Definitive Deluxe Edition of 1979 Art-Country Classic Produced in Collaboration with the Artist & Remastered from the Original Analog Tapes!
Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country.
Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; and the first to contextualize the record within Allen's 50-year career. The deluxe 2LP-set package also includes a tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28-page book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB.
Arguably Allen's most widely beloved and most easily approachable album – it contains his two best-known and most oft-covered songs, "Amarillo Highway (for Dave Hickey)" and "New Delhi Freight Train" (famously first recorded by Little Feat) – Lubbock (on everything) is his complex memory palace to his West Texas hometown. Rather than frantically covering ground like Juarez, with its map-happy, burnt-rubber pursuits and escapes, it instead digs down and burrows inward, to the heart of one rather plain High Plains city in the heart of the Llano Estacado, or "Palisaded Plains," an interminably flat mesa larger than the state of Indiana that spans eastern New Mexico and northwestern Texas.
Compared to its sparsely produced predecessor, it represents a much more collaborative, even collective, effort with a local Lubbock studio band, complete with rhythm section, pedal steel, fiddle, and horns, and helmed by master guitarist Lloyd Maines, who became Terry's frequent musical partner, producer, and the de facto bandleader of the Panhandle Mystery Band. With these 21-songs, written largely in self-imposed exile in California (all the while "cussing Lubbock"), Allen shifted modes from the sordid, violent mythology of Juarez to piquant prodigal-son satire. Instead of the corrido conjure of Jaurez, its eviscerations, elisions, and repossessions of roving identity and cartography, Lubbock incarnates an accidental capitulation to love, to home, to rootedness.
Even if Allen’s music is more accurately described as art-country, Lubbock (on everything) sowed the seeds of alt-country’s emergence a decade later. It’s no accident that Lloyd Maines went on to play on classic albums like Uncle Tupelo’s Anodyne (1993) and Wilco’s A.M. (1995), and to produce Richard Buckner, nor that Sturgill Simpson and Jason Isbell play “Amarillo Highway” in concert. This is the urtext, the template for everything that followed.