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Country music in 2013 feels like the best of times, and the worst of times. While a few top male performers perpetrate untold atrocities on the integrity of the genre, the rise of independent music and infrastructure in the marketplace is now almost to the point where it equals its corporate counterpart. Quality songs and worthy artists are beginning to see more and more support, while current events and new outlets create avenues for substantive music to find its way to hungry ears. It is so easy to focus on the negative because it still seems to pervade the popular consciousness. But here are twelve reasons it is looking up for country music in 2013.
Yes, Kacey Musgraves. Even if you see her as some Music Row machination meant to offer an alter ego to the Taylor Swift’s of the world (Taylor equals Kacey’s noms with 6 herself), at least mainstream country is now offering a choice to consumers. What Musgraves’ symbolizes is that you don’t have to prove overwhelming commercial success to get noticed. Her biggest hit “Merry Go ‘Round” didn’t even make the Top 10 of Billboard’s Hot 100 Country Songs. Musgraves is a songwriter in a traditional sense, even if some of her best, and most-heady material didn’t make her big debut album. The reason she was able to rake up so many nominations is because of her songwriting credits, accounting for half of her CMA considerations. Kacey Musgraves’ 6 CMA nominations proves that regardless of how stupid country music’s leading males are trying to make the genre, in 2013, songs matter.
Yes ladies and gentlemen, it is getting dirty out there, and the more artists that speak out, the more other artists gain the courage to join the chorus. And not to shy away from the fight, Kacey Musgraves could be characterized as leading the charge, coming out multiple times to complain about where country music is headed. Alan Jackson also had some choice words recently, as did Gary Allan, Tom Petty, and most recently Zac Brown. Country music may be crossing more unfortunate lines than ever, but at least it’s genuine artists are being vocal about their dissent.
Yes, it was bad that Blake Shelton had to disrespect large segments of country music listeners when he ostensibly called them “old farts and jackasses,” but the backlash that ensued became a unifying element for disenfranchised country fans. Ray Price wrote a blistering letter to Blake Shelton, resulting in Blake having to make a public apology. Dale Watson wrote a song about the whole incident which has since become one of the most popular numbers of his show. An “Old Farts & Jackasses” group on Facebook boasts over 93,000 “likes,” and the list goes on from there. Blake Shelton awakened a beast, and gave it a rallying cry. Who would have thought in 2012 that people would be proudly calling themselves “Old Farts & Jackasses” ?!?
The days of inducting traditionally-leaning artists and bands seemed to be over with the Grand Ole Opry’s recent membership invitations to Darius Rucker, Keith Urban, and Rascal Flatts. But lo and behold, the Grand Ole Opry can still get it right, inducting an act that has paid their dues many times over, and deserve to be recognized as one of the forefathers to the re-popularization of string bands that has seen the rise of bands like Mumford & Sons, The Avett Brothers, and The Lumineers. The news is not only good for Old Crow Medicine Show, but other artists who may not be top tier names in country music, but deserve the distinction.
It’s so easy to read the headlines and see the top of the Billboard country charts and say that all is lost in the genre. But as long as Sturgill Simpson is out there touring, you can’t say country music is dead. Out on tour with Dwight Yoakam, playing the Grand Ole Opry, inspiring critics from coast to coast and overseas to sing his praises, Sturgill Simpson is giving hope for the future to country fans that has a value beyond his music specifically.
Yeah, I’m not too much for the silly cliffhanger drama-laden plot lines either, but Nashville has become an invaluable teacher of how the music business works, specifically on the songwriting side of things. An educated consumer makes better choices, and if they see and understand how backroom politics stultify the creativity and freedom of artists, and how a song goes from inspiration to the big stage, they just may make better choices, and think about where the music they enjoy comes from. Furthermore, Nashville has become a music outlet to a nationwide audience that may otherwise not be exposed to the music of independent artists like Caitlin Rose, Lindi Ortega, Ashley Monroe, Shovels & Rope, and so many more.
There are many good, independent country bands that are enjoying a rise in interest in 2013, but there may not be a bigger rags to riches story (so to speak) than Hellbound Glory landing an opening spot on a Kid Rock arena tour. Going from playing half-empty bar rooms to sold-out arenas, Hellbound Glory is seeing the recognition their quality country music has been deserving for years. And the opportunity has been paralleled by bigger crowds and better support even after the arena tour ended.
Caitlin Rose, Valerie June, Lindi Ortega, Austin Lucas, Amanda Isbell, Cory Branan, Jonny “Corndawg” Fritz, and so many more that call east Nashville home (or at least to some extent) have seen career watermarks and burgeoning interest in 2013. Forget Music Row or the circus downtown, Nashville, not Austin, is the new vibrant epicenter for independent music, and the artists there pushing and supporting each other is fostering a creative environment that regardless for how long it lasts, will be looked back upon fondly in the future as a time and place that got it right, and set the bar for artistry and substance. Add on top of that already-established and influential artists like Jack White and Dan Auerbach, and Nashville is the place to be in 2013.
