Just Like Tom Thumb's Blues

Performed by Applejack
Zoomer Roberts: lead vocal & harmonica
Buddy Winston: harmony vocal & guitar
recorded 10 December 2011 at La Tierra Cafe

A Satisfied Mind

Performed by Applejack
Zoomer Roberts: solo & harmony vocal
Buddy Winston: harmony vocal & guitar
Charlie McDonald: melody vocal & guitar
recorded 10 December 2011 at La Tierra Cafe

Stagger Lee

recorded 5 September 2011 at Dalton Powell's house

Zoomer Roberts: lead vocal
Buddy Winston: rhythm guitar & backing vocal
Jack Woodberry: lead guitar & backing vocal
Doug Neal: electric bass & backing vocal
Dalton Powell: drums

Race With the Devil

Recorded 5 September 2011 at Dalton Powell's House

Zoomer Roberts: vocal
Buddy Winston: rhythm guitar
Jack Woodberry: lead guitar (off-mic)
Doug Neal: electric bass
Dalton Powell: drums

Ring of Fire

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
recorded 6 November 2010

Border Legends Concert ~ 16 Oct. 2010

Zoomer Roberts: vocals
Buddy Winston: rhythm guitar
Jack Woodberry: lead guitar
Doug Neal: bass
David Rutledge: drums
George Reynoso: master of ceremonies

The songs: Bodine, Twenty Flight Rock, Little Darlin'

Bodine

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
Recorded 7 August 2010

Milk Cow Blues

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
Recorded 7 August 2010

The County Line Band

Cindy Seaman: keyboards & vocal
Cindy Bickford: drums & vocal
Zoomer Roberts: bass & vocal
Al Couch: guitar


Hang On Sloopy
Lead vocal: Cindy Bickford

Should I Do It?
Lead vocal: Cindy Seaman

You're Not Mine Anymore
Lead vocal: Zoomer Roberts

Recorded 18 June 1983 at the Anthony Gap Saloon


Basically, this was Cliff Seaman's old band, with me taking over Cliff's bass duties and Al Couch filling the lead guitar slot I had once occupied. Cindy Seaman, who had become a fine and savvy musician, lead and fronted the group. We were propelled by the formidable drumming of Cindy Bickford. Everyone sang. Musically, it bore no resemblance to the earlier group. It was exciting and punchy and filled with harmony and should have gone places. Actually, it did: we played two weeks in San Angelo (see photo). Due to circumstances beyond our control, the group broke up after only two months. This slightly distorted cassette is all that remains.

Utah Street

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
recorded 27 March 2010

Another original. Utah Street was home to El Paso's red light district in the horse and buggy era. Sam Jones is fictional. Zachary White was real. Tillie was a prominent madame. Utah Street is now Mesa Street.

On the Side of This Mountain #3

Zoomer Roberts: vocal
Buddy Winston: guitar & harmony vocal
recorded 27 March 2010

This original song about living and dying in El Paso has been kicking around for a couple of years. The bridge has been altered from the previous (and now deleted) version. Some of the lyrics are symbolic. Others are literal. Long-time El Pasoans will recognize many of the references. I do indeed live on the western slopes of the Franklin Mountains and intend to stay put. The rest of the world passes through in a ceaseless parade of numbness, on its way to God-knows-where.

LYRICS:

On the side of this mountain it's always I've been
I'll watch you go out like I watched you come in
And when you are leavin' it's goodbye old friend
On the side of this mountain I'll stay 'til the end.

On the side of this mountain I'll stand like a tree
In a tiny oasis that no one but me
Can look at and tell if it's Heaven or Hell
On the side of this mountain I'll drink from the well

Each day the sun sets just a little bit later
And the big orange moon rises o'er the equator
Displaying its ridges, its rocks and its craters
And shines on the places where young escapaders
Were served Chico's Tacos by Mexican waiters
Drank cheap bourbon whiskey at drive-in theatres
And went to the Plaza to torment the gators
Recuérdame mi corazón

From the side of this mountain I can see through the years
And measure my days by the laughter and tears
For I have been with you and I've been without
On the side of this mountain I'll stand and I'll shout

And then some glad morning my ashes will blow
Up the Carlsbad Highway to New Mexico
Where the gypsum is glistening and the desert winds blow
Where the wispy wildflowers and the tumbleweeds grow
By the banks of the old Rio Grande that flows
Where the snowy Sandias kiss the valley below
Like the morning dew kisses the bloom of the rose
Espérame mi carazón

On the side of this mountain I'll stay until then
'Til the Lord at long last bids my soul to ascend
'Til the years melt away and the ages roll by
On the side of this mountain I'll live 'til I die. 

