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• 2 • Action Magazine, January 2019

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Sam Kindrick ..........................................4

Everybody’s Somebody..........................7

• DEPARTMENTS •

• FEATURE •

Editor & Publisher ................Sam KindrickAdvertising Sales ....................Action Staff..........................................Amy Heller ReifPhotography.............................Action StaffDistribution............................Ronnie ReedComposition..........................Elise Taquino

Volume 44 • Number 2

Action Magazine, January 2019 • 3 •

Hector Saldaña .......................................8

advertising is worthless if you have nothing worth advertisingPut your money where the music is. . .

Advertise in Action Magazine


I was stunned, unbelievably shocked. If RupertMurdoch or Houston Harte Sr., had sprouted fairy wingsand come flitting through the sky over my Bulverdeproperty I could not have been more stupefied by theincredulity and surrealism of the scene.

Here was Express and News veteran reporterJohn MacCormack, sitting with his suspenders and oldstyle note pad, interviewing me for a November 4 articlein the Sunday MYSA section of the newspaper.

I was fired from a daily column writing positionin 1974 by the late executive editor Charles O. Kilpatrick,an event which Kilpatrick attributed to my associationwith “undesirable people.” Among the undesirables helisted bookmaker Jack Hanratty and Willie Nelson. Williewas my friend and I loved Hanratty, later serving as apallbearer at his funeral. And reporter MacCormackmade due note of my troubles in his article which ranunder the headline Action Magazine founder, columnistSam Kindrick, faces cancer.

MacCormack’s Sam Kindrick/Action Magazinearticle in the daily newspaper was factual, fair, colorfuland well-written. He covered my trials and tribulationswith the Express and News hierarchy, my drug bustswhich were duly reported by both the Express/Newsand the now-defunct San Antonio Light, and my unlikelybroadcasting job with outlaw rock radio station KEXL,plus my founding of Action Magazine with a $1,000 backcover advertising grant from Lone Star Brewing Com-pany CEO Harry Jersig. An import from the DallasMorning News who arrived at the Express-News aftermy departure, MacCormack is one of the last of the realpros at a daily publication that is now reportedly layingoff editorial staff at a freight train pace.

MacCormack won me over by eschewing theusual tape recorder for the old-school pencil stubmethod of note taking.

In the Express-News article, MacCormackwrote: “Kindrick’s columns can be hilarious, vulgar, pre-tentious, insightful and self indulgent.” I got a hoot outof this assessment, as I did with the reporter’s mention-ing my japing and fleering at the executive editor whocanned me.

In happier times, the newspaper had funded theprinting and initial marketing of my paper back book ti-

tled The Best of Sam Kindrick. In lieu of severance payI was given the unsold books--thousands of them--byan executive editor who directed two janitors with floordollies to follow me out of the newspaper building withstacks of boxed books. At that time, I had a wife andthree kids at home who I had been trying to support witha newspaper pay check that was less than $200 a week.So there I was with no way to market the mountain ofbooks I was left with on that sidewalk at Avenue E andThird Street.

The editor who canned me was a sycophantwho would go to any lengths to please the publishinggods who paid his salary.

In one of the numerous colum items I was torun over the years, I quoted former sports editor DanCook as saying: “If a chicken farmer bought the Expressand News, Charlie Kilpatrick would show up for workwearing a feather suit.”

Reporter MacCormick described such bullshitas “savaging,” a term which I might use myself one ofthese days.

MacCormack put it thusly: “Kindrick never for-gave Kilpatrick, savaging him in columns for decadesafterward.”

As MacCormack and I talked in my living room,the impossibility of this meeting was compounded by athunderous racket which might be attributed to myneighbor’s mare kicking the walls of her stall. I know,though, that it was not the horse. It had to have beenCharlie kicking the slats out of his coffin as he contem-plated an Express and News article about me that wasbasically kind and favorable.

The John MacCormack article went on to say:“As unexpected as the cancer diagnosis was Kindrick’srecent ascent to a perch of literary respectability at theTexas State University library. Without realizing it, itseems, Kindrick was creating an important culturalarchive over the 43 years of publishing Action Maga-zine, a tabloid free to anyone but unknown (John Mac-Cormack’s opinion) to most people in San Antonio.

“In writing about Doug Sahm, Jerry Jeff Walker,Ray Wylie Hubbard, Willie Nelson, and other seminalTexas musicians decades ago, Kindrick was chroniclingthe rise of a new music form called redneck rock, cos-

mic country and other terms. And this summer, his pasteditions of Action Magazine which had been molderingin his garage, plus 4,000 photographs and other writingswere donated to the Wittliff Collections in the Alkek Li-brary. The yellowing copies of Action are kept in a se-cure archival storeroom, in the august company of theworks of authors including Carmac McCarthy, SandraCisneros, J. Frank Dobie and Larry L. King.