“Cowboy” Jack Clement and Bobby Bare Inducted Into the Country Music Hall of Fame
Yes, two very important players in the rise of country music’s “Outlaw” movement finally got their due this year, and it was especially timely for “Cowboy” Jack Clement who would pass away only a few months after the announcement. Though there is still a long list of worthy inductees that many fans worry will never get in, these two men prove that the Outlaws will not be forgotten, and move other important country music icons one step further to being inducted themselves.
If you feel like the Outlaws of country music have not been dealt a fair deal and they need need a new institution to give them the support and recognition they deserve, your wishes were granted in 2013 when it was announced there will be a new Outlaw Country Music Hall of Fame in Lynchburg, Tennessee coming soon. Nashville may have swept their legacy off the streets like common refuse, but at least somewhere the Outlaws will ride eternally.
If you desire more validation that 2013 is the “Year of the Song,” then behold the overwhelming breakout success of Jason Isbell in 2013. Bolstered by his manager Traci Thomas, a bulldog of the Thirty Tigers group, Jason Isbell is becoming the defining songwriter of our generation. If you ever wished you could go back and re-live the heyday of Guy Clark and Townes Van Zandt in their prime, watching Jason Isbell and his 2013 tear is the next best thing.
With radio becoming less and less accessible through every measure of consolidation by Clear Channel and Cumulus, new outlets must open up to support independent music. And they are in 2013, and sometimes in the most uncanny places. David Letterman not only has been giving his stage over to artists like Dale Watson, Ray Wylie Hubbard, Pokey LaFarge, Shovels & Rope, and so many more, he’s been seeking out this talent to play his show as a fan of the music. Where big network TV debuts for independent artists seemed to be a thing of the past, now they seem to be a weekly occurrence.
To the passive country music fan, the name Garth Brooks may be nothing more than a famous name from the past that they recognize or remember from his heyday. But to many dedicated traditionalist country fans, Garth Brooks symbolized the mass commercialization of country music with his flashy shows in sold-out stadiums, and his multi-platinum albums. Somewhere in the shuffle though, Garth’s sonic legacy got lost. And as the integrity of mainstream country continues to erode day by day, Garth continues to look more and more like a traditionalist country artist himself.
Garth Brooks was voted into the Country Music Hall of Fame in his first year of eligibility in 2012. As is to be expected, Brooks was humble in his acceptance. But what went unreported at the time is that Garth actually attempted to turn his induction down, feeling that there were others that were more worthy than him.
Garth Brooks was interviewed by Leslie Armstrong of Nashville Country Club in the Hall of Fame rotunda right after the inductee announcements on March 6th, 2012. When asked what Garth did when he first got the news of his induction, he said:
I know this is going to sound bad, but you asked, okay? So my first thing was is I called the guys up and I say, “Look, I don’t think I deserve this at this time, you know. Is it possible to turn this thing down and wait?” And they said, “No, it’s not possible to turn it down.” I said, “Well I tried, okay, we’re in!” I’m trying to enjoy the day. And at the same time, all you can think about are the people that need to be in here that aren’t in here yet. So now it’s every Hall of Fame member’s job to make sure that we push and push to make sure all those people get in here, and eventually they will. And they should have been here before Garth Brooks.
Who else should have been inducted before Garth? In both Garth’s initial speech at the announcement and in subsequent interviews that day, Garth said that Keith Whitley, Ricky Skaggs, and Randy Travis deserved to be inducted before him. As he told Inside Music Row:
I felt guilty and embarrassed and honored. Randy Travis cleared the whole way for the 80′s for guys like me and the class of ’89 to come through. He opened all those doors. My generation’s shot at Haggard and Jones was Keith Whitley. Keith needs to be in here. My God, Rickey Skaggs. None of us would be here if it wasn’t for Ricky Skaggs. He filled all the honky tonks and everything there. There’s a lot of catching up to do, and like everybody that goes in it, says it. And they’ll eventually get here. I just don’t think that I should have been here before them. But I feel very honored, and I’ll take it and feel very grateful for it.
Garth also explained that superstardom was not his original intention for coming to Nashville.
I wanted to be a songwriter when I came here. I came here with “Much Too Young to Feel This Damn Old” for George Strait. That was it. I didn’t have any dreams or aspirations after that. Never touring, never cutting records. I wanted to be a songwriter. It’s weird because I didn’t know then that the greatest honor in this town is being called a songwriter.
