On August 15th, the plans for the upcoming Outlaw Country Music Hall of Fame and an accompanying Outlaw Music Association were made public. 5,000 sq. ft. of space has been allocated for the new Hall of Fame in Lynchburg, TN, and a Board of Directors has been formed that includes Jeremy Tepper of SiriusXM, Terry Jennings of Korban Music Group, author of Outlaws Still At Large Neil Hamilton, Joe Swank at Bloodshot Records, mayor of Lynchburg Sloane Stewart, Professor of Entertainment Law David Spangenburg, architect Thomas Bartoo, and CEO of Sol Records Brian DeBruler.
The announcement stimulated a lot of speculation about what direction the upcoming Hall of Fame would take, but not many serious answers. So Saving Country Music reached out to Gary “Sarge” Sargeant, the spearhead of the Outlaw Country Hall of Fame, to try and clear up many questions about what folks can expect from the upcoming institution.
Sarge is also putting on a charity event coming up October 25-27 for Troy Rector who suffered a debilitating medical accident. The event will be at Chopper Hill in Altamont, TN (More information). The inaugural class of inductees to the Outlaw Hall of Fame will be announced during the event.
You can listen to the entire interview below. For those who prefer a written form, the meat of the interview is transcribed below as well.
Gary Sargeant: I’m a lifelong fan, 55 years old, of Outlaw music, independent artists and labels, and just firmly believe in people who stay true to themselves and their music, and don’t compromise. It all started at a David Allan Coe benefit that I attended back in June. He was in an accident and wasn’t able to tour. I was kind of upset that David Allan Coe required a benefit. That at 73, he had to tour just to pay his bills because back in the day, things happened and he doesn’t own his catalog. And I was trying to think of a way we could support legends, and recognize people like David, or any number of people that have contributed so much to this music, and have never compromised. I wanted to make sure we had a place to recognize those folks who will never get recognized by anybody else, and then also be able to support today’s Outlaws—the Pete Berwick’s, the Gurf Morlix’s. Its time has come, and we’re going to do this.
When you announced the Outlaw Country Music Hall of Fame, you included a Board of Directors. Why have a Board of Directors?
Well, again it goes back to me being just a fan. I’m a fan with an idea. But I knew if we were going to do this and be taken seriously, and if it was going to be successful, I needed to put together a group of industry professionals.
The term “Outlaw” has already been taken by Music Row and used for marketing purposes. It’s safe to say that there’s music consumers out there that think Outlaw means Justin Moore, Eric Church, and others. How do you distinguish yourself from Music Row’s version of Outlaws when Music Row’s reach is so vast?
Nashville can tell somebody to dress in black jeans, grow a five day stubble, put on these boots, act all bad boy. That doesn’t make you Outlaw. Outlaw to me is not a genre of music. Outlaw is an attitude. Outlaw is a refusal to compromise your music or your beliefs in order to make a dollar. It is traveling up and down the roads, thousands of miles a year, traveling 500 miles to play a $150 show. True Outlaws are doing it for the love of the music only. I believe there’s going to be a lot of defections from Nashville music once the Outlaw Music Association and Hall of Fame are established and up and running. The definition of Outlaw should be made by those that are truly Outlaw, not some publicist sitting in an ivory tower in Nashville thinking that this will sell records.
Some may say the term Outlaw is outmoded because Nashville is taking it and using it with very prominent artists like Justin Moore—that the term doesn’t hold the same sway or meaning it once did. Are you saying that term needs to be fought for?
I’m saying it needs to be clearly defined. Of course Nashville is going to try and take anything successful and try to co-opt it. But them jumping on the bandwagon doesn’t make them independent artists. They’re playing to a formula. But the formula doesn’t work. Listen to the stuff coming out of Nashville.
How do you feel about Dale Watson’s Ameripolitan movement, and how does it fit in your plans for the Outlaw Music Association? Will there be overlap? Could there be potential conflict? Is it splitting the independent-minded or Outlaw populous of country music into two segments?
I wouldn’t think so. My hope would be that people going in that direction, because that’s very narrowly focused right now, I hope they would go, “Hold on a second, here’s something that has come along, that is exactly what we’re trying to do, but encompasses even more people, and hopefully is a very inviting and open Association.” Because I believe if we start putting restrictions on who is going to be in it, then we’re no better than the CMA or anybody else. Great music is great music, whether it be Texas Swing, or Southern rock country, or traditional country. If you’re an artist and you believe in what you’re doing, and you’re good at what you do, we’re going to give you all the support in the world, whether it be Dale Watson, or Shooter Jennings who can go off in different tangents and experiment with different music, or Hank3 who is so excellent. There’s so many artist out there that don’t have a place to call home, and that’s what the Outlaw Music Association is gonna be. It’s gonna be a place where independent labels and artists can receive support, promotion, and have a place they can call home and feel welcomed for who they are instead of something somebody else wants them to be.
