set about putting together a band he dubbed the Brazos Valley Boys. They quickly became a popular live act around the area and recorded their first single, "Whoa Sailor" (a song Thompson had written in the Navy) for the Globe label in 1946. A few more singles followed for Bluebonnet, by which time Tex Ritter had become a Thompson admirer. Ritter helped Thompson land a record deal with Capitol in 1947, an association that would last for the next 18 years.

Thompson scored his first major hit for Capitol in 1949 with the smash "Humpty Dumpty Heart," the biggest of his six charting singles that year. In 1951, he hooked up with producer Ken Nelson, who would helm many of his most successful records. Those records included "The Wild Side of Life," a monster hit from 1952 (over three months at number one) that became Thompson's signature song. Its cynical attitude inspired an answer record by Kitty Wells called "It Wasn't God Who Made Honky Tonk Angels," which made her the first female artist in country music history with a million-selling record. Thompson continued to score hit after hit during the '50s, including 21 songs that reached the Top 20 on the country charts and five Top Tens in the year 1954 alone. A savvy promoter, Thompson devised a number of ways to make himself stand out from the crowd (even past his suave cowboy wardrobe): his early-'50s television show in Oklahoma City was the first variety show broadcast in color and he was the first country artist to tour with a sound and lighting system (put together using his Navy and collegiate experience), the first to receive corporate sponsorship, and the first to record in high-fidelity stereo. He also gave early breaks to musicians like guitar legend Merle Travis and female rockabilly pioneer Wanda Jackson. Toward the end of the '50s, Thompson began to create LPs that were more cohesive than just mere collections of singles plus filler; 1958's Dance Ranch and 1959's Songs for Rounders were Western swing/honky tonk masterpieces, especially the latter, which stirred up controversy with its groundbreakingly adult (some said decadent) lyrical content. In 1961, Thompson recorded the first live album ever released in the history of country music, the classic At the Golden Nugget.

After that burst of inspired creativity, Thompson's luck began to change: the public's taste was moving toward slick country-pop and the electrified Bakersfield sound and despite several more fine records, Thompson's relationship with Capitol ended in 1965. He first moved to Warner Bros., then ABC/Dot in 1968 (which became part of MCA in 1970). Thompson continued to record and tour and his singles charted regularly during the '70s all the way up to 1983, though he never matched the level of success he'd enjoyed in the '50s and early '60s. Even after the hits dried up, Thompson maintained a demanding concert tour schedule, playing all over the world. He was elected to the Country Music Hall of Fame in 1989. ~ Steve Huey, All Music Guide [-] Hide

A musician and actor whose often sordid private life tended to overshadow his career as an entertainer, Spade Cooley was the self-proclaimed King of Western Swing, an innovator who at his peak led the largest band ever assembled in the annals of country music. The product of a multi-generational family of fiddle players, Donnell Clyde Cooley was... [+] Read More

A musician and actor whose often sordid private life tended to overshadow his career as an entertainer, Spade Cooley was the self-proclaimed King of Western Swing, an innovator who at his peak led the largest band ever assembled in the annals of country music. The product of a multi-generational family of fiddle players, Donnell Clyde Cooley was born in Oklahoma in 1910, and at the age of four, his family moved to Oregon. Despite his impoverished background, Cooley was a classically trained fiddler, and by the time he was eight years old, he was performing professionally at square dances with his father John. In 1930, Cooley (who received his nickname thanks to his poker skills) moved to Los Angeles, playing with a number of western-oriented acts. By the mid-'30s, he was working as an actor, with bit parts in several Westerns; for Republic Studios, he served as Roy Rogers' stand-in. He also toured with Rogers as a fiddle player, and handled vocal duties with the Riders of the Purple Sage.