Of course it is the job for inductees to act humble and thank others when they are bestowed the Hall of Fame honor. But with Garth Brooks, he seemed to take it to another level, knowing his legacy was likely cemented and his place in the Hall of Fame assured, but worried about taking that honor away from someone who came before him and helped usher in his success.
Garth officially retired from music in 2001, though he’s made random appearances over the years and signed up for a Las Vegas residency in 2009. His primary reason for retiring was to spend more time with his kids until they completed high school, which will happen next year. Nobody knows, maybe not even Garth, what he might do in country music in the coming years. But whatever he does, Garth’s time off may have taught him an important lesson that kept his music from country’s more traditionally-oriented fans during his heyday: how to be humble.
The Country Music Hall of Fame and Museum in Nashville, TN has just announced their 2013 inductees. The new members to country music’s most prestigious institution are “Cowboy” Jack Clement, Bobby Bare, and Kenny Rogers.
Honorary host Bill Anderson made the announcement from the Hall of Fame rotunda Wednesday morning (4-10). The Country Music Hall of Fame inductees are selected through a committee process appointed by the CMA. Since 2010, the selection process has been split up into three categories. 1) Modern Era (eligible for induction 20 years after they first achieve “national prominence”). 2) Veterans Era (eligible for induction 45 years after they first achieve “national prominence”). 3) Non-Performer, Songwriter, and Recording and/or Touring Musician active prior to 1980 (rotates every 3 years).
“Cowboy” Jack Clement (non-performer) is one of country music’s most legendary songwriters, producers, and personalities. Clement got his start at Sun Studios, helping record and produce the original hits for Elvis Presley, Johnny Cash, and Carl Perkins. Later he would start his own home studio, where greats such as Waylon Jennings, Charley Pride, and Townes Van Zandt recorded with Clement in the producer’s role. He also wrote successful songs from Dolly Parton, Bobby Bare, and Jim Reeves. “I’ve been chosen for the Country Music Hall of Fame?” Clement said. “I thought I was already in the Hall of Fame, I could have gotten in there any time I wanted. Kyle [Young] (Hall of Fame President) gave me a key.”
Bobby Bare (Veteran’s Era) is the original country music Outlaw. Bare was one of the very first to fight for creative freedom in country music, and also pushed the limits for lyrical content in country when he released the song “Streets of Baltimore” written by Tompall Glaser. Glaser recognized Jerry Reed in his speech at the announcement. “Reed played on every hit I ever had. He was kicking it in the ass.” His son Bobby Bare Jr. is also a musician.
Kenny Rogers (Modern Era) aka “The Gambler” is one of country music’s greatest ambassadors. Kenny became a country hitmaker beginning in the late 70′s with the song “Lucille.” His work in movies like The Gambler and Six Pack, as well as collaborations with Dolly Parton and Dottie West helped sell country to new fans and a new generation.
2012 was a high profile year for Halls of Fame. From the kilted screecher Axl Rose pulling like a Sex Pistol and telling the Rock & Roll Hall of Fame to kiss off, to the Baseball Hall of Fame not inducting a single member as the steroid era falls like a shadow on the eligibility timeline. Similarly to baseball’s Hall of Fame, and in polar opposite of its rock & roll counterpart, the Country Music Hall of Fame has kept its legitimacy and honor over the years by being an exclusive get.
The Country Music Hall of Fame inductees are selected through a committee process appointed by the CMA. Since 2010, the selection process has been split up into three categories. 1) Modern Era (eligible for induction 20 years after they first achieve “national prominence”). 2) Veterans Era (eligible for induction 45 years after they first achieve “national prominence”). 3) Non-Performer, Songwriter, and Recording and/or Touring Musician active prior to 1980 (rotates every 3 years). With a musician, Hargus “Pig” Robbins selected in 2012, and songwriter Bobby Braddock selected in 2011, it will be a non performer (ie producer, record executive, journalist, etc.) that will be eligible for induction in 2013.
Since 2001 when there was a whopping 12 inductees, anywhere from 2 to 4 names have been added to country music’s most prestigious list each year. Usually one name from the above mentioned categories makes it per year, but if no name gets enough of a majority vote, a category may not be represented in a given year. Or, if two names get enough votes for a single category, then both may come from that category.
Modern Era Possibilities
Modern era inductees are usually big, high-profile names in the first few years of their eligibility. In 2012 it was Garth Brooks. In 2011 it was Reba McEntire. These are performers who would have risen to prominence between 1968 and 1993.
Alan Jackson – This is the big name this year that could be inducted in his first year of eligibility like Reba and Garth. Jackson would be a solid pick as a pretty strict traditionalist who experienced lots of commercial success and still remains relevant in country today.