“A Sam Kindrick display in a hallway featuresphotos, some originally published in Action, of suchstars as Gatemouth Brown, Leon Russell, Steve Jor-dan, and Stevie Ray Vaughan. Presiding over them allis a large photo of a shaggy-haired Kindrick, lookingevery bit the desperado in a sombrero, marijuana jointin hand.

“Sam Kindrick’s wild and wooly chronicling ofthe outlaw music movement of the 1970s made him theHunter S. Thompson of that scene, reads the displaycaption.” I have tried to keep mycancer in the background, but it’s no secret. The dailynewspaper noted it in a headline and I have made men-tion in this column.

For anyone who might be interested, I am nowundergoing 15 radiation treatments to my sternumwhich will be followed up by a dose of radioactive iodinewhich might make me glow in the dark. This comes aftersuccessful surgery which removed my thyroid glands.

I am trying to live one day at a time with nothingbut gratitude for the hundreds of Action Magazine andFacebook supporters who have offered their prayersand support. One in particular being longtime friend andsuper entertainer Wayne Harper, who has survivedheart attacks and throat cancer that spread to his brain.

I went out to catch Wayne’s recent packedhouse performance at Cootey’s Tavern.

Harper made mention of my presence withsome really nice comments about me that I found to bereally humbling. He called me a future cancer survivoras well.

The crowd gave me a standing ovation. Oneyoung breast cancer survivor asked if she could hug myneck.

It was a real hug. I left with a tear in my eye. It’shard to walk away from love like this.

Robert Earl Keen andRandy Rogers want tocome clean about their fic-tional identities: They'reThe Stryker Brothers. After secretly collabo-rating on a 13-trackalbum, Burn Band, whichthey released under thefake band name on Sept.7, the Texan country starstell Billboard they're readyto take credit for the LP, amix of honky-tonk and thehard-driving sound ofTexas' red dirt country.They performed a one andonly Stryker Brothersshow last month at TheMoody Theater in Austin. Keen, the celebrated62-year-old singer-song-writer, and Rogers, the 40-year-old leader of theRandy Rogers Band, wereonly acquaintances beforelast year, when theybonded shooting promo-tional videos for John T.Floore's Country Store inHelotes. After a successfulsongwriting session inApril at Keen's ranch, they

decided to release theirwork anonymously so fanscould judge the music onits own merits. "We didn't tell friends,just spouses and man-agers," says Rogers,adding that he didn't eventell his own band. "It hasbeen fun to deny thiswhole thing -- and possi-bly crazy." Has keepingthe secret been tough?"Yes it has, because Idrink," laughs Keen, whoadmits he only slipped upa few times. "Most of thepeople I told were good o'boy friends. I'd call themthe next day and say, 'Hey,you've got to keep thisunder wraps.'" Without their names at-tached, the album hasgarnered 55,000 on-de-mand audio streams, ac-cording to Nielsen Music,but the artists' surprisecould still pay off, drawingmore attention to the col-laboration than it mighthave gotten otherwise inthe crowded streaminglandscape.

Fake-name releasesare unusual: In the 1970s,English band XTC re-leased an album throughits label, Virgin, under thename The Dukes ofStratosphear; the bandmembers used pseudo-nyms in the album creditsand initially denied in-volvement. In the late '80s,Prince released two al-bums as a group calledMadhouse, which, heavilydisguised, opened forPrince on his 1987 tour.More recently, a fictional,computer-generated In-stagram star namedMiquela has been rackingup streams on Spotify. Keen and Rogers hadtheir 12 songs recorded,mixed and mastered intwo weeks, quietly gather-ing what Rogers calls "theAustin A-team" of musi-cians to back them: Pro-ducer and instrumentalistLloyd Maines played arange of guitars, GlennFukunaga played bass,multi-instrumentalist ChrisGage did keyboards,

