It was the exposure of Alejandro Escovedo to the freewheeling anything-goes ethos of punk that set him in motion on his musical path. “The beautiful thing about punk rock to me was that it was all mix-and-match, at least until it started defining itself,” he said. “We would have shows where a reggae star like Max Romeo would play with a rockabilly guy like Ray Campi, and then be followed by the in-your-face blast of Crime.”
But it was in Austin, where he returned in the mid-1980s, that Alejandro Escovedo found a musical geography that matched his own eclectic sense of musical possibility. “It was this place that was completely open. The community really supported the musicians. It was small enough that you knew everybody there. You could see Townes Van Zandt walking around, or go to some beer garden and hear Billy Joe Shaver, or catch the Vaughan brothers playing every night at some place. Everybody appreciated each different type of genre of music. The punks respected Townes and the Vaughans, and the Vaughans respected everybody else. Musicians sometimes isolate themselves in their respective scenes. So to be in this small town where everybody encouraged each other, there were great shows all the time, it was cheap to live there, the beer was great, the girls were pretty, the weather warm, there was a great swimming hole… It was just like paradise to me.