Ricky Skaggs – Along with Kenny Rogers, Ricky Skaggs was one of the names that felt right on the bubble of being inducted last year. Skaggs has bookened his career as a mandolin maestro, studying under Bill Monroe and now firmly ensconcing himself as a country music elder. In between then, he had tremendous commercial success in the 80′s when country was searching for its next superstar. This would be another pick that few could argue with.
Kenny Rogers – He must have been only a few votes from induction last year, and it only seems like a matter of time before The Gambler gets in. The month after the 2012 inductees were named, Rogers was named the Hall of Fame’s “Artist in Residence,” possibly signaling that Kenny was close, but not quite there. Some purists may complain that Kenny started in rock and also helped usher in a more pop-influenced era in country, but you will find few who can argue that eventually Rogers doesn’t belong in The Hall.
Hank Williams Jr. – Could also be considered a veteran candidate depending on where you start your timeline, and another man who will be a hall of famer at some point (with 2 CMA Entertainer of the Year awards under his belt). The question is, is this the year? Last year Jr. seemed like a strong possibility, and then a political brushup that cost him his long-standing gig as the singer for Monday Night Football seemed to sour Hank Jr. sentiment with some. With so many eligible names and so few slots, if there’s any little reason to leave a name out until next year, it’s likely to be passed over. Hank Jr. has become a polarizing figure, and the selection committee may look for someone who can build more consensus.
Brooks & Dunn – Brooks & Dunn was a commercial powerhouse whose career is somewhat shadowed by the success of Garth and their strange place as a non-familial country duo. Their first album Brand New Man sold 6 million copies, and they won the CMA for Vocal Duo of the Year every year between 1992 and 2006, except 2000. They’ll be in eventually, but is the list of names in their field still too strong for this to be the year? Their success is not debatable, but did they have the type of influence it takes to be Hall of Famers this early in their eligibility window?
Toby Keith – Officially eligible because his “Should’ve Been A Cowboy” was released in 1993, but it wasn’t until the 2000′s when Keith really became a dominant force in country music, both commercially and influentially. He’s a long shot, but a possibility.
Other possibilities: Ronnie Milsap (saddled by his “crossover” status), The Judds, Randy Travis (bad news year for him), Clint Black (and his disappearing act for the last few years), Tanya Tucker, The Oak Ridge Boys, Crystal Gayle, and Mickey Gilley.
Veterans Era Possibilities
It is much harder to compile a field of candidates in this category because the time period is so wide, and the possibilities are so endless. So instead of trying to name off every possibility, here are some serious contenders, and some interesting names.
Gram Parsons – The push to put Gram into the Hall of Fame has been going on for years, but with a wet finger sticking up in the air, I think this year may be the one that if he’s not fully inducted, there will at least be enough votes for him through the induction process that he will really have to be looked at in coming years as a serious candidate. Influential country writer Chet Flippo featured Gram’s influence in August. What once looked like a ridiculous notion, now seems like a real possibility, and that is a victory for the Gram Parson camp in itself.
Jerry Lee Lewis – Jerry Lee has received a big push this year, and is a definite possibility for induction. He may be held back some since he came from rock & roll, and his antics on The Grand Ole Opry and other places over the years. But his contributions as one of country music’s preeminent piano players cannot be denied. If Elvis is in the Country Hall (and he is), his old Sun Studio’s buddy can’t be that far behind.
Jerry Reed – Such a great ambassador over the years for country music from his work with Smokey & The Bandit to Scooby-Doo, but Jerry Reed should be inducted for his stellar and influential work as both a performer and a musician. There weren’t many better guitar pickers back in the day than Jerry Reed.
Lynn Anderson & Dottie West – Lynn and Dottie are the two ladies that probably lead the field for female veteran inductees. The question with Dottie is if she’s known more as a duet performer. The question with Lynn Anderson is a few DUI arrests over the years. Still, both of these ladies are right on the bubble, and would not be surprising as the 2013 veteran pick.
John Hartford – I admit this is a long shot pick, but I believe he deserves induction. As I said in last year’s prognostications, “The Country Music Hall of Fame works like a timeline as you walk through the displays that weave around the massive archive in the center of the building. As you start from the beginning, each artist and their impact is displayed on a plaque that includes their Hall of Fame induction date. When I came to the John Hartford display on my last visit to The Hall this summer, he was the first to have a display, but no Hall of Fame induction date.”
The Maddox Brothers & Rose – The Maddox Brothers & Rose was a name I’m sure was not on anybody’s radar, until this year. With their prominent place at the very beginning of the Hall of Fame’s current Bakersfield Sound exhibit, it is hard not to see how important their influence was on country music, especially West Coast country, and the flashy dress of country performers that still influences the genre today. I agree it is a long shot, but if groups like The Jordanaires and The Sons of the Pioneers are in The Hall, certainly The Maddox Brothers & Rose should be.
