Stamey under the sky.

Blue sky and Dave Stamey. What better way to spend a summer evening?

On July 19 at around 6:00 pm, legendary Western singer, songwriter, and entertainer Dave Stamey will step up onto a hay trailer parked in Cameron Wilkinson’s horse pasture in Mapleton, Utah, and cut loose with a rollicking evening of good music and good times.

Stamey’s pasture performances have become a summer tradition as Cameron invites Dave and all comers to congregate for a festive, informal celebration of cowboy tunes. The modest $22 charge ($11 for the little ones) to get through the gate all goes to the artist as he wends his way across the West filling auditoriums and performing at more formal venues. But, lucky for us, he always finds a way to detour to the foot of Maple Mountain for these galas among the graze.

If you’re within driving distance of Cameron’s place on July 19, or find yourself in the neighborhood for any reason, this will be the place to spend the evening. Contact Cameron at bronc.cw@gmail.com to let him know you’re on the way and to get more detailed information. It’s an evening that shouldn’t be missed. I know—I’ve been there before, and I’ll be there again. Hope to see you there.

Guys with Guitars.

For years, we have taken advantage of opportunities to attend performances by three of the best writers and singers of cowboy songs the West has produced. Ever.

Brenn Hill, Dave Stamey, and DW Groethe have long been favorites, and they become more so every time we see or hear them finger the frets and vibrate their vocal cords. We’ve heard them with various forms of accompaniment, from side men to backup bands, all the way up to an orchestra. Given enough such enhancement, most anyone (save the likes of me) can sound presentable on stage or in a recording.

But give a cowboy nothing more than a guitar and a microphone and you’ll soon hear what he’s got.

And that’s where Brenn Hill and Dave Stamey and DW Groethe stand out—standing behind a guitar and a microphone on an otherwise empty stage. While each has a different style of string bending, each is a master at making those six strings resound. There is variety in their vocals as well, but each offers a rich, strong voice with plenty of range and dynamics and all those other things singers have.

But their real mastery, I believe, is in their songwriting. From the Old West to the new, from stories from history to deeply personal musings, they set life to music in ways poets envy and audiences enjoy.

If and when you find any of these cowboys appearing anywhere in your part of the country, buy a ticket. Your ears will enjoy the experience.

Cultured cowboy.

Cowboy culture is a thing unto itself. Not to be confused with “high culture” associated with high society and such. In fact, the two worlds are, for all practical purposes, in different orbits altogether and seldom cross paths.

But, every now and then, something happens that makes you realize they’re not really all that far apart after all.

It happened to me recently.

Being big fans of cowboy singer Dave Stamey, my wife and I wandered down into central Utah for a concert not long ago. Which is not unusual, given that we’ve sat in the audience at a lot of his performances.

But what was unusual this time was that the artist—usually a solo performer—had a backup band: the Snow College symphony orchestra.

So, as Dave picked his guitar and crooned his cowboy tunes, he was accompanied by a string section, woodwinds, brass, and percussion instruments, all harmonizing in beautiful arrangements of songs written by Dave, along with a few Western standards.

It was a sight to behold (or should I say “be heard”?). The power of Dave’s music intensified with the orchestration, leading to a new appreciation of his songwriting, singing, and strumming skills.

It was a night to remember. And I didn’t even have to wear a tie.

Cowboy songwriter and singer Dave Stamey

Range Writers Extraordinaire.

Last night found us in Richfield, Utah, to enjoy some fine cowboy entertainment. Stepping onto the stage were some of the best wranglers of Western words you’ll find anywhere. 

Andy Nelson of Wyoming pens some of the funniest cowboy poetry going. He’s also adept at more reflective verse, and is author of an enjoyable book, Ridin’ with Jim, built around growing-up experiences with his father. 

At times, Andy teams up with Utah singer/songwriter Brenn Hill, trading poems and songs on stage. Brenn has been mentioned here before, lately as composer of “And the River Ran Red,” using words I wrote. Brenn’s ability as a songwriter covers the West both wide and deep, and his music, recorded on some dozen albums, earns him well-deserved recognition.

California cowboy Dave Stamey has won every award available for a Western singer/songwriter, many of them more than once. Dave’s insightful writing, virtuoso guitar licks, and comfortable presence on stage are always enjoyable.

There are plenty of cowboy singers and poets regaling the world with their works and I appreciate the talents of many of them. But you’d have to cover a lot of range to find the equal of these three—not only for their abilities as entertainers on the stage, but for the riveting qualities of the words they write.

And the fact that I count them all as friends is the result of my admiration, not the cause.

Tracking Lovers, Wives & Mothers.

Western Writers of America named “Parker Eyes of Blue” by Almeda Bradshaw a Spur Award Finalist for Best Western Song.

It’s no wonder.

The song recounts the kidnapping of ten-year-old Cynthia Ann Parker by Comanche warriors during an 1836 raid in Texas. The words of the song range from lyrically beautiful:

Her eyes were the skies of the Llano Estacado

Wide and deep and blue

to hauntingly graphic:

Face down hands and feet were bound

Escaping not the brutal sound

Of women raped upon the ground

Indian vocals open and close the song, with Almeda singing the story in between. WWA isn’t the only organization to honor the remarkable song; it’s also recognized by the Western Music Association.

“Parker Eyes of Blue” may be my favorite, but it’s only one of eleven excellent tracks on her Lovers, Wives & Mothers album—which, you might surmise, gives us a look at the West from a female perspective. Musical styles vary from folksy traditional to hints of Western Swing and bluegrass.

Most tracks are Almeda originals, including music she composed to turn poems by master poets Colen Sweeten and Bette Wolf Duncan into songs. Another composition is Almeda’s answer to “Sharon Little Hawk,” a song by Dave Stamey, one of the all-time best Western songwriters. Two of Stamey’s songs, along with tunes by other songwriting legends Tom Russell and Ian Tyson, round out the album.

If you’re a fan of Western music, you’ll like Lovers, Wives & Mothers. If you’re not, this album could change your mind.

Mary-made music.

Soon, you’ll be hearing about a Ranch & Reata article I wrote about Mary Kaye. She’s a singer and songwriter of epic proportions. In my pantheon of contemporary Western songwriters, she’s right up there with Brenn Hill and Dave Stamey and a few others whose worthy words do the West justice.

And the truth is, she’s a lot better looking than those guys.

Beyond her ability to weave words into music, Mary Kaye has a voice that can rattle the rafters and caress the soul with equal facility.

Now, you’re probably thinking I am overstating the situation. If anything, I am unable to find the words that do Mary Kaye’s music justice. I have enjoyed all her albums. But the brand-newest one is the bestest. It’s a master work.

Mary Kaye wrote most of the songs on Ride a Wide Circle. She co-wrote some and lights up a few old cowboy tunes. Her husband, who co-produced the album, said their goal was to put together a collection that made the “skip” button on players obsolete. They did it.

Ride a Wide Circle by Mary Kaye.

Damn, that’s good.