 2026: LONE STARDUST: Masterworks of Texas Songwriters Northern Latitudes Records About | Lyrics/Notes | Reviews | Interviews | Order | Stream
Songs from Texas I've loved!
Rusty's Notes: A while back, my Houston-Los Angeles pal and frequent musical collaborator, Steven Beasley, came up for a visit. Steve was looking to learn how to use Apple Logic, a music recording computer program. I volunteered to tutor. As a first practice song, I suggested we try recording "Roll On Santa Fe," a song featured by one our favorite 1970s Houston bands, Denim. The next practice song was a cover of our friend Vince Bell's "All Through My Days." And so an idea was born. As I continued writing and recording my original songs, I began toying with the idea of recording an album of songs written by Texas songwriters. With two such songs already in the bag, it was fun to think what could go on such an album. Beyond "Texas songwriter," I had not gone very far with further description. At first, I imagined the album would continue on songs, like "Santa Fe" and "My Days," from the magical Houston music scene circa 1970-1984 (totally coincidently the years I lived there). But then I thought I would want to get some West Texas writers in there who were so influential to me, like Roy Orbison and Buddy Holly. So eligiblity was opened to any song written by someone who was primarily associated with Texas. Finally, the criteria was stretched to the break-point with the inclusion of one of the most beautiful songs ever written about Texas, even if it's from an Oklahoman (see song notes below on my creative justification).
Of course, there are thousands of great songs by Texas songwriters. Texas is a veritable storytelling and songwriting civilization. I thought grabbing a dozen or so would be like plucking lowhung plums, but it turned out to be more challenging. Just as I had widened the criteria for "Texas" songwriters and realized there was an avalanche of potential song possibilities about to land on me, I knew I would need to get very selective. I needed to further ponder what kind of album this should be. I figured what I did not want was a predictable, hits-only, collection from the usual suspects of "best Texas songwriters," or a bunch that a whole lotta other artists have covered. I wanted an eclectic batch, some well-known songs, along with some surprises. Moreover, I needed the songs to hit close to home, meaningful to me, tunes I could sing with conviction and experience, maybe even find a few with a universal theme or some thoughts of wisdom. I like songs that tell a good story, have an original melody and lend themselves to soundscape interpretation. All of them needed to fit my style, vocal-wise. My tendency was toward songs with which I had a previous personal relationship, songs I have known and enjoyed for a long time, but I also wanted to be open to discovering other jewels along the way that I had never heard before or hadn't properly appreciated. Four of those would arise. This project is certainly not a smorgasbord of the flavors of Texas songs. The vast bulk of outstanding Texan-penned songs just aren't the best for me as an artist. I can't, with a straight face, do songs about drinkin', huntin' and fishin', trucks or girls in Daisy Dukes, nor am I probably the best vehicle for honky-tonk romps, most blues, funk or jazz, not to mention songs in Spanish... all genres in which Texas songwriters have long shined. Even with these increasingly restrictive requirements, the list grew... and grew. Suddenly I had dozens of songs that could work. I admit not doing an exhaustive search, nor digging very far back in time. Texas music is a motherlode. I'm sure there are gems galor I missed. I'll probably be kicking myself over some of them. It was a difficult choice to pare the candidates down to the finalists. The one that I was most disappointed to leave off was Roger Miller's "King of the Road." That was the first song I learned on guitar, still a favorite of mine, and certainly one of the best Texas songwriters and songs ever. It would have been cool to complete that circle, but it just didn't happen, for this album anyway. I decided to adhere to the strategy of my other albums, and just cram as many songs as would fit on a CD. That turned out to be nineteen. And here they are. Stylistically, there is not much of a common thread, other than they were all written by damn good songwriters who, one way or another, are associated with Texas. I'm happy, and honored, to get the chance to work with each one of these songs. Art is largely subjective, but from my perspective, they are all masterworks of songwriting. I'm hoping listeners will dig this collection of some well-known favorites and others that, more than likely, they have never heard. Special shout out to the key facilitators of this project: Steven Beasley, Jed Demlow, Austin Moorehead, Rohit Bhusan and MVP Jason Roller. Thanks, of course, to these songwriters for their amazing gifts, and also to all of my collaborators who made these songs theirs and helped make this dream of mine come true.
BUY THE CD HERE - $11.95 (plus shipping) - signed by Rusty
APPLE MUSIC BANDCAMP DEEZER I HEART RADIO PANDORA SHAZAM SPOTIFY TIDAL YOUTUBE MUSIC
[If you note lines that seem similar, they are drawing from the shared press release.]
Yes! The collection of songs Rusty put together is truly a unique deep dive of some of the best tunes ever written by some of Texas' best songwriters. This amazing compilation will take you on a journey. From the cactus filled West Texas to the Gulf of Mexico, enjoy the ride!
This track ("All through My Days") radiates a sense of confidence and an irresistible charm, complemented by intricate layers of mesmerizing melodies. Every element perfectly embodies your persona, seamlessly blending together to create a powerful and unique sound.
This is every bit as heartfelt and emotive as we've come to expect from the Rusty Reid sound.
Excellent musical production, excellent mixing and mastering, and great vocal work. Congratulations on a job well done; your song ("All Through My Days") will be added to our playlist and also featured in our Instagram Stories.
Hello Again Rusty. I like this. I don't know the original but never mind, this is a nice version. I host a show called "Into the Groover" and will play this on Monday 18th May at 6pm UK time. The show will also be available on Mixcloud a day or so later. I will also add it to the playlist for "Grooves from the Groover" which is broadcast every Tuesday at 4pm as well as the Submissions which is broadcast daily on Deal Radio. Thanks for sharing.
I enjoyed the timbre of the song ("All Through My Days"). The song has a nice energy. The guitar work sounds great and the vocals have a nice character. I can certainly tell this is a quality tune ("All Through My Days"). The vocals are on point and the production is well executed and easily accessible. There is mainstream radio potential for this one. -- Unheard Indie This one hits like a fresh, vibrant track, with your creative momentum shining through every new song on my dashboard. Keep the songs coming on here and keep up the great work! -- Free 99 Radio A good track to have on my radio station, it will be on rotation for 6/8 weeks. -- Good Music Radio Beautiful composition! The singer is amazing and the instrumental is lovely. I really like the chorus. Congratulations, I have decided to approve your track for broadcast on my show. -- Glacier FM (UK) We've been listening to All Through My Days and just wanted to say how much we enjoyed it. The track has such a great sound to it, and everything feels really well crafted. It's one of those songs that keeps pulling you back in for another listen. We'd love to share your music on our socials so more people can hear what you're making. We plan our posts ahead of time, so we'll message you again closer to when your feature is due to go up. If the song is not released yet, that's totally okay, we're happy to wait until it's out. Please keep sending us your music. Your sound feels really genuine and it definitely stands out. -- The Hubb (UK) Thank you for sharing your song with us. "All Through My Days" is a quality song ;you're doing your thing as usual making making cool folksy music that is strong lyrically. I like the singer's passion, of course. It's catchy. -- ADAD Audio. Bands We Like! Rusty Reid's single "All Through My Days" revisits the original work of Vince Bell and Connie Mims Pinkerton. This rendition serves as a beautiful variation, moving away from the more rhythmic and cheeky nature of the original. Reid infuses the song with elements reminiscent of The Beatles and John Denver. This ability to infuse his own stylistic touch into a classic demonstrates Reid's artistic talent. The song flows smoothly, retaining the essence of the original while adopting a slower tempo. This shift gives the piece an almost balladic feel. Reid's interpretation is, as usual, solid and showcases his deep understanding of music-the extended guitar solo features long, sustained notes that create an inviting atmosphere. Reid's mastery of classic rock and Americana shines through, as he successfully evokes the right emotions in his music. In crafting this rendition, Reid has made strategic choices that enhance the song's emotional breadth. The arrangement maintains a sense of familiarity while offering a fresh take. His vocal delivery is both heartfelt and warm, drawing listeners in from the first note. Reid's unique take gives the audience a chance to appreciate the lyrics in a new light. "All Through My Days" - Sound and Atmosphere: Each chord strikes with clarity, supporting the song's narrative. The slowed-down tempo works well, allowing the listener to savor each line. This allows the gravity of the song to resonate more profoundly. The emotional depth present in the lyrics is amplified by Reid's interpretation. Listeners familiar with the original will find comfort in the tribute while discovering new nuances. This balance showcases Reid's respect for the source material. He honors the essence of the song while putting his own spin on it. The blend of classic influences enriches the piece, transporting listeners momentarily. "All Through My Days" - Performance and Production: The skilled production and arrangement set a pleasing auditory landscape. The overall structure of the song feels methodical. Reid's influences are subtle yet significant, creating a musical environment that is refreshing. The balance he strikes between honoring the original and expressing his individuality is commendable. Each listen uncovers new elements that may have gone unnoticed before. Rusty Reid undoubtedly understands the principles of storytelling through music. Rusty Reid not only pays homage to the past but also paves the way for future artists to appreciate it. "All Through My Days" stands as a fine example of how reinterpretation can breathe new life into a familiar classic. His artistry elevates the original, inviting us to take a fresh listen while reflecting on the emotional weight of the song. -- Edgar Allan Poets (US) Rusty Reid channels timeless romance and Texan storytelling on poetic ode to human connection, "All Through My Days." Our obsession with Rusty Reid seems to grow with every listen. Last year, we featured the rising artist for channelling notions of playful rebellion and bold confidence in Attitude Change, so when we heard that Rusty was back with "All Through My Days," we couldn't wait to immerse ourselves in his universe once again. "All Through My Days" opens with a dimensional guitar soundscape and the lyrics, "You were ruled by the southern sky, made you trade your world for another style, the way you slipped through the streets of my city, you were a melody." We immediately connect with the feel-good energy of the track and the timeless nature of its ode to love and human connection. In essence, "All Through My Days" is about being completely taken by someone who changes the way Rusty sees life and love. The woman in the song feels mysterious, free-spirited, but emotionally hard to hold onto. That said, being around her makes everything feel easier for Rusty, and more meaningful than he expected. There's a cinematic allure that manifests and we could imagine this in a big Hollywood romantic film like The People We Meet On Vacation, Materialists, or My Oxford Year. There's a mix of romance, obsession and vulnerability running through the track and we love Rusty's emotive presence, authenticity and passion that he delivers the lyrics with. He knows the relationship might not last forever, but he's still telling her to follow love whilst it's real, because even temporary love can feel life-changing. We learn that "All Through My Days" is the first single from Rusty Reid's fifth album, Lone Stardust (Masterworks of Texas Songwriters). It was originally written by Vince Bell and Connie Mims Pinkerton during their time in Houston, Texas. The album marks a striking departure for Rusty, an American indie folk-country-rock singer-songwriter known for albums filled with his own original material, as this release is instead a carefully curated collection of nineteen covers, each penned by a songwriter with a connection to Texas. The record celebrates legendary names such as Buddy Holly, Roy Orbison, Townes Van Zandt, and Kacey Musgraves, alongside lesser-known writers Rusty brings into the spotlight. Rusty passionately says, "I'm back with something totally different. I've only released two cover tunes before, yet here comes a whole album full of them. But there's a twist. All of these songs were written by Texas songwriters, the state of my birth and development into a halfway decent singer-songwriter (some say)." Needless to say, we are in awe, and have added "All Through My Days" to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the entirety of Lone Stardust (Masterworks of Texas Songwriters) -- KIMU (UK)
Love the new track Rusty! Classic! We will post this on the blog with bio or links! Thanks again for the new music and keep them coming!
Hey Rusty! Great new single and video! We will be adding this to the blog in our fresh weekly playlist! Looking forward to more new tunes from you!