Johnny Paycheck and David Allan Coe – These names come up every year from hard country fans, and are names regularly held up as evidence of the Hall of Fame’s illegitimacy. The simple truth is that with these two performer’s shady pasts, Hall of Fame induction is going to be difficult. Johnny Paycheck has a more distinct possibility than David Allan Coe, because Coe could create a public relations nightmare for the Hall of Fame from people (correct or not) who label Coe a racist, sexist, etc. etc. Patience mixed with persistence is what Coe and Paycheck fans need to see their heroes inducted, as time heals all wounds. Eventually I think both men should be in, but they may have to wait for a year with a weaker field. Seeing Hank Jr. go in may be the sign the Paycheck and Coe’s time is coming.
Other possibilities: Johnny Horton, Bobby Bare, Jimmy Martin, Ralph Stanley, June Carter Cash, Tompall & The Glaser Brothers, and an endless list of other possibilities.
Non Performer Possibilities
Possibly the hardest category to prognosticate, I would put Fred Foster as a producer candidate, music publisher Bob Beckham as another candidate, and Chet Flippo as a candidate for a music writer. Chet Flippo wrote the introduction to Willie Nelson’s Red Headed Stranger and Wanted: The Outlaws, and was seminal in spreading the influence of country in the 70′s with his writing in The Rolling Stone.
Really, Mike Curb‘s name should be in the discussion. He is the namesake of the conservatory that greets you when you walk into the Hall of Fame. But with his shenanigans the last few years battling both artists and other labels in the courts, Mike Curb may be waiting a lot longer for Hall of Fame induction, if not forever.
Saving Country Music’s Picks
If I had a vote…
Modern Era: Ricky Skaggs
Veterans Era: Gram Parsons, Jerry Reed, John Hartford, Maddox Brothers & Rose, Johnny Paycheck. If I had only one? Give me Gram and we’ll worry about the others next year.
Non Performer: Chet Flippo
The annual Muddy Roots Festival held over Labor Day weekend announced their initial lineup last week (see below) and at the top of the list was the name of legendary Bakersfield Sound songwriter Red Simpson, chiefly known for his devotion to the story of the American truck driver. Living on the outskirts of Bakersfield in an old trailer park, Red was recruited for Muddy Roots during a chance meeting with Century Media recording artist Bob Wayne who was touring through town.
In a strange turn of events, Bob Wayne found himself sitting in Red Simpson’s trailer at 6 AM, swapping songs and stories with a man he considered a hero, and who country music has so unfortunately forgotten over time.
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Bob Wayne: When I first started touring with Hank3, mainly Andy Gibson (Hank3 steel guitar) turned me on to him. Basically when we’re on tour and rolling down the road, we’re listening to music that we love, and turning each other on to music. Andy was like “Man, you’ve got to hear Red Simpson,” and he has all his CD’s. As soon as I heard it, I immediately fell in love with it and we would constantly be listening to it. He’s always singing about truck driving, or being a highway patrolman. We just thought it was so funny that was his only two topics pretty much. We obsessed over him for years. I was a huge fan, but I never looked him up to see what he was doing. I knew he was still alive but I figured he was really old.
Trigger: He must have been a big influence on your music as well. Your 2nd album was 13 Truckin’ Songs and since then you’ve put out even more trucking songs.
Bob Wayne: Definitely. When we we’re recording (with Andy Gibson), he was one of the guys we would go to to get the sound we were looking for. We’d listen to Johnny Paycheck, Red Simpson…just pull up these records and listen to them, and we really listened to Red Simpson’s guitar players. In fact we gave him a little tribute in the song “Mack.” It’s kind of subliminal, it’s in the background, but there’s a little guitar lick in there about Mack the truck driver. Red’s sound is just amazing.
Trigger: So how did it come about that you were hanging out with Red Simpson in Bakersfield and all of a sudden you’re helping book him at the Muddy Roots Festival?
Bob Wayne: It goes back to my guitar player Ryan (Clackner). He’s got a really big beard. He was in downtown Nashville–this goes back to last summer I think–and he was just sitting there hanging out, and this woman came up to him that was probably in her 60′s, and came up to Ryan out of the blue and said, “I just love your beard, and your aura.” She told him, “I work at the Crystal Palace in Bakersfield.” It’s a famous museum and restaurant down there in Bakersfield, and she gave him her number and said if he was ever in Bakersfield he could have a free tour or whatever.
This was all before Ryan joined my band. So he joins the band now, and we’re in Bakersfield and he ends up calling this girl and she comes to our show. We get to talking and I mentioned Red Simpson, not knowing she knew him or anything like that. I said, “I love Bakersfield, this is where Red Simpson is from.” And she said, “Do you like Red Simpson?” and I said, “I love Red Simpson, you don’t even know.” About 15 minutes later she walks over with the phone and says, “Someone wants to talk to you.” I’m like “Okay?” And I get on the phone and it’s like, “Hey, this is Red. How’s it going man?”
