Bob Schneider defies simple categorization. One night he's an acoustic singer/songwriter, the next he's a funkmaster leading the Grooveline Horns. Then he's a garage rocker with Lonelyland, only to turn the dial even higher with the Scabs.

For years now he's thrilled Austinites with his unpredictability, and captured fans around the country with his solid musicianship, lyrical storytelling, and impish onstage persona.

And yet despite legions of fans from coast to coast, and celebrity status in his adopted hometown, he's still not a star. "I'm Austin famous. That's what someone told me the other day," says Schneider. "I would like to be Sheryl Crow famous though."

Schneider and Crow shared a stage in October at a party celebrating another Austin hero, Lance Armstrong. Schneider kicked off the festivities with a set that brought the assembled masses to their feet, despite the oppressive autumn heat and humidity. A couple songs into her set, Crow exhorted the crowd to give Schneider another round of applause, asking "Why isn't he famous?"

Why isn't Bob Schneider famous?

Is it the unpredictability that thrills diehard fans, but possibly confounds the unconverted?

Schneider doesn't think so. "People like variety," he says.

Is it the playfully profane lyrics that dot his vast catalog of original songs?

Again, the artist disagrees: "Eminem says things on his records that make me look like a Christian rocker and he's done quite well. I'm sure some people don't like some of the profanity that I use onstage, but I don't think it's the majority of folks.

"I think the main reason I'm not more famous is simply I haven't recorded any songs that radio has really gravitated towards. The only reason I've done so well in Austin, I believe, is because KGSR played the shit out of Lonelyland and I'm Good Now, and people were able to hear the music. That hasn't been the case outside of Austin."

That doesn't necessarily mean Schneider is without audiences elsewhere. He tours regularly, typically following the same basic routes and grooming local audiences with semi-annual dates.

His growing popularity may have contributed to an unusual change in lineups this summer, when promoters switched "opener" Schneider to play after "headliner" Shelby Lynne at some West Coast dates. Published reports declared the unannounced change was made due to fans leaving after Schneider's sets earlier in the tour. But he isn't quite so sure: "I don't think it was the audience that demanded the flip," he says. "They were as confused as I was by the whole thing."

One thing not open to debate is Schneider's success at building a grassroots fan base. It's a strategy he's adopted not only because he loves the music, but also because he hasn't received the critical attention befitting his talent.

"I always want to be loved, but I really have never received much love from critics — so fuck those motherfuckers," he says. "Fans, on the other hand, I take more into consideration. If you play songs that people don't react to live, you end up throwing those in the trash."

Schneider has written hundreds of songs in a never-ending desire to entertain. And while songwriting is hard work, he credits part of motivation to the many talented musicians who surround him. "I'm constantly inspired by the many wonderful songwriters that are making music all the time," he says. "As for being inspired to write, I just get quiet and write down whatever pops into my head. There's always something in there knocking about."

The same forces that drive his songwriting also fuel his other artistic passions — drawing and painting.

Schneider, who studied art in Germany, is an accomplished visual artist. Select originals are available through Flatbed, with many more reproduced along with some of his poetry in the book I Have Seen the End of the World and It Looks Like This.

The visual and musical art come from similar sources of inspiration. "I approach both of them the same way in terms of not knowing what I'm going for when I start," he says. "It's very much whatever comes into my head. There's no real thought, like, 'I'm going to create this type of painting or song.'"

So he goes with the flow of whatever moves him. Sometimes it leads to unexpected places — like bluegrass, or something like bluegrass, anyway. "I've always liked bluegrass instruments, ever since we toured with Leftover Salmon a few years ago," he says. "Anyways, I'd had the pleasure of meeting some really talented players and thought it would be fun to play some of my songs with these people."

So this year he formed Texas Bluegrass Massacre. With weekly summer gigs at Threadgill's and occasional forays beyond Austin, it remains a work in progress. But it's a fun project to watch, featuring a talented lineup with longtime collaborators Bruce Hughes on bass and Dave Robinson on drums, as well as Jeff Plankenhorn on dobro, Heather Woodruff on fiddle, Warren Hood on fiddle and mandolin, and Oliver Steck on accordion and trumpet.

There may someday be a Texas Bluegrass Massacre album, but for now the only official recording is "Lubricate the Death Machine" on the compilation Brewed in Texas Volume 2, supplemented by live Frunk recordings from each show.

From Joe Rockhead to the Ugly Americans, the Scabs to solo, Lonelyland to Texas Bluegrass Massacre and whatever comes next, Bob Schneider is constantly evolving as an artist. Perhaps someday he'll evolve into a national or even international superstar. But the 40-year-old singer/songwriter isn't holding his breath.

"If the country was a car, I don't think I've even made a dent — maybe a scratch that could be buffed out with some Turtle Wax," he says. "I've got a hammer though, but it's sooo heavy."

The next Bob Schneider release — a 2-disc set with 26 new tracks — will be available early in 2006.

Patrick Nichols (email)
This Is Texas Music
December 2005