After A Close Listen To This Deeply Humane And Emotionally Resonant Single, Here Are My Thoughts. "All Through My Days," by Rusty Reid is a bouncy, slightly unconventional urban love song that balances warmth with emotional surprise. From a personal standpoint, the most striking element is Reid's vocal delivery, which feels raw, conversational, and deeply intimate, sitting naturally between folk storytelling and pop-rock crooning while carrying a weathered sincerity that makes every line feel lived rather than performed. His phrasing shifts effortlessly from near-whispered vulnerability to fuller melodic openness, giving emotional weight to lyrics like "All through my days, all over my nights. I never dreamed it could be so simple," while the central idea that "there's no good place for your heart to hide" captures the inevitability of surrender in love. Thematically, the song explores the sudden collapse of emotional barriers when unexpected romance arrives, transforming complexity into clarity and resistance into quiet acceptance. Instrumentally, it is rooted in a classic folk-rock structure driven by clean acoustic guitar strumming, a warm anchoring bassline, and restrained percussion that maintains a steady mid-tempo flow, while chime-like and occasionally brash electric guitar textures introduce a subtle edge that keeps the arrangement unpredictable. As the track progresses into the third verse and tag, the dynamics gently expand, creating a natural emotional lift that mirrors the lyrical deepening, all within a production style that remains organic, uncluttered, and intentionally live-sounding. Overall, "All Through My Days" feels like a tender yet restless meditation on love's disarming simplicity, where emotional surrender becomes not a loss of control but a quiet form of revelation. Rusty Reid steps into bold new territory with "All Through My Days," the lead single from his ambitious covers collection Lone Stardust (Masterworks of Texas Songwriters). Known for sprawling original albums packed with folk, country, and rock textures, Reid now turns his attention toward celebrating the songwriting legacy of Texas. The result is not a nostalgic retread, but a refreshing reinterpretation of overlooked and iconic material alike. Written by Vince Bell and Connie Mims Pinkerton, "All Through My Days" immediately sets the tone for a project rooted in admiration yet driven by artistic individuality. What makes the single stand out is its unusual balance of warmth and eccentricity. Built around bright, chiming guitars and a loose, upbeat rhythm, the track feels both vintage and strangely modern at the same time. Reid embraces the song's offbeat lyrical charm, delivering an urban love story that avoids cliché at every turn. One of the song's most memorable moments arrives in the heartfelt refrain, "All through my days, all over my nights. I never dreamed it could be so simple," Delivered through Reid's warm, weathered voice, the lyric feels less like a polished hook and more like an honest realization unfolding in real time, adding even greater intimacy to the song's offbeat romantic charm. There is an easy chemistry between the instrumentation and vocal phrasing that gives the recording its emotional pull. The arrangement steadily grows more dynamic as the song unfolds, particularly in the final verse and tag where the layered guitars and fuller production create a satisfying emotional lift. Reid wisely avoids overcomplicating the track, allowing the melody and atmosphere to breathe naturally. Even with a large ensemble of musicians spread across the Pacific Northwest, Los Angeles, Nashville, and Mumbai, the performance never loses its intimacy. Instead, it sounds like a group of seasoned players fully invested in honoring the spirit of the song while adding fresh personality to it. As an introduction to Lone Stardust, "All Through My Days" works beautifully because it captures the album's larger mission: celebrating Texas songwriting without simply recreating the past. Rusty Reid proves that cover songs can still surprise listeners when approached with imagination, sincerity, and genuine affection for the material. If this first release is any indication, Lone Stardust could become one of the more intriguing tribute projects to emerge from the indie Americana scene in recent years. -- Caleb, NuvaPulse (UK) You know that feeling when a grizzled road dog sits down, lights a cigarette, and tells you a story that's been rattling around in his bones for decades? That's Rusty Reid on "All Through My Days." And damn if it doesn't hit just right. Here's the deal: Rusty's a seasoned American indie folk-country-rock singer-songwriter out of Seattle, Washington. Dude just dropped his fifth album called Lone Stardust (Masterworks of Texas Songwriters) - and it's a monster. Nineteen tracks, basically a double album, but here's the twist: every single song is a cover written by a songwriter with Texas roots. We're talking Buddy Holly, Roy Orbison, Townes Van Zandt, Kacey Musgraves, the boys from ZZ Top - heavy hitters all day. But Rusty ain't just phoning in karaoke versions. About half the tracks stick close to the original, and the other half? He flips 'em on their head. "All Through My Days" is the first single and video off the album. The original was written by Vince Bell and Connie Mims Pinkerton back in the day in Houston. Rusty takes that tune and drags it through his own dusty, heartfelt filter. The result is a slower, almost balladic take that drips with warmth. Now let's talk about the guitar solo. Oh man. Extended, sustained notes that just hang in the air like smoke in a dive bar. It's not flashy shredding - it's the kind of lead that makes you close your eyes and nod your head real slow. Rusty's vocal delivery is heartfelt, warm, and honest. No auto-tuned garbage here. Just a dude who's lived some life and knows exactly how to sell a line. And he's not alone. Rusty rolls with a crack group of players scattered from the Pacific Northwest to L.A. to Nashville to Mumbai. That's right - Mumbai. These session pros lock in tight and give the track a smooth, Americana rock shine without over-polishing the grit. His distinctive voice is the glue that holds it all together. The video's out too, so go watch it. But first, crank "All Through My Days." Let that slowed-down tempo sink into your chest. Rusty Reid ain't just paying homage to Texas songwriters - he's proving he belongs in the conversation. Fire stuff. -- BuzzyBand (US) Dust, Memory, and Heartland Grace. Warmth pours out of Rusty Reid's "All Through My Days" with the kind of sincerity that can't be manufactured. The track feels lived-in from the very first note, carrying the dusty soul of Americana while wrapping it in a deeply personal emotional weight. Rather than chasing flashy production or modern trends, Rusty Reid leans into honesty, and that choice gives the song its lasting impact. What makes the single so compelling is the balance between tenderness and resilience. The arrangement unfolds gently, allowing every instrument room to breathe, yet there's a quiet strength underneath it all. Acoustic textures blend beautifully with subtle country-rock touches, creating a sound that feels timeless without slipping into nostalgia for nostalgia's sake. The musicianship is polished but never overworked, keeping the spotlight firmly on the emotional atmosphere. Rusty Reid's voice is the true anchor here. There's a rugged vulnerability in the performance that makes every phrase feel believable, as though the song is being remembered rather than simply performed. That emotional authenticity gives "All Through My Days" a rare intimacy. It invites listeners to sit with their own memories, regrets, and moments of gratitude without ever becoming overly sentimental. As the introduction to a larger project celebrating Texas-rooted songwriting, the single succeeds brilliantly. It captures a sense of place, history, and human connection while still feeling deeply universal. "All Through My Days" is reflective, comforting, and quietly powerful - the kind of song that lingers long after the music fades. -- Patricia and Kristine, Hella Fuzz (US) Put a fun spin on your week with indie rock featuring Rusty Reid, Once Great Estate and Citizen Smith. Listen to their music and follow them for more!: Rusty Reid brings country rock from a lot of places straight to one place. This is who you call 'songwriter royalty': someone who lives and breathes through their music. "All Through My Days" is a track from his album "Lone Stardust", a triple album stacked with beautiful country tunes. Composed by Connie Mims and Vince Bell, this song represents time through an elegant symphony. This entire collection has Srusti (sp) Reid admiring the work of some of the greatest songwriters of Texas. He does real justice to the song by reviving its rich melodies and breathing a lively, stirring vocal essence to it. The background in the verse section is minimal, leading to Rusty's voice shining in the spotlight. This twists the crown of time through the days: -- Audiokaradi Press (India) Rusty Reid steps away from originals on his fifth release, Lone Stardust, a sprawling tribute to Texas songwriters. The lead single, All Through My Days, revives a Vince Bell and Connie Mims Pinkerton composition with bright guitars, restless energy, and an unconventional urban romance atmosphere. Rusty balances respect for the source material with his own character, letting the arrangement gradually intensify. The project's mix of famous and overlooked writers highlights both his musical curiosity and deep Texas roots. -- Tunesaround (US) Texas Light and Midnight Memory: Rusty Reid Reimagines "All Through My Days." A man walks into a room full of old Texas ghosts carrying a twelve string guitar and a weathered voice. By the end of the night, none of those ghosts sound quite the same anymore. That is the strange charm behind Rusty Reid's "All Through My Days," a cover that refuses to behave like a traditional tribute. Instead of polishing the song into something overly reverent, Reid gives it movement, grit, and a pulse that feels startlingly current. Originally penned by Vince Bell and Connie Mims Pinkerton during Houston's fertile songwriting years, "All Through My Days" already carried an unconventional spirit. Reid recognizes that immediately and leans into its peculiar beauty rather than smoothing out the edges. The result is a recording that sounds both carefree and emotionally loaded at once. Bright guitars shimmer across the mix with an almost reckless energy while the rhythm section keeps the song rolling forward like late night city lights passing across a windshield. What separates this performance from the endless sea of cover recordings is Reid's instinct for atmosphere. He understands that great songs are not preserved by imitation. They survive through reinterpretation. His vocal delivery carries warmth and hard earned perspective without slipping into nostalgia for its own sake. There is an ease to the performance that makes the emotional weight land naturally. Nothing feels forced. Nothing reaches too hard for drama. As the arrangement gradually expands during the later verses, the song opens wider emotionally without abandoning its loose charm. Layers of guitar begin colliding in beautiful ways, creating a sound that feels rough cut and cinematic all at once. Reid and his musicians never overplay the moment. They let the song breathe, trusting its unusual phrasing and lyrical character to guide the experience. The single also serves as a fascinating doorway into "Lone Stardust (Masterworks of Texas Songwriters)," Reid's sprawling album dedicated entirely to writers connected to Texas. If this track is any indication, the project is less about nostalgia and more about rediscovery. Reid approaches these songs like living conversations rather than historical artifacts. "All Through My Days" ultimately feels like the kind of recording that sneaks up on listeners. At first it charms with its bounce and jangling energy. Then somewhere before the final refrain, it quietly reveals its heart. Follow Rusty Reid on Instagram, Facebook, YouTube, Spotify, and Bandcamp for new releases, live appearances, behind the scenes updates, and more from the world of "Lone Stardust." -- Miles Coleman, Pulse Hutch (US) Rusty Reid is a singer-songwriter working across Houston, Los Angeles, and Seattle. He writes melodic, guitar-based pop-country-rock that blends upbeat sound with thoughtful messages. A lot of his songwriting includes modern liberal ideas, plus philosophical, political, and spiritual themes. Rusty Reid's new single "All Through Days" begins with mellifluous, folksy riffs and beats that feel warm and natural. Then the raw, honest, and genuinely enjoyable vocal work kicks in, and the whole track instantly locks into an upbeat emotional lane. The song carries really positive, optimistic energy from start to finish. Every time the chorus hits, "All through my days, All over my nights, I never dreamed it could be this way," it's like the music is reaching for the purest version of happiness. It feels earned and heartfelt, not cheesy, just real joy. At its core, the theme is romantic enchantment, emotional vulnerability, and how love can transform you. The song tells the story of someone who becomes deeply captivated by another person, someone who feels almost magical, impossible to resist. The lyrics describe how this love changes everything for the narrator. The person they're drawn to comes across as mysterious, youthful, and emotionally powerful, someone who moves through life like "a melody." Their presence brings beauty, inspiration, and this kind of emotional awakening that makes the world feel brighter. At the same time, the song doesn't pretend love is always safe. It recognizes how fragile and uncertain it can be. Lines like "There's no good place for your heart to hide" capture the fear that comes with opening yourself up. Rather than resisting vulnerability, the song highlights the courage it takes to love even when it leaves you emotionally unguarded. -- Sinusoidal (India) Rusty Reid's "All Through My Days" Is a Warm, Wistful Ode to Enduring Love and Texas Soul. In the vast expanse of contemporary Americana, where so many tracks chase trends or lean into irony, Rusty Reid delivers something refreshingly earnest with "All Through My Days," the lead single from his 2026 album Lone Stardust (Masterworks of Texas Songwriters). A reinterpretation of a decades-old gem penned by Vince Bell and Connie Mims Pinkerton, Reid doesn't merely cover the song-he inhabits it, wrapping its timeless sentiments in a rich, lived-in production that feels like a dusty sunset drive through the Hill Country. From the first shimmering guitar notes, which dance like heat haze on a backroad, the track settles into a mid-tempo groove anchored by steady, understated drums and layered instrumentation. Reid's voice-warm, weathered, and thick with Texas drawl-carries the emotional weight of a man who's seen enough miles to value simplicity. The lyrics paint a portrait of quiet obsession and profound connection: "You were a melody," he sings, evoking how certain loves embed themselves into the very rhythm of our existence. The chorus swells with gentle conviction-"All through my days / All over my nights / I never dreamed it could be so simple"-striking that rare balance between romantic idealism and hard-won realism. It's tender without tipping into sentimentality, nostalgic yet forward-looking. What elevates this single beyond standard folk-country fare is its textural depth. Producer Steven Beasley (and the far-flung ensemble of players from Nashville to Mumbai) crafts an arrangement that blends soft-rock ease with heartfelt folk intimacy and subtle country twang. The guitars linger thoughtfully, the percussion provides a heartbeat pulse, and everything breathes with organic space. This isn't background music; it's the kind of song that unfolds new layers with each listen, revealing quiet profundity beneath its accessible surface. Reid, long a staple of the indie roots scene with releases like Head to Heart and The Unreasonables, positions Lone Stardust as a loving tribute to Texas songcraft. "All Through My Days" serves as the perfect entry point-honouring tradition while injecting fresh vitality. In an era of polished streaming fodder, Reid reminds us why these storytelling traditions endure: they capture the messy beauty of human connection with honesty and grace. Clocking in as both reflective ballad and uplifting anthem, the track carries a subtle melancholy that tempers its warmth, much like the best heartland music. It lingers long after the final notes fade, like the afterglow of a perfect evening or the echo of a cherished memory. Rusty Reid hasn't just revived a classic here; he's made it feel essential for right now. If Lone Stardust maintains this level of craft and heart, it could well stand as one of the year's most rewarding Americana releases. Highly recommended for anyone who values soul over spectacle. -- Our Sound Music (UK) The summer sun is embedded in every word that Rusty Reid has tucked into his latest release-All Through My Days. Reid's music is the unique kind that connects the spiritual to the political. This Houston-based singer-songwriter has a fun approach to his sonic design. He brings in several streams of music in order to create an ocean of a song. Most of his music tends to fall into the pop-country style of music. This new release is more pop and feel-good than most of his numbers. All Through My Days is a breeze of a song; listening to it once isn't enough. There is something so captivating when you use landscape as a metaphor for love. Reid writes his lyrics with a sense of freedom and abandon, the same way one falls in love. His soundscape also matches this feeling; it is saccharine-laced soft sounds punctuated by the guitar and the drums. The song has a little bit of everything: lightness, danceiness, and being carefree. He sings all this, and yet he acknowledges the fickle nature of love and says, "Love anyway." The song suits the love we see between Mary Anning and Charlotte Murchison in Ammonite. Between Kate Winslet and Saoirse Ronan, they tell us the most basic thing: it is easy to choose love. Whether or not it lasts isn't the question, but choosing it consistently is what counts. Rusty Reid makes his way through the dewy mist of the mountains to tell us that. If you want to listen to more of this modern-day soothsayer of love, click on the links attached here. -- Indie Music Flix (India) Rusty Reid Turns Texas Songwriting Into A Wide-Open Road. Rusty Reid has always sounded like a traveler, but Lone Stardust (Masterworks of Texas Songwriters) finds him mapping a far stranger route: a double-album-sized tribute built entirely from Texas songs. The first single, "All Through My Days," written by Vince Bell and Connie Mims Pinkerton, catches that mission in miniature - a bouncy, urban love song with chimey, brash guitars and a pulse that keeps shifting just enough to stay off-balance. Reid's voice is the thread that ties it all together, moving from familiar touchstones like Buddy Holly and Townes Van Zandt to deeper cuts with the ease of a seasoned interpreter who knows when to honor the original and when to bend it. The track builds in the third verse and tag, and that lift feels like the album's larger promise: Texas music not as museum piece, but living, breathing, and still capable of surprise. -- Songplode (Canada) Rusty Reid steps into unfamiliar territory with surprising confidence on "All Through My Days," the first single from his ambitious covers collection, Lone Stardust (Masterworks of Texas Songwriters). Known for crafting deeply personal originals, the Texas-born, Pacific Northwest-based songwriter now turns his attention toward honoring the rich songwriting heritage of his home state. Rather than sounding like a nostalgic tribute act, Reid approaches the material with curiosity and personality, giving this overlooked gem by Vince Bell and Connie Mims Pinkerton a fresh spark of life. The track itself is delightfully unconventional. Built around chiming guitars, loose rhythmic swagger, and a buoyant pulse, "All Through My Days" carries the warmth of a love song while avoiding sentimentality. Reid leans into the song's quirky lyrical charm, allowing every line room to breathe naturally. There is something distinctly human about the performance - relaxed, slightly rough around the edges, but emotionally sincere. That authenticity becomes the song's greatest strength. What makes the single especially compelling is its dynamic evolution. The arrangement gradually expands as the song unfolds, with the third verse introducing a subtle emotional lift that gives the track a satisfying sense of momentum. Reid and his collaborators avoid overproduction, instead relying on texture and timing to create atmosphere. The result feels organic and lived-in, like a late-night conversation drifting through neon-lit Texas streets. "All Through My Days" succeeds brilliantly, It hints at an album driven not by imitation but by appreciation and reinterpretation. Reid's distinctive voice acts as the connective thread between eras and influences, proving that great songwriting can travel across generations without losing its soul. If this first release is any indication, Rusty Reid's Texas tribute project may become one of the year's most quietly rewarding discoveries. -- Falcodice (UK) With "All Through My Days," Rusty Reid opens the door to a bold new chapter in his career. The veteran indie folk-country-rock songwriter has built a reputation on original material, but this latest release finds him exploring the work of fellow Texas songwriters on the expansive Lone Stardust (Masterworks of Texas Songwriters). Instead of merely recreating familiar classics, Reid chooses a more adventurous route, beginning with this charmingly eccentric