We started talking. Ended up he knew Donnie Herron of BR549 who now plays with Bob Dylan and whose played on all of my albums. Donnie used to live in Bakersfield. So we had that connection. And then Red was like, “Why don’t you come over tomorrow morning and we’ll drink some coffee? We’ll trade songs.” Just listening to him talk, I’m such a fan of his–like the way he laughs, he gives a little “heh” like he does at the end of some of his songs I was like, “Oh my God this is really him.” I was a little star struck. This is one of my heroes. He says, “How about 6 AM?” and I’m like, “Oh my God.” He’s 78 I think, so he’s up there. So I got up early, none of the band wanted to go that early.
He lives in a trailer park in Bakersfield, right in between the cemetery and the dump in this old ass trailer park. He’s got two old Cadillacs sitting out in the front, just like my old Cadillac limo. We ended up sitting there talking for hours, drinking coffee. He showed me all his demos, he played me all the unreleased Red Simpson songs that he’s just written. He’s just sitting in his trailer writing all these songs. He said, “Man, I’d really like it if you’d cut this one.” He gave me a couple of songs he really wants me to record. I asked him, “Do you still play gigs?” And he said, “I play down at the nursing home every Monday night for a free meal.”
So anyway we ended up hanging out all day until I had to leave. We we’re driving up to the next gig and I thought, “Man, I wonder if he would want to play Muddy Roots?” So I called Jason (Muddy Roots promoter), and Jason said, “Oh hell yeah.” So I called up Red and he said, “Well, I don’t have any band up there. And so I said, “We’ll learn your songs and do a good job.” Andy (Gibson) was really excited too. He said, “One minute we’re driving down the road listening to Red Simpson, now we’re going to be playing with him!”
Red is also going to do a show at the Country Music Hall of Fame February 23rd, and I’m actually going to pick him up in my limo and give him a ride to it. We’re going to hang out, he’s gonna come by the house, and we may do some recording and stuff. So Red Simpson is gonna be going to the Country Music Hall of Fame in my limo, and I’m gonna blow the big bullhorn for him and open the door and everything!
Trigger: This is all so appropriate because the Country Music Hall of Fame, their big exhibit is highlighting the Bakersfield Sound, which of course Red Simpson was a part of as much as anybody. It’s all about finding these old guys that time has forgotten, and giving them the props that they deserve.
Bob Wayne: Yeah, and it was funny because after I called him, about 10 minutes after he called me again and said, “Hey man, thank you so much for doing that. And uh…if you can get me any more gigs…” (laughing). So I’ve been putting out some feelers for him. Now I’m friends with him, it’s weird. We call, I talk to his wife and stuff. It’s crazy. — Purchase Tickets to the Muddy Roots Festival
Marty Stuart is the man. More so than any other modern country music artist, Marty does everything right, from preserving the roots of country and helping to keep the traditions alive, to putting out fresh, fun, and relevant music, to taking up the cause of the oldtimers and the up-and-comers alike to keep the country music community both honorable and vibrant. You name it, Marty has done it, and done it many times away from the cameras and country writers, simply from a passion for country music, and from the kindness of his heart.
Marty Stuart breathes country music, and helps preserve it and pay it forward almost as if it was an involuntary action. He doesn’t know how to do anything different. The man is tireless, touring many months out of the year, and spending the majority of his time when home in Nashville on his Marty Stuart Show or playing the Grand Ole Opry, or other endeavors that many times seem to be about promotion someone other than himself. The amount of talent he has churning through the Marty Stuart Show set alone is boggling, and it is about the only place left in American popular media where you can see what real country entertainment once was.
You know, I’ve heard some folks say that Marty is “hokey,” probably partly in response to his RFD-TV Show. I’ve heard others remark that he’s just plain weird, maybe from his flamboyant hairdo or dress. What’s funny though is when it comes to Marty Stuart’s music, all of that stuff seems so superfluous. His recent output is responsible for some of the hardest-charging guitar music that exists in country right now, walking right up near the line of rock & roll, but cleverly knowing where not to cross it. The magic Marty is making with “Cousin” Kenny Vaughan and the double-barreled Telecaster twang-out sound is something that will go down in the annals of country music as one of its coolest eras.
Marty Stuart also has excellent ballads and beautiful instrumentals and traditionals that include some of the tightest musicianship and harmonies you will find, mostly the fault of his excellent band The Fabulous Superlatives. From gospel to Outlaw, Marty Stuart can work within all of country music’s colors, and practice the art of playing and living authentic country music that he preaches. As Marty says, “The most Outlaw thing you can do in Nashville right now is play country music.”
