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!

Viper
Wayne Hancock Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Dream about a reefer five feet long
A mighty immense but not to strong
You'll be high, but not for long
If you're a viper

I'm the king if everything
Well I gotta be high before I can sing
Light a tee and let it be

If you're a viper

Now when your throat get dry
And you know you're high
Everything is dandy
Truck on down to your candy store
Get you kicks off peppermint candy

Then you'll know your bodies set
You don't give a damn about payin' no rent
The sky is high and so am I
Whoa ho, if you's a viper

[Interlude]

Now when your throat get dry
And you know you're high
Everything is dandy
Truck on down to your candy store
Get you kicks off peppermint candy

Then you'll know your bodies set
You don't give a damn about payin' no rent

Well if you hear the bells ring, ding dong ding
If you're a viper

Overall Meaning

The song "Viper" by Wayne Hancock is a celebration of the effects of marijuana, also known as a "reefer." The lyrics describe the experience of being high and how it allows one to escape from the mundane realities of life. The opening lines, "Dream about a reefer five feet long, a mighty immense but not to strong, you'll be high but not for long, if you're a viper," sets the tone for the rest of the song. The singer dreams about smoking a large joint, and while it may not be too strong, it will still get them high. The phrase "if you're a viper" is a nod to the jazz subculture of the 1930s and 40s, where fans of marijuana were called "vipers."

The second verse, "I'm the king of everything, well I gotta be high before I can sing, light a tee and let it be, if you're a viper," highlights the idea that being high is necessary for the singer to perform at his best. The use of the phrase "light a tee" is a reference to rolling a joint. The chorus repeats the earlier sentiments about the benefits of being high, "Now when your throat gets dry, and you know you're high, everything is dandy, truck on down to your candy store, get your kicks off peppermint candy. Then you'll know your body's set, you don't give a damn about paying no rent." The reference to the "candy store" is a nod to the fact that during this time period, peppermint candy was often used to disguise the smell of marijuana.

Overall, "Viper" is a celebration of the effects of marijuana and the subculture that surrounds it. The song is a snapshot of a specific time period and cultural moment, but it continues to be relevant today.

Line by Line Meaning

Dream about a reefer five feet long
Contemplate smoking a large joint

A mighty immense but not too strong
The joint is not too potent, but still big in size

You'll be high, but not for long
The high won't last very long

If you're a viper
If you smoke marijuana

I'm the king of everything
Feeling powerful and in control

Well I gotta be high before I can sing
Requires marijuana to be creative

Light a tee and let it be
Light a joint and let it burn

Now when your throat get dry
Suffering from dry mouth due to smoking marijuana

And you know you're high
Realizing the effects of marijuana use

Everything is dandy
Feeling content and happy

Truck on down to your candy store
Go to the store to buy sweets