Joseph Campbell wrote, "A hero is someone who has given his or her life to something bigger than oneself." As an ardent reader of the late mythologist, it's no surprise Ray Wylie Hubbard centers many of his songs on mythic beings — like the elusive hare of "Rabbit," the mysterious "Wild Gods of Mexico," and the Christ-patterned "Resurrection" from his latest release, Snake Farm.

Hubbard likes describing Campbellian heroes, but does the man who has mentored young stars such as Pat Green, Cory Morrow, and Slaid Cleaves consider himself a hero?

"I don't really think of myself like that," he says. "I'm just a working musician. I write these songs I think are pretty cool, and these other guys feel the same way. So they call me up and we get to hang out and write songs together."

But when Hubbard invites songwriters to his "Mount Karma" home, the result is more than just musicians hanging out. It's an invaluable exchange of knowledge and wisdom gained through more than three decades of music business experience.

Invariably, discussions center on patience, a virtue Hubbard considers crucial for any songwriter.

"Songwriting is such a joy and an anguish sometimes, but it's worth laboring over the lyric. To me there's really no such thing as writer's block. It's just putting forth the time and effort the song needs, and it will come."

And if all else fails? "I usually tell them, if you get stuck, do what I do — just lower your standards and write the damn thing! [Laughter] And then get some sleep."

Hubbard knows first-hand the value of a mentor who can help a young musician learn his craft. He found his own while still in high school — fellow student Michael Martin Murphey.

"I was a sophomore in high school and he was a senior. He was kinda the first folk singer I saw up close who wrote his own songs, and he got me into the idea of songwriting."

From those folk foundations, both Murphey and Hubbard ventured into basically uncharted soundscapes with progressive country — an anti-Nashville movement that infused Nashville country with Bakersfield rockabilly, guitar rock, and Delta blues.

Of course, there really was no "movement" to speak of, but a wave of artists like Hubbard, Murphey, Kris Kristofferson, Tom T. Hall, Willis Alan Ramsey, and Steve Fromholz who created a distinct sound outside the reach of country radio.

And it was this back-to-basics wave that swelled into outlaw country and then alt.country before flowing into what Americana remains today — an art form that remains firmly outside the mainstream.

Hubbard's most prominent protégé is Cody Canada, who has been known to fill in on guitar when his mentor hits the road. Cross Canadian Ragweed recorded Hubbard's "Wanna Rock and Roll" on 2004's Soul Gravy, and Canada returned the favor by helping co-write "Live and Die Rock and Roll" for Snake Farm.

Another notable pupil is Hayes Carll. Hubbard co-wrote "Chickens" for 2004's Little Rock, and the pair is scheduled to write again this summer to prepare for Carll's first recording sessions since signing to Lost Highway Records.

Other rising stars who have written with Hubbard include Wade Bowen, Bleu Edmondson, Stoney LaRue, and Seth James.

Carll describes the extent of Hubbard's songwriting influence in typical deadpan style. "You know, I thought I was special for a while there — and then I figured out he's done that for countless guys around here."

Joking aside, he's found the friendship immensely beneficial. "I learned a lot from him about being a songwriter and working on the craft of the song, and just generally how to handle yourself. Maybe 20 years ago he couldn't have taught that lesson, but these days he's a good dude."

20 years ago, Hubbard battled demons worthy of Campbell's myths. The career that started so promisingly with one of progressive country's first and finest anthems, "Up Against the Wall, Redneck Mother," ground to a halt after Reprise scuttled the debut by his genre-bending Cowboy Twinkies. Hubbard descended into drink and drugs, and appeared washed up well before his 40th birthday.

But somehow Hubbard sobered up. He beefed up his songwriting with lessons learned from poetry and mythology. He took guitar lessons to sharpen his fingerpicking. And most importantly, he met his wife Judy.

Today Hubbard might be one of the nicest people on the scene. He remembers names, gushes over Judy and their 13-year-old son Lucas, and is as likely to ask about your plans as he is to share his own.

The peace he's found in his personal life is reflected in his music as well, with a string of strong albums running from 1992's Lost Train of Thought to this year's Snake Farm.

When asked if his music can still be described as progressive country, Hubbard pauses before reframing the question. "As far as music goes I love folk, blues, rock and roll, roots rock, and country way to the left of Nashville. That's the type of music I like, and I label the music for my own benefit. So I don't mind being categorized under any or all of those labels, but I don't think there's just one I feel comfortable with. I like the variety of what I do."

That variety is key to Hubbard's success. He can play a solo acoustic set one night and a sweaty rock show the next — and he's equally comfortable with either.

Hubbard credits his Lone Star connections with helping him meld varied sounds. "There's always been that idea of the Texas songwriter, from Guy Clark to Steve Earle and Townes Van Zandt to Billy Joe Shaver, but there's also the rocking guys like Stevie Ray and Jimmie Vaughan, and of course ZZ Top. There's just a lot of really good music that comes out of Texas."

Born in Oklahoma, he spent his teenage years in Dallas before wandering to New Mexico then settling in central Texas. Today he lives in Wimberley, 25 miles outside the Austin city limits.

While he's had plenty of business transactions with Nashville, Hubbard has generally steered clear of the Music City.

"If your livelihood is as a songwriter then you should probably go to Nashville. But then in Austin it's more of a lifestyle over livelihood, and it seems to be more laid-back and more hip perhaps. I prefer the Austin lifestyle to the Nashville livelihood any day."

These days Hubbard is enjoying both his lifestyle and his livelihood. Snake Farm is his favorite album to date. (Audiences like it too — its title track is already one of the most requested songs at live shows.) He's excited about two new videos directed by Teller Russell, including one Hubbard calls "the coolest video I've ever seen, even if I wasn't in it." He's eager to travel Europe with his family this summer before hitting the road for a fall tour. Life is good for this living legend.

And for those of us who haven't been taken under Hubbard's wing, there's still hope. He's finishing an e-book on songwriting and may film an instructional DVD as well — "just little tricks and secrets about fingerpicking, lyrics, and all that stuff. If it's worth something to somebody, then great; but if not, it should be a pretty funny read anyway."

Patrick Nichols (email)
This Is Texas Music
June 2006