Brian Beken played fiddleand Les Lawless playedthe drums. Then they began tospin their tale. They cre-ated a mysterious websitefor the Stryker Brothersthat reads like a whodunit:"The Stryker Brothers arean enigma...their history isnebulous yet their contri-bution to the musical tap-estry of a generation isundeniable. Where didthey come from? Wheredid they go? And why isn'ttheir music out there al-ready?" According to the site,woman named Maryfound their recordings --along with a handwrittenletter on Apollo 16 letter-head -- in a metal trunkthat had survived a fire inher father's house. Theychose the name TheStryker Brothers -- Coleand Flynt -- because thename The Arsonists wastaken, the duo told Bill-board, and they wanted toevoke a photo taken lastyear while Keen was burn-

ing a dozen or so acres onhis property. Austin musicians werealso enlisted to tell storiesof the fictitious brothers."I'm pretty sure I'm one oftheir kids," says singer-songwriter B.J. Barham inan interview posted on thesite. The clues on the web-site link to the album'ssongs, such as the Apollo16 letterhead, a nod to"Charlie Duke Took Coun-try to the Moon." Duke,the Apollo 16 astronautand 10th man on theMoon, lives a few doorsdown from Rogers in NewBraunfels, Texas. Beforethe 1972 mission, Dukehad asked a Houston discjockey to make a countrymixtape he could take tothe moon, and so the DJwrangled some countrystars and recorded fourhalf-hour segments for theApollo 16 tape that fea-tured Porter Wagoner andDolly Parton, Merle Hag-gard, Buck Owens, andJerry Reid and ChetAtkins -- parts of which

are included in the StrykerBrothers track. Thirty Tigers, aNashville-based label-ser-vices provider, had al-ready worked with TheRandy Rogers Band andwas eager to distribute theproject, said co-founderDavid Macias. "From amusic standpoint, itseemed a no brainer. Iagreed to do it after hear-ing just one song." But Macias admits fac-ing difficulties getting thealbum heard by the artists'fan bases. "I think the backstory that was createdwas clever and there weresome great materials thatwere created for it, butthere were still a ton ofoutlets that were not will-ing to take the leap onsomething that appearedto be so obscure, or if theysuspected what was goingon but couldn't confirm it,didn't want to cover it." Rogers isn't con-cerned, though. "TheStryker Brothers aren't try-ing to get a record deal,"he told Billboard. "I heardthey blew up in a fire."


Keen and Rogers are the Stryker Brothers

In September 2017,The Wittliff Collections atTexas State Universitymade a bold move. The renowned re-search center, archivesrepository, gallery, exhibi-tion space and library an-nounced it had hired aSan Antonio rock ‘n’ rollerto be its first music cura-tor. Hector Saldaña – thesongwriting, electric gui-tar-playing frontman andfounder of The Krayolasand award-winning musicjournalist and columnist atthe San Antonio Express-News – may have caughtsome by surprise when hewas named.

It shouldn’t have. But it did show that TheWittliff, named for “Lone-some Dove” screenwriter,photographer and authorBill Wittliff and his wife,Austin attorney Sally Wit-tliff, was willing to choosesomeone outside theworld of academia andmuseums, look beyondAustin and signal a com-mitment to diversity as itexpands. Hector Saldana was di-rectly responsible for theAction Magazine/SamKindrick display at the Wit-tliff Collections, a workthat is still under construc-tion and a project that in-cludes columns and

articles that date all theway back to Kindrick’s col-umn writing days at theExppress and News. Wehave donated over 4,000Action potographs that willbe included in our WittliffCollections presence. The Hector Saldañaappointment at TexasState came as no surpriseto many of us.Saldaña was an inspiredchoice. And it goes beyond animpressive bio which in-cludes being a top studentand all-district and all-cityfootball player at Lee HighSchool, graduating fromthe University of Texas atSan Antonio, earning a

masters degree in urbanstudies from Trinity, work-ing in the fields of real es-tate development,international banking, ex-port consulting and as ajournalist. There are also the in-tangible real-world upsand downs that go withbeing a twice-divorced fa-ther of five, grandfather oftwo, musician in a criti-cally-acclaimed act that’sbeen profiled in TexasMonthly and the Washing-ton Post, the subject ofNPR’s “All Things Consid-ered” and is a favorite onSirius XM satellite radioshows “Little Steven’s Un-derground Garage” and“Kick Out the Jams! withDave Marsh.” “They call the Krayolasa cult band,” said Saldañaabout the group he startedin 1975.“That meanswe’re critics darlings, noone knows who we areand you can’t find ourrecords or hear us on theradio. I like to joke that

thanks to the internet, theKrayolas are unknown allover the world now. It’strue.” He is a Texas native,born in Houston in 1957.His parents, the late Hec-tor Saldaña and HildaGuerrero, hailed fromLaredo. They raised abrood of five kids – HectorJr., David, Cindy, Annaand Sara – in Houston,Corpus Christi and SanAntonio. The family spent mostweekends in the 1960sand early ‘70s in Laredo orat the nearly 3,000 acrefamily ranch, El Peyote,near Hebbronville in Zap-ata County. Dad was acattle rancher in businesswith an older brother andsister. The kids taggedalong to ride horses andhelp with the roundups. Hector Jr. calls thoseadventures the roots ofthe Krayolas – not count-ing the pawn shop 1940sHarmony Patrician arch-top guitar his father

