Discover Houston's Folk Phases
This exhibit will explore the phases of Houston's folk scene from the 1960s-1980s.
Howard Porper, Pete Rose [?], Jimmie Lee Grubbs Radliff, John A. Lomax, Jr., Ed Badeaux, and Jim McConnell performing (20th Century) by Porper, HowardWoodson Research Center, Fondren Library, Rice University
Phase One: Hard Core Folkies, 1960s
As the great folk scare was happening across the U.S., a slightly older crew of men and women acted as the ambassadors of traditional folk music for the young people who would go on to rule the scene.
Houston Folklore Group aka Houston Folk Music Society
This group of men and women gathered first at John A. Lomax, Jr.'s home, but after some rowdy nights, began to meet at the Jewish Community Center. Members also performed Hootenanny performances in and around town.
Influencing the next generation
The performances at the Jewish Community Center included up and comers on the scene including Townes Van Zandt, Jerry Jeff Walker, and Guy Clark. It also influenced the next generation of folkies, who were introduced to legends like Lightnin' Hopkins.
Folk clubs
In addition to the Jewish Community Center, new clubs began to open, most notably the Jester Lounge and the Sand Mountain Coffee House. Both offered a place for young fans to gather and listen to the music they loved.
Townes Van Zandt performing (20th Century) by Lomax, John, IIIWoodson Research Center, Fondren Library, Rice University
Phase Two: Singer Songwriters, 1970s
In the mid to late 1960s, Townes Van Zandt, Jerry Jeff Walker, and Guy Clark began crafting their own songs, which went on to influence a new generation of Houston folkies.
Front of Anderson Fair Retail Restaurant (20th Century) by Mathews, SharonWoodson Research Center, Fondren Library, Rice University
Anderson Fair Retail Restaurant
Songwriters would gather at Anderson Fair in the mornings, sharing ideas, crafting songs. They might stay on and perform for the lunch crowd and eat free bowls of spaghetti. Later on, there would be performances throughout the night and late night parties for the anointed few.
Club explosion
With the loosening of liquor laws, the clubs in the Montrose area and beyond exploded. The fans increased, musicians watched each other perform, and sometimes would be called to the stage. Fans and musicians could hop from club to club, gig to gig.
The Rhythm Tramps promotional photograph (20th Century) by Smith, Jimmy DonWoodson Research Center, Fondren Library, Rice University
Phase Three: Growing Up, 1980s
Towards the end of the 1970s, bands grew in popularity, but the scene was changing in a variety of ways: talent was leaving, the oil bust affected the local economy, venues shuttered, and the fans began to have families and move away. The scene was coming to an end.
Moving to Austin and Nashville
Vince Bell, Danny Everitt, and George Ensle went to Austin. Richard Dobson, Lyle Lovett, Nanci Griffith, Robert Earl Keen, and Dana Cooper moved to Nashville. The trek to Nashville had already been paved by Mickey Newbury, Guy Clark, and Townes Van Zandt.
"Step Inside This House: Austin City Limits" performance (21st Century) by Bell, VinceWoodson Research Center, Fondren Library, Rice University
Coming to an end
While the scene petered out, some talent still remained, continuing to play. Houston's scene stayed vibrant for over twenty years, an amazing feat. Scenes might last six months to a few years, but Houston's folk scene spawned multiple generations of talent.
Created by the Woodson Research Center, Fondren Library, Rice University
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