Augie Meyers A Texan Legendary Musician. The Full Story In My Book "There Ain't No Rules In Rock n Roll"

https://youtu.be/7IBVBw3-Wxo?si=v0APnkEe_RM6DtvC Augie Meyers, renowned in Texas music lore, gained fame as the keyboardist for both The Sir Douglas Quintet and The Texas Tornados. BOB DYLAN once said of Augie. “Augie’s my man, he’s like an intellectual who goes fishing using bookworms. Seriously though he’s the shining example of a musician, Vox player or otherwise, who can break the code. His playing speaks volumes, speaks in tongues actually. He can bring a song, certainly any one of mine, into the real world. I’ve loved his playing going all the way back to the Sir Doug days. What makes him so great is that internally speaking, he’s the master of syncopation and timing and this is something that cannot be taught. If you need someone to get you through the shipping lanes and there’s no detour, Augie will get you right straight through. Augie’s your man.” In 1981, I found myself producing an album at Pye Studios in London for Sonet Records, Sweden when an interesting opportunity arose. The record company informed me that one of their artistes, Augie Meyers, a talented American artiste known for his keyboard and accordion skills, was passing through London. They inquired if there was a way to involve him in the album I was working on. Despite our tight budget and schedule. The record company was persistent, offering to cover any extra costs and studio time. Intrigued, I contacted Augie and invited him to the studio for the following day. The next afternoon the control room door swung open. In walked a towering six-foot-two Texan, Augie Meyers, with his accordion in hand. He greeted us with a simple, “Hi, I'm Augie Meyers, am I in the right place?” Augie entered the room with a slight limp, his weathered face revealing a life rich in experiences. Beneath his Stetson hat, a three-foot ponytail cascaded down his back like a dookie rope. Little did I know then that this encounter would mark the beginning of a deep friendship, making Augie an honorary member of my family to this very day. Following a cordial “howdy,” Augie retrieved his accordion from its case and began playing along with the track in the control room. To my astonishment, the instrument's tone and Augie's skilled performance harmonised perfectly with the track.. Augie ventured down into the studio and we began rehearsing with the track playing. During the initial run-through, Augie voiced his frustration about his headphones only working in one ear. I promptly had the assistant swap them out for a different pair. On the second take, the same issue persisted. “I can still only hear the track in one ear,” Augie informed me again. Concerned, I had the assistant change the headphones once more. Once again, on the third take, the problem recurred. Frustrated, I descended into the studio, donned a further set of headphones and had the assistant run the tape. Finally, I confirmed that the headphones were working flawlessly on both sides and handed my functional set to Augie. He put them on, glanced at me and remarked, “Nope, still only working on one side,” before promptly returning them. I couldn’t understand what was going on, I had just tested them myself and they were functioning perfectly on both sides. “Augie,” I said, puzzled, “They’re working on both sides.” “Oh, it's okay, Kenny, it must be me,” He then swept his hair back from over his ear, revealing to my astonishment that he was missing an ear. This marked my initial encounter with Mr. Meyers' wonderful sense of humour. Later, I learned that his limp and the absence of his ear were the result of his battle with polio during childhood. My initial reservations about having Augie participate in the recording turned out to be entirely unfounded.