One thing that many folks don’t know about Marty Stuart is that he owns a vast archive of country music memorabilia, and not from a personal desire to horde expensive valuables, but a sincere desire to preserve these artifacts for future generations of country fandom.
I’ve heard many stories about Marty’s generosity from other artists over the years, but the one that sticks with me most was from 90-year-old Don Maddox, the last surviving member of the Maddox Brothers & Rose. When Don flew out from the West Coast to be a part of the opening of the Bakersfield Sound exhibit at the Country Music Hall of Fame, Marty acted as Don Maddox’s personal tour guide in Nashville, taking him to see the Maddox Brothers costumes Marty gobbled up years ago for safe keeping (some of which were given to the Hall of Fame for the Bakersfield exhibit), inviting Don to play with him on The Grand Ole Opry, and putting him on The Marty Stuart Show.
Marty’s generosity stretches out to all sectors of real country music, to up-and-coming acts like The Quebe Sisters and Justin Townes Earle that he’s invited on his TV show, to Hank Williams III who appears on a duet on Marty’s latest album Nashville Vol. 1 – Tear The Woodpile Down.
And in the end, Marty Stuart’s music is the reason he deserves this honor the most. The reason Marty is in a position to do all the great things that he does is because he is so revered by his peers, by country music’s historic institutions, and by the overall country music community.
Simply put, Marty Stuart is saving country music.
Don Maddox, the last surviving member of the wildly-influential Maddox Brothers & Rose, will be recognized in his hometown of Ashland, Oregon for his 90th birthday at the Don Maddox Birthday Celebration on Saturday, December 8th.
Don Maddox moved to Ashland, OR from California in the late 50′s after The Maddox Brothers & Rose disbanded, and bought a 300-acre cattle ranch where he’s been “hibernating” (in his words) from the music business for the last 54 years. Don still works and lives on the remaining 80-acre parcel, where one of Ashland’s landmarks, Don’s “Maddox Revolution Angus” barn sits prominently on a hillside on the east side of town.
The Maddox Brothers & Rose are one of the most influential bands in the history of American music. Don and his family migrated from Alabama in 1933 during the Depression to California, and became the first band to formulate what would later become known as the California country, West Coast, or Bakersfield Sound. They were called “The Most Colorful Hillbilly Band” and played shows with folks as far ranging as Ernest Tubb and Elvis Presley.
It is said that Elvis when playing a show with The Maddox Family in Beaumont, TX was inspired by The Maddox Brothers’ colorful uniforms and adopted the fashion style himself. The Maddox Brothers and Rose were there at the beginning of the formation of country, rockabilly, and rock and roll music, and are given credit for influencing them all equally.
Don Maddox has been enjoying a major resurgence in his musical career thanks to the re-popularization of the music of Maddox Brothers & Rose, and his own music he’s been releasing on his record label “Revolution Records”. Don and The Maddox Brothers and Rose are heavily featured in a brand new exhibit at the Country Music Hall of Fame in Nashville, TN showcasing the Bakersfield Sound from California that Don and the Maddox Brothers were seminal in creating.
When Merle Haggard was asked to be part of the opening ceremony for the Bakersfield Sound exhibit, he said, “If you don’t have Don Maddox out here for this, you may as well not have it at all.” During Don’s trip to Nashville for the opening of the exhibit, he was also invited on to the Grand Ole Opry where he received two standing ovations. He also has headlined the Muddy Roots Festival in Tennessee the last two years.
Don Maddox’s 90th Birthday Celebration will feature performances by the Oregon Old Time Fiddlers, Sage Meadows and her band High Country, Don Maddox himself, and the legendary Ashland bluegrass group Siskiyou Summit, who was the backing band Don’s sister Rose Maddox for many years. Rose, who passed away in 1998, is buried in Ashland, as are all the members of Maddox Brothers & Rose.
Don Maddox’s 90th Birthday Celebration will be from 2 to 6 PM, December 8th at the Ashland Community Center, located just across from Lithia Park at 59 Winburn Way, Ashland, OR 97520. Don’s actual birthday is Pearl Harbor day, December 7th.
For more information and to purchase tickets, go to www.donmaddox.weebly.com.
Presentation to the Ashland, OR City Council at part of the Don Maddox 90th Birthday Celebration:
Don Maddox on the Marty Stuart Show:
ABC’s new drama Nashville just signed on for a full season of shows, and has been winning its time slot in the ratings virtually every week since its inception. As canned as the drama may be, as ugly of a construct of modern TV as it may be, and as dirty as it may make anyone feel for watching it (or even enjoying it), it’s safe to say the show will be around for a while. And with its continued popularity, it will likely have a keen impact on American culture.
