Authenticity and sincerity have been the cornerstones of Hancock's writing and music since the start of his career. His refusal to compromise his vision and sell
out his music has earned him a fiercely loyal underground following.
Hancock's vision, as he puts it, is "to bring people together and make them feel good about music. It's a spiritual thing and without spirituality, you've got nothin'. There ain't much on the radio that strikes me as being original or from the heart, most of it's from the pocketbook and it shows."
Wayne is proud of his rural roots and culture and has thoroughly absorbed the spirit of country music's forefathers such as Ernest Tubb, Hank Williams and Jimmie Rodgers. Never a mere imitator, the cutting-edge style that emerges is every bit his own. He breathes youth and driving energy into traditional country forms and adds a dash of big band horns, boogie woogie piano, scorching rockabilly beats, heavenly Hawaiian steel licks and some wigged-out hillbilly jazz guitar.
Hancock figures he started writing songs around the age of twelve, and he did a lot of traveling around Texas, playing juke joints and belting out his originals for anyone who'd listen. At 18, he won the "Wrangler Country Showdown" but couldn't claim the prize because he'd already enrolled in the Marines. After a six-year hitch with Uncle Sam, he moved to Austin, where he reacquainted himself with music and won a role in the 1994 theatrical production of Chippy. He performed alongside Terry Allen, Butch Hancock, Joe Ely and Robert Earl Keen and Rolling Stone proclaimed, "The nasal honky-tonk of newcomer Wayne Hancock practically steals the show."
In 1995 Wayne debuted with "Thunderstorms and Neon Signs", a remarkable CD produced by steel guitar legend Lloyd Maines (Joe Ely, Wilco and Richard Buckner). The release was met with critical acclaim. Newsweek called it "the most promising debut of the season." Two-hundred-fifty dates throughout the country, including brilliant performances on Austin City Limits and NPR's Prairie Home Companion, led to well over 22,000 copies sold of his debut release on a tiny independent Texas label. In 1997, Wayne signed with ARK 21, an eclectic and well-anchored label owned by former Police manager Miles Copeland. Miles and his staff were impressed with Wayne's genuine ability for writing and performing and have dubbed him "arguably the hardest-working man in show business" for his willingness to tour solidly and his insistence on efficiency and
untainted live energy in the studio. "That's What Daddy Wants", Hancock's sophomore release, was recorded in a startling three days. A brilliant example of his Texas swing and juke joint rockabilly, the album was even a staple on the space shuttle Columbia, the bugle call of its title track used to wake the astronauts. After "That's What Daddy Wants" generated even more critical success than the first release, ARK 21 decided to reissue "Thunderstorms and Neon Signs" on their label.
The past several years have been a time of personal evolution and growth in Wayne's life. He was self-managed since the beginning of 1998 and later that year he lost his father to cancer. He has still been gigging solidly throughout the country and has been doing his own driving, tour managing and taking care of business in exactly his own way.
While various musicians drop in on Wayne's shows from time to time, his core band for touring is comprised of the phenomenal Eddie Biebel on lead guitar and the rhythm slappin' Jake Erwin on Standup Bass. Do yourself a favor - whenever this great trio is in or near your town, go to the show!
Blue Suede Shoes
Wayne Hancock Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Two for the show,
Three to get ready,
Now go, cat, go.
But don't you step on my blue suede shoes.
You can do anything but lay off of my blue suede shoes.
Step on my face,
Slander my name
All over the place.
Do anything that you're gonna do, but uh-uh,
Lay off of dem shoes
Don't you step on my blue suede shoes.
You can do anything but lay off of my blue suede shoes.
Blue suede shoes
Blue suede shoes
(Yeah)
Blue suede shoes
(That's right)
Blue suede shoes
You can do anything but lay off of my blue suede shoes
(Tell me about it brother)
(Interlude)
(Yeah, sweep me off my feet baby)
(Holly)
You can burn my house,
Steal my car,
Drink my liquor
From an old fruitjar.
Do anything that you're gonna do, but uh-uh,
Mama, lay off of my shoes
Don't you step on my blue suede shoes.
You can do anything but lay off of my blue suede shoes.