bought him in 1964. “My dad had a greatsinging voice and wouldsometimes sing Mexicancantina songs while hedrove to make us laugh,”Saldaña recalled. “Heloved the music of EydieGormé and Los Panchos,Herb Alpert and Ace Can-non.” Mom, who could play alittle piano and was barelyout of her teens, oftenplayed 45 r.p.m. recordsfor her children. But it was the recordcollection of his mom’steenage younger sister inLaredo, Sara Galindo,which really intrigued Hec-tor Jr. She had 45s of theEverly Brothers, FatsDomino, Lesley Gore,Manfred Mann and theBeatles. “She gave them to me.I still have them,” Saldañasaid. “I used to listen toher copy of the Byrds firstalbum over and overagain.”

Hector Saldña with Sam Kindrick at Kin-drick/Action Magazine display in the WittliffCollections at Texas State University. Whenthe exhibit is complete, more than 4,000 Ac-tion Magazine photographs will be in thecollection, along with hundreds of articlesand columns dating back to Kindrick’s col-umn writing days at the Express and News.

Continued on pg. 9

Hector Saldaña sportsall needed credentialsfor music curator job

Here were the Krayolas in 1982. They are(top left-right) John Harris and Hector Sal-daña (bottom left-right) Barry Smith andDavid Saldaña.• 8 • Action Magazine, January 2019

Around that same timein the mid-1960s, a cousingave him his copy of theKinks first album, the onewith “You Really Got Me.”

The noisy amped up R&Bsound got to him. That’swhere the “K” in Krayolascomes from. But so did thealbum’s liner notes. TheKinks was a band frontedby brothers who some-times fought. “There was an older kidwho lived across the streetfrom us named Doug Bur-rows who played drums ina garage band,” Saldañasaid. “He used to throw hisbeat up drum sticks awayin the trash and we’d gosteal them. David usedthem to bang on boxeslike they were drums.” The two boys ended upbreaking that first guitarwhen they landed on itwhile in a fist fight (luthierMike Acosta would restoreit some 50 years later).Hector Jr. got serious atage 12 on a beginner gui-tar and set out to figuringout chord charts. The brothers madepests of themselves atS.A. music stores, lustingafter real electric guitarsand drums, at places likethe Electric Machine,Caldwell Music, AlamoMusic, Olmos Music,Smith Music Co. andSears.

On Laredo trips, they’dtake the bus downtown tostare at a gold-top LesPaul and Kustom amps inthe window at ABC Music. “That’s where I boughtthe very first album that Ipaid for myself, the Beat-les’ White Album,” Saldañasaid. ABC Music was alsowhere the brothers con-vinced their cousin, JesseHernandez (who a fewyears later became theKrayolas tour managerand most trusted insider)to buy a Fender bass andamp. The only problem wasHernandez couldn’t play alick. The boys couldn’teven figure out how totune it. “We snapped so manyG strings because we hadno conception of relativepitch,” Saldaña explained. Cousin Jesse neverlearned bass. But Hectorand David stuck with it.Their parents encouragedthem and in 1972 boughtthe boys used profes-sional instruments. The brothers enter-tained friends at their par-ents’ Jackson-Kellerhome. In the carport, withhigh school musician likeMark Brown, Van Bainesand Tom Swan, the jamsessions attracted crowdsand the police. The original Krayolas –Hector, David, Tom Swanand Mark Cotnam –formed in late 1975 andwere soon playing gigs at

Dick Myrick’s Bits &Pieces, the WarehouseClub and Jack and Jill’s. Swan left for medicalschool and Baines joined. In late February 1977,Dad found a studio on theWest Side for the teenageKrayolas to make arecord. It was called ZAZ. “All I Do Is Try” and“Sometime” were all en-ergy and innocence. Theywere among Hector’s firstattempts at songwriting.Hector Sr. was officially arecord producer. But itwas a one-off. “Looking back, I wishwe’d had the foresight togo back into the studioevery few months. We re-ally didn’t know anythingabout making records. Wewere all novices,” Saldañasaid. “I love how much mydad indulged our love ofrock ‘n’ roll music. Hefound a woman to tran-scribe my first three songsand then got them copy-righted.” Had the young Kray-olas stuck to a more disci-plined recording schedule,the next single would mostlikely have been “Matter ofTime” and “I Just WannaBe With You (All theTime),” originals theyplayed onstage. Soon, Cotnam was offfor veterinary school andBaines quit because hecouldn’t get along withnew bassist Barry Smith. But Smith, who was acouple of years older and

