All Photos: Alan Mercer
Photographed at the Live Oak in Fort Worth
When Terri Hendrix began her journey as an independent recording artist 20 years ago, there was no map or handy guidebook to show her the way. Although she wasn’t the first artist to ever self-release an album, it was still years away from becoming the main way for so many musicians today. Despite having already spent half a decade building an impressive following in her native San Antonio and the surrounding Texas Hill Country, the then 28-year-old songwriter was rejected by three different record labels when she tried shopping her 1996 debut. So, when she ended up putting it out herself, it was only for lack of any other apparent option at the time. That whole “own your own universe” ideal Hendrix is so well known for these days? Well, that really didn’t come about until later.
That’s “later” as in, not until she was ready to release her second album, 1998’s ‘Wilory Farm.’ By then, it was Terri Hendrix saying “no thanks” when labels came courting her — simply because it was already clear that nobody could offer her a better deal or do more right by her art and career than she could herself. She knew of course that going her own way would never be easy, but she was learning more and more every day about how to not only survive as a proud independent with her own San Marcos, Texas-based label, Wilory Records, but thrive. She’s hauled her own gear, managed her own e-commerce site and mailing list, booked her own gigs and tours, and proudly maintained ownership of all of her master recordings from Day One.
Having been a long-distance runner in high school, the award-winning songwriter, classically trained vocalist, and deft multi-instrumentalist (guitar, mandolin, and harmonica) has run her entire career with the determined pace and focus of a marathoner — and demanded the best out of herself every step of the way. Recently picked by Acoustic Guitar magazine as one of Texas’ 20 essential contemporary singer-guitarists, she routinely holds her own both onstage and in the studio playing with some of the best musicians in Texas, most notably Austin City Limits Hall of Fame guitarist/pedal steel player Lloyd Maines. Widely renowned for his work with such artists as Joe Ely, Terry Allen, and the Dixie Chicks, the fact that Maines has toured with Hendrix almost exclusively now for going on two decades speaks volumes about how highly he regards both her songwriting and musicianship.
No two of those records have ever sounded alike, let alone quite like anything else on the Texas or national folk/Americana scene. But the fact that every one of them sold enough copies through pre-orders alone to cover their recording costs underscores the degree of mutual trust between Hendrix and her fans. The fans have always trusted her to make great music from the heart worth supporting and believing in, and that trust has allowed Hendrix, in turn, the freedom to follow her creative muse wherever it leads without fear of losing her following by coloring outside the lines. It also gave her the courage to publicly address her ongoing struggle with the seizure disorder that in recent years has led her to scale back of her once relentlessly busy national touring schedule and redirect her focus to building a 501(c)(3) nonprofit community arts center project in her beloved San Marcos called the OYOU — which stands, of course, for “Own Your Own Universe.” One of her chief goals for the OYOU is to promote the healing and therapeutic qualities of art and music, which she can attest to firsthand as a successful performing songwriter who has lived with epilepsy for most of her life.
She’s also a natural at helping others to harness their own creativity, as demonstrated through her various OYOU community outreach programs and the songwriting/music workshops she’s taught everywhere from her own annual “Life’s a Song” retreats to the Berklee School of Music.
Terri found the most important mentor of her life in classical musician, teacher and organic farmer Marion Williamson. In exchange for farmhand duties (including milking goats, which explains the mascot Hendrix later adopted for her label), Williamson taught her not only the finer points of Mississippi John Hurt-style guitar picking, but how to book gigs and set up her own PA system. Williamson’s sudden death, which came shortly after the release of “Two Dollar Shoes,” was devastating to Hendrix; but the invaluable education she received from her friend continues to guide her through both her life and career.
It was shortly after Williamson’s passing that Hendrix began working with producer/guitarist Maines. Their first record together, “Wilory Farm,” sparked significant airplay and tour dates well outside of Texas, and Hendrix’s career has only moved from strength to strength ever since.
Given how long and hard that she’s worked at her craft, Hendrix has never taken any of her success or the aforementioned industry honors for granted. But tellingly, the awards she’s most proud of are those that have recognized the “bigger picture” sense of purpose that has long inspired not only her songwriting and life-affirming performances, but her ongoing commitment and vision for the OYOU. These include the Art of Peace Award given to her by St. Mary’s University in San Antonio for “creating art in the service of peace, justice and human understanding,” and more recently, her 2015 induction into the Women’s Hall of Fame in San Marcos, in recognition of her contributions to the arts and humanities and her community.