composition by Vince Bell and Connie Mims Pinkerton. Among the song's many charms is the beautifully understated lyric, "Dream on true in your fairy tale, it might last till tomorrow but you can tell. One love can last forever," which adds emotional depth to the track's bright, upbeat arrangement. From the opening chords, the single radiates an easygoing energy. Bright guitars shimmer against a lively rhythm section, creating a sound that feels both vintage and refreshingly loose. There's a subtle grit underneath the polish that keeps everything grounded. Reid's weathered vocal delivery suits the song perfectly, balancing tenderness with a storyteller's conversational ease. He never forces emotion; he simply lets the song unfold naturally. One of the most impressive elements is the arrangement's sense of movement. The instrumentation grows richer as the track progresses, leading into a beautifully layered final stretch that gives the song extra emotional weight. Reid clearly understands the importance of restraint. Rather than overwhelming the listener with flashy production choices, he allows the melody, lyrics, and atmosphere to carry the experience. "All Through My Days" also serves as a promising preview of the larger vision behind Lone Stardust. Reid's passion for Texas songwriting history is obvious, but so is his willingness to reshape these songs through his own artistic lens. The single feels less like a cover and more like a rediscovery - a reminder that forgotten songs can still resonate when placed in the right hands. Rusty Reid has delivered a heartfelt and refreshingly unpretentious opening statement for what could be one of his most interesting projects to date. -- MusoCasa (US) In an age where modern country and pop often lean toward glossy production and formulaic sentiment, Rusty Reid offers something refreshingly grounded with his single "All Through My Days." The Houston-rooted singer-songwriter-who splits his creative life between Houston, Los Angeles, and Seattle-has long cultivated a sound that blends melodic guitar-driven pop, country warmth, and classic rock sensibility. This latest release continues that tradition while leaning further into the emotional storytelling that defines Reid's songwriting. Originally written by Vince Bell and Connie Mims Pinkerton, the track becomes, in Reid's hands, a gentle meditation on love's transformative power. With its relaxed tempo, expressive instrumentation, and honest vocal delivery, "All Through My Days" unfolds like a quiet confession set to music-a song less concerned with spectacle than with sincerity. The track opens with a set of mellow, folksy guitar lines that immediately establish a sense of warmth and familiarity. These opening moments feel unhurried, as though the song is inviting the listener to settle into its emotional space before the narrative begins to unfold. When Reid's vocals arrive, they carry a natural ease that fits the arrangement perfectly. His voice conveys emotion through subtle phrasing and understated conviction. The melody moves gracefully through the verses, gradually building toward the chorus, where the line "All through my days, all over my nights, I never dreamed it could be this way" becomes the song's emotional centrepiece. Rather than sounding grandiose, the refrain lands with quiet authenticity, capturing the kind of happiness that feels earned through lived experience rather than idealised fantasy. Lyrically, "All Through My Days" explores the fragile magic that accompanies falling deeply in love. The narrator finds himself captivated by someone whose presence feels almost mythical-someone who seems to move through life "like a melody," leaving beauty and inspiration in their wake. Reid's interpretation of the song highlights this sense of wonder without drifting into sentimentality. There is an awareness throughout the lyrics that love carries risks as well as rewards. Lines such as "There's no good place for your heart to hide" acknowledge the vulnerability that accompanies emotional openness. Instead of portraying romance as something simple or safe, the song frames it as an act of courage-an emotional leap that transforms the lover and the world around them. Musically, Reid's arrangement leans toward a slower, more reflective tempo than one might expect from an upbeat pop-country composition. This deliberate pacing gives the song a balladic quality, allowing each lyrical phrase to breathe. The guitar work is particularly notable, especially during the extended solo passages where long, sustained notes create an inviting and atmospheric texture. These moments subtly highlight Reid's deep appreciation for classic Americana and rock traditions. The instrumentation never overwhelms the song's narrative; rather, it serves as a supportive backdrop that enhances the emotional resonance of the lyrics. Each chord progression feels purposeful, guiding the listener gently through the story while maintaining a cohesive and comforting sonic landscape. Ultimately, what makes "All Through My Days" so compelling is the balance it strikes between honouring its origins and expressing Rusty Reid's own artistic identity. Reid approaches the song with clear respect for its original writers while still shaping it into something personal and distinctive. His thoughtful arrangement choices and sincere vocal performance allow the track to reveal new emotional shades with each listen. In a musical climate often dominated by immediacy and spectacle, Reid's interpretation stands out precisely because of its restraint. It reminds us that sometimes the most powerful songs are those that speak softly yet linger long after the final note fades. Through "All Through My Days," Rusty Reid once again demonstrates his ability to translate timeless storytelling into a contemporary musical moment-one defined not by grand gestures, but by the quiet glow of genuine feeling. -- Hit Harmony Haven (UK) On All Through My Days, Rusty Reid proves that a great cover song isn't about imitation - it's about rediscovery. Serving as the first single from his ambitious double-length project Lone Stardust (Masterworks of Texas Songwriters), the track takes a lesser-known composition by Vince Bell and Connie Mims Pinkerton and reframes it through Rusty Reid's warm, road-worn storytelling lens. The result feels simultaneously nostalgic and refreshingly alive. There's an easygoing looseness to the performance that immediately pulls listeners into its world, but underneath the laid-back charm sits meticulous musical craftsmanship. Chiming guitars collide with rougher electric textures, creating a sound that feels both rootsy and strangely cinematic. It's an urban love song wrapped in folk-rock spirit, carried by dynamics that quietly build until the track blooms into something unexpectedly emotional by its closing moments. What makes the release especially compelling is the philosophy behind the larger project surrounding it. Rather than assembling a predictable collection of famous Texas songs, Rusty Reid approaches Lone Stardust like a musical historian with the instincts of a storyteller. The album honors legendary names connected to Texas songwriting culture while also pulling overlooked writers and forgotten gems back into the light. All Through My Days perfectly represents that mission. The song itself feels delightfully unusual - lyrically quirky, rhythmically buoyant, and structurally unconcerned with modern commercial formulas. Rusty Reid leans into those eccentricities rather than smoothing them out, allowing the song's personality to remain intact while subtly reshaping it with his own voice and arrangement choices. His vocal delivery becomes the emotional anchor here: weathered, conversational, and deeply human without ever trying too hard to sound profound. That authenticity gives the track its staying power. You believe him because he sounds like someone who has actually lived inside the stories he sings. As an artist who has long blended indie folk, country, rock, and Americana into his own distinctly unpolished style, Rusty Reid continues to thrive by valuing songwriting above trend-chasing. All Through My Days feels like music made by someone genuinely in love with the history and craft of songwriting itself. The collaborative musicianship spread across the project - with contributors spanning from the Pacific Northwest to Nashville to Mumbai - adds further texture without ever distracting from the emotional core. And while the track carries plenty of upbeat energy, there's still a subtle melancholy woven through it, the kind that often defines the best Americana music. For listeners drawn toward thoughtful reinterpretations, timeless songwriting, and roots music that values character over perfection, All Through My Days offers a reminder that great songs never really age - they simply wait for the right voice to bring them back into focus. -- TrackTallyUK (UK) Rusty Reid's 'All Through My Days' is a feel good love song that comes alive in its wholesome metaphors and pleasing imagery. The artist projects his inner landscape and shows us how love sneaked in and changed it all. The riffs are bare and minimalistic. The chords are warm and uplifting. The vocals are expressive and a lilting joy around every corner. And the lyrics will make you smile. There is a classic rock twist to the track. That old school simplicity and style seeps into some of the verses and the chorus. As you grow into the song, you'll find yourself lost in its frames and feelings. Its poetry with melody essentially wrapped in a classic rock ethos. -- The Whistling Traveler (India) Rusty Reid has established a sound that's effortless, relaxed, and balanced, and his version of the '90s All Through My Days from his latest album Lone Stardust (Masterworks of Texas Songwriters) only furthers this identity. The way Reid approaches this reimagination completely transforms the song from brisk and sprightly to something softer, more inward-looking, and this effect entirely shifts the listening experience. With a vocal delivery that holds weight and complexity balanced with maturity and directness, the track prioritises simplicity in production over something that could potentially drown the gentleness of the rest of the elements. Give the song a listen here! -- Lost in the Manor - (UK) What I find immediately interesting about Lone Stardust is the concept itself. Rather than delivering another collection of original songs, Rusty Reid takes a completely different route and builds an entire double-length project around Texas songwriters. Nineteen songs, familiar names mixed with overlooked voices, all connected by geography and musical history. That idea could have easily become a straightforward tribute album. Instead, it feels more personal than that. About half of the arrangements stay faithful to the originals while the others are completely reimagined, creating a project that respects its source material without being trapped by it. The first single, "All Through My Days," written by Vince Bell and Connie Mims Pinkerton in Houston, immediately gives a sense of that approach. It's described as an urban love song oddity, and that feels accurate. There's a playful unpredictability to it. The chime-like guitars and rougher textures create an unusual blend that feels simultaneously warm and slightly off-center. What I like most is that Rusty doesn't seem interested in polishing away the quirks. The song keeps its character intact. The guitars create movement, and the way the arrangement gradually expands during the later sections gives the track momentum without losing its intimacy. You can also hear the broader philosophy of the album underneath it. This isn't a covers album assembled for nostalgia. It feels more like an exploration of influence and identity. Texas becomes less of a location and more of a thread connecting different songwriting traditions together. That wider scope matters because Rusty's own background sits across several musical worlds. Indie, folk, country, rock, pop. Those influences don't disappear here. They become the lens through which these songs are filtered. The supporting cast also adds to that feeling. Players from the Pacific Northwest, Nashville, Los Angeles and even Mumbai contribute to the project, while Rusty's voice remains the constant thread tying everything together. For me, "All Through My Days" succeeds because it captures what seems to drive the entire project: honoring great songwriting without simply recreating it. It's nostalgic without feeling trapped in the past, familiar without feeling predictable. And that balance gives it real personality. -- Jyla Blog (UK) During a decorated career that's stretched between Houston, Los Angeles and Seattle, Rusty Reid has walked a unique path through music that's balanced thoughtful songwriting with melodic appeal. From his 2001 debut album NWXSW onwards, Rusty has built a catalogue based in Americana charm while allowing room for rock and roll energy, philosophical observation and a streak of independent flair that's remained entirely his own. Across albums, singles and remixes, Rusty Reid has always approached songwriting as both emotional communication and meaningful expression, creating records where intellect and feeling sit side by side. Last year's sprawling double album The Unreasonables stripped everything back, returning to the pure excitement that first drew him into music more than forty years ago. Built around the spirit of classic rock from the 60s and 70s, the project felt like a reminder that beneath every carefully considered lyric there's still an artist chasing the feeling that made him pick up a guitar in the first place. Now Reid returns with perhaps the most conceptually ambitious release of his career thus far; his fifth album titled Lone Stardust (Masterworks of Texas Songwriters) steps away from original material entirely and instead becomes a celebration of songwriters connected by geography, spirit and influence. Spread across nineteen tracks, the record acts like a musical map of Texas songwriting itself. Some selections are instantly recognisable while others have been rescued from relative obscurity, each reinterpreted through Rusty's own perspective and voice. The idea behind the album feels beautifully simple yet surprisingly rare, one artist paying tribute to a wide range of songwriters all tied together by Texas origins. Buddy Holly, Roy Orbison, Johnny Nash, Jimmy Webb, J.D. Souther, Townes Van Zandt, Shake Russell and Kacey Musgraves all appear within the collection, alongside songs connected to the swagger of ZZ Top. Yet rather than turning the album into an exercise in nostalgia, Rusty reshapes many of the tracks entirely, allowing familiar songs to take on unexpected textures and emotional tones. As always, he surrounds himself with an expansive cast of musicians scattered between the Pacific Northwest, Los Angeles, Nashville and even Mumbai, resulting in a superb release that reframes the music of others in an engaging way. The album's lead single comes with "All Through My Days," originally penned by Vince Bell and Connie Mims Pinkerton in Houston. In Rusty's hands, the song becomes a bright and slightly eccentric urban love story driven by jangly guitars and an infectious sense of movement. Chiming notes flicker alongside warm organ flourishes while the arrangement steadily expands, building tension and release through the later verses. Led by Rusty's delightful vocal performance, he serves up a breezy pop rock experience that breathes new life into a timeless composition. Dashed with intricate lead guitar work and carried by the mellow groove of the arrangement, with his version of "All Through My Days," Rusty Reid delivers a magical musical moment that's guaranteed to put a smile on your face. -- Plastic Magazine (UK) There is a peculiar audacity to the cover version, when done with genuine artistic intent. Not the karaoke audacity of note-for-note reproduction - that wan exercise in nostalgia which serves only to remind us how much better the original was - but the audacity of reinterpretation: of taking another writer's beloved architecture, respectfully demolishing a few load-bearing walls, and rebuilding something that illuminates both the source and the interpreter simultaneously. Rusty Reid, Seattle-based Texan by birth and temperament, has constructed his entire fifth album, *Lone Stardust: Masterworks of Texas Songwriters*, around precisely this kind of courageous creative audacity. The album's lead single, "All Through My Days," demonstrates just how deftly that gamble can pay off. The song belongs, originally, to Vince Bell and Connie Mims Pinkerton, who wrote it during the fertile, undersung years of the Houston music scene somewhere around the mid-1970s - a scene that was, for reasons of geography and critical fashion, almost entirely ignored by the gatekeepers who decided what mattered. Bell has long been a songwriter's songwriter, championed by Nanci Griffith and Lyle Lovett, and "All Through My Days" is precisely the sort of song that explains why: it is melodically graceful, lyrically elusive, alive with the romantic mystery of a person who passes through your life like weather. *You were ruled by the southern sky / Made you trade your world for another style / The way you slipped through the streets of my city / You were a melody.* That last image - a person as melody - is the kind of lyric that a lesser writer reaches for and fumbles, but here it lands perfectly. Reid's reading strips the song of whatever rhythmic jauntiness the original carried, and the effect is transformative. This is a slower, more interior version, practically a ballad, given to long thoughts and longer guitar notes. Steven Beasley's production - he plays acoustic guitar, electric guitars, organ, bass, and drums here, a one-man orchestral army of restrained good taste - creates a soundscape that breathes. The organ sighs in the spaces between Reid's guitar lines rather than asserting itself, which is precisely the right instinct. When the extended guitar solo arrives, it does so on unhurried, sustained notes that seem to hang in the air like smoke over still water. The Beatles are in here somewhere - in the tonal approach, the unhurried confidence of the arrangement - and so, faintly, is John Denver's folk-country warmth. But the result is neither pastiche nor homage: it is simply Reid's own sound, mature and assured. That voice is the crux of the matter. Reid possesses what might be called a voice of accumulated experience - not rough exactly, but lived-in, the kind of instrument that has metabolised both the influences it absorbed and the years it has weathered. He delivers the central chorus - *All through my days / All over my nights / I never dreamed it could be so simple* - with a plainspoken conviction that refuses melodrama. He is not performing heartbreak; he is reporting it, which is considerably more devastating. The simplicity he finds in the lyric is the simplicity of emotional truth, and it carries. The music video, directed with an eye for the unpretentious, opts for the kind of visual honesty that suits the song perfectly. Rather than the soft-focus, gauzy romanticism that lesser productions would reach for, it favours Reid's own presence as its focal point - a man with a guitar and something genuine to communicate. This is not negligence but wisdom. Some songs are diminished by too much visual distraction, and "All Through My Days," in Reid's rendering, is one of them. The imagery serves the music rather than competing with it, which, in the current visual landscape of music promotion, is an act of quiet radicalism. What Reid is doing across *Lone Stardust*, and what this single most vividly embodies, is an act of cultural archaeology that doubles as autobiography. These songs - Bell and Mims Pinkerton's included - are not merely songs he has chosen to cover. They are the air he breathed coming of age in Houston, the music that formed whatever it is he has since become as an artist. A covers album made from pure fandom tends to feel like a museum exhibition; a covers album made from this kind of personal excavation feels like a confession. "All Through My Days" feels like a confession. Vince Bell and Connie Mims Pinkerton wrote something lasting half a century ago, and Rusty Reid has had the good sense and the artistry to prove it. Not everyone who picks up an old song and calls it theirs earns the right. Reid earns it here, note by unhurried, heartfelt note. -- Indie Dock (UK) The single "All Through My Days", released on 21st April 2026, reimagines a written work by Vince Bell and Connie Mims Pinkerton as a bouncy, upbeat urban love song that blends folk-rock sensibilities with subtle pop brightness. At the center of the track is Rusty Reid's vocal delivery, which carries a raw, conversational intimacy that immediately draws the listener into its emotional space. His voice moves fluidly between restrained softness and more open melodic expression, creating a dynamic performance that feels both unpolished and deeply sincere. Lines such as "All through my days, all over my nights" and "I never dreamed it could be so simple" are delivered with a weathered tenderness, allowing the emotional weight of sudden romantic discovery to feel lived-in rather than performed. The vocal tone suggests reflection rather than declaration, which strengthens the song's central emotional identity. The thematic core of "All Through My Days" revolves around the unexpected arrival of love and the surrender it demands. The lyrics portray a shift from emotional guardedness to openness, where connection dismantles internal barriers and reshapes perception. The phrase "There's no good place for your heart to hide" captures this collapse of resistance, suggesting that love operates as an unavoidable force rather than a gentle invitation. Reid's interpretation emphasizes hopeful resignation, where uncertainty