© Zoomer Roberts

Walkin' Down the Railroad Line

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

This is from a KTEP broadcast commemorating what would have been Woody Guthrie's 95th birthday. It was a loose affair, with everybody playing on everyone else's songs. I particularly enjoyed doing this obscure ditty from Woody's 1940 Library of Congress recordings. Its construction is ideal for a hootenanny, which this certainly was.

Hard, Ain't It Hard

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

The Sinking of the Reuben James

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

Tom Joad

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

Cimarron

Jerry, Buddy & Zoomer
Jerry Boyer: vocal
Buddy Winston: vocal & guitar
Zoomer Roberts: vocal & guitar
recorded March 1983

We learned this song from an old Johnny Bond 78 that I found on one of my junkin' junkets. In today's world of torrents, eBay and Bear Family box sets, the idea of spending hours sifting through stacks of old records in search of a gem seems plumb rustic, but 25 years ago it was the only way to find songs like this. Like many cowboy songs of the '30s and '40s, it doesn't tell a story. Rather, it conveys the resignation of being in motion for its own sake. Maybe things will get better. Maybe not. Roll on!

Jamboree

Recorded March 1983
Buddy Winston: banjo
Zoomer Roberts: guitar

The Face On the Barroom Floor

Jerry, Buddy & Zoomer
Zoomer Roberts: recitation
Jerry Boyer: wordless vocal
Buddy Winston: guitar
recorded March 1983

This Hugh Antoine d'Arcy poem -- also known as "The Face Upon the Floor" -- first saw the light of day in 1887. It was the inspiration for a 1914 Charlie Chaplin film (above) and a 1954 Mad Magazine parody (below). Our version came from Hank Snow's "Tales of the Yukon" LP. It might be considered melodramatic, but I've always found it compelling, and the challenge of performing it as a serious piece was irresistable. This performance is from a rehearsal tape for a concert we did at the El Paso Unitarian Community in 1983. Here is the original text, in case you'd like to follow along:

'Twas a balmy summer evening, and a goodly crowd was there.
Which well-nigh filled Joe's barroom on the corner of the square,
And as songs and witty stories came through the open door
A vagabond crept slowly in and posed upon the floor.

"Where did it come from?" Someone said: "The wind has blown it in."
"What does it want?" Another cried. "Some whisky, rum, or gin?"
"Here, Toby, seek him, if your stomach's equal to the work --
I wouldn't touch him with a fork, he's as filthy as a Turk."

This badinage the poor wretch took with stoical good grace;
In fact, he smiled as though he thought he'd struck the proper place.
"Come, boys, I know there's kindly hearts among so good a crowd --
To be in such good company would make a deacon proud."

"Give me a drink -- that's what I want -- I'm out of funds, you know;
When I had cash to treat the gang, this hand was never slow.
What? You laugh as though you thought this pocket never held a sou;
I once was fixed (as well), my boys, as anyone of you."

"There, thanks; that's braced me nicely; God bless you one and all;
Next time I pass this good saloon, I'll make another call.
Give you a song? No, I can't do that, my singing days are past;
My voice is cracked, my throat's worn out, and my lungs are going fast."

"Say! Give me another whisky, and I'll tell you what I'll do --
I'll tell you a funny story, and a fact, I promise, too.
That I was ever a decent man not one of you would think;
But I was, some four or five years back. Say, give me another drink."

"Fill her up, Joe, I want to put some life into my frame --
Such little drinks, to a bum like me, are miserably tame;
Five fingers -- there, that's the scheme -- and corking whisky, too.
Well, here's luck, boys; and landlord, my best regards to you."

"You've treated me pretty kindly, and I'd like to tell you how
I came to be the dirty sot you see before you now.
As I told you, once I was a man, with muscle, frame and health,
And but for a blunder, ought to have made considerable wealth."