AM: Terri, I really believe you are a true musical genius.
TH: That is really nice.
AM: Your music is brilliant. Where does it come from?
TH: Gosh, thank you. I feel like I still need to learn how to write my first song. Every day I wake up and I wonder where to go or what to do. I’m fascinated by words and art and music. As far as being a great songwriter goes, I feel like I have a long way to go.
AM: You write in every style. Do you have a favorite style of music?
TH: I really love so many different styles of music. Sometimes that’s a good thing and sometimes it might not be. I love to explore different genres and the way the words fall in them whether it be pop, rock, country or folk.
AM: And Jazz!
TH: I love jazz.
AM: I’ve listened to every song of yours that is available and it’s all so varied and well done.
TH: I’m so glad you listened. It’s a great compliment when someone does that. I enjoy a good funny song and I enjoy a good serious song, then a jazz song and a folk song. I like the yin and the yang of it all. Sometimes it’s hard for some people to understand, especially if they like a particular genre. They would feel more comfortable as a listener if I would stay in the same genre for their personal taste. For me personally, I get real antsy. That’s why this blues record was so hard for me. I’ve never released an album that was just one style.
AM: It seems like most artists don’t have your range.
TH: I’ve met a lot that do but they are all underground artists like I am and live in different parts of the country. I do listen to a lot of music. I have a really bad problem buying so much music. I don’t even know how many thousands of records I have. Having a music library and being a student of music and never stopping gives you a wide palette from which to choose from. For me, it’s been a gift to love music as much as I do.
AM: You have to be smart to do all you do.
TH: I don’t know about that. I feel like I have as much common sense as an egg. Songwriters say they view the world in a skewed way. That’s the motive for writing a song. You try to put to music and words something you don’t understand. There has to be some kind of intellectual component to want to put the pieces together. More than intellectual you have to be patient when you’re writing songs.
AM: Terri, I love all your albums but one of my favorites is ‘The Art of Hanging Wallpaper.’ That is a masterpiece.
TH: Oh thank you.
AM: Your song, ’It’s About Time’ is a genius song.
TH: Oh thanks, I love when songs come together like that. I remember putting that together.
AM: Are you always the lyricist?
TH: Yes, and working with Lloyd is a gift. I got really lucky.
AM: How did you meet him?
TH: I had recorded my first album and was working on my second one called 'Wilory Farm.' Someone said I should try to work with Lloyd Maines. I didn’t know who he was. He liked my music and agreed to produce it. Then he saw my following and my fan base.
AM: So he was impressed by you!
TH: I had done so well with my first album, ‘Two Dollar Shoes’ I wondered if I could get away with not having a manager or a booking agent. What if I don’t have distribution? I can only afford to hire one person. I went to him with a business opportunity and here we are twenty years later. It was supposed to be just a couple of gigs. Then we became family.
AM: It feels like it was meant to be.
TH: Yes, it really is. Had I not owned my own publishing and music masters I wouldn’t have been able to have the career I’ve had. I’ve been so lucky to never sign a contract with anyone. My music is different and I just don’t think it would have gone to a higher level than it is now. I’m not really cut out for huge festivals. I’m happy with smaller audiences.
AM: Will you continue performing with Lloyd Maines?
TH: I’m very happy working with Lloyd, but down the road I’ll probably work solo again because of economics. That’s the business side of it.
AM: You have a good business sense to be able to carry on this long.
TH: Yes, I enjoy the way things work. It helps being a music fan. I really enjoy doing this and I want to be able to stay in business. I do know I can’t compete with my young peers anymore. I don’t want to physically do so much anymore.
AM: You are feeling good, aren’t you?
TH: I do feel good. I have epilepsy. I was diagnosed in 1989. I’ll be honest, sometimes it’s really difficult.
AM: I’m sure it is.
TH: What makes it difficult is insurance and medications aren’t always consistent. That’s why I’m doing project 5. I want to write a book. I started it in 2003. It’s four albums and a book. They all tie into basically not quitting when things get tough. I want to put this chapter in my life in a nice big bow.
AM: You’re talking about Own Your Own Universe?
TH: Yes, we have epilepsy support meeting groups there. It was supposed to take off this year but took off a year early. I got a place to base the programs out of in San Marcos. I couldn’t pass that opportunity up. It’s workshops and people graduate. I’ve got guitar classes. It’s a Center for Creative Arts.
To learn more about Terri Hendrix visit her web site https://www.terrihendrix.com/