is accepted as part of emotional truth rather than feared. The message leans into simplicity emerging from complexity, portraying love as something that strips away confusion and replaces it with clarity. The narrative does not idealize romance but instead frames it as transformative disruption that ultimately leads to emotional grounding. Musically, the track is built on a classic folk-rock foundation, anchored by rhythmic acoustic guitar strumming that establishes its steady pulse. A warm bassline supports the harmonic movement, while subtle percussion maintains a relaxed, mid-tempo flow that never overwhelms the vocal presence. Electric guitars enter with chime-like textures and occasional sharper edges, adding tonal contrast that reflects the song's emotional duality. The arrangement is deliberately uncluttered, allowing each instrumental layer to contribute without crowding the mix. This creates an atmosphere that feels organic and reflective, while still maintaining the upbeat energy implied by its "bouncy" character. The production of "All Through My Days" enhances its storytelling by maintaining a natural, live-in-the-room feel that prioritizes authenticity over studio polish. A balanced mix ensures the vocals remain central, while instrumental elements surround them with space and clarity. In the third verse and tag, the dynamics gradually expand, introducing a subtle emotional lift that mirrors the narrative's deepening realization. This controlled build prevents the track from feeling static, instead guiding the listener through a gentle emotional arc. The overall soundscape carries a sense of warmth and nostalgia, reinforcing the song's message of love as both simple and transformative. All Through My Days Reveals Love Breaking Through Resistance, Turning Complexity Into Simplicity, Where Surrender Becomes Clarity And Unexpected Connection Reshapes The Heart Completely Forever. Rusty Reid stands as a Texas-rooted, Pacific Northwest-based indie folk-country-rock singer-songwriter whose career continues to reflect both range and reverence for songwriting tradition. With his fifth album, "Lone Stardust (Masterworks of Texas Songwriters)," he shifts from his usual originals into a carefully curated collection of covers, each tied to Texas songwriting heritage. The project spans well-known names like Townes Van Zandt, Roy Orbison, Buddy Holly, Kacey Musgraves, and ZZ Top, alongside lesser-known writers, blending familiarity with discovery in a single expansive body of work. His approach alternates between faithful reinterpretations and bold reimaginings, unified by his unmistakable voice and collaborative musicianship stretching across global contributors. This artistic breadth gives context to "All Through My Days," where his grounded vocal identity and interpretive sensitivity shine through. Ultimately, the track is best experienced within Reid's wider catalog, and listeners drawn to its sincerity should explore the full album for its rich, exploratory tribute to Texas songwriting craftsmanship. -- Dulaxi (US) Rusty Reid's "All Through My Days" feels like flipping through an old photo album while driving down a Texas highway at sunset. Warm, weathered, and deeply human, the track serves as the opening single from Lone Stardust (Masterworks of Texas Songwriters), an ambitious collection celebrating songwriters tied to the Lone Star State. Rather than filling the album with his own material, Reid takes a different road this time around, breathing new life into songs written by legendary and overlooked Texas-connected writers alike. Originally written by Vince Bell and Connie Mims Pinkerton, "All Through My Days" carries the spirit of classic Americana songwriting while still sounding fresh in Reid's hands. The song opens with rustling, glistening guitars before steady drums roll in, grounding everything with a laid-back but confident pulse. Then Reid's rich, thick voice enters, overflowing with warmth and sincerity, sounding like someone telling you a story over coffee long after midnight. The lyrics ache with tenderness and wistful devotion. "You were a melody," he sings, capturing the way certain people become woven into the soundtrack of our lives, whether we want them to or not. The chorus glides in beautifully: "All through my days / All over my nights / I never dreamed it could be so simple." It is romantic without becoming saccharine, heartfelt without trying too hard. Reid delivers every line with the emotional conviction that makes even familiar sentiments feel newly discovered. What makes the track especially compelling is its effortless blend of folk, country, and soft rock textures. There is a lived-in authenticity here, helped by the impressive lineup of musicians scattered across Nashville, Los Angeles, Mumbai, and the Pacific Northwest. The performance feels intimate and cohesive, as though everyone gathered in the same dusty room to chase the same feeling. As an introduction to Lone Stardust, "All Through My Days" works like a charm. It honors the craftsmanship of Texas songwriting while reminding listeners why Rusty Reid remains such a compelling interpreter of emotional storytelling. Easygoing on the surface yet quietly profound underneath, the song lingers like the fading glow of neon after a long summer night. -- Illustrate Magazine (US) American indie-folk-pop-country-rock artist Rusty Reid returns with a fresh and ambitious project through his new singe "All Through My Days," the first release from his latest album Lone Stardust (Masterworks of Texas Songwriters). The record stands apart from his previous work by focusing entirely on cover songs, each written by artists connected to Texas, the state where Reid was born and developed his musical identity. "All Through My Days," originally written by Vince Bell and Connie Mims Pinkerton in Houston, intoduces listeners to the spirit of the album with an energetic and distinctive sound. The track blends bright, chiming guitars with brash textures and a lively rhythm that gives the song an infectious personality. Its urban love song atmosphere feels refreshingly unconventional, while the growing dynamics in the later verses add even more emotional impact. Release as both a single and music video,the song offers a strong first glimpse into a collectoin that explores the depth and diversity of Texas songwriting. Lone Stardust features ninetten tracks, mixing beloved classics with lesser-known gems carefully selected by Reid. The album honors an impressive lineup of songwriters including Buddy Holly, Roy Orbinson, Johnny Nash, Jimmy Webb, Townes Van Zandt, Kacey Musgraves and members of ZZ Top, among others. What makes the project especially compelling is Reid's approach to interpretation. Some tracks remain faithful to their original arrangements, while others are completely reimagined through his artistic lens. Supported by musicians from the Pacific Northwest, Los Angeles, Nashville, even Mumbai, Reid ties the project together with his unmistakable voice and heartfelt delivery. With "All Through My Days," Rusty Reid opens the door to an album that feels both deeply personal and creatively adventurous, celebrating Texas songwriting traditions while giving them renewed life for modern listeners. -- Analyze My Lyrics (US) Rusty Reid - 'All Through My Days'American folk-country-rock artist Rusty Reid returns with vibrant new single 'All Through My Days', the first release taken from his ambitious new project 'Lone Stardust (Masterworks of Texas Songwriters)'. Originally written by Vince Bell and Connie Mims Pinkerton, the track receives a fresh and energetic reworking from Reid, who transforms the song into a warm, guitar-driven anthem filled with charm and character. Blending jangling instrumentation with an uplifting melodic flow, 'All Through My Days' captures the adventurous spirit of classic Americana while carrying his own unmistakable vocal style and rootsy authenticity. The single introduces a larger collection dedicated entirely to songwriters connected to Texas, celebrating both iconic names and lesser-known voices from the state's rich musical history. Originally from Texas and now based in the Pacific Northwest, Rusty Reid continues to build a reputation for thoughtful songwriting and richly crafted recordings that blur the boundaries between folk, country and indie-rock. With this new release, he opens the door to a deeply personal tribute to the music and culture that shaped him as an artist. -- The Real Ding (UK) Rusty Reid delivers a quietly affecting performance in "All Through My Days," a track that leans into sincerity rather than spectacle, allowing its emotional weight to unfold with natural grace. From the opening moments, the song establishes a warm, lived-in atmosphere, one shaped by gentle acoustic textures and an unhurried tempo. There is a sense of familiarity embedded within the arrangement, as though the listener is stepping into a memory already half-remembered. This tonal approach proves essential to the song's impact, as it frames the narrative not as a dramatic confession but as a reflective recollection. Reid's interpretation of the original composition by Vince Bell and Connie Mims Pinkerton transforms it into something deeply personal, filtered through his own experiences and artistic sensibilities. Lyrically, the song explores themes of love, longing, and emotional continuity, weaving together imagery that feels intimate and universal. Rusty Reid approaches these themes with restraint, avoiding excessive sentimentality while still allowing the emotional core to resonate. Lines that reflect on fleeting moments and enduring connections are delivered with a sense of quiet conviction, giving the impression that each word carries personal significance. The recurring refrain-centred on the idea of love permeating days and nights-serves as an anchor, reinforcing the song's central message without overwhelming its subtlety. This balance between clarity and nuance is what allows the track to connect across different listening experiences. Musically, "All Through My Days" is defined by its careful interplay between simplicity and depth. Rusty Reid surrounds his vocal performance with an arrangement that prioritises space and texture, ensuring that each instrument contributes to the overall mood without competing for attention. The guitar work, in particular, stands out for its expressive quality. Rather than relying on technical complexity, the extended solo emphasises sustained notes and tonal richness, creating a moment that feels almost suspended in time. This approach aligns with the broader aesthetic of the track, where emotion is conveyed through subtle shifts rather than overt gestures. The contributions of session musicians from diverse locations further enrich the sound, adding layers of cohesion and polish while preserving the song's organic character. Ultimately, "All Through My Days" succeeds because of its unwavering commitment to authenticity. Rusty Reid does not attempt to modernise the track through trend-driven production or stylistic experimentation; instead, he trusts in the strength of the composition and the sincerity of his performance. The result is a piece that feels timeless, capable of resonating with listeners regardless of their musical preferences or backgrounds. As an introduction to a broader project rooted in Texas-inspired songwriting traditions, the single sets a compelling tone, offering a glimpse into an artist who understands the value of emotional honesty. In its quiet way, "All Through My Days" leaves a lasting impression, reminding us that the most powerful songs are often those that speak softly yet linger the longest. -- Deon, Distortion Diaries (UK) Lemme tell you something, see if you are looking for a completely fresh take on classic American songwriting, you are in the right place. I know you'll be wondering why? But that's cos this indie folk-country-rock singer-songwriter named Rusty Reid just dropped a brand-new track, and I must say it, it's a total treat for anyone who appreciates real instruments and great storytelling. Rusty Reid who was born and raised in Texas, a place where he learned how to write songs, but these days he is based up in the beautiful Pacific Northwest. The man has just put the finishing touches on his fifth studio project, and this is something that's gonna make your mouth watery. If you know Rusty, you'd know he mostly releases his own original songs, but he sat down and thought well this time around let's give listeners something unoriginal and he is giving us a whole album full of covers. Tell me that's not something worth looking at, cos to me I can't wait and that's cos I know he's gonna deliver to our taste. The project is a giant double-album called "Lone Stardust (Masterworks of Texas Songwriters)." It features nineteen different tracks, and every single one of them was written by a songwriter from the state of Texas. It is a neat way to pay tribute to his home state. He covers some huge names you have definitely heard of, like Buddy Holly, Roy Orbison, Kacey Musgraves, and even the guys from ZZ Top. But he also dug up some hidden gems that most people have never heard before. Now to kick things off, Rusty just released the very first single from the project, and it is a song called "All Through My Days," and I now understand why he chose to give us an album full of covers. The thing is this particular track was originally written back in the day in Houston by two talented songwriters named Vince Bell and Connie Mims Pinkerton. Rusty Reid describes the song as a bouncy, upbeat oddity of an urban love song, and to me that's a perfect explanation. What I love about the track is, it doesn't sound like your typical, dull love songs on the radio these days. This one has a lot of quirky personality and a really fun, driving energy. From the second the song starts, you get hit with a wonderful wash of chimey, brash guitars that feel bright and jangly. Rusty brought in a fantastic group of studio musicians scattered all the way from Los Angeles and Nashville to Mumbai to help him record, and you can hear that high-quality chemistry. The rhythm is super steady and keeps your toes tapping the whole way through. What makes the track special is how the structure evolves. The first couple of verses stay relatively calm and groovy, but once you hit the third verse and the final tag at the end, the dynamics completely build up. The guitars get louder, the drums get heavier, and Rusty's distinctive, warm voice really pushes through the mix. The lyrics are incredibly unique too, offering a fresh perspective on love that avoids all the usual corny clichés. Like you don't need to overcomplicate love, cos sometimes the simple stuffs are what make love beautiful. I love how Rusty manages to make the song completely his own while still keeping the honest spirit of the original writers intact. He also put out a brand-new music video to go along with the release if you want a cool visual companion while you listen. I don't need to tell you, but you know sometimes all you need is that love acoustic-driven rock with a bit of a country twang and a lot of soul to it. So go ahead and add "All Through My Days" to your morning playlist. It is the perfect song to put you in a good mood for a long commute. -- Swiispa (US) Rusty Reid's latest single, "All Through My Days," arrives as an unexpected but deeply rewarding turn in his already eclectic catalog. Known for crafting sprawling original collections rooted in folk, country, and rock traditions, Reid now shifts his focus toward reinterpretation with Lone Stardust (Masterworks of Texas Songwriters), a bold tribute to the songwriting heritage of his home state. Rather than simply revisiting familiar classics, Reid approaches the material with reverence and curiosity, breathing fresh life into overlooked gems while preserving the emotional heart of the originals. Written by Vince Bell and Connie Mims Pinkerton, "All Through My Days" stands out immediately for its unusual blend of urban storytelling and roots-driven instrumentation. Reid leans into the song's quirky charm with jangling guitars that shimmer and clash in equal measure, creating a textured backdrop that feels both nostalgic and refreshingly offbeat. The arrangement carries a buoyant energy throughout, but beneath its upbeat exterior lies a wistful tenderness that Reid delivers with understated conviction. His weathered, expressive voice remains the anchor, giving the song warmth and authenticity without overselling its sentiment. What makes the single especially compelling is its dynamic progression. Reid and his musicians allow the track to unfold patiently, gradually layering harmonies and instrumental flourishes until the third verse blooms into something unexpectedly cinematic. The transition feels organic rather than forced, revealing an instinctive understanding of pacing and emotional payoff. It is a reminder that Reid's strength has always been his ability to make songs feel lived-in, whether he wrote them himself or not. As a preview of Lone Stardust, "All Through My Days" promises an album driven not by nostalgia alone, but by artistic interpretation and genuine admiration for Texas songwriting culture. Reid's approach transforms the cover album format into something far more personal. Instead of imitation, he offers conversation between generations, regions, and musical styles and the result is both heartfelt and distinctly his own. -- Melody Arena (Canada) Everything That Texas Taught Him: Rusty Reid Honors the Lone Star Songbook on All Through My Days. There are cover albums and then there are genuine acts of artistic devotion, the kind where the choices made reveal as much about the curator as about the songs themselves, where the selection and the interpretation together constitute a creative statement that stands independently of the source material even while serving it faithfully. Lone Stardust: Masterworks of Texas Songwriters, Rusty Reid's fifth album, from which All Through My Days was released as the lead single on April 21, 2026, is this second and rarer kind of project, a nineteen-song double album organized around a single unifying geographic principle, honoring songwriters with a connection to Texas across the full spectrum of what that connection can mean, from Buddy Holly's Lubbock to Townes Van Zandt's particular Texas myth to Kacey Musgraves's contemporary redefinition of what country music can be. Reid is an American indie folk-country-rock singer-songwriter whose catalog of originals has established a reputation for the packed and generous album format, the kind of record that gives the listener genuinely more than they expected rather than the carefully curated ten-track statement that has become the dominant form in an era where every extra song is a potential streaming liability. The cover album format for Lone Stardust represents a significant departure from this established pattern not in terms of scale, the nearly double-album length is continuous with his approach, but in terms of orientation, the creative energy directed outward toward honoring other songwriters rather than inward toward the exploration of his own compositional vision. This kind of generous artistic attention toward the work of others requires a specific quality of musical intelligence, the ability to inhabit a song fully enough to illuminate it without obscuring it with your own personality. The choice of All Through My Days as the lead single is illuminating because Vince Bell and Connie Mims Pinkerton are not among the bigger names on the album's roster, which includes Buddy Holly and Roy Orbison and Townes Van Zandt and Jimmy Webb and ZZ Top alongside them. The selection of a song from relative obscurity rather than from the more celebrated names on the tracklist signals something important about Reid's curatorial philosophy, the commitment to the full project rather than to the commercially recognizable anchor points that would make the album easier to market. All Through My Days was written in Houston, and the Houston creative environment of its origin connects it to a strain of Texas songwriting that is less mythologized than the Austin or Lubbock traditions but no less genuine in its roots and its emotional directness. The broader roster of Texas songwriters that Reid has assembled across nineteen songs is itself a comprehensive survey of what Texas has contributed to American popular music across multiple generations, the geographic principle revealing connections between artists and traditions that genre categories typically keep separate. Buddy Holly's jittery rock and roll and Townes Van Zandt's devastating folk poetry and ZZ Top's Houston blues and Kacey Musgraves's progressive country sit within the same album not because they share a sound but because they share a landscape and a cultural inheritance, the Texas that shaped all of them being various enough to contain multitudes without contradiction. This is the insight that makes Lone Stardust a genuinely interesting concept rather than a novelty, the recognition that geography produces something more coherent and more interesting than genre as a way of understanding how songs are related to each other. About half the songs in the collection are relatively faithful to the original arrangements, and about half showcase completely novel interpretations, a balance that reflects Reid's dual commitment to honoring the songs as they were written and to finding what they contain that the original treatment might not have fully revealed. The cover albums that matter most are always the ones that reveal something about a song rather than simply reproducing it, that make you hear a familiar piece of music with genuinely new ears by putting it in a new sonic or emotional context. Reid's track record with originals suggests a songwriter with enough formal intelligence and emotional range to do this with the interpretive works as