(Wakefield, let's hear it daddy, ride it on)
Blue suede shoes
Blue suede shoes
(Yeah)
Blue suede shoes
(That's right)
Blue suede shoes
You can do anything but lay off of my blue suede shoes
Oh lord.
The lyrics of Wayne Hancock's song Blue Suede Shoes are from the perspective of the singer who is cautioning everyone not to step on his blue suede shoes. The opening lines, "well, it's one for the money, two for the show, three to get ready, now go, cat, go" is a famous rock and roll intro, urging the band to start playing because the show's about to begin. The song is a cover of an Elvis Presley classic, which was written by Carl Perkins in 1955. Perkins wrote the song after observing a man telling his date not to step on his blue suede shoes, inspiring him to pen the lyrics about the importance people place on their footwear.
The singer sings, "You can knock me down, step on my face, slander my name all over the place. Do anything that you're gonna do but uh-uh, lay off my blue suede shoes." The lyrics suggest that he's resigned to whatever happens to him or whatever anyone says about him, but, for heaven's sake, don't mess with his blue suede shoes. The shoes are a symbol of his identity and they represent the only thing that he cares about. The singer implores Mama, or anyone listening, not to step on his shoes because, to him, it's like stepping on his soul.
Line by Line Meaning
Well, it's one for the money,
This is the start of an offer in which one dollar is being asked for, indicating that it will be worth the cost.
Two for the show,
If you pay two dollars, you will be given a satisfying performance or experience.
Three to get ready,
This is an instruction to be prepared before the upcoming event or activity that requires additional steps.
Now go, cat, go.
This serves as an encouragement to begin, referencing a free spirit who acts impulsively.
But don't you step on my blue suede shoes.
The artist is protective over their possessions and doesn't want them to be damaged or desecrated by anyone.
You can do anything but lay off of my blue suede shoes.
The listener is being told that there are no limits to what they can do, as long as they respect the singer's belongings.
Well, you can knock me down,
Physical attacks are possible and are not feared.
Step on my face,
The artist is willing to suffer physical abuse rather than have their belongings mistreated.
Slander my name
The artist would rather have their reputation ruined than their possessions.
All over the place.
This is a hyperbolic statement that indicates a massive smear campaign.
Do anything that you're gonna do, but uh-uh,
The listener is being offered freedom of choice in their actions, but with a caveat.
Lay off of dem shoes
The artist is using dialect to emphasize the importance of not touching their shoes.
Don't you step on my blue suede shoes.
The protection of the singer's fashionable shoes is still a top priority.
Blue suede shoes
A repetition of the iconic shoes that represent the singer's style.
Blue suede shoes
Another repetition of the stylish and coveted shoes.
(Yeah)
An exclamation emphasizing the stylish nature of the shoes.
Blue suede shoes
A third repetition of the coveted footwear.
(That's right)
An exclamation that acknowledges that the singer is aware of the listener's understanding of their attachment to their shoes.
Blue suede shoes
A fourth and final repetition of the warding off of the listener from the shoes.
You can do anything but lay off of my blue suede shoes
The listener is given a final warning regarding the consequences of disrespecting the artist's footwear.
(Tell me about it brother)
An agreement with what has just been said and confirmation of common understanding.
(Interlude)
Break in the music which might involve a solo instrumental or another relaxation period.
(Yeah, sweep me off my feet baby)
Lyrics which may reference romantic attraction or an outburst of excitement from a listener.
(Holly)
A namedrop of performer Buddy Holly, who sang an iconic version of the song.
You can burn my house,
Further hyperbole used to emphasize that the singer would sacrifice their possessions and property to protect their fashion sense.
Steal my car,
The singer confirms that they would give up both tangible and intangible possessions over their beloved shoes.
Drink my liquor
An indication that the singer has made significant concessions.
From an old fruitjar.
The lowest quality of container is used to indicate that the artist has given up everything else of value.
Mama, lay off of my shoes
A plea for protection and a reminder of the artist's affection for their shoes.
Oh lord.
An exclamation to emphasize the dire consequences of allowing the shoes to be destroyed.
Contributed by Hunter D. Suggest a correction in the comments below.