Cooley did not begin a recording career until 1941, when he entered the studio while a member of Cal Shrum's band. A year later, he took control of bandleader Jimmy Wakely's group, the house band at Santa Monica, CA's Venice Pier Ballroom, and their Western swing music began attracting thousands of fans each Saturday night. The densely populated band, home to as many as three vocalists and fiddlers at a time, featured singer Tex Williams and guitarists Joaquin Murphey and John O. Weis. In 1945, Spade Cooley & His Orchestra's first single, "Shame on You," lasted nine weeks atop Billboard's country charts. The first in an unbroken string of six Top Ten singles (including "Detour" and "You Can't Break My Heart"), "Shame on You" would remain Cooley's theme song for years to come. Also in 1945, he married his second wife, Orchestra backup singer Ella Mae Evans. Ultimately, the Orchestra's success led to the dissolution of its most popular lineup; by 1946, Williams, the vocalist on all of the group's hits, was demanding more money, and Cooley refused to pay it. As a result, Williams quit, taking much of the Orchestra with him to form the Western Caravan. In 1947, Cooley began a career in television, hosting a program in Los Angeles titled The Hoffman Hayride. The show's popularity grew quickly, and within months an estimated 75 percent of all televisions in the L.A. area tuned into the show each Saturday night. He also resumed his film career, this time with much higher visibility; in addition to significant roles in a number of Westerns, he also starred in two 1949 short subjects, King of Western Swing and Spade Cooley & His Orchestra.

Throughout the early '50s, Cooley continued to record, but the group's popularity waned as public tastes changed; after a time, he even fired the Orchestra to replace its members with an all-female band. A heavy drinker, Cooley descended into alcoholism as his career declined, and he suffered a series of minor heart attacks. Furthermore, he was facing financial ruin as a result of problems with a planned water theme park to be located in the Mojave Desert. In 1961, his wife Ella Mae left him; after an argument on April 3, he stomped her to death while the couple's 14-year-old daughter Melody looked on in horror. The resulting trial, a media circus during which Cooley suffered another heart attack, culminated in a sentence of life imprisonment. Throughout his term, he was a model prisoner, and thus was allowed to perform at a sheriff's benefit in Oakland, CA, on November 23, 1969. After playing in front of a crowd of over 3,000, Cooley returned to his dressing room, suffered yet another heart attack, and died. ~ Jason Ankeny, All Music Guide [-] Hide

One of the fathers of Western swing, Milton Brown was a vocalist and bandleader who was one of the first to fuse country, jazz, and pop together into a unique, distinctly American hybrid. Along with Bob Wills -- who he performed with at the beginning of his career -- Brown developed the sound and style of Western swing in the early '30s and for... [+] Read More

One of the fathers of Western swing, Milton Brown was a vocalist and bandleader who was one of the first to fuse country, jazz, and pop together into a unique, distinctly American hybrid. Along with Bob Wills -- who he performed with at the beginning of his career -- Brown developed the sound and style of Western swing in the early '30s and for a while he and his band, the Musical Brownies, were just as popular as Bob Wills & His Texas Playboys. Tragically, Brown's career was cut short in 1936 when he died after a car accident, just as he was poised to break into national stardom.

Born in Stephensville, TX, in 1903, Milton Brown moved to Fort Worth, TX, in 1918. After graduating from high school in 1925, he worked as a cigar salesman, but he lost his job when the Great Depression hit in the late '20s. Brown began his musical career in 1930, when he happened to meet Bob Wills at a local Fort Worth dance. The Wills Fiddle Band was performing at the dance and Brown joined the group on a chorus of "St. Louis Blues." Wills was impressed with Brown's voice and immediately asked him and his guitarist brother, Derwood, to join the band.

The Wills Fiddle Band played medicine shows around Texas and landed a regular radio spot on WBAP, where they played a show sponsored by the Aladdin Lamp Company, which had the band change its name to the Aladdin Laddies. In early 1931, the group was hired by the Light Crust Flour Company -- which was run by Burrus Mill and Elevator Company -- to appear daily on radio station KFJZ. The company, which was managed by W. Lee O'Daniel (who also hosted the radio shows) had the group rename itself as the Light Crust Doughboys.

The Light Crust Doughboys were an instant success, and soon O'Daniel moved them to another radio station, then syndicated the program statewide. The Doughboys were playing cowboy songs, jazz, blues, and popular songs -- a repertoire so diverse that the band's audience continued to expand. In February of 1932, they recorded a single for Victor under the name the Fort Worth Doughboys.

