Asleep at the Wheel, the Western-swing band launched in West Virginia by Ray Benson and Lucky Oceans in 1970, was calling San Francisco home in ’74, when two Texas musicians suggested they relocate. One was Willie Nelson, the other was Doug Sahm of the Sir Douglas Quintet.
“Doug was my good pal and Willie was my hero. Willie said, ‘Hey, I’ll put you on shows,’ Benson remembers. “Of course it didn’t pay but $100, but we didn’t care!”
Fifty years and many band members later, Austin remains Asleep’s home. Four years after Benson celebrated the band’s half-century with a commemorative album and tour, he observed that pivotal move with Riding High in Texas, a 10-song celebration of their adopted state, recorded at Benson’s studio in Austin.
In choosing these 10 Lone Star-oriented tunes, he avoided the band’s longtime Texas anthem “Miles and Miles of Texas” and frequent covers of Bob Wills Texas tunes for a more varied repertoire.
Lyle Lovett handles vocals on their take of the 1959 rocker “Long Tall Texan,” written by the late Nashville A-Team bassist Henry Strzelecki (covered by the Kingsmen and Beach Boys), the Texas fiddle favorite “Beaumont Rag,” a funk-driven take on Guy Clark’s “Texas Cookin’,” and singer Darrell McCall’s obscure ’70s ballad “There’s Still A Lot of Love in San Antone.”
The title track, written by Americana singer/songwriter Peter Rowan and originally recorded by Tejano accordion great Flaco Jiménez, was suggested by the band’s newest member, singer/fiddler (and Austin native) Ian Stewart.
“Ian came with that song, and with the Carter Family/Hazel Dickens tune ‘Lonesome Pine Special.’ He was well-versed in country music and pulled out two really great ones.”
Pianist/fiddler Danny Levin, an original member of Asleep at the Wheel, was involved in both playing and arranging. Billy Strings’ guest appearance on the title song resulted from their long friendship.
“I produced part of a Jake Shimabukuro record, and while we were mixing, I said, ‘Billy Strings is in town,’” said Benson, who approached Strings. “This was before the pandemic. We met then, but the (Strings) boom hadn’t happened.
“We became friends,” he adds, noting his on-camera role in Strings’ video for his prison-themed song “Seven Weeks in County.” “He’s the most accommodating guy and the epitome of what you want a guitar picker to be – somebody who loves to play in any kind of situation.”
Earlier recordings of two songs by Hollywood Western-swing band leaders inspired their hard-edged treatment of Jimmie Rodgers’ “T for Texas.” Benson explains it was “partly stolen” from a 1940s version by Hollywood band leader Spade Cooley. While Benson knew Willie Nelson’s 1967 rendition of “Texas in My Soul,” he and the band adapted the album’s version from a ’47 recording by Tex Williams’ Western Caravan.
Curtis Clogston, who replaced longtime Wheel steel-guitarist Eddie Rivers after he retired, breathes new energy into the songs and the band with impressive pedal-steel, lap-steel, and resonator work. Clogston was already part of the organization.
“He was my roadie, a young kid. He was runnin’ sound and (at) one gig, the steel player didn’t show up, and he said, ‘I play a little.’ He was obviously learnin’, but I said, ‘Keep practicing, man.’ He got really good, so I said, ‘Come on!’”
Clogston’s steels are an early-’50s Fender Dual Pro lap and a ’78 Emmons push/pull with Fender Twins. His reso is a Beard R.
Benson and his son, Sam Siefert, handled the guitar work.
“Sam did the stuff I couldn’t play, and Billy Strings did the stuff I couldn’t play. Sam is a really good player. He just doesn’t like playin’ on the road.”
Benson used his primary onstage guitar, the customized Collings SoCo 16 LC Deluxe, and dipped into his sizable collection of older gear. “For rhythm, I used my Epiphone Triumph and my early-’60s Fender Deluxe.”
Sam used Ray’s SoCo, a Collings CJ Mahogany, a G&L Custom, and an ASAT Tele with two Fender reissue amps – a ’59 Bassman and ’63 Vibroverb.
While additional Asleep at the Wheel albums are down the road, Benson’s immediate recording plans focus on additional solo projects. He intends to record one album with a swing orchestra (“a mix of Sinatra-like stuff and Louis Jordan”), and later, a jazz album with piano. He waxes optimistic about the band’s next album. “We have really good young guys in the band, and we’re cementing that to see what we can come up with. That’ll take a bit of creative time.” – Rich Kienzle
This article originally appeared in VG’s November 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.