well, and the album's bifurcation between faithful and novel takes creates an interesting listening dynamic, the familiar comforting and the unfamiliar revealing. The musicians who join Reid on the project are scattered from the Pacific Northwest to Los Angeles to Nashville to Mumbai, a geographical spread that mirrors in some sense the project's own interest in what connects people and places across distances that might seem to argue against connection. The crack group of players that Reid has assembled across multiple releases represents a collaborative network developed over time rather than a hired-for-the-occasion session band, and this ongoing relationship between the core players gives the recordings the lived-in quality that the best ensemble music carries, the musicians genuinely hearing each other rather than executing individual parts in isolation. Reid's distinctive voice is the connecting tissue between nineteen disparate songs, which is the exact phrase used in the album's description and is entirely accurate. A voice that functions as connecting tissue is not a voice that dominates or redirects the songs but one that holds them together through its consistent character, the same quality of presence and intention being brought to Buddy Holly and Shake Russell and Jimmy Webb and Vince Bell and Connie Mims Pinkerton equally, the vocal identity creating continuity across enormous tonal and temporal range. Texas produced these songs across decades of living and loving and losing and working and traveling its enormous geography. Rusty Reid has gathered them all and given them a new home. All Through My Days is the door you walk through first. -- Apricot Magazine (US) We have already written about Rusty Reid through "Let's Just Talk" and "Piece of the Action", two releases that showed his instinct for warm songwriting, human delivery, and arrangements that feel rooted in real musicianship. With "All Through My Days," he returns in a slightly different shape, offering a cover of a Vince Bell and Connie Mims Pinkerton song as the first single from his upcoming album Lone Stardust (Masterworks of Texas Songwriters). The idea behind the project already feels interesting: a full collection of songs written by Texas songwriters, filtered through Rusty's own voice and production style. "All Through My Days" works beautifully as an introduction because it feels upbeat, open, and full of affection, while still carrying that slightly unusual character that makes the song stand apart from a straightforward love tune. A lot of the charm comes from the organic production. The track has a real live-performance feeling, especially in the way the drums are recorded and given space inside the mix. The reverb adds presence and depth, making the rhythm section feel close and alive without turning the recording messy. It sounds polished, but not artificial, which is exactly the kind of balance this song needs. The acoustic guitar plays a big role in holding everything together, with a crisp and clean tone that gives the track its rhythmic foundation alongside the drums. Around it, the brighter guitar textures add colour and movement, giving the arrangement that chimey quality mentioned in the original description while still feeling very much in Rusty's world. Rusty's voice brings an uplifting warmth to the song, matching the positive energy of the chorus as it opens up with a generous, almost communal feel. "All Through My Days" is a cover handled with real care: refined in production, natural in performance, and faithful to the musical personality Rusty Reid has been building across his recent releases. -- Loop Solitaire (UK)
Your music blends folk, country, rock, and philosophical commentary so naturally. How would you personally define the "Rusty Reid sound?" Hi, and thanks for the interview. Well, I would say that my music is mainly guitar-based, usually features an original melody and some interesting chord changes, compelling themes and evocative lyrics, straightforward message (you don't have to guess at what I'm trying to say). In my mind, I have a few somewhat different "sounds," based mostly on the instrumentation. There's the electric guitar Rusty, which is probably the majority of my work, and the new album, Lone Stardust, including the first single, "All Through My Days." Then there's the acoustic guitar Rusty; you'll hear that sound on "The Change," "Pancho and Lefty" and "You've Got a Lover," primarily. Then there's a more eclectic sound, guitars less featured or maybe absent altogether. On the new album, "I Can See Clearly Now," "Heart of Hearts," "Alchemist" and "Oh, What a World" are along those lines. My voice, which is somewhat unique (I'm told; seems normal to me) is the connective tissue between these different instrumentation approaches. Head to Heart feels deeply introspective and socially aware at the same time. What inspired the emotional direction of that record? Yeah, that album is my "opus," so to speak. I poured all my "wisdom" into it. I refer to it as "A Revolutionary Manifesto in Song." It's a "concept album" -- or, really, double-album -- that explains, song by song, my philosophy and worldview. The first half of the album addresses the good, the true, the beautiful (and even answers the age-old question of the Meaning of Life), then the second half delves into each of the maladies which continue to plague our human family and prevent us from brotherly love. The very last song brings us back to hope and goodness. The overriding emotion is love... for the ALL. Love is the highest state of life, and love for the ALL is the highest state of love: loving literally everything, all living things, the world, the Universe. The album addresses what we have to embrace, and what we have to give up, to create that state within and amongst ourselves, and thus to reach our true potential as a species. So, of course, it's going to piss just about everyone off, because it's pretty clear we don't want that. You've spoken about maintaining the idealism of the 1960s. Do you think modern music still has the power to inspire cultural change? Ah, you've hit on a sore spot. If ever there was an experiment to test whether popular music can inspire cultural change, it was in the latter half of the 1960s, where almost every song was about love, peace, kindness, the goodness of people, the goodness of nature, fairness, sharing, equality, inclusion. There were strong messages against war, against bigotry, against sexism, against rote conformity, against rigged capitalism. I soaked it all in like a sponge, and never let it go. When I listen to those old songs, I'm delighted that I'm still onboard with their message. For awhile there, we thought we had turned a corner and made some nice advances in moral progress, and surely we did to some extent. But it turns out those of us were so idealistic and hopeful were actually a distinct minority. That generation turned out to be as rotten and crass and greedy and selfish as any other, perhaps more so. And when you think how in culture, it's not just popular music and a bunch of hippies with guitars spreading this essential message, it's in virtually every movie, every television program where the hero is defending truth and justice and goodness, while the villain always is taken down. Add in all the books dissecting these issues. And still, millions upon millions of people believe and behave (and vote) as if these ideas are too "woke" and they are going to gather into a mob and stamp them out. They can't discern good from evil, hero from villain. It's very depressing, really. What it all comes down to is selfishness. Today, we have major political parties that cheer on selfishness, and are determined to roll back any and all of that moral progress so as to benefit a tiny few. That's what conservatism does. Your songwriting often feels cinematic and literary. Which writers, musicians, or thinkers have influenced you most? Ha. Apparently you didn't listen to "The Unreasonables," my purely carnal rock and roll album. But yeah, thanks, I'd like to believe that sometimes I achieve cinematic and literary. I do take on grand themes, so that lends impetus to striving for some profundity and musical passages that might support. I read insatiably, so there's no particular writer who really stands out. For the past few decades I've tried to synthesize a worldview that makes sense of things, is scientifically grounded and yet has a high spiritual ceiling (I don't think you can get any higher than love for the ALL, actually). The Beatles continue to be my guides in my musical journey. Few of their songs sound alike, all of their melodies were original, they played with all kinds of sounds, and increasingly they contemplated deeper thoughts. Recently I'm exploring the writings of two largely forgotten 19th Century American liberals: Moncure Conway and Robert Ingersoll. It's interesting to note what has and hasn't changed in over a hundred years. You can find my essasys on such subjects at Medium.com. In an era dominated by short-form content and streaming culture, how do you approach making albums that feel cohesive and meaningful? I don't really pay much attention to current trends in the music business, I just do my own thing. Back in the hey day of vinyl, I loved double albums. It was like a huge bonus; you could get lost for a while in your favorite artist, rather than having just 30 minutes of music. i do believe that the internet and social media have lowered attention spans... so in music now we're in the era of the single, preferably short single. I take the opposite approach. My plan is to put out the max a CD can hold, about 78 minutes, which in the case of Lone Stardust was 19 songs. I actually think pretty much any collection of songs can be "cohesive" for the listener if they like the artist. Where can we hear more of your music, and why should we? My five albums are streaming everywhere. Look me up on YouTube for my official videos. Homebase for everything is my website: RustyReid.com. If you just want love songs, I've got those. If you want fun songs, I've got those. If you want to check out philosophy or politics or spirituality with a beat to it, I've got those too. As you mentioned, it's a mishmash of pop, folk, country and rock. If you're looking for "pure" something or another, I'm not your guy.
Rusty Reid: "Wouldn't it be fun to record a whole album of just Texas songwriters' songs?"
"I'm trying to write and record meaningful songs. Back in the old days, I was trying to write catchy songs. There's a difference. Just because it's catchy doesn't mean it says anything important." Over the past few years, we have written about American troubadour Rusty Reid quite extensively, constantly highlighting his overachieving rock'n'roll flair and traditional songwriting ethos. Scavenging the depths of Americana and Country music, the Seattle-based creative has struck sonic gold, both in terms of traditional melodism and nostalgic, immersive lyrical punch. Recently, Reid has returned with his latest effort, 'All Through My Days', a wholesome single taken from the overarching album 'Lone Stardust (Masterworks of Texas Songwriters)'. The ethos that propels such a record is rather unique. Reid ventures in search of some of Texas' most notable songwriters, selecting a long and diverse lineup of artists (both famous and relatively unknown) and recording alternative versions of their songs. The result is a record that's rooted in tradition, yet one that's not afraid to scramble the sonic picture when necessary. Some of the notable names include Buddy Holly, Roy Orbison, Johnny Nash, Jimmy Webb, J.D. Souther, Jon Dee Graham, Jimmy LaFave, Townes Van Zandt, Shake Russell, Kacey Musgraves and the boys from ZZ Top. Intrigued by the project, we caught up with Rusty Reid to learn more about his overall artistry and future goa... Interview below! Hey Rusty! The last time we chatted about your music on Mesmerized, we fell in love with 'Piece of the Action', a track we celebrated as a "raw, euphoric anthem" with classic rock energy. You've been very productive in the past few years. I'd love to know more about what motivates you to keep going? Would you define artistic expression as a necessity? Hey again, Gab. Glad you liked "Piece of the Action" and the last album, actually recorded a long time ago but only released in 2025. That was my old Houston band, "The Unreasonables," and we were just monkeying around without much of a clue. But it was fun. This new album, Lone Stardust (Masterworks of Texas Songwriters) is a completely different bag... all cover songs, all written by someone with a connection to Texas. I've since learned that this is a very rare approach: a single artist honoring a group of different songwriters who share a geographic link. It's a project that started off as a bit of a lark, and then emerged as an interesting sidetrack for me. Although, I didn't write these songs, I try to bring a creative approach to their new configuration. I still find it a fun challenge. I'm not sure if artistic expression is absolutely "necessary." There are other things in the world. But I do think true artists are motivated to create. That's what they do. Most of the artists that pass through our publication are in their 20s and 30s. I appreciate seeing wiser and older musicians still boasting a strong creative fire, constantly releasing new material and embarking on new projects. What's your experience of making music today versus in your younger days? A lot of difference, mostly for the better. My gosh, the tools we have today are almost like magic. To not have to fiddle with tape recorders, or expensive studios, or record labels, or even flaky bandmates is incredibly liberating. You can turn your bedroom into a top-notch recording studio, take your time making your songs, enlist musicians from around the world to join in, and then release your music to the world, all with minimal cash. Of course, the downside to this ultra democratic potential is that two million people are releasing their songs... the same day as yours. So there's a lot of noise. Not that a lot, maybe most, isn't pretty damn good. The biggest difference for me, however, is that I kinda know what I'm doing now. I'm trying to write and record meaningful songs. In the days of old I was trying to write catchy songs. There's a difference. Just because it's catchy doesn't mean it says anything important. I do think I've gained some wisdom over time, and now is the opportunity to share it through my recordings. Before we jump into your latest album, let's dive even deeper into the person hiding behind Rusty Reid. Is there anyone or anything that motivated you to pursue music? Is there a record or an artist central to your musical development? Well, I'm the first to admit I've had a privileged life. Our family wasn't rich or anything; we had to pinch pennies, actually. So my first electric guitar was the cheapest in the Sears catalog. Oh, how I wish they had bought me one of those used 1959 burst Les Pauls. It would be worth half a million these days. My mom pushed me to try new things. So she is my primary "motivator." But, to her dismay, I was a quitter. I quit piano lessons. I quit dance lessons. I quit summer acting lessons. I quit Boy Scouts. I quit baseball. I quit football. I quit religion. I quit college (I did go back and finish, eventually). I quit marriage... twice. The one thing I didn't quit was trying to write songs on guitar. I was horrible at first. But for some, unknown, reason, just kept at it. All the while, I was listening to pop music, and something inside of me calculated I could write songs like Buddy Holly or the Everly Brothers or Roger Miller or Roy Orbison or the Beatles or John Fogerty. Not sure I ever did, but at long last I began writing songs that I liked. 'Lone Stardust (Masterworks of Texas Songwriter)' is your latest album, a body of work that takes a different direction than any of your previous releases. It is, in fact, an homage to some of Texas' most prominent troubadours, as well as some of its underground stars. First of all, what's your connection with Texas? Is there a particular reason behind such a strong thematic choice? Right. I've only released two covers songs previously. This is a whole double-album filled with them. I was born and raised in West Texas, nearby to the homes of Buddy Holly and Roy Orbison and many other successful Texas songwriters. Growing up I was aware that such creatures exist... it was possible to come from the scrub boonies and make it big in music. After high school, I moved to Houston and inherited a whole different range of musical influences. It was only in Houston where I met with fellow songwriters, and began more seriously evaluating the nuances of the craft. A few of the songs on this new album, including the first two, come direct from that early period of musical awakening. Though I left Texas decades ago, I still see the world through Texas eyes, hear with Texas ears, feel with Texas heart. Texas is a world its own, for better and worse. Recording those first two songs as a learning project, the idea dawned on me: wouldn't it be fun to record a whole album of just Texas songwriters' songs? And so it came to pass. I'd love to know what criteria you used to curate the covers for the album. Do the songs you pick hold a special value to you? Do you have any particular favourite among them? That was an interesting process. I thought it would be super easy to snatch an album's worth of such songs. But as I began the search in earnest, an avalanche of potentials fell upon me. That's when I knew this project was demanding to be a double-album. Which was fine; all my albums are essentially double-albums. Even with a larger project in view now, I knew I had to get very picky. So old faves and new discoveries had to jump some high bars. They had to be melodic; they had to have lyrical gravitas; they had to be unique creations in themselves; a potent message was a plus; and they had to fit my voice and style. This last criteria automatically excludes a host of genres at which Texas songwriters have long excelled: blues, soul, funk, jazz, classical, honkytonk, Western Swing, metal, glam rock, punk, hip hop, you name it... not to mention Tejano or TexMex music. What's left is the not small patch of folky-country-rock. So this album is certainly not a comprehensive survey of Texas music or songwriters. All of the fifty or so songs seriously considered hold special value to me; these nineteen were just the ones that cleared the most bars for this particular project. A favorite? As they say, it's like picking between your children. After listening to them a jillion times through the recording and mixing phases, I do find myself coming back to "Alchemist" and still finding it fresh. I'm considering it as an upcoming single. Whether All Through My Days is or isn't your favourite, it certainly takes the cake as the first single to emerge from 'Lone Stardust'. The piece has been written by Vince Bell and Connie Mims Pinkerton, who are part of the relatively unknown talents you have selected for the album. Because the song itself is quite obscure, I wonder if you have a particular connection to them? Perhaps there's some shared history there? Yes, Both Vince and Connie were part of that Houston scene. Vince was good friends with a good friend of mine, Steven Beasley, who also gets a song on this album, "Cool Wind." Vince and Steve and a couple of other guys formed a sort of Houston supergroup for a short while, and it was that phase that brought me more familiar with Vince's songwriting. Some of us regarded Vince as the closest songwriter in Houston to Bob Dylan. I know, high praise, though, as always, with Dylan comparisons, unfair to both writers. Vince is definitely just Vince. We've had other interactions through the years. During the Covid shutdown, I did a video covering his song "Sun and Moon and Stars." It's on my YouTube channel. if I hadn't done that, "Sun and Moon and Stars" would have likely been on this album. It's probably my favorite song of his, but "All Through My Days" is nipping at its heels. So it was fab to do it, too. From a musical standpoint, I sense that you have retracted from the fierce rock'n'roll allure of some of your previous offerings, instead embracing a more introspective and laidback character. Have you enjoyed such a deep dive into Country and Americana? Well, I suppose we do tend to mellow as we get older. There are a few rockers on this new album, "Balinese" by ZZ Top, for one. But you are right, not a sustained vibe like the Unreasonables. But, actually, that project was a bit of an anomaly even for its time. If you check out my album Bayou Line, those songs were written before and during the Unreasonables heyday, and they trend toward more sensitive singer-songwriter and country-rock fare. In high school, the kids called me "Glen" as in Glen Campbell... go figure. I played one song of his, and now I'm Glen Campbell. These labels are kinda janky. To me, this album seems very "Americana," seeing as it's written by some of the best in the business at describing American life. Yet to many of the gatekeepers of that genre, my style is far too "pop," if you can believe that. Lastly, what should the listeners take away from the album? Is there a particular message you'd like to share with them? Hopefully they'll find it an enjoyable ride. It covers a lot of ground. About half these songs they'll probably recognize, and half they may well be hearing for the first time. I don't think Texas songwriters get quite the notice they deserve. So it could be an eye-opening experience. There's a lot of wisdom in these songs, as well. I think the shared message is just to feel honestly and deeply. The little things, the big things, the ups and downs and all-arounds are not just stuff that happen; they are life itself. The sooner you realize, "Oh, What a World!" the better off you'll be.