The band was playing dance music and wanted to play at dances, but O'Daniel was reluctant to let the group play outside of its radio shows. He also was hesitant to pay them much money, which greatly angered Milton Brown. In September of 1932, Brown left the band after he had an argument about money with O'Daniel.

After leaving the Light Crust Doughboys, Brown formed the first Western swing band, the Musical Brownies. The first incarnation of the Brownies featured Brown, guitarist Durwood Brown, bassist Wanna Coffman, Ocie Stockard on tenor banjo, and fiddle player Jesse Ashlock. Shortly afterward, pianist Fred Calhoun and fiddle player Cecil Brower (who replaced Ashlock) joined the group. Like the Light Crust Doughboys, the Musical Brownies played a mixture of country, pop, and jazz, but the Brownies had a harder dance edge than their predecessors.

Almost immediately, Milton Brown & His Musical Brownies were a huge success. The group had a regular spot on radio station KTAT and drew large crowds at Texas dances. The band recorded eight songs for Bluebird in April of 1934, and another ten for the label in August of that year.

Toward the end of 1934, the Brownies added electric steel guitarist Bob Dunn -- the first musician to play an electric instrument in country music. In January of 1935, the band signed with Decca Records and recorded 36 songs for the label. Released as singles over the course of 1935, the songs helped establish the band as the most popular Western swing band in Texas. In March of 1936, the Brownies traveled to New Orleans to record its second set of sessions for Decca. By this time, fiddler Brower had been replaced by Cliff Bruner. At these sessions, the Brownies cut about 50 songs, which were issued throughout 1936 and 1937.

In April of 1936, Brown had a major car accident. Although he wasn't killed on impact, he died from pneumonia five days after the crash. Following Milton's death, Durwood Brown kept the Musical Brownies together for two years, recording a dozen sides for Decca in 1937. At the time of his death, Milton Brown rivaled Bob Wills in popularity. Although he never became as famous as Wills, he was equally important in the development of Western swing -- without him, the genre as it is now known wouldn't exist. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Spadella: The Essential Spade Cooley collects 20 highlights from Cooley's stint as one of the most popular Western swing bandleaders in America. All of the selections on the album were recorded between 1945 and 1946, when Cooley and his group scored six straight Top Ten singles, all of which are included here ("You Can't Break My Heart" is in an... [+] Read More

Spadella: The Essential Spade Cooley collects 20 highlights from Cooley's stint as one of the most popular Western swing bandleaders in America. All of the selections on the album were recorded between 1945 and 1946, when Cooley and his group scored six straight Top Ten singles, all of which are included here ("You Can't Break My Heart" is in an alternate version). This is when the group was at its peak, and vocalist Tex Williams was always in stellar form. Although it doesn't cover his entire career, Spadella remains the one essential Cooley compilation. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

This five-CD set is the only extant collection by this legendary Western swing outfit. At 140 dollar list, it's a hefty investment, but it's such solid music that it's difficult not to justify on the basis of quality. Disc one, covering sessions from 1937, is justified by the presence of the greatest version ever of "Milk Cow Blues," with a... [+] Read More

This five-CD set is the only extant collection by this legendary Western swing outfit. At 140 dollar list, it's a hefty investment, but it's such solid music that it's difficult not to justify on the basis of quality. Disc one, covering sessions from 1937, is justified by the presence of the greatest version ever of "Milk Cow Blues," with a vocal by Leo Herbert Raley that will curl every hair you have; an awesome Western swing version of "You Got to Hi De Hi"; the bluesy, fiddle-driven "Can't Nobody Truck Like Me"; the smooth yet touching "Under the Silvery Moon"; and a trio of distinctive alternate takes of three of the best numbers here, only uncovered in 1997. Disc two has even more of a freewheeling feel to it, and some of the best rags and dances ever cut by anybody. By the late 1939 sessions that open disc three, the group isn't as much of a blues band, no less lively but playing more straight dance material. Disc four moves into the 1940s, and topicality is reflected by the presence of the rollicking "Draft Board Blues"; the disc also encompasses the extended periods of recording inactivity by the group, including a gap from 1941 and 1944, and then, again, until 1947. By this time, Bruner and his band were losing the edge that had made their earlier music such a delightfully intense listening experience. Their playing was as good as (and more polished than) ever, but as they moved into the late '40s and the dawn of the 1950s -- covered on disc five -- their overall sound lacked sharpness, although it was still eminently listenable. The notes and discography are both exceptionally detailed. ~ Bruce Eder, All Music Guide [-] Hide