had spent time in New Or-leans befriending AndyStone of Vince Vance &the Valiants, was a kindredrock ‘n’ roller. It was a newera. Stone would put theKrayolas in front of itsbiggest nightclub crowdswhen he allowed them toopen several wild showsfor Vince Vance & theValiants. The iconic black andwhite photograph of theKrayolas taken in earlyAugust 1977 captures thefirst touring lineup – BarrySmith, Patrick Wetmore,

David Saldana and HectorSaldaña. Two road crew mem-bers, Robert May andBrian McKee, rounded outthe tight team whichplayed throughout Texas,New Mexico, Oklahomaand Louisiana in the ’70s. Perhaps the most noto-rious moment for thatgroup – besides famouslyplaying in caveman outfitsat Sunken Garden The-ater -- came in October1978 when the Krayolasnearly caused a riot infront of an audience ofwomen inmates at the

Thomas Goree Unit (theGoree State Farm forWomen) in Huntsville. “We came back on-stage for an encore andjumped off the stage andwere mobbed by the in-mates,” Saldaña recalled.“That was it. They shut thepower off. The amps wentdead. Concert over.” Like most rock bands,musicians came and wentin those days. Saldañaholds some particularlydear. Scott Funk, who madea skateboard out of an


Saldañacontinued from pg 8

Krayolas leader Hector Saldaña records with leg-endary San Antonio musician Augie Meyers.

Continued on pg. 10

Hector and David Saldaña perform at one ofAustin’s South By Southwest extravaganzas.

Music was instilled in the Saldaña brothers at anearly age by parents, the late Hector Sr. and momHilda Guerrero Saldaña.

electric guitar and wouldride it through the audi-ence while doing hand-stands. Doug “Tex” Courtney, apianist who sounded justlike John Fogerty. Walter Lucas, a tal-ented singer and musicianwho showed up for anEast Coast tour with a boxof his vinyl 45s and atoothbrush. John Harris, whobrought to life the Saldañaoriginal “Times Together”and played drums so thatDavis could come up frontand do the Freddy dance. Don Paul West, abassist who always had atransistor radio tuned to aballgame. Doug McFeggan, awild man singer and or-ganist, more than anyonewould’ve loved the resur-gence and acclaim. It’s a long way from “AllI Do Is Try” to “The Murderat the Taco Land” and“Psychophant,” two of thenew songs on the upcom-ing Krayolas EP titled “Sal-dana Bros.” As always, Hector andDavid recorded at BlueCat Studio with producerJoe Treviño and musiciansand close friends LuvineElias, Alex Meixner, JoeSarli and Jack Barber.Michael Martin, Los Tex-Maniacs and SantiagoJimenez Jr. make cameos. It’s the follow up to crit-ically acclaimed recent al-bums “La Conquistadora,”“Long Leaf Pine,” “Ameri-cano,” “Tipsy Topsy Turvy,”“Canicas” and “Tormenta,”which delivered songs like“Little Fox,” “Catherine,”“Alex,” “Fruteria,” “CorridoTwelve Heads in a Bag,”“Home,” “1070,” “PiñataTrump” and “All I ReallyWant to Do.” Not bad for a legendaryband that’s more brides-maid than bride. But it’s that human ex-perience and empathythat makes Saldaña a nat-ural for The Wittliff. Asmusic curator, he’s thesteward of the archives ofsome of the musicianshe’s performed, recorded,cried and laughed with

over the years. And he arrives at anexciting time. The WittliffCollections is expanding

to take over the entire sev-enth floor of the Alkek Li-brary on campus. He’sgetting a brand new music

gallery, that when com-bined with two new photogalleries and more officespace means the Wittliff

will have nearly a footballfield’s worth of space. There’s a whole lot ofmusic in Texas and Sal-

daña aims for the TexasMusic Collection at TheWittliff to be among itsmost premier of homes.


Hector Saldaña with sons Jason(left) and Nicky. Both young menare musicians.

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Saldañacontinued from pg 9

Sharon Kindrick with beginnings of the Kin-drick/Action Magazine exhibit in the Wittliff Col-lections at Texas State University. ID plackard inforeground bills Action publisher Sam Kindrickas the “Hunter S. Thompson” of the Texas red-neck rock outbreak of the 1970s and 1980s.

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