"I was a painter -- not one that daubed on bricks and wood
But an artist, and, for my age, was rated pretty good.
I worked hard at my canvas and was bidding fair to rise,
For gradually I saw the star of fame before my eyes."

"I made a picture, perhaps you've seen, 'tis called the 'Chase of Fame,'
It brought me fifteen hundred pounds and added to my name.
And then I met a woman -- now comes the funny part --
With eyes that petrified my brain, and sunk into my heart."

"Why don't you laugh? 'Tis funny that the vagabond you see
Could ever love a woman and expect her love for me;
But 'twas so, and for a month or two her smiles were freely given,
And when her loving lips touched mine it carried me to heaven."

"Did you ever see a woman for whom your soul you'd give,
With a form like the Milo Venus, too beautiful to live;
With eyes that would beat the Koh-i-noor, and a wealth of chestnut hair?
If so, 'twas she, for there never was another half so fair."

"I was working on a portrait, one afternoon in May,
Of a fair-haired boy, a friend of mine, who lived across the way,
And Madeline admired it, and, much to my surprise,
Said that she'd like to know the man that had such dreamy eyes."

"It didn't take long to know him, and before the month had flown
My friend had stolen my darling, and I was left alone;
And, ere a year of misery had passed above my head,
The jewel I had treasured so had tarnished, and was dead."

"That's why I took to drink, boys. Why, I never saw you smile,
I thought you'd be amused, and laughing all the while.
Why, what's the matter, friend? There's a teardrop in your eye,
Come, laugh, like me; 'tis only babes and women that should cry."

"Say, boys, if you give me just another whisky, I'll be glad,
And I'll draw right here a picture of the face that drove me mad.
Give me that piece of chalk with which you mark the baseball score --
You shall see the lovely Madeline upon the barroom floor."

Another drink, and with chalk in hand the vagabond began
To sketch a face that well might buy the soul of any man.
Then, as he placed another lock upon the shapely head,
With a fearful shriek, he leaped and fell across the picture -- dead.

Rod Crosby Salutes Buddy Holly

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Rod Crosby: guitar & vocal

Listen to Rod sing "Peggy Sue"


Rod Crosby here. I'm the guy you hear playing and singing this Buddy Holly song. In the early morning of February 3rd, 1959, my biggest musical influence, Buddy Holly, died tragically in a single engine aircraft crash near Mason City, Iowa with three other men -- Ritchie Valens, The Big Bopper, and the pilot. Holly's influence is still in motion, carried, and perpetuated by, the likes of guys like me, and all his countless fans, whether they be audience-fans or musician-fans, world famous or local. His birth, life, and death events are continually celebrated all over the world.
My friend and well-known fellow musician here in El Paso, the much loved, multi-talented, and delightfully "Zany" Zoomer Roberts, came up with the idea to pay tribute to Buddy on, or around, Buddy's 50th deathday in February 2009. He approached radio host Gregg Carthy of the "Folk Fury" program that airs every Saturday 7-10PM on UTEP's FM station, KTEP, with this idea of having a few select musicians play and sing Holly songs live, on air, acoustically, also referred to as "unplugged", or "folk style", which means little or no electronics involved.

Zoomer was kind enough to say that I, Rod Crosby, just had to be included as one of the players, which was most flattering, and taken as a great compliment. Thank you, Zoomer!

In the early days of El Paso's 60's rock scene, "The Fanatics", which was Bobby & Randall Fuller, Larry Thompson and Billy Webb, were in the center of it, playing a lot of Holly's music, and originals. The band I was in, known only then as "The Intruders" (without Rod Crosby at the front of the name) played Holly music as 60% of the band's song list. Reason for that, I was the lead singer and had, early on, learned to play and sing every song on the "Buddy Holly & The Crickets" album, and later, many more selected from other albums.

Oh, on a side-note, Holly was also Bobby Fuller's greatest influence, even above his heroes, Gene Vincent and Eddie Cochran. Fuller even mentioned in an interview here in El Paso in the early 60's that he and I had in common, and shared, Holly's influence. The fact that "I Fought The Law", the Bobby Fuller Four's iconic rock song, was written by Holly Cricket-guitarist Sonny Curtis is just more evidence of the connection of the dots, or stars, from local rock music all the way to the Holly sound.