The Complete Recordings of the Father of Western Swing 1932-1937 is exactly what its title suggests -- everything Milton Brown and His Musical Brownies recorded for both Victor and Decca Records, spread out over five compact discs. The very comprehensiveness of the box makes it appealing only to serious country music historians and dedicated... [+] Read More

The Complete Recordings of the Father of Western Swing 1932-1937 is exactly what its title suggests -- everything Milton Brown and His Musical Brownies recorded for both Victor and Decca Records, spread out over five compact discs. The very comprehensiveness of the box makes it appealing only to serious country music historians and dedicated fans, but within these five discs is some of the most groundbreaking, influential -- and just plain enjoyable -- popular music of the early 20th century. For those willing to make the investment, it is well-worth the money. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Band's a-Rockin' includes 27 songs -- 70-plus minutes -- of radio transcriptions dating between 1941 and 1951, and some of the hottest Western swing you're ever going to hear. The title track is pretty cool, but then Johnnie Lee Wills kicks it into high gear with "Boogie Woogie Highball," a jazzy, swingin' instrumental that could've been part of... [+] Read More

Band's a-Rockin' includes 27 songs -- 70-plus minutes -- of radio transcriptions dating between 1941 and 1951, and some of the hottest Western swing you're ever going to hear. The title track is pretty cool, but then Johnnie Lee Wills kicks it into high gear with "Boogie Woogie Highball," a jazzy, swingin' instrumental that could've been part of Benny Goodman's repertory if that band had only come from Texas instead of Chicago. Curly Lewis' and Henry Boatman's fiddles contend with Don Harlan's clarinet and a bunch of talented guitarists who passed through the lineup -- this band was a multiple-threat in the solo department, with Clarence Cagle and Bob Booth both in there pitching on the piano and trumpet, respectively, as well. There's not a bad song here, and some of the stuff here was important at the time -- by some estimates, Johnnie Lee's cover of "Rag Mop" kept the Bullet label afloat nearly a year longer than it otherwise would have survived. Their version of "Milk Cow Blues" may be the best cover by any white musicians this side of Darby & Tarlton. Some of the 1941-vintage tracks ("Whatcha Know Joe," "Keep a Light in Your Window Tonight") have a fair amount of noise in the background, but it not serious enough to detract from the music in any major way. Anyone seeking to own a Western swing CD recorded by someone other than Bob Wills should make this a first pick. ~ Bruce Eder, All Music Guide [-] Hide

Twenty songs, containing nearly all of the essential items from Thompson's history with Capitol Records from 1947 through 1961, from "(I've Got A) Humpty Dumpty Heart" through "Oklahoma Hills." In addition to containing all of the expected hits, such as "The Wild Side of Life," there are a few nice bonus tracks, such as the Brazos Valley Boys'... [+] Read More

Twenty songs, containing nearly all of the essential items from Thompson's history with Capitol Records from 1947 through 1961, from "(I've Got A) Humpty Dumpty Heart" through "Oklahoma Hills." In addition to containing all of the expected hits, such as "The Wild Side of Life," there are a few nice bonus tracks, such as the Brazos Valley Boys' instrumental "Big Beaver," and excellent notes, depicting Thompson's arrival at the label, the founding of the Brazos Valley Boys, the beginning of his long and profitable relationship with producer Ken Nelson, and the background on each song's recording and history. ~ Bruce Eder & Thom Owens, All Music Guide [-] Hide