Wayne "The Train" Hancock has been called "the master of hillbilly swing," … Read Full Bio ↴Wayne "The Train" Hancock has been called "the master of hillbilly swing," a "roots Renaissance man," a "country singer's country singer" and "Hank Williams meets Gershwin." But the phrase most frequently echoed throughout his career is "Wayne Hancock is the real deal." Joe Ely said it, Hank Williams III said it, Bobby Koefer from the Texas Playboys said it, as have countless music fans and writers when referring to Hancock's authentic and original blend of honky tonk, western swing, blues and big band that he calls "juke joint swing!"

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!

Gone Gone Gone
Wayne Hancock Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Well I went down to leon's
To see that baby of mine
Yeah I went downtown
To see that baby of mine
Lord the joint was jumping
And everyone was hitting that wine, wine, wine
Drinking wine all the time
Will make you crazy and lose your mind

When they got goin' it was Saturday night
And they kept on drinkin' till broad daylight

[Chorus]
Those cats were gone, gone, gone
Gone, gone, gone
Gone, gone, gone
Gone, gone, gone
Honky tonkin' all night long
Gone, gone, gone

Ain't no use in sleepin' in the summertime [Repeat: x2]
If you want to get to sleep
You best start messin'
With the wine, wine, wine
Drinking wine all the time
Will make you crazy and lose your mind
When I got goin' it was four o'clock
And I drank so much that I couldn't stop

Them cats were gone, gone, gone
Gone, gone, gone
Gone, gone, gone
Gone, gone, gone
Juke joint jumpin'
All night long
Gone, gone, gone

[Chorus]

Overall Meaning

The lyrics of Wayne Hancock's song 'Gone Gone Gone' are a narrative about a night out in town, presumably in search of a lost love. The singer mentions that they went to Leon's to see their baby, implying a romantic involvement. The night was lively and vibrant, and everyone was drinking wine, which, according to the singer, leads to madness and the loss of control. However, instead of being careful or thinking about the consequences of excessive drinking, the singer indulges in a binge-drinking spree, joined by the rest of the attendees. The chorus represents the frenzy and chaos caused by the excessive drinking, with everyone gone, gone, gone, honky-tonkin' all night long. The last verse of the song finishes with the singer implying that even in the summertime, sleeping may not come easy if one has not had their fill of wine.

The song perfectly captures a scene of a chaotic, wild night out in town in search of love or companionship. The theme of excessive drinking leading to a loss of inhibition and control reinforces the idea of a desperate search for love or an escape from reality. The song incites feelings of memories of unbridled joy, friendship, and love steeped in unforgettable experiences, which are highlighted in the song's lively melody and upbeat rhythm.

Line by Line Meaning

Well I went down to leon's
I went to Leon's place

To see that baby of mine
To meet my beloved

Yeah I went downtown
I went to the city center

To see that baby of mine
To meet my beloved

Lord the joint was jumping
The place was lively

And everyone was hitting that wine, wine, wine
Everyone was drinking wine continuously

Drinking wine all the time
Continuous drinking of wine

Will make you crazy and lose your mind
Excessive drinking can make you crazy and restless

When they got goin' it was Saturday night
The party started on a Saturday night

And they kept on drinkin' till broad daylight
People kept drinking until morning

Those cats were gone, gone, gone
People were high and drunk beyond control