Hello everyone it's your host Daniel from Dulaxi, and today I have with me the exceptional artist, Rusty Reid from Seattle, United States. And Rusty Reid is here to discuss his recent cover single "All Through My Days" which was released on April 21st, 2026. So, welcome, Rusty Reid! But before we begin our interview, to our audience; here is what you need to know about this artist. Rusty Reid is an American indie folk-pop-country-rock singer-songwriter originally from Texas and now based in Seattle, United States, whose career continues to reflect a deep connection to his roots and an evolving approach to musical storytelling through genre-blending expression. He has released his fifth album, a large-scale double-album project that marks a significant departure from his usual focus on original material, instead presenting a curated collection of cover songs exclusively written by Texas songwriters in tribute to the state where his artistic identity was shaped. Titled "Lone Stardust (Masterworks of Texas Songwriters)", the album functions as a homage-driven concept work featuring nineteen tracks that span both well-known and lesser-known compositions, including songs associated with influential figures such as Buddy Holly, Roy Orbison, Johnny Nash, Jimmy Webb, J.D. Souther, Jon Dee Graham, Jimmy LaFave, Townes Van Zandt, Shake Russell, Kacey Musgraves, and ZZ Top, alongside more obscure writers brought into renewed focus. The project alternates between faithful renditions and reimagined interpretations, brought to life by a wide network of musicians spanning the Pacific Northwest, Los Angeles, Nashville, and Mumbai, with Reid's distinctive voice acting as the unifying element across its diverse sonic landscape. The first single from the album, "All Through My Days," written by Vince Bell and Connie Mims Pinkerton from Houston, was released on April 21st, 2026 and introduces the project with a bouncy, upbeat urban love song characterized by unique lyrical phrasing, chimey yet brash guitar textures, and a dynamic structure that builds steadily toward a heightened third verse and concluding tag, ultimately setting the tone for the album's broader exploration of Texas songwriting heritage through reinterpretation and stylistic reinvention. Having this brief Introduction about Rusty Reid, I'm sure new and current fans must be excited about our Interview today. You've built a reputation as an indie folk-country-rock singer-songwriter with original material across multiple albums. What inspired you to take such a bold turn into an entire double-album of cover songs for "Lone Stardust (Masterworks of Texas Songwriters)"? Hi Daniel, and thanks for the interview. Yeah, such a project was not on my radar until a friend of mine, Steven Beasley, came up to my place so I could teach him what I knew about computer recording. We did two test projects, both songs written by Houston songwriter friends of ours. Those two songs came out pretty well, so an idea was planted. Why not an album full of Texas songwriter songs? I asked Steve if I could use one of his songs on this newly conceived album, and he said yes, so now I had a running start of three songs. Sure enough, the first two songs on Lone Stardust are those test projects: "Roll on Santa Fe," written by Bill Browder, and "All Through My Days" written by Vince Bell (and Connie Mims Pinkerton, I found out later). Steve Beasley's song "Cool Wind" is the fourth song on the track list, Jon Stone's "Heart of Hearts" is fifth, then ZZ Top, then "Galveston." So the first third of the album is all Houston-area oriented. That wasn't pre-planned; just ended up that way. But I like it. Being born in Texas and now based in the Pacific Northwest, how have both places shaped your identity as an artist and storyteller over the years? It's kinda weird, but maybe not. I left Texas decades ago, but it seems I still see through Texas eyes, and hear through Texas ears, and feel with a Texas heart. Not long ago I was in Glacier National Park, and thought to myself, "We don't have anything like this in Texas." What? Who is "we?" Why am I still thinking like that? Most likely it's that the cultural and mental programming we received as impressionable children and teens and young adults are the substrate of our consciousness, that later concepts and experiences and questions tap into even if they have to go through newer layers of the soil of the self. I didn't realize it until fairly recently, but Texas songwriters tend to write plainly, to say what they mean. "Poetic" abstraction and foggy symbolism are far less common. That's largely true in the Northwest, as well, though the ethos up here leans more toward questioning society and tradition, even identity, while the Texans love to celebrate them, even when they, themselves, get battered. Maybe I'm now an amalgamation of the two. Your music often blends folk, country, rock, and indie influences so naturally. How would you describe the heart and soul of Rusty Reid as an artist at this stage of your career? Winding down, that's for sure. But I still have some spunk left. Another album or two, maybe. Themes keep appearing to me that I'd like to explore through song. Important truths that few seem to be singing about. A philosophy, a worldview, to offer. In these stupid, evil poiltical times, I want to keep punching back. Above and beyond that, there's a spiritual dimension that I must serve: that of love for self, for others, for animals, for the entire biosphere, the world, the Universe. "Lone Stardust" feels like both a tribute and a personal musical journey. What central message or emotional thread were you hoping listeners would take away from the album? I'm not sure there's any central message, other than: It's life, embrace it, feel it. Emotionally it's all over the map: highs and lows, ups and downs. All of them are emotional in their own way; as a group they pretty much explore the whole gamut from utter joy to deep gloom and, finally, with the last song: mystical bliss. The album honors Texas songwriters from legends like Buddy Holly and Roy Orbison to lesser-known writers you've pulled from relative anonymity. Why was it important for you to shine a light on both the iconic and the overlooked voices from Texas? Well, the project started off with songs by Bill Browder, Vince Bell and Steven Beasley, three Texas songwriters that few have heard of, but I would rank right up there with the very best. So from the start I had a direction: this album was definitely not going to be a "hits only" collection nor a redux of the ususal suspects of "best Texas songwriters." The song mattered more than the songwriter. My impulse was to gather up at least some of the songs that have been dear to my heart, and own musical journey, which would inherently likely have been big hits. So Buddy Holly and Roy Orbison, fellow West Texans, were sure to make the list. Johnny Nash's "I Can See Clearly Now" may well be one of the greatest pop songs ever; I loved it the moment I heard it, so that was a shoe-in. I've always thought the guys in ZZ Top (they all got songwriting credits) were underrated as songwriters. Blues-rock doesn't get any better, if you ask me. For them, I chose "Balinese," not one of their hits. but their song that means the most to me because of its subject matter (though I did tinker with the lyrics, adding an update). Jimmy LaFave's "The Beauty of You" is one of the greatest love songs to Mother Earth. "The Change" by Jon Dee Graham hits the nail on the head about the melanchoy of aging and regret. I had a chance to send my version to him a few months before he died, and he responded: "This is beautiful. I am honored." So I'm thankful for that. Another song I loved on first listen is "Neon Moon" by Ronnie Dunn, and weirdly painful on that occasion he was describing the very situation happening! Shake Russell is another from that Houston scene. His "You've Got A Lover" was a local hit, setting an impossible bar for the rest of us. Tito Larriva, originally from El Paso, I discovered out in L.A. in the 1980s with his band the Cruzados, and was just gobsmacked by his songwriting, singing and style. He was an early addition to the album. Some Texas songwriters are not widely recognized as such. Think Steve Miller, Stephen Stills, Don Henley. I didn't know J.D. Souther was from Texas; when I found out, I added him to the mix. I was open to discovering songwriters I had never heard before or hadn't given enough attention. This approach snagged Zack Kibodeaux and Keith Gattis. One guy I was determined not to include was Townes Van Zandt. It just seemed too easy, too obvious, too predictable, maybe a reflex against his labeling (by some) the "greatest Texas songwriter," as if there could possibly be such a thing considering the vast breadth of Texas music. But in the end, after listening to a bunch of bad renditions of "Pancho and Lefty," I surrendered, and decided to just do it myself. So there you go, Townes. I'm still not willing to concede "the greatest," but it's damn near the perfect "Texas song." "All Through My Days" is described as a bouncy and upbeat urban love song with unusual lyrical imagery. Which lines from the song connected with you the most personally when you first heard it? The first single off the album, "All Through My Days" by Vince Bell and Connie Mims, has been on my mental playlist since the 70s. It's just such a well-crafted song. Cool rhythm, original melody and very intriguing lyrics. "You were ruled by the Southen sky, made you trade your world for another style, the way you slipped through the streets of my city, you were a melody." Say what? Who writes that? Barely remembered now, is that Vince had a girlfriend nam... Melody. How romantic is that? In our Houston scene, everybody loved this song. If you didn't, something was wrong with you. The title "Lone Stardust" itself is incredibly evocative and cinematic. What does that title symbolize for you emotionally and artistically? Yeah, I love that title. I'd like to brag about how smart I was to so cleverly come up with it, but for months, this album was going to be called "Texas Heart." Really? You have an album called "Head to Heart." Now another album titled "heart" something? I finally realized that was stupid. Still, it needed to reference Texas somehow. Well, Texas is nicknamed the "Lone Star State." So I began playing around with Lone Star. Lone Star this. Lone Star that. Finally, Star...dust. Like magic, sparkle dust. That's what songwriters do with great songs. they sprinkle stardust on them. So Lone Stardust it became. You mentioned that some songs stay faithful to the original arrangements while others take completely new directions. How did you decide which songs deserved reinvention and which ones needed preservation? I just went with my gut feelings. I just wanted to honor the song. If the arrangement was practically perfect to begin with, who am I, really, to go drastically rearranging things? Sometimes that approach can seem so gimmicky, a curiosity you listen to only once, and may even wonder if that was one too many. So songs like "I Can See Clearly Now," "Cool Wind," "Balinese," "Galveston," "Faithless Love," "Only the Lonely," "The Beauty of You," "Neon Moon," "Alchemist," "Back to the House that Love Built," and "Day of the Dead" are pretty loyal to the earlier versions, though they all have my (and bandmates') stamp on things. The rest are original takes, generally because I felt the well-known versions didn't quite live up to their potential, or my version should just be different in order for me to deliver it honestly. In the case of Buddy Holly's "True Love Ways," I always thought his version was too lush with strings, and lost some of its heart and soul as a result. Listening to other covers of it, I noticed that most either followed Buddy's stringy arrangement or Mickey Gilley's piano-based version (which I actually like better). But I decided to go with a completely stripped down, basically guitar and voice version that really accented the beautiful melody and sweet emotion and devotion of the lyrics. Speaking of other covers, if you want an excruciating experience try to make it through some of the versions of Van Zandt's "Pancho and Lefty." Ai-yi-yi. For my version, i wanted to capture the authentic flavor of a Townes' bar room rendition, with a little more guitar sophistication, and a bit of harmony. Shake Russell's "You've Got a Lover" is another that demanded a remodel. I actually think Shake has let this song down. He seems to insist on recording it as a duet, which I don't think serves the song. In my view, everyone plays it too fast, especially Ricky Skagg's runaway romp. It's a sad tale; why the uptempo? So I slowed it down, returned it to its acoustic roots, and in my humble and totally unbiased opinion is the best version of this great song. "All Through My Days" features chimey and brash guitars with dynamics that build strongly in the third verse and tag. What was the creative vision behind crafting that particular sonic atmosphere? This was one of those first test songs. Steve Beasley actually brought the backing track with him for us to start with: bass, drums, acoustic guitar and a nifty kind of arbitrary chunking guitar (mostly in the left channel) that gave it a bit of a jazzy feel. Then we added vocals, me singing the verses and him singing the choruses, both of us on harmonies. This was all before the album was conceived. Once the album came into view, I went back to sing the choruses myself. It was nice just like that. But I felt that it was still a little bare-bones. It needed a signature guitar lick or something. So that's when the chimey guitar parts were added. They give the song a more cinematic flair, I think. That's my Gretsch Nashville going there. It does what it wants; I just hang on for the ride, and on this one it was soaring. With musicians contributing from places like the Pacific Northwest, Los Angeles, Nashville, and even Mumbai, what was the collaborative process like in bringing such a diverse musical project together? Ah, the beauty of digital recording. I wish we had this when I was in my twenties. Strangely enough, no one actually in Texas is on this record. With my hub just outside of Seattle, I've got a network of players spread here, there and everywhere that I can call upon. Tip of the cap to multi-instrumentalist Jason Roller for organizing the Nashville bands. And yeah, this is the second time I've worked with Rohit Bhusan in Mumbai, India, who knocks it out of the park on "Alchemist." I'm actually a huge fan of world music, so I love bringing such talent into my projects. Since this is your fifth album, how do you think your songwriting instincts and musical confidence have evolved compared to your earlier releases? I imagine that most artists have encountered the phenomenon of people liking their earlier stuff better. I'm that way, too, with some of my favorite artists. But I do think I've objectively become a much better writer, especially lyrically, and definitely a better singer and guitar player, through the years. My mind is far clearer now. I was just in a fog in the earlier days. I knew I had something important to say, I just didn't know what it was. Now I know. So the themes are more interesting and I have them better figured out. At the same time, my chordal progressions have gotten more sophisticated. I used to write songs quickly. That's usually a mistake, I learned. Take your time with them, every lyric, every melody, every chord progression can be refined and improved. Covering songs written by other artists can still reveal a lot about the performer. What did this project teach you about yourself creatively and emotionally? There's a unique challenge involved when you cover a song, whether you are loyal to the original arrangement or strike out into different territory. Of course, the first question is: Why? Why bother? Why do we need another version? Why are you the person to do it? The answer must be because you bring something new and different to it. OK. so now you have to prove it. It takes a bit of audacious confidence to dare cover somebody else's creation. And/or maybe just a bit of cluelessness. Because most covers are fairly well-known, there's extra pressure to rise to at least the ballpark of the original. That's a dubious proposition for starters. With a large collection like this, you are continually cycling through the emotions of doubt and a bit of fear about perhaps not being creative enough or skillful or talented enough to really pull it off. Any one of these could be the trap that exposes you as an imposter. Was there a particular song on the album that challenged you the most either vocally, emotionally, or musically? Yep. Jon Dee's "The Change" really put the screws to me. "Technically," it's probably my worst singing on record. Barely in tune. "Pitchy," as they say. But that's what it had to be. It's the rawest of emotion. It's the voice of a depressed, old man, who can't sleep, wistfully looking backwards, through a mirror. I tried to sing it pretty and in tune. That was a failure, because it was dishonest. Who's going to believe this? There are some harmonies for relief, but the raggedness is the thing. Jon Dee still does it better, but I think this is one of the standouts on the album. It's the freakin' starkest, that's for sure. You joked about becoming a "halfway decent singer-songwriter." How do humor and humility help keep you grounded throughout your artistic journey? See, there's the Texan coming out again. "Halfway decent" is high praise in Texas, so the statement wasn't as humble as you might think. But we are often self-effacing and don't like taking things too seriously. True, that latter habit can become a problem in their voting. But yeah, I think humor and humility are two of the keys to happiness. I've achieved hardly anything in life, yet I consider it a wild success. Why? Because I've followed my bliss, I've done things my way; I was never an employee. for long. l've lived, I've loved, I've traveled, I've learned, I've experienced, I've felt, I've thought very deeply. I've soared to emotional and spiritual heights. I've pursued my craft, or art if you want to call it that, and I'm satisfied with many of the results. I think I'm my own worst critic; I call myself out for crap, but I'm pretty pleased with how some of it turned out. I don't expect anyone else to agree. Looking back on your career so far, what moment or realization made you feel that music was truly your lifelong calling? Not exactly. In my song "The Meaning of Life," I claim that the meaning of life is the Pursuit of Happiness. Not happiness, itself. but the pursuit, the quest. This is true of all living things.which must be the case for the true "meaning of life," right? So this is why I can deem my life a wild success. I've pretty much stayed on the pursuit of happiness my entire life. When I fell off, I got back to it fairly quickly. Most creatures do, as it turns out. It's not nearly as hard as humans make it out to be. We are the only species that finds happiness difficult. As my song says, "Happiness is so elusive, but only if we're hard to please." My, particular, happiness involved music. but that was only part of my pursuit and the happiness that was achieved. My "lifelong" calling, which I think should be for all humans, was identifying what is true, important, good and beautiful in the world, celebrating it. and passing along the info. Music is just one of the communication channels I use for that higher purpose. How have listeners responded so far to the idea of an entire album dedicated to Texas songwriters, especially one that mixes familiar classics with hidden gems? It's early yet, but so far, so good. Nice reviews are coming in, and quite a few playlists have already picked up the first single. "All Through My Days" is not one of the familiar classics, so I'm cheered that people have been receptive to something new to their ears. I had intended to only release singles from the album that would be new to ears. Why not allow these "hits that never were" to have their chance? I'm getting some pushback on that, with some insisting that I'd do better by releasing well-known material. I'm mulling it over. When fans listen to "All Through My Days," what emotions or memories do you hope stay with them long after the song ends? It's a feel-good song, and very hopeful. Life holds its nice surprises. "I never knew it could so simple. I never knew it could be this way." isn't that all of us. just before we step into something wonderful? With "Lone Stardust" now making its way into the world, what future plans do you have for touring, collaborations, or upcoming musical projects? No touring plans as of now. Maybe some one-off appearances here and there. Next album is already taking shape. Back to originals. Another double-album, perhaps my most personal yet. Hopefully out in 2027. You mentioned the possibility of someone doing a full track-by-track review of the album. If listeners take that deep dive into "Lone Stardust," what do you hope they ultimately discover about Rusty Reid and the musical legacy of Texas songwriting? Well, even as a double-album, this is the tiniest slice of Texas music and songwriting, concentrating only on a specific style of folk-country-rock. But even then, this collection speaks to the depth, range and quality of Texas songwriting. I hope that the inclusion of songs that they've never heard before suggests the larger truth that there are far more great songs that barely, or never, get heard than there are that become big hits. It's sad to think that the most profound, the most beautiful song ever written is completely lost to time and culture. But here, using my limited voice as the portal, I've tried to curate a collection that showcases a diverse batch of songwriters and their magnificent creations, true "masterworks" of the craft. I hope I've managed to become a vehicle for these songs to sing again, and perhaps prompt the listener to think, "That is a damn good song."
