REVIEW: Even in the Midst of a Hoard of Superstars, Ray Wylie Hubbard’s Star Shines Especially Bright

Ray Wylie Hubbard/Co-Starring Too/Big Machine Records
Four out of Five Stars

Best known for his anthemic singalong “Snake Farm,” Ray Wylie Hubbard remains an insurgent alt-country crooner whose 45 year-long career has earned him the ongoing respect of his peers and the adoration of a devoted audience. Those that are unaware need only glance at the list of contributors to the second album in a series of superstar collaborations, aptly titled Co-Starring Too. Willie Nelson, Ringo Starr, Steve Earle, Hayes Carll, James McMurty, Randy Rogers, Cody Canada, Wynona Judd, Charlie Sexton, Steve Lukather, Ann Wilson, Eliza Gilkyson, and the Band of Heathens are among those paying homage to Hubbard with due diligence and respect. Few other artists, regardless of genre, could claim the ability to attract such an impressive list of luminaries.

Then again, after 18 studio albums, the wider appreciation is decidedly overdue. Hubbard remains as gruff and determined as ever, freely expressing his thoughts through the tattered template that’s driven him so fearlessly since the very beginning. Despite the impressive array of collaborators, Hubbard holds his own in the spotlight, and even when he momentarily cedes the microphone to someone else —notably Steve Earle on the plodding “Hellbent for Leather,” Wade Bowen, Randy Rogers, and Cody Canada on the rugged “Even If My Wheels Fall Off” and old pal Willie Nelson via the bittersweet ballad “Stone Blind Horses,” he’s never far from center stage. 

That has everything to do with the fact that his credibility and conviction override everything. Naturally then, several songs touch on topics that resonate personally and profoundly. “Only a Fool,” an anthemic ode to women and the respect they’ve earned and deserve, ranks as one of the most heartfelt songs in his canon, grounding him in a way that’s both indelible and impressive. “Groove,” as its titled implies, maintains a steady pace, referencing Otis Redding, Etta James, Marvin Gaye, JJ Cale, Delaney and Bonnie, Tony Joe White, and Steve Cropper in a roll call of soul and R&B greats. With the sturdy “Fancy Boys,” he pays homage to Hank Williams, who died on New Year’s Day in a Cadillac Fleetwood and left behind a legacy tainted by the posers and pretenders that have made Nashville their desired destination. So too, the aforementioned “Hellbent for Leather” references his own misfortune—aWarner Bros record deal that fell apart early on and found him echoing the sentiment of his pal Guy Clark who hit the L.A. Freeway and made his escape from the madness of that malaise. 

Ironically then, despite the bright lights that illuminate his cast of marquee names, Co-Starring Too is as personal as it is profound, another example of Hubbard’s storytelling skills and his compelling candor. The rocking and rollicking “Texas Wild Side,” “Pretty Reckless,” “Desperate Man,” and “Ride Or Die” all attest to his devil-may-care persona and an unflinching attitude that, at age 75, remains as untainted as ever. Credit the man for making it abundantly clear who the star of this extravaganza actually is.