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The day after Vince Gill surprised Keith Urban with an invitation to join the Grand Ole Opry at his “All For The Hall” benefit concert for the Country Music Hall of Fame, apparently Vince handed out another surprise invitation, this one to none other than the frontman and sole remaining founding member of Guns & Roses, Axl Rose.
Vince Gill, the emissary for handing out induction invitations for the landmark country music institution, apparently surprised Axl at his Los Angeles residence this afternoon as ginger-headed rocker was hanging kilts out on a clothesline in his backyard. Vince reportedly arrived less than an hour after Axl submitted a letter to the Los Angeles Times refusing to be inducted into the Rock N’ Roll Hall of Fame in a ceremony this Saturday, and Axl became irate with the country star.
“Mr. Rose apparently accused Vince Gill of quote: ‘Dancing with Mr. Brownstone’ if he thought he would ever join the Opry, and that they should reinstate Hank Williams before anyone else,” says Sgt. Garero of the Los Angeles Police Department. “Mr. Rose then allegedly smashed Mr. Gill’s signature spectacles that he values at $700.”
Sgt. Garero says officers were sent to the property, and that the investigation was ongoing.
When the Grand Ole Opry was approached to explain why they would want to make Axl Rose a member, Opry spokesperson Meredith Frankenfurter explained:
It makes perfect sense when you think about it. Axl Rose and Guns & Roses have way more songs that resemble country music than anything our last two inductees of Rascal Flatts or Keith Urban do. Go back and listen to GNR songs like “Yesterdays” and “Patience”. Even in their harder rock songs like “Paradise City” if you listen to the introduction and the backbone of the song, it’s way more country than Keith Urban. You could make the case that Axl Rose is more country than most of what you hear on country radio today.
Frankenfurter went on to explain that the honor also was meant to commemorate Axl’s and Guns & Roses’ influence on what she called the Opry’s current “hair highlights” class of Urban & Rascal Flatts, as well as on the genre itself.
Look, when you get right down to it, mainstream country music these days from acts like Rascal Flatts and Keith Urban is really nothing more than 80′s arena rock. What better way to pay tribute to Axl Rose for his contributions to modern country than an Opry induction.
Interviewed at LAX waiting for a flight back to Nashville, Vince Gill said he took Axl’s aggression as a “definite NO” to the Opry’s invitation.
Vince Gill’s optometrist could not be reached for comment.
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Similar News: Hank Williams Sr. Inducted Into Rascal Flatts
Isn’t Arron Lewis bored yet and ready to return to butt rock? Apparently not, as he told The Tennessean late last week he’s planning to release a “very country” album in June. What does “very country” mean? If his previous song “Country Boy” is any indication, it will be songs with laundry list country lyrics, and that’s exactly what you get with his new single “Endless Summer” just released to the always gullible and complicit entity known as country radio.
Since Aaron Lewis doesn’t know shit about country music, we can’t expect him to stray too far from The 6 Pop Country Song Formulas, but someone forgot to tell Arron Lewis it looks dumb when you publish the “Summer Song” formula verbatim without filling in any of the blanks to complete the ruse. Didn’t they at least have Mad Libs in the power elitist, ultra-affluent area code 413 hamlet of Longmeadow, Mass. where he grew up?
In this dumb, unremarkable song, Aaron does do two pretty remarkable things. The first is he name drops Jason Aldean of all people. That’s right, designer jeans fashionista Jason Aldean is now cool enough to name drop in a song when you’re a struggling, aging rocker grasping, clawing for any tiny bit of mainstream relevancy or attention. And then after Aaron says how proud he is that his girls sing along to Jason Aldean, he calls out Miley Cyrus, saying, “It makes me smile just a little bit because it’s not a Miley Cyrus song.”
Miley Cyrus is a colossal trainwreck as well, but at least she is true to herself. A couple of years ago when she was interviewed by Parade, Miley said she is steering clear of country because country “feels so contrived on many levels.” Guess who Miley is talking about Aaron, she’s talking about your genre-hopping ass, the transparency of your stupid summer song, and your designer jeans model buddy Jason Aldean.
I wonder if Lewis will have Fred Durst of Limp Bizkit sit in with him like he did on “Outside”.
I can see through you Arron, see your true colors. Inside you’re ugly, ugly like Miley.
Actually I thought Miley did a decent job covering Bob Dylan’s legendary “You’re Gonna Make Me Lonesome When You Go” for the Chimes of Freedom Compilation. I’d take it over anything from Aaron Lewis any day.
Two guns down!
Scott McDougall from Portland, OR might be the last of the true Romantic-era troubadours: a bardic-like, almost fantasy character that arrives in town with a bass drum on his back and guitar in hand, and sets up at the local pub to sing songs, spin tales, slay lonesome moments, and save the spiritually repressed before whisking out of town like something out of a dream. The puffy beard, the cherubic features, his skill with wit, instrument, and lyric delivered with a wisp of Renaissance flair, he’s like an archetype pulled right out of the glossy illustrations of childhood fable.
Like most of McDougall’s music, A Few Towns More is a travelogue, with cautionary tales of the ill-fated life intermixed. “Come along,” he says, and then takes all of us chumps more weighted down by life’s priorities on his journey spanning both geography and personal exploration.
The album starts off with an evocation of the warmth and fellowship of one of those late-night pub scenes alluded to above called “Coleraine”, where this folk-based one man band gets some help from friends with chants and claps. “Evening Tide” is where McDougall shows off his inner Bob Dylan, in a sweet and slow composition laid out so eloquently it sticks to memory with ease.
McDougall is skilled, but not a superpicker, and he knows how to use this to his advantage. Instrumentals like “Ask That Pretty Girl To Be My Wife” and “Cuttin’ The Grass/ Tom & Willy Go To Town” (I presume about fellow troubadours Tom VandenAvond and Willy “Tea” Taylor) dazzle you with an authenticity that would be lost if they were just some excuse for technical showboating. Instead the speechless wonder of the songs really helps capture the magic of the moments alluded to by their titles.
The gospel offering “When God Dips His Love In My Heart” is when McDougall’s skill at singing is shown off, but the epic “The Travels of Frederick Tolls – Part 2″ is the standout track of the album; starting off with the Celtic flavor McDougall brings to much of his banjo and guitar playing, and then morphing into a sonic and thematic anthem, encapsulating all of McDougall’s tricks and trades and philosophies into one song with the power to change a life’s perspective.
Always my concern with McDougall is accessibility, a concern I doubt he’s concerned with personally as he traverses the country, singing his songs to any willing audience from paying crowds to porch parties. The album’s send off track, “Ready, Begin” includes one of the most modern-sounding rhythms I’ve heard McDougall employ, and his loud, ringing play on the bass drum in songs like “Cuttin’ The Grass” may suck people in from the simple visceral joy of the rhythm. McDougall uses bass drum not just to keep the beat like many one man bands, but to add a whole new rhythm dimension to the music.
A Few Towns More is a journey worth taking.
1 3/4 of 2 guns up.
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