Anyway, the date for this live on-air tribute was set for Saturday February 28th, 2009. When asked by Gregg to be on the show and perform (4) Holly songs, I accepted gladly, but with reservation, due to the nature of my self-employment as owner of my own business, Crosby Sound-Lighting-Video-Backline Services. My company provides all types of audio and video production for live concerts, and various events, on the weekends. I told Gregg the odds of my being off that evening were slim to none, as I had contracts pending on the table at that time, so figured it would not happen for me. I was disappointed, to say the least, and told Gregg I guess the right thing to do would be to pass and let someone else have that slot, since I couldn't make a firm commitment.

On that note, Gregg was nice enough to suggest that if necessary, he could record an interview with me at my own studio prior to the show, on condition that the (4) songs be performed, and recorded, with the set up of one mic, playing the guitar and singing simultaneously, all the way through each song, as it would be if it were being done live in the KTEP studio. So, that is exactly what we did.

As it turned out, I ended up being committed elsewhere on that date, but the interview did air on the 28th after Zoomer and the other musicians performed. Thank you, Gregg, and Zoomer, again, for making that happen for me, so I could participate with you all in honoring my hero, Buddy Holly.

I just want to say here how very much I appreciate the allowance of me to do that, and for the exception made. It was not asked for, expected, or taken for granted. Couldn't stand to have missed out on all of that event. I do regret I was unable to be there in person, but believe me, I was there in spirit.

I must add here that I began with guitar in 1955, as a kid in Corona, California, on a 1941 Rickenbacker double-neck 6-string "steel" guitar, then moved on to an acoustic guitar which was back then, and still is, my primary instrument. To be able to perform Holly's songs so simplistically, and for it to be shared on the air, was a real honor and a privilege.

So, reason for all this rhetoric, is just to explain to listeners the importance and influence of Buddy Holly right here in El Paso, why this song and (3) others were recorded in the first place, and also, in the manner which that was done. Helping with the recording of parts of the interview in my studio was visiting, and former, El Paso rock musician Todd Rubenstein, now a Grammy nominated producer and owner-manager of TMR Productions based out of Nashville. The mic used was a ribbon condensor, and the guitar played was my black, jumbo Taylor Tribute 515B (owned formerly by El Paso musician-vocalist Tana Ladner) with just recently installed "Barry Martin's Famous" jumbo frets. What a guitar! I don't play it, it plays me!

Hope you enjoy the songs and relate to the powerful connection of the many people right here in El Paso and the late, great Buddy Holly!
Thanks for listening,
Rod Crosby

Listen to Rod sing "It Doesn't Matter Anymore" 

Love this song. Played this song a lot in my earlier band days when I realized I had to give up my first true-teen love interest, the beautiful dark-eyed Anita Marie Moskal. It was pretty much like the song, close enough to realize that we would have to go our own ways, because we were just too young. However, that time we had was great, full of teenage angst, and discovery of all kinds, and they can never take that away from us.
This song was written by Paul Anka way back in his youth, before he ever became fore-front famous, and Buddy recorded it first. Paul is still performing and composing, going strong as ever.

Listen to Rod sing "Well... All Right"

This is one of my all-time favorite Buddy Holly songs. The way the acoustic guitar rings out at the higher fret position is a stand-out from all of Holly's songs, and even more so, the way it was played by Holly, an influence of the highest magnitude.

Probably the first famous early Rock 'n' Roller to use a capo on a guitar, as noted by John Lennon in an interview about how much Holly influenced the Beatles. John also mentioned it was now cool to be seen on stage wearing "spectacles". John is quoted as saying "I WAS Buddy Holly!"

This song also strongly reflected the strenth of a teenage romance, pushing on, against all odds, forever how long it could last. This song also has special meaning because again, it epitomized the intent, and the eventual end of my first true teen-love interest.

Listen to Rod sing "Not Fade Away" 

I especially like this song. Created by Holly in the "Bo Diddley" vein. Really powerful song, and fun to play live with a real band. Also one of Bobby Fuller's favorites.