Lyle Lovett
Texas 1980, 1981, 1982
Houston 1984

Source: Analog Soundboard -> cassette -> ? -> DAT -> Sound Forge (creating tracks, normalizing each set individually)

Setlist:

Demo (?)
1. White Boy Lost In The Blues (Michael Franks)

Live Set 1
2. She Lies So Well (?)

Live Set 2
3. Since The Last Time (Funeral Song)

Live Set 3
4. Walk Through The Bottomland
5. Closing Time

Live Set 4 (w/ James Gilmore – percussions, Tony Gallucci - harmonica)
6. Girl Got Something On Her Mind (?)
7. Albuquerque ’74 (?)
8. The Waltzing Fool
9. Cryin’ Shame
10. Simple Song
11. (banter)
12. An Acceptable Level Of Ecstasy (The Wedding Song)

Live Set 5
13. Creeps Like Me

Live Set 6 (w/ James Gilmore (?) – percussions)
14. Which Way Does That Old Pony Run

Live Set 7 (Anderson Fair, Houston, w/ James Gilmore (?) – percussions)
15. Once Is Enough
16. (banter)
17. Brown Eyed Handsome Man (Chuck Berry)
18. Since The Last Time (Funeral Song)
19. (banter)
20. Good Intentions
21. (banter)
22. Skinny Legs
23. She’s Hot To Go
24. White Boy Lost In The Blues (Michael Franks)

Live Set 8 (w/ James Gilmore – percussions)
25. An Acceptable Level Of Ecstasy (The Wedding Song)
26. (banter)
27. The Tractor Song (Eric Taylor)

Live Set 9 (w/ James Gilmore (?) – percussions)
28. Dress Of Laces (John Grimaudo)
29. Which Way Does That Old Pony Run
30. Late Nights (?, Jean Kilburn?)
31 (banter)
32. Cryin’ Shame

Notes: I obtained these recordings in a trade on a single DAT in the mid 90s, labeled simply as
"LYLE TEXAS 80-81-82 HOUSTON 84". I recall requesting additional information from the other
trader but none was available. The sound quality is quite good, but hissy – I guess there are a
few (?) analog generations inbetween. Considering that Lyle Lovett did not release his first album
until 1986, these recordings allows a rare glimpe into his early career. Noteworthy also, that these
songs found their official release all the way up to his latest studio recording (“Dress Of Laces”, 2012).

A question mark behind a song title means that I made up that title. A question mark behind
James Gilmore’s name indicates that the set includes percussions, but his name is not mentioned.
The Anderson Fair set can be identified by Lyle’s comments. The other recording locations are unknown.