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R.I.P. Charley Pride

The Austin City Limits staff was disheartened to learn over the weekend of the death of trailblazing country music superstar Charley Pride at 86. He died due to complications from the novel coronavirus. 

The Mississippi native, son of a sharecropper, was the first Black singer inducted into the Country Music Hall of Fame in 2000, and one of only three Black members of the Grand Ole Opry. (The others are pioneer DeFord Bailey and current star Darius Rucker.) After a successful run as a pitcher and outfielder in minor league baseball, Pride was signed to RCA Records after company president Chet Atkins heard his demo tapes and signed him. Pride first hit with the 1966 top 10 country hit “Just Between You and Me,” which inaugurated a string of bestselling smashes (“Kiss An Angel Good Morning,” “Is Anybody Goin’ to San Antone,” “Don’t Fight the Feelings of Love,” so many more). Nearly a half-century on, it’s hard to believe that when his first few singles were sent to country radio, no photos were issued, and even harder to believe that some radio stations refused to play his records once his identity became known. Pride broke down barriers and was elevated to the level of stardom his talent deserved. When his career was in full flight, he could lay claim to 30 No. 1 hits on the country charts, and sold more than 25 millions records as RCA’s best-selling country artist. His final performance was on November 11 at the annual CMA Awards show where he received the well-deserved Willie Nelson Lifetime Achievement Award.

Celebrated for his remarkable voice and as a gifted entertainer, Pride made his only appearance on Austin City Limits during Season 6 in 1981. Here he is singing one of hits from that year, the beautiful “Roll On Mississippi.” 

Our hearts go out to his beloved wife Rozene and family. 

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Featured News

R.I.P. Charles Neville

We at Austin City Limits were saddened to learn of the death of Charles Neville of pancreatic cancer at age 79. The second oldest of the Neville Brothers, Charles appeared on the show with his siblings three times, in 1979, 1986 and 1995. The sax-wielding New Orleans native began his career backing various New Orleans-based R&B acts, before enlisting in the Navy. Upon release, he joined songwriter Larry Williams’ band before moving to New York, gigging constantly and building his jazz chops. He returned to New Orleans in the mid-70s at the behest of his uncle, Big Chief Jolly of the Wild Tchoupitoulas, to form the Neville Brothers with Aaron, Art and Cyril. Acclaimed albums like Fire On the Bayou and Yellow Moon and many celebrated tours and performances followed. The Brothers dissolved as a unit in 2012, but by then the Massachusetts-based Charles had already established himself as a jazz artist, as well as leading the New England Nevilles with his sons.

“Charles Neville was ‘the horn man’ ​in The Neville Brothers,” says ACL executive producer Terry Lickona. “​Each of the four brothers had their own distinct sound, but Charles, with his saxophone, brought a uni​que energy to what was to become one of the most popular and influential bands ever to emerge from the New Orleans music scene. ​They were one of the first acts I booked in my first year as ACL Producer, and we were honored to induct them into the Austin City Limits Hall of Fame last year.”

Here are Charles and his brothers performing “Yellow Moon,” with his snaky sax giving one of the Nevilles’ most famous songs its signature sonic stamp.

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Featured News

R.I.P. Billy Joe Shaver

Austin City Limits is devastated to learn of the death of singer/songwriter Billy Joe Shaver, one of the pioneers of the outlaw country movement. He died Wednesday Oct. 28 in the hospital in Waco following a stroke. He was 81. 

Nobody wrote songs about hard living and redemption like Billy Joe Shaver. Whether he was talking about falling off the wagon or getting back on, the Corsicana, Texas native’s plainspoken eloquence found the beauty in the rough times, and expressed it with optimism for the future. On his classic, much-covered tunes like “Georgia On a Fast Train” and “I’m Just An Old Chunk of Coal (But I’m Gonna Be a Diamond Someday),” Shaver didn’t wallow in the seamier side of life – he understood that the bad times were as important a part of the journey as the good ones, and never gave up on hope, love, or joy. Though he mystifyingly never enjoyed the same level of fame as his contemporaries Willie Nelson, Waylon Jennings, Kris Kristofferson or John Prine, he was admired, respected and loved by them all. Indeed, Jennings brought Shaver to prominence by filling his classic 1973 LP Honky Tonk Heroes with the troubadour’s songs. 

Billy Joe Shaver on Austin City Limits, 1985

“A writer once said that Waylon Jennings and Billy Joe Shaver were ‘the first of the last real cowboys,’” said ACL executive producer Terry Lickona. “Billy Joe added the heart and soul and grit and edge that made so-called outlaw country music real. He lived the life he wrote about, and we’re proud to have showcased his music four times over the years.”

As Shaver put it in one of his most famous songs, “I’m gonna live forever.” Perhaps not in body, but most definitely in body of work. Rest in peace, Billy Joe – you were definitely a diamond. 

Billy Joe and Eddy Shaver on Austin City Limits, 1997
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News

R.I.P. Bee Spears, Willie Nelson’s long-serving bass player

We here at ACL TV were saddened to learn that longtime Willie Nelson bassist Bee Spears passed away this weekend. You can find more details here.

Here he is with Willie from the pilot episode of Austin City Limits.