1. You've only released a couple of cover songs before - what made now feel like the right time to dedicate an entire album to them? Hey, Pedro, thanks for the discussion. Yeah, I released "No Deposit, No Return" on my first album, a song I discovered on an old Martha Davis record from the early 1950s. Then in 2022, I released "Shelter" as a single, a song from Maria McKee and Lone Justice I just loved. But even before that cover was released, I was gathering and recording songs for this project. This idea started with a couple of test projects, in which Steven Beasley and I recorded two songs that were written by songwriter friends of ours back in Houston. That got me thinking it would fun to do a whole album of songs written by Texas songwriters. I didn't realize at that time that this is a rare project: a single artist honoring a batch of different writers with a common geographical link. Those test two songs started this project, and are the first two on the album. Or, really I should say double-album; with 19 songs it's twice as long as traditional LPs. 2. Why was it important for you to focus specifically on Texas songwriters for this project? The personal link was the main impetus; most of these are songs I grew up with. But also I knew of at least half a dozen songs that have been part of me for decades that most people have never heard. The opportunity to bring them out into the light a bit was appealing. As a group, I don't think Texas songwriters are as widely recognized as they should be. Often, they go off to Nashville or L.A. and may not even be recognized as Texans any longer.Who knows that Stephen Stills, Steve Miller, Don Henley, J.D. Souther spent formative years in Texas? I would wager that Texas has the most colorful and and varied cross-section of songwriters in America, and that would be just because of the geography and heritage. Texas is really a mashup of four regions: the Old South, Old Mexico, the Midwest/Great Plains and the desert Southwest, and all of them have a swagger that no other part of the country can match, for better and worse. 3. How much of your own musical identity was shaped by growing up in Texas? Pretty much all of it. Not that I wasn't listening to music from outside of Texas or even America. I certainly was, and some of that was even more influential than strictly songs emanating from Texas. Yet I heard everything through Texas ears and sensibilities. I was lucky to be able to tune into regional radio stations that played a huge variety of songs. Of course, out in West Texas I was steeped in Buddy Holly and Roy Orbison. Later, Willie Nelson and Kris Kristofferson and ZZ Top and J.D. Souther were songwriters I loved (and I didn't even know J.D. was from Texas until I started this project). Then when I officially joined the music "scene" in Houston, we were learning from and influencing each other. I've continued to learn and grow as a songwriter (and person) in my subsequent wanderings to Nashville, Los Angeles and Seattle, not to mention listening to world music, but everything has to get past that original Texas filter. 4. What drew you to "All Through My Days" as the first single from the album? "All Through My Days" was the second "test" song that commenced this project, and I thought we hit a pretty good groove with it. Written by Vince Bell and Connie Mims back in those halcyon Houston days, it seems to be a nice introduction to the spirit of the album. My initial idea was to only release singles off the album that most people will not have heard before. Why not give these "hits that never were" songs a chance to breathe? But I'm getting pressure to promote some of the classics. I'm not sure at this point which way I'll go. 5. The song has this unusual mix of playful energy and emotional depth - what do you think makes it stand out? It has all the elements I was looking for: melody, lyrics with gravitas, rhythm, spunk. Yeah, "playful" is a good description of it, for sure. 6. You mention the "chimey and brash" guitar sound on the track - how did you approach recreating or reinventing that atmosphere? "All Through My Days" definitely allows for soundscape opportunities. This version is very different from Vince's versions; he's recorded it a couple of times. I don't think Connie ever recorded it, or if she did it hasn't appeared digitally. Steve brought this in with bass, drums, acoustic and a funky electric guitar already in place. I overlayed the brash electric guitar bits on my Gretsch. The growl tone at the end susprised even me. But I think those guitar parts work to help elevate the song into a different sphere. 7. Did interpreting other writers' songs give you a new perspective on your own songwriting? Not so much on my writing, but certainly on my singing. Sometimes I think my own songs don't challenge me as singer as they could. But these songs gave me a workout. So that was a big part of the fun of making this album. "Alchemist" was a hoot to work with. 8. Were there any songs on the album that changed meaning for you once you started recording them? I don't think so. I tend to write, as well as gravitate toward, songs that are pretty straightforward. They have something to say, and then say it. It's probably more abstract lyrics that lend themselves to meaning-chasing. There's not much of that on this album. 9. You're now based in the Pacific Northwest - do you think distance has changed the way you connect with Texas music and storytelling? Oh, sure. The PacNW has its own rich rock and folk and indie traditions, which also influenced me back in the day, and still, actually. The weather is different up here, a lot of grey skies and drizzle, so there's an uncertainty, a melancholy and brooding seriousness that is less prevalent in Texas songwriters. Many Texas songwriters think they can explain the world in a song; this album features quite a few, and I'm as guilty as any. Most Northwest songwriters easily understand that notion is completely daft. 10. What do you hope listeners take away from Lone Stardust (Masterworks of Texas Songwriters) as a complete body of work? Some of the reviewers of the album have misunderstood that this album is a survey of the range of Texas songwriters. That's not even close to the truth. The range of Texas songwriters is wider than a a hundred Palo Duro Canyons, stretching from old guard blues to soul to psychedelic rock to metal to garage rap to country rock to honky-tonk to Western Swing to big band to glam pop to boy bands to sexpots to indie folk to jazz (modern and Dixieland) to punk to prog to hiphop to lounge lizard and beyond, and that's before we even delve into TexMex/Tejano, which just may be the most authentic Texas music of all. Those mariachi trumpets and accordion always get me. There are some good playlists that explore this full range. But I had to confine myself to a narrow slice of that huge pie, selecting songs that I could sing with exerience and conviction, mostly in the pop-folk-country rock realm. I do hope that listeners will dig these songs with original melodies, original themes and lyrics and soundscapes that convey the vibe of Texas in their own, unique way. I was even able to sneak the trumpets and accordion in. So welcome to a little taste of Texas songwriting hand-picked just for me, and you.
Roll on Santa Fe
Taking the train up to Santa Fe
Watching all that barbed wire rolling on by
Backstory: Back in the early 1970s, one of the coolest bands in Houston was Denim. They were young guys, a few years older than me, unapologetically country-rock with CSN-Poco-like harmonies, a world-class guitar player named Bill Browder and a sassy drummer-singer, David Moerbe. I just loved them. This band was sure to make it big, we all figured. Imagine my surprise when, as a broke college student, I took a job not far from the UH campus at a tiny tele-marketing business supposedly affiliated with some charity, and there among the dozen or so phoners arranged in a circle around the small, dour, windowless room were both Browder and Moerbe calling random people and offering for sale... American flags. We would get a commission on each flag sold. There was a big whiteboard in the room which kept track of the sales competition among the phoners, and there were Browder and Moerbe near the top, multi-talented as they were. I quickly became the worst in the room, and lasted but a couple of weeks before moving on to a different gig, driving a truck around selling frozen steaks, a job that went about as well and for about as long. Sometime later, Denim released its first record, "Roll On Santa Fe," which became something of a local hit. I still have the 45 RPM single I purchased in those heady days when anything was possible. I never imagined that I would record it, myself, until that day when I suggested that Steve Beasley and I use it as a test to learn a computer recording program. Denim was a favorite of Steve's, as well, and so a project was launched that eventually morphed into this album. Bill Browder is still writing and playing, a well-known figure in the Austin scene these days.
All Through My Days
You were ruled by the Southern sky
Rusty - vocals, electric guitars Backstory: Emerging from Houston, Vince Bell has been one of the foremost singer-songwriters of the Texas folk scene since the early 1970s. Though, unjustly, he has never had a big hit of his own, other artists like Nanci Griffith and Lyle Lovett have scored with his songs. I had seen Vince play many times and was very impressed with his Dylanesque songwriting, but first really met him not at a folkie venue but when he, Steven Beasley, Jack Saunders and Jerry Chambers formed a sort of Houston supergroup called Revolver. After I moved to L.A., one of my running-buddies for a year or so was Sarah Wrightson, who had also come from Houston and had been a part of its original music scene. She then moved to the Bay Area, and somehow ended up in a relationship with Vince. I went up to see them one time and Vince sold me his Bernie Rico acoustic dreadnought (it's the one with the big "R" on the headstock). Then once, they both came down through L.A. when I was living in Manhattan Beach and Vince recorded a batch of songs in my home studio. Steve and Vince remained friends, and during that fateful week when Steve and I were doing "test" songs to teach him how to do computer recording, following our completion of Denim's "Roll On Santa Fe," he suggested we record "All Through My Days," which Vince co-wrote back in the 70s with another notable figure from that Houston scene, Connie Mims. So here are those two songs, back-to-back, which represent the very origin of this project. Both Vince and Connie are still actively writing, playing and singing. I also have a guitar and vocal version of Vince's song "Sun and Moon and Stars" on my website and video channel.
I Can See Clearly Now
I Can See Clearly Now, the rain is gone
Rusty - vocals, acoustic guitar, electric guitar Backstory: I have loved "I Can See Clearly Now" from the moment I first heard its lilting opening back in 1972. It's a genre in itself; there has been nothing like it before or since. The lyrics thread the fine line between sappy and inspirational; a song of boundless hope and optimism that emerges from darkness, bad feelings, rain and pain. The melody is one of a kind -- with an astounding, 20-second, single breath, eight-note hold to end the bridge. The instrumentation dodges from simple reggae rhythm to soon be joined by blaring trumpets, swooping right along as the emotional intensity rises. If someone were to claim this is the best American pop song ever written, I wouldn't be one to strenuously object. For my version, I wanted to stay pretty true to the original arrangement, just through my voice and guitars. Jed Demlow achieved the rest. Thank you to the late Johnny Nash, of Houston, for bringing this absolute jewel into the world.
Cool Wind
You're a Cool Wind, refresh my soul
Rusty - vocals Backstory: Steven Beasley was born in Sheffield, Alabama and grew up in Nashville, but it was in Houston where he came of age as a musician and singer-songwriter. I met Steve in 1976 in Houston. I had recently left the band Southern Cross, and was setting off on my "solo artist" adventure. I needed players, and found this fantastic guitar sideman playing small clubs. Steve would do multiple recordings with me in Houston. He became an honorary Unreasonable, and we even briefly played together in a short-lived lounge combo called Detour. At the same time, Steve was developing as a songwriter. The first original song I heard of Steve's was "I'm Losin' Susan," which I thought was great. That song would later appear on his first album. I moved to L.A. in 1984, and Steve relocated, as well, soon thereafter. In California, we continued our collaborations. We toyed with the idea of a duo, the Lost Texxans, but it never was commercially launched. Even as my song output dwindled during those California years, Steve ramped up pumping out the catchy tunes. Steven Beasley has a wonderful catalogue of songs. He got the rep in Houston as mainly a sideman. He is still a fantastic player, just listen to this track where Steve plays everything. But I think Steve, as a songwriter, eventually eclipsed all of the frontmen he once backed up. For this album, I was thinking I would just use Steve's "Dog on a Chain," which I had recorded a few years previous. But, eventually, I felt compelled to go with "Cool Wind," very Texasy, and beautiful in its simplicity. After forty plus years, Rusty and Steve, still trading songs.
Heart of Hearts
There are things that no one senses
In your world, you're always dreaming
Part of you is hiding
All the hopes that are forbidden
You can keep your secrets
All the hopes that are forbidden
Part of you is hiding in your Heart of Hearts
Rusty - vocals, acoustic guitars, synth strings Backstory: Following my sojourns to Nashville and Los Angeles, I met Jon Stone in 1973 back in our hometown of Midland, brought together by our girlfriends who were both ballet dancers. We began writing together almost immediately. I went back to college after that summer, and encouraged Jon to move to Houston where we briefly formed a band, Southern Cross, and recorded a dozen or so songs. In 1976, we went our separate ways, then in 1984, I moved back to Los Angeles. But we irregularly kept in touch. Jon was writing some artsy stuff in the late 1970s, and through the 80's and 90's. He collaborated with some of Houston's best studios, musicians and other songwriters in Houston. Those folks who worked with him know how good his songs are. Alas, he is yet another among the legions who never achieved the level of success that the material warranted. Again it was hard to choose a single song for this album. I leaned toward one of his earlier songs that we had played together, but ultimately decided "Heart of Hearts" was more emblematic of Jon's more evolved style. Nashville's Austin Moorehead evocatively helped flesh out the backing track. Jon is still alive and kicking, and stubbornly resistant to his friends urging him to get his material out there streaming.
