An Artists' Perspective on ACL: Ray Benson

By Stephanie Brown

It is no question that since its premiere episode in 1976, Austin City Limits has become one of the most successful music television programs in the world. Not only did it help put Austin on the map as the live music capital of the world, but it also has been a host to some of the most legendary musical acts that have ever played. Even more uniquely, these big name artists eagerly jump at the chance to tape a show, broadcasted by PBS, for a fraction of what they are paid to play other venues. Ray Benson and his nine-time Grammy award winning band, Asleep at the Wheel, is no exception.

"You can probably make a reel of [performers] saying, 'I am so happy to be on this show. It's been a dream of mine since I was a kid,'" Benson said. "If you were a kid musician, I'm sure that you would watch Austin City Limits because there was no other place to see this great … music."

Benson and his band first became acquainted with Austin in 1971 after being booked to play at the famous Armadillo World Headquarters. After a little persuading from Willie Nelson, Benson and Asleep at the Wheel made Austin their permanent residence.

About four years later, the world's most successful music television show was born after a successful pilot episode featuring Nelson. Asleep at the Wheel played the very first episode with The Texas Playboys the following year. It would be the first of ten appearances for Asleep at the Wheel.

"What's amazing is that we really had no idea when we started this thing that 32 years later, it would be the longest running music television show in the history of television. That was so amazing," said Benson.

Ray Benson of Asleep at the Wheel reminisces about ACL

Because the show is broadcasted on PBS, generating revenue to pay everyone behind the scenes proves to be a difficult task. Performers are paid on a scale according to the agreement between PBS and the American Federation of Musicians. Generally the price comes out to be about 600 dollars for the leading artists and 300 dollars for sidemen. But it's not the money that entices artists to do a taping for the landmark program.

"To be able to present 30 minutes or more of your own music the way you do it and then have it shown to an audience that was very appreciative-- like the PBS audience-- was the biggest difference in our career."

Unlike Network television, artists have the freedom to play anywhere from 60 to 75 minutes of the songs of their choice and are able to play a role in the editing process.

"Nine times out of 10 if you do network television, they want you to be someone other than you are," said Benson. "They are trying to sell commercials. We're [ACL] not. The viewers appreciate that and the performers even more so."

In the next few years, Austin City Limits will be moving out of the old studio, located in the communications building on the University of Texas campus, and into a much larger venue that has yet to be built on the vacant lot in downtown Austin known as "Block 21."

"Back then we used to pack in 1000 people [for the shows]," Benson said. " The fire marshal cut down [the studio's] capacity to 375 or 400 people which can…limit the amount of people who can go see [the show]. The enthusiasm of the show is truncated when you don't have enough people so as much as I love that studio…We need more room."

Benson, who has been on the facilities committee of KLRU for a number of years, calls the move a "huge upgrade" for the production of Austin City Limits and for the artists who will perform on the show in the future.