Between Grand Junction and Vail, Colorado, right on US Highway 70 is the
little town of Glenwood Springs.
People used to come here for the waters, to bathe in the hot springs.
They thought it was healthful.
Still do. There are spas and nice hotels, and it is a destination
spot for vacationers.
It was here that John Henry Holliday came in 1887.
He was in the advanced stages of tuberculosis, and believed that the
sulphurous vapors from the springs would soothe his tortured lungs.
He was destitute, and alone.
He fell into a coma and died in the Hotel Glenwood in early November
of 1887. He was 36 years old.
They buried him in the Linwood Cemetery, off of Bennett Street.
You can’t drive there; you have to park your car and hike a half a
mile to get to where the headstones are. It’s a fairly strenuous hike and
you have to stop a couple of times to catch your breath.
At least I did. You can
look down the hill and see the Roaring Fork River in the distance.
I kept imagining them hauling the plain wood casket up here in the
undertaker’s wagon, jouncing over the rocks in the little road on that cold,
late fall day. The creaking of
the wheels, the wagon rattling, the sound of the mule shoes in the dirt.
Kid Curry’s buried up here, too, in potter’s field.
He killed himself near here, when cornered by a posse after one of
the last great train robberies in the United States in 1904.
I took a picture of his headstone as well.
Holliday’s monument is in the middle of the cemetery, surrounded by
one of those traditional wrought iron fences.
Sagebrush and the roots of cedar trees poke up through the ground.
It’s not a headstone, but one of those ornate upright obelisk things,
and looks very authentic. The
problem is it probably dates only to the 1960’s.
Somewhere along the line all the cemetery records were lost or
destroyed, and the exact location of Holliday’s grave is unknown.
Dying broke the way he did, odds are he was buried in potter’s field,
near where Kid Curry ended up.
But in the 1950s the city fathers of Glenwood Springs thought that Doc
Holliday’s Grave might make a pretty nifty tourist attraction, so they
erected the marker here, where it was easily found.
This is the second monument.
The first one was nondescript, sort of cheesy-looking, 1950’s modern.
There are pictures showing little kids climbing on it, wearing cowboy
hats and toy six-shooters.
Later, someone replaced it with this obelisk.
An improvement. The
obelisk is much classier.
Holliday has his champions and detractors.
I wasn’t here to judge him.
When you’re rolling close by that kind of history, it’s almost a
requirement to swing by and tip your hat.
The whole experience took maybe forty minutes.
I recommend it.
The Endless Tour...
Only one paved street in the whole town, two
bar-restaurants next door to each other across the river at Riverside, one
little market. A cowboy
gathering—but a special one. I’ve
played a few of these, the kind of cowboy celebration located in a ranching
community where every ranch family from fifty miles around comes to town to
support it, to see friends and enjoy the show.
There’s a horse show at the fairgrounds on Saturday afternoon,
and when the doors open at the auditorium for the show that night—usually in the
gym at the High School—there are 8 and 9 year old girls and boys in their boots
and spurs and flat-brimmed buckaroo hats strutting around, full of importance
and self-confidence; and they shake your hand and look you in the eye and call
you sir or ma’am. Always on the bill
are local folks, cowhands and ranch wives who know the life, and write and sing
from the heart. These are the
communities where it really counts that they listen and respond to our music;
and when they come up to us and ask for a particular song because it means
something to them, I feel very honored, and justified, and very, very humble,
and know that I am very lucky to do what I do for a living, and to be allowed to
be a part of such communities.
These are not bitter and angry people clinging to religion and
guns. These are the hard-working
folks who make up the fabric of the nation, and they have been over-looked by
the politicians and the media, because working hard and raising your family and
trying to do the best you can by your neighbors isn’t what makes headlines.
But I think maybe it should be.
Just a little, every once in a while.
FROM "AMERICAN COWBOY MAGAZINE":
Review: Dave Stamey's "Twelve Mile Road"
Dave Stamey sings tribute to the trials and joys of ranch life.
by Charley Engel
than any of his nine prior albums, Dave Stamey’s latest is his most personal.
“It’s the best thing I’ve done,” says the acclaimed Western musician. “It’s more
about my experiences in the ranching world and my history.”
He paints a vivid portrait of his rancher father, Bruce Stamey, in the title
track. The struggles and hopes of working the old home place in Montana are
deeply felt: “There’s an old gravel road, following’ the section line, out where
lives are held together, with sweat and baling twine/ Where you rattle your
bones on a tractor, over 30 years old, and there’s a mortgage and kids to be
fed, out on Twelve Mile Road.”
This, the album’s emotional centerpiece, came late in the recording process and
almost didn’t make the final cut.
“I finished that song in the middle of recording, brought it into the studio,
and taught it to the musicians,” says Stamey. “We got it on the third take,
which is a testament to the quality of the pickers that I had.” He credits lead
guitar player Dorain Michael for assembling a crack team of musicians. Annie
Lyons also gets major kudos for her pitch-perfect harmony singing.
The rest of the album’s 12 tracks seldom stray from the land and its hardy
Westerners (and critters). “Song for Jake” commemorates one of Stamey’s mentors,
Jake Copass, who died in 2006 at age 86. “Never Gonna Rain” bemoans the
heartbreak of drought, “Blackjack Was a Mule” imagines the life of an ore-cart
mule in the mines of Bodie, Calif. Though “Wild Sierra” was written more than 30
years ago, it’s dear to Stamey’s heart for being the first song he ever felt
satisfied with to keep as a songwriter.
But in an album filled with highlights, “Sweetgrass County Line” stands out as
the favorite. Stamey wrote it at a friend’s Montana ranch during a particularly
green year and says the sentiment is a metaphor for how he feels about the
nation. He sings: “This country is a friend of mine/ Its voice is a voice that I
hear/ And when time leaves me behind/ I won’t mind if it leaves me right here.”
Stamey dedicated the CD to his father, “for trying so hard out there on Twelve
Mile Road.” In fact, father and son returned to the old homestead a few years
ago. Their 100-acre ranch had been divided and sold in small parcels, and the
gravel lane had been paved over and signed sometime in the intervening 40 years.
Usually a stoic man, the elder Stamey became emotional as he surveyed the land
he’d once put so much muscle and sweat into.
“It got to him, and he was upset,” says Stamey. “He said, ‘Look what they did to
my ranch!’” It’s a sentiment heard all too often in the modern West. Hats off to
artists like Stamey who help keep the traditional cowboy lifestyle alive.