Balinese
Deep in the South of Texas How, how, how.
Rusty - vocals Backstory: For over fifty years, that "little old band from Texas," ZZ Top, has been a font of blues-rock gems. The band has sold over 50 million records. People kinda like them, ya think? All three members were generally credited as songwriters on their tunes, and all three are Texans: Billy Gibbons, Houston born and bred, Dusty Hill, born and raised in Dallas and Frank Beard, a native of Frankston in East Texas. Maybe because the songs are so simple and fun, they don't get enough credit for the craft of creating those songs, which turns out not to be so simple (or someone else would have already written them). Though never an official hit, "Balinese" was always one of my favorite ZZ songs. Like their monster hit, "La Grange," it was another of their songs about quirky, real places in Texas. In my mind, it is a certifiable masterpiece of blues-rock. But then I went and messed with it. You see, the song was released in 1975 when the Balinese Room in Galveston still existed. The story of this joint gets more poignant 33 years later when the Balinese was taken out by Hurricane Ike in 2008. I began to wonder, "Shouldn't that be in this song these days?" There was another fascinating factoid that the band left out of the original lyrics: it was not actually "on a crowded island," it was out on a pier - over the water - off that island. In mulling my version of the song, I dared tamper with the masterpiece to add in these two important aspects of the Balinese Room's story. To fit these parts in, something had to give and go. The pier got added to the first verse, and Ruby was still "dressed in red," but the "rag wrapped around her head" was deleted in favor of the hurricane's wrath. I think this adds to the legend of the now gone but never forgotten Balinese. That's Jason Roller on guitar. A lot more from him coming.
Galveston
Galveston, oh Galveston
Rusty - vocals, synth strings Backstory: OK, no, Jimmy Webb is not officially a Texan, wasn't born here, never lived here; he may have played music in Texas, as a child, accompanying on piano and organ his traveling Baptist minister father who regularly ventured into West Texas. He was born in Elk City, Oklahoma about 35 miles from the Texas border, and then moved to within 20 miles where he grew up in Laverne. What he is, officially, is merely one of the most celebrated American songwriters of the last six decades. One of those cherished songs is, arguably, the most beautiful song ever written about a Texas city. The song is "Galveston," originally sung by another near-Texan, Glen Campbell, who grew up in Delight, Arkansas, also about 35 miles from the Texas border. I was a huge Glen Campbell fan in the late 1960s. I played and sang "Gentle on My Mind" at a high school assembly and suddenly everyone was calling me "Glen!" I was beyond flattered. When I first heard "Galveston" on the radio, I was gobsmacked. It was the third of a trio of "city songs" that Webb and Campbell turned into mega-hits, including "By the Time I Get to Phoenix" and "Wichita Lineman." By virtue of my potentate status for this particular album, I decree Jimmy Webb an honorary Texan, at the very least. And for those who might still balk, I would point you toward the 1845 map of the Republic of Texas, which easily included the soil of Oklahoma that birthed the great Jimmy Webb.
Faithless Love
Faithless Love like a river flows
Rusty - vocals, Backstory: John David Souther was born in Michigan but grew up in Amarillo. It was there he became a musician and songwriter and released his own music with the help of Norman Petty, Buddy Holly's former record producer. From Texas he migrated to California and became forever associated with the magical 1970s SoCal singer-songwriter and country-rock scene, working closely on and off with the Eagles, Linda Ronstadt, Dan Fogelberg, Chris Hillman and Richie Furay. His biggest solo hit was "You're Only Lonely" which channels fellow West Texan Roy Orbison. I was very enamored by that group of musicians and songwriters, and aspired to write songs as good as theirs. I was actually there, briefly, in L.A., when they were just breaking big in 1972. Somehow I managed to not even find the scene, which is probably a good thing because my material was not yet up to any kind of snuff. "Faithless Love" is emblematic of some of the best of those songs: you love it the first moment you hear it. Judging by the number of covers, including Linda Ronstadt and Glen Campbell, it is well beloved. So was J.D. and his beautiful songs and beautiful voice. Alas, Texas singer-songwriter J.D. Souther passed away in 2024 at the age of 78.
True Love Ways
Just you know why
Throughout the days
Rusty - vocals
Backstory: I grew up in Midland, just 100 miles down a straight-as-an-arrow Texas highway through tumbleweeds and cotton fields from Lubbock, the hometown of many renowned singer-songwriters, that group surely headed up by Buddy Holly. Buddy's songs were, of course, very popular in West Texas, and I was exposed to them by the time I was five or six years old, a very impressionable age. I think, more than anything, I absorbed his music by osmosis... it just went from the radio airwaves straight into my subconscious. The same with the Everly Brothers and Elvis Presley about the same time. I didn't know why, I just knew I liked them - and these influences were bound to come out when I later turned to trying my hand at writing songs. For this project I knew I wanted to do "True Love Ways," which I consider his best melody... and one of the last songs he recorded, so it represents the apex of his songwriting. I listened to a bunch of versions of the song, and found that most cover versions follow pretty closely along with either Buddy's kind of schmaltzy orchestral arrangement or Mickey Gilley's piano version. I wanted something quite different from these, more stripped down, more guitar oriented and starkly intimate. I charged multi-instrumentalist Jason Roller with the assignment and, boy, did he come through brilliantly. I asked Jason for a few different takes on the instrumental section. He sent three for me to choose from. Just for grins I played them altogether and... OMG!... they lined up perfectly. Such, sometimes, is the magic of music... and life.
The Change
Do you see The Change in me?
Rusty - vocals, acoustic guitars, electric guitar, percussion Backstory: Jon Dee Graham was born in the Texas panhandle, and then grew up along the Texas/Mexico border, but he is best identified with Austin. I first met Jon Dee Graham in Houston in the early 1980s when he was with a new wave band called The Lift. I was knocked out by the band and its lead singer-songwriter guitarist. Shortly thereafter, I recorded one of Jon Dee's songs, "Still Life." I don't know, but I may have been the first to ever cover a Jon Dee Graham song. I wasn't surprised to find him later finding success with the Skunks and True Believers, and then as a solo singer-songwriter. When mulling over this collection, I figured I might include "Still Life." But when I heard "The Change," I realized that was really the JDG song for me. Not only does it ring true, personally, but thematically it's eerily similar to a few of my "change" songs on my Head to Heart album. In working up my version of these songs, I would scan the internet to see who else had covered each song. I'm not sure, but it looks like I may be the only one who has covered this song. I sent an early mix to Jon Dee and he replied, "This is beautiful. I am honored." No, It's my honor. After wrestling with death through what must have seemed like eleven lives, one of Austin's most beloved musical poets gently passed away in late March, 2026.
Only the Lonely
Only the lonely
Rusty - vocals, acoustic guitar, electric guitar Backstory: As a young child listening to my mom's records and the radio, I gravitated toward distinctive vocalists. That would never change. Among the earliest voices to penetrate deep into my awareness and appreciation was that of Roy Orbison. "Nobody can sing like Roy," my mom would say of our home area, West Texas, hero and early Sun Records rockabilly star. With his coke-bottle dark glasses and statue-like stage performance, his lips barely moving, it was hardly charisma that won over his legions of fans, it was that wondrous voice. But from the beginning, Roy was also a songwriter - a great songwriter, though he rarely gets credit as such. "Only the Lonely" was written, with Texas buddy Joe Melson, during a lull in his career in my hometown of Midland, Texas. The two songwriters offered "Only the Lonely" to Elvis Presley, and then the Everly Brothers; both acts turned the song down. Imagine that. So Roy recorded it himself, in March of 1960 in RCA Studio B, the same studio I would get the opportunity to record at 12 years later. Roy claimed to have not been very confident in his voice during his early career. "Somewhere between 'Ooby Dooby' and 'Only the Lonely' it turned into a good voice," he said. Uh, yeah, just a little... staking his claim as one of the best-ever Texas songwriters, as well. As with "I Can See Clearly Now," I turned to Nashville pro Jed Demlow to basically recreate Roy's version of "Only the Lonely," and allow me to just add my vocal and guitar bits.
The Beauty of You
As I was walking through the forest
Rusty - vocals Backstory: Although he grew up in Oklahoma and carried that Oklahoma red dirt spirit with him, Jimmy was born in Willis Point, Texas, and, for much of his professional career, was based in Austin. Jimmy LaFave is one of my favorite Texas singer-songwriters. I love his songs; I love his voice. Alas, I never met him or saw him play in person. Selecting a LaFave song was a challenge, so many possibilities. I was leaning toward the pointedly political "This Land." But then listened again to "The Beauty of You," and just knew there's my Jimmy song. It's a deeply spiritual song, aimed directly at precisely what should command our awe and allegiance. What a lovely tribute to Mother Earth. She doesn't get near enough songs devoted to her.
Neon Moon
When the sun goes down on my side of town
Rusty - vocals Backstory: Certainly my list of best Texas songwriters is not going to be without Ronnie Dunn. But I have a kind of weird, bittersweet, history with this, particular, hit song for Brooks and Dunn. In 1994, my marriage was flailing. One night we were at a Manhattan Beach honky tonk, ostensibly, dancing. My wife, who was much younger than me, loved to dance, and was very good, but I've never been much of a dancer. So I said, "Go ahead, dance with that guy." Suddenly she was sweeping around the floor with this tall, young fellow in expensive boots and a black cowboy hat. They were in perfect sync, he was holding her tight and she was leaning in, they looked made for each other. A wave of melancholy came over me, and a sick feeling in my gut. This love is over; I'm all wrong for her; she deserves someone like that. But this awful feeling didn't preclude me from realizing, damn, that's a well crafted song! It was "Neon Moon." Listening to the great melody and the sad lyrics, it wasn't lost on me that at that moment I was alone, sitting at a table for two, watching my broken dreams literally dancing in and out of the beams of a neon Blue Moon beer sign. Everytime I hear it, I'm tranported right back to that bar, getting my heart danced on. But, it's still a fine song, and now I'm stealing it away from those dancers and making it mine.
Alchemist
Break down the tables all again
Rusty - vocals, acoustic guitar, electric guitar Backstory: In my hunt for cool songs I found a band of young folks from the Lake Jackson area, Blue Water Highway, and was just knocked out. I like all their songs. The most prolific songwriter is Zack Kibodeaux. He wrote "Alchemist," which hit me immediately. Not only is it beautiful, I am a sucker for a song that introduces me to a new word. "Eucatastrophe!?" It was a eucatastrophe that the avalanche of great songs that fell upon me had me stumbling out of the chaos with this song and then finding Rohit in Mumbai to help flesh it out. I'm an old alchemist, like all songwriters (and many other creators), trying to make gold out of our own plans and combinations. So far, I have not come close to fashioning gold. Quite the contrary. Probably like most alchemists through the centuries, I only succeeded in spending a lot of time and fortune chasing the improbable, if not impossible. Only we alchemists understand that there is little choice in the matter... it's just what we do... and the glints of thrill and happiness we gain in the process are gold enough. So I keep wandering into my little home studio... mixing the wrong, the right, the shadows in the night. Keep an eye on Zack. He's on to greatness my crystal ball prophesizes.
Pancho & Lefty
Livin' on the road my friend
Pancho was a bandit boy
All the federales say
Lefty, he can't sing the blues
All the federales say
Poets tell how Pancho fell
All the federales say
A few gray federales say Rusty - vocals, acoustic guitars, eletric guitar, lap steel Backstory: "Pancho & Lefty" was the last song added to the album. I wasn't going to do this song. Everybody and their monkey has covered this song... mostly poorly in my humble opinion. Sample them for yourself and see if you don't agree. There is a tantalyzing live version with Townes and Freddy Fender; I wish Freddy had done the song himself. Lord knows I don't have anything to add to the Townes Van Zandt legend. But in the end, I couldn't leave it off. It's just too good, perhaps the virtually perfect "Texas songwriter" song. Nanci Griffith, among others, championed Townes as the "best Texas songwriter." I'm not willing to go that far; the concept is just too complex, probably, for there to be such a thing. Perhaps the "best Texas songwriter" is/was someone someone who was never recognized. But Townes struck an artistic vein of gold in channeling this from the still lingering ghosts of the Old West. I suppose as long as people keep singing it, old Townes will be virtually synonomous with the very notion of Texas songwriter. For my version, I decided to stay true to his solo guitar-playing singer-songwriter usual mode of performance, sometimes with somebody accompaning on a second guitar and adding harmony. So I kept it simple and just did it that way, but my way. It's my small contribution to the brilliant poet's telling of the tale.
You've Got a Lover
The clubs are all closin', there's no place to go
Rusty - vocals, acoustic guitars Backstory: Shake Russell remains the quintessential Houston troubador. Back in the 1970s and early 80s, I saw him play live often enough, but I don't think we ever actually met, even though my friend Steven Beasley and Shake were friends. "You've Got a Lover" was written and released early in Shake's long and prolific career. It became a local hit, a rarity in those days of increasingly corporate radio playlists, and that success gave the rest of us singer-songwriters hope we might do the same, but few ever matched this feat. When contemplating this album, "You've Got a Lover" was one of the first songs I thought to include. It's been covered many times, but I always thought everyone maybe played it a bit too fast, certainly the most popular version, Ricky Skaggs' gallop. It is, after all, a sad song. For my version, I wanted something different, slower, rougher, rawer, stark, spare, more emotional with a hint of dissonance. I asked Steve Beasley to come up with bass and percussion and piano backing. He complained about the tempo, "This is putting me to sleep." I let him speed it up just a tad. "It's still too slow," he grumbled, but I stood firm at that point. After fiddling with some acoustic guitar parts that would complement, I ended up with close to what I had envisioned.
Back to the House that Love Built
I know its raining baby
Forget about the past
Backstory: Though written with others, this Tito Larriva song (featured in the movie "Desperado") is emblematic of the El Paso-Juarez area singer-songwriter's style. I saw Tito with his band the Cruzados at Club 88 in Los Angeles in 1987. I was just knocked out. That was the sound I wanted: rocking, twangy, sassy, stripped down, cool songs. Only later did I learn he is from Texas. When contemplating this album, Tito was one of the first songwriters I thought about. After the Cruzados, Tito started up his current band Tito and Tarantula, and he is still one of my favorite artists. While the style here is only peripherally Tex-Mex or Chicano, allow this song of Tito's, along with the next song on the album, to stand in for my deep appreciation for Texas-based Latino music.
Day of the Dead
It's a hundred and ten here in Lajitas
Rusty - vocals, electric guitar Backstory: There's a Texas singer-songwriter I really like, Wade Bowen. I was browsing through his excellent catalog to maybe find something. Bingo! "Day of the Dead." Wow! Whoops! Darn it. Wade didn't write it. Who did? Keith Gattis? Never heard of him. Please, please, please, let him be from Texas. Whoo-hoo!... Georgetown boy... not D.C. Georgetown or Brooklyn Georgetown... Georgetown, Texas. I have been to Lajitas when it's hot as hell, staring across the river at Mexico. I had a wedding in San Antone with a bride in white... who left me with just my shoes. This was just the kind of song I had hoped for, one that just sailed in from out of the blue, musical manna from heaven, a stealth tune that no one else but Keith and Wade, and now me, know about. Imagine my surprise when my sister said, "Oh yeah, I know that song. We line dance to it." I asked Jason to honor Wade's arrangement but allow room for our own flourishes, and, as always, he knocked it out of the park.
Oh, What A World
Northern lights in our skies
Rusty - vocals Backstory: Of course, I wanted to get at least one female-penned song on this record. There have been so many excellent women songwriters associated with Texas. I was all set to give a go on Nanci Griffith's "I Wish it Would Rain," then stumbled upon Kacey Musgraves' "Oh, What a World." Kacey is from Golden and Minneola, Texas. This song hit me in the heart from the first line, "Oh, what a world... don't wanna leave." I've been thinking like that for some time now. As I am getting up there in age, I don't fear death - there is nothing to fear; death rescues us from dying - but I love this world of nature so much, I don't wanna leave. So much magic all around. If you are properly tuned in, it seems too good to be true... but here we are... me... and then there is you.
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