 

Watch Pilot Performance: Willie Nelson “Bloody Mary Morning” on PBS. See more from AUSTIN CITY LIMITS.

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Featured News

R.I.P. Art Neville of the Neville Brothers

Austin City Limits was saddened to learn of the death of ACL Hall of Famer Art Neville, keyboardist, songwriter, singer and co-founder of funk/soul legends the mighty, mighty Neville Brothers and the Meters, and an ambassador for New Orleans music worldwide, on July 22. He was 81. 

The eldest Neville Brother, Art was born in 1937 in the Big Easy. Though he claimed that the brothers had no radio or records growing up, Art still discovered music, falling under the spell of both the 1950s doo-wop groups like the Orioles and the Drifters and the New Orleans piano greats Professor Longhair and Fats Domino – obvious influences on both his instrument of choice and the R&B harmonies of his brothers’ band. He scored a regional hit early on with the Hawketts, recording “Mardi Gras Mambo” when he was only 16. The song is still a staple of New Orleans Fat Tuesday celebrations. 

Following a stint in the Navy, Art formed Art Neville & the Neville Sounds, becoming the house band for Allen Toussaint’s many productions and eventually evolving into the beloved funk outfit the Meters. With the Meters, Art contributed the classics “Hey Pocky Way” and “Cissy Strut” to the musical lexicon, recorded acclaimed instrumental albums like Rejuvenation (named one of Rolling Stone’s 500 Greatest Albums of All Time) and backed artists like the late Dr. John (“Right Place, Wrong Time”), LaBelle (“Lady Marmalade”) and Robert Palmer (Sneakin’ Sally Through the Alley). 

Following the expiration of a contractual obligation that prevented them from working together, Art joined forces with his younger brothers Cyril, Aaron and Charles, backing their uncle, Mardi Gras Indian Big Chief George “Jolly” Landry on the landmark 1976 Wild Tchoupitoulas album, and released their self-titled debut as the Neville Brothers in 1978. The siblings recorded frequently and toured relentlessly for over thirty years, issuing classic albums like Fiyo On the Bayou, Yellow Moon and Valence Street and iconic songs “Sitting in Limbo,” “Brother John,” “Yellow Moon,” “Congo Square” and, of course, the immortal N’awlins anthem “Iko Iko.” Art also resurrected the Meters as the Funky Meters, continuing to perform with both groups as his health allowed until he retired from the stage in 2018.  

Called “the captain of the ship” by New Orleans Jazz and Heritage Festival director Quint Davis, Art Neville made three iconic appearances on ACL with the Neville Brothers, the first Big Easy band to grace the ACL stage: in Season 4 (1979), Season 11 (1986) and Season 20 (1995).  We were proud to honor them with an induction into the ACL Hall of Fame in 2017, featuring tributes from some of New Orleans finest including Trombone Shorty and the late Dr. John.  Here is Art singing the first number in the band’s 1979 ACL debut: the Neville Brothers classic “Sitting in Limbo.” 

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News Taping Recap

Queens of the Stone Age melt faces at debut ACL taping

Indie rock, singer-songwriters, Americana and soul are great, and we love it all, but sometimes we just need a dose of face-melting rock & roll. Few bands provide that kind of cochlea-destroying good time as well as Queens of the Stone Age did for their first ACL taping. Main Queen Josh Homme has been on the show before, with the supergroup Them Crooked Vultures. (For that matter Queens keyboardist Dean Fertita last visited our stage with the Raconteurs.) But this is the first time he’s brought his main creation to Austin City Limits, and it was a mutual love affair from the first (extremely loud) note.

The quintet opened the show with the pole position track from its breakthrough Songs For the Deaf – “You Think I Ain’t Worth a Dollar, But I Feel Like a Millionaire” blasted out on waves of drums and Homme’s instantly recognizable guitar tone. This wasn’t the only time the Queens shook the rafters – “Little Sister,” “My God is the Sun” and “No One Knows” (the Big Rawk Hit, played surprisingly early in the set) reveled in the band’s patented blend of singalong melodies and amp-frying roar. Not everything was about sonic wallop, however – the band wove an eclectic, open-minded musical approach into its distinctive sound, with special attention paid to its acclaimed new LP …Like Clockwork. “If I Had a Tail” and “Smooth Sailing” rode a hipshaking swagger, while “Make It Wit Chu” added a seductive slither that subverted the stereotypical sex rap implied by the title. “The Vampyre of Time and Memory,” “…Like Clockwork” and “I Appear Missing” essayed the Queensly version of power balladry, while “In the Fade” stretched into widescreen psychedelia. “I Sat By the Ocean” added a subtle early 70s David Bowie influence, like Ziggy Stardust filtered through Homme’s vision of acid rock.

The show ended as it began, with a blazing salvo from Songs From the Deaf. The guitar orgy that is “A Song For the Dead” ripped through classic blues metal at nearly hardcore punk velocity, ending the evening in a wave of feedback, Homme’s guitar hanging from the microphone. Queens of the Stone Age’s ACL set is what rock & roll is all about, and we can’t wait for you to see for yourselves when the episode airs early next year. Stay tuned.