THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Tuesday, July 30, 1996 TAG: 9607300035
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
SOURCE: BY CRAIG SHAPIRO, STAFF WRITER
LENGTH: 112 lines
IF BOB WILLS is the patron saint of Western Swing, then big Ray Benson is his devoted acolyte.
For better than 25 years now, the founder and front man for Asleep at the Wheel has crisscrossed the country like an Old West circuit preacher, spreading the gospel of ``Corine, Corina,'' ``San Antonio Rose'' and ``Milk Cow Blues.''
Still, the Wheel's star-studded, Grammy-winning, 1993 tribute to Wills and his Texas Playboys was something of a mixed blessing: It recruited new fans - many of whom tidily pigeonholed the Austin, Texas, outfit.
``In the early '70s, the kinds of music that were gone from the landscape were bluegrass, Cajun and twangy country music,'' the affable Benson said last week from his Austin office. ``Country music was trying to be countrypolitan.
``As young folks, we liked the raw stuff; the forms are what interested us. To me, it's like a different language. When you learn Cajun or bebop, you're learning a dialect. We try to do them all. It's frustrating because people don't want you to do that. People say they respect us for standing by our guns and doing Western Swing. Well, it's not quite like that.
``We love Western Swing, and no one does it as well as we do. But you have to find that balance between pleasing the public and pleasing yourself.''
Just as Wills drew on country, jazz and blues, so does the Wheel.
Thus, the ``Tribute'' follow-up, last year's appropriately titled ``The Wheel Keeps on Rollin','' included the Gene Pistilli/Troy Seals classic ``That's How the West Was Swung,'' a country take on Eric Clapton's ``Lay Down Sally'' and ``Hightower,'' an original instrumental paring jazz banjo whiz Bela Fleck and Playboys fiddler Johnny Gimble.
No one should've been surprised, least of all mighty Capitol Nashville, which took over tiny Liberty Records after radio and Country Music Television had picked up on the Wills tribute.
Benson found out, though, that he didn't necessarily have a friend in high places. The fella who signed AATW to Liberty was gone and his replacement wasn't what you would call enamored with ``The Wheel Keeps on Rollin'.''
``He hated it,'' said Benson, who will bring the band to The Banque in Norfolk Wednesday. ``He said we needed to cut something for radio. I said, `OK, I think we can get on radio.' We somehow manage to about every 10 years. He gave us a bunch more money and we cut five more cuts for him. He said, `We can't go to radio with this,' and I said, `Then what the hell did you lead me down the rosy path for?'
``We compromised. I'm not ashamed of the fact that we're trying to get on radio. On the other hand, I'm not going to bend over. After we made the video for `Lay Down Sally,' they wouldn't release the single. You'd think after 26 years we'd be able to at least avoid that b.s.''
Capitol dropped the Wheel 10 days before the Grammys, but the band laughed last when ``Hightower'' won a statuette.
Now, Benson finds himself unsigned, the same position he was in when he conceived the Wills tribute and began calling friends to see if they wanted to participate.
``I was so sick of the record companies . . . I built my own studio to do what I want,'' he said.
Footnote: Benson envisioned ``Tribute'' as a double album, with the second disc a tribute to Count Basie and Louis Jordan. Benson changed plans after he got more takers - Willie Nelson, Merle Haggard, Garth Brooks and Dolly Parton, among others - than there was room for on the Wills side.
There is one difference this time, though. Benson is close to signing a deal with a major label that will let him be his own boss. He'll develop and produce projects, with the big boys handling distribution.
Already, he has plans for a second Wills tribute with the artists (Reba McEntire, Joe Diffie, Wade Hayes, Delbert McClinton) and songs that didn't make the first album. He also wants to revive the Basie-Jordan projects, put together an AATW reunion, and remaster the band's early recordings.
``I respect artists who do the independent-label stuff, because they're doing it their way and kicking butt,'' Benson said. ``You've got to have a dream in order to pursue it and make it come true. If it doesn't come true, you go back to sleep and dream another one.''
Meantime, the Wheel will spend about 200 days on the road this year, just like they have every year for 2 1/2 decades. They played before a crowd of 60,000 with Kenny Rogers at the opening of the Summer Olympics. But the 6-foot-7 Benson said the club circuit probably has more appeal.
``It's like the difference between going fishing and trying to land a whale and a nice 12-pound bass,'' he said. ``The bass is a lot more fun and fulfilling, fighting one-on-one with this little fish. The whale is tremendous work; on the other hand, you're putting up enough blubber for the village to eat for four years.
``You do what you have to do to keep the Wheel rolling. My goal has been partially reached - to keep the band together and financially happy. Playing and entertaining people is like a muscle: If all you played was two big shows a week, the muscle will atrophy. Part of playing the smaller clubs is it keeps us in shape physically.''
He would like to put to rest, however, the ``rumor'' that the Wheel only rolls through those towns with a good golf course. An avid golfer, Benson carries a 10 handicap; he had just finished a round at even par the other day.
``My game is smokin' this week,'' he said, laughing. ``But we book strictly on the merits of the club and the routing. Well, that's partially true. We will take dates in Scotland at the drop of the hat.'' ILLUSTRATION: Color photo
Asleep at the Wheel, led by Ray Benson, left, will play Wednesday at
The Banque.
Photo
BUMEAU PRODUCTIONS
Ray Benson, leader of Asleep at the Wheel, says the band thrives on
playing smaller venues.
Graphic
CONCERT FACTS
Who: Asleep at the Wheel, with Dalton's Rain and country and
western dancers Sam and Denise Miller
When: 8 p.m. Wednesday
Where: The Banque, 1849 E. Little Creek Road, Norfolk
Tickets: $12.50 advance, $15 day of show
Information: 480-3600 by CNB