We’ve seen in the past, for example with Shooter Jennings’ “XXX” movement and Dale Watson’s Ameripolitan movement, there’s been a lot of conflict and dissension with these attempts to unify the music behind a common purpose. I think that may be what is at the root of some fear and concern of what the Outlaw Music Association and Outlaw Country Music Hall of Fame will become. There’s a history of trying to find a uniting element apart from the CMA in the history of country music. Back in the 70’s there was “ACE” that was set up after Olivia Newton-John and John Denver had won CMA Awards. Traditional country artists met at the house of George Jones and Tammy Wynette and tried to form a new thing. The Academy of Country Music was set up because West Coast entertainers felt like the CMA was bias against California country artists. ACE never really took off, and the ACM just became a doppelganger of the CMA….
…and you forgot to mention the AMA, the Americana Music Association.
Sure, which I personally have said in the past is very narrow in focus, even though a lot of the artists they help promote are great artists.
I couldn’t agree with you more. To me, there is an extreme hunger and thirst out there to have an alternative to what’s being pushed down everybody’s throats by Nashville, the record labels, and the conglomerate of radio stations that are out there. Our focus is not narrow. I don’t care if it’s Dale Watson, or Hellbound Glory, or Jamey Johnson, it doesn’t matter. There’s a whole group of artists out there that deserve to be supported. We are not going to impose conditions. If you’re talented, and your music speaks for itself, and your music speaks to fans, our goal is to make sure that we support you. We’re not guaranteeing success for anybody. But we’re not going to say, “You’re not worthy.” Everybody’s worthy if they’re a musician, and they work hard, they write their own music and stay true to it, and they have some fans and are successful, we’re going to make sure they have an opportunity to be even more successful. We are a non-profit. Our proceeds go to supporting the legends, and also supporting the independent artists of today.
The narrowing of perspective seems to be a really big challenge of independent music right now, whether it is with the Americana Music Association, or just these little scenes that have popped up in independent music. How do you insulate yourself from that trend?
Technology is changing by leaps and bounds every month, let alone every year. The money to be made in today’s world is through touring…touring and merchandise. So we are going to support tours. As a non-profit—it’s kind of being dubbed the Outlaw iTunes—where independent artists can upload their music, and we will turn around and allow it to be downloaded for 99 cents a download, and we give all of it back to the artists while not taking 63 cents. We will be asking for a small donation that will go back to the legends. Technology is changing so quickly, and we have some very good people who are up to speed on today’s technology and the future of music distribution. Those are the areas we want to educate independent artists and labels on, and assist them in giving them an outlet to distribute their music, and use the Hall of Fame to support tours, and get [artists] out in front of the people. Are we going to be the savior? Hell no. But are we going to do everything that we can to help these folks who are working so hard and believe in what they’re doing? Yes, we’re going to do everything we can. Is it guaranteeing success? No. Is it guaranteeing effort? Yes.
There’s a lot of people out there touring and writing their own songs, but that doesn’t necessarily mean that their music is valuable enough to be heard by the masses. What’s to keep people who may not embody the Outlaw spirit from just becoming part of this if there’s no governor to keep anybody and everybody from applying?
The fans of Outlaw music are by far the most discerning fans in the world. Otherwise, these artists wouldn’t have any success. An artist will make it if his fans want him to make it. The fans are going to decide if you make it or not, not the Association.
The assertion about Music Row is that they choose who is going to be the stars, and then they push that to the fans. What you’re saying with the Outlaw Music Association is the fans would choose the stars, and the OMA just gives them the platform and the support so that the fans can make that choice.
Eloquently put. And shouldn’t that be the way it is? Shouldn’t the fans be able to say what they like and don’t like? They shouldn’t be told what’s good and not good. With the focus being so narrow and money dictating who is going to be the next star, we’re all robbed. The fans are robbed, the artists are robbed, everybody is robbed of the next potential star. It’s not my job to decide who is good and who’s not good.
Tompall Glaser recently passed away. Right after he died, I posted a quote that came from him back in the 70’s that goes, “Damn it, the fight isn’t in Austin and it isn’t in Los Angeles. It’s right here in Nashville, right here two blocks from Music Row, and if we winand if our winning is ever going to amount to anything in the long runwe’ve got to beat them on their own turf.” And I’ve heard some similar criticisms about Dale Watson’s Ameripolitan genre where it seems like, “Okay, were going to give up on Nashville and country music, and we’re just going to call it what we want to call it.” What would be your rebuttal to that as far as setting up something that’s apart from Nashville and Music Row?
Lynchburg, TN is not but 55 miles south of Nashville. It’s close enough to pull resources from the Nashville area, but still far enough away and separated enough to say, “Hey, this is separate. This is an alternative.” The people, the demographics that are visiting Lynchburg on a daily basis are the same people that are going to visit our Hall of Fame. It’s all about inclusion. This country is based on freedom, and I believe artists ought to have the freedom to practice their music the way they want without the almighty dollar driving their product.
In closing, I would just like to say to all the fans of Outlaw country music, thank you, and if you really want to make a difference, you have an opportunity. But you have to express your voice. You can’t just sit in your truck or in your house and say, “This sucks,” and expect it to change. If you want change, this is your opportunity. This is a grass roots movement. This is your Hall of Fame. This is your Association. If you want to support artists that made the music what it is today, and those that are continuing in that same vein, support the Hall of Fame, support the Association. Let your artists know that you support us, that you support them by supporting us. This is only going to work if the average fan stands up and says, “I’ve had enough. I want a hand in what I listen to.”