So what positives could come from the show? If you take away all the drama between the characters that’s really the central focus of the series, what you have is the biggest inside look into the business of country music ever released to the public through popular media, and a vehicle for presenting new music to millions of folks. The ugly trappings of Nashville go with out saying. Here are some of the positives.
I have to hand it to the show’s music czar T Bone Burnett. I’ve always been on the other side of the silly love affair the Americana world has with this man, but he’s been showing tremendous breadth of music knowledge so far in the series. I thought we’d see a healthy dose of the usual suspects of Americana in Nashville; the same names who win all the AMA awards annually and feel very much like an exclusive crowd. Instead we’ve heard from such outliers as Shovels & Rope and Lindi Ortega.
Sure he could always dig deeper, and I’d love to see some of that independent love extend to the country, Texas, and Red Dirt worlds. But we have to understand this is the big time here. The bump even a 30-second snippet of music or a quick appearance from an artist can give to their name can be immense, not to mention the mailbox money ABC pays out to use a song.
And it hasn’t just been independent, rising-stars getting love from Nashville. Oldtimers like Del McCoury and behind-the-scenes musicians like Sam Bush have enjoyed cameos, while clips from country legends like Tammy Wynette have weaseled their way onto the soundtrack. Nashville is exposing all the alternatives to mainstream country: past, present, and future.
Important Nashville landmarks, from The Country Music Hall of Fame and the Ryman Auditorium, to cool little independent night spots in east Nashville and on lower Broadway are getting favorable face time through the series, and it’s hard not to see how if the show remains popular people won’t make it a point to visit these spots when they visit the city. Sure, this can have a negative impact too, taking away the exclusivity or authenticity of some of these venues in the long term (see Tootsie’s Orchid Lounge). But the series works as one big infomercial/tourist brochure for Music City that will likely result in a positive economic impact.
UPDATE (11-29): Last night’s Episode 7 featured two very important Nashville landmarks, The Ryman Auditorium, aka “The Country Music Mother Church”, and Layla’s Bluegrass Inn, a venue that was at the very heart of the formation of underground country. It also featured a cameo of Hank3′s bass player Zach Shedd.
Terms like “opener,” “co-headliner,” “Autotune,” and “demo” are commonly used on the show, and will become familiar vernacular to the mainstream fanbase that otherwise just waits for the superstar to take center stage and generally thinks that all the rest happens by magic. The whole process of how an album is put together or a big time tour is assembled is showcased as the backdrop to Nashville’s character drama. Songwriter characters play major roles in the show, articulating to viewers the evolution of how a song goes from the page to the stage.
Let’s face it, most mainstream music lovers have little idea where music actually comes from, and standard procedure in mainstream music is to keep all of that behind the curtain. Now through Nashville, the general public sees that it takes seasoned musicians in the studio and at the back of the stage to make an album or a show happen, and that sometimes these people are just as important to the process as the stars. They now know those hit songs are written by other people, many who struggle just to make ends meet, who have to work second jobs and who aspire to be stars themselves.
Nashville has met the issues concerning aging talent head on, and how that talent is mercilessly dealt with on the business side. Sure, the show may not offer any solutions to these problems in the short term, but when people watch Nashville and then see aging artists on the stage or hear about them losing record deals or see young stars come up that may not be talented than the older ones, they will understand on a more intimate level why that is happening. And traditionally, educated consumers make better choices. Nashville is music education through osmosis. It is the music equivalent of hiding your dog’s medicine in a piece of cheese.
Excitement About Music
We are now about a year or so removed from music’s lost decade that spanned the majority of the 2000′s. There are many things to blame for what happened to the music business: the slow move to digitization, the lack of talent, a slow economy, the ever increasing mergers and acquisitions that make the majority of the corporate music world controlled by fewer and fewer people.
But during this period I think overall the American culture was evaluating what the role of music was going to be in our lives moving forward. Sure, when music is harder to get, not as good, and you don’t have as much expendable cash to spend on it, there’s going to be a pullback. But we don’t talk enough about how the entire traditional music industry was teetering on collapse, and how in the last year or two it’s completely pulled out of the tailspin. And also, that one possible way the music industry righted the ship was by offering a slightly better product.
Aside from all the specific factors, I believe part of the reason for the music industry reversal is because people want music to play an integral part in their lives, whether their tastes and dispositions lie in the independent world, the mainstream, or somewhere in between. And that’s why the music of Nashville is such an integral part of the show, and why the show represents all aspects of it.
Music is back, and the success of Nashville proves that, and is in part because of the show’s independent focus, not in spite of it, proving that the independent music world can gain widespread mainstream acceptance if only given a chance.
On Thursday Oct. 4th, Nashville Mayor Karl Dean announced plans to permanently locate the Songwriters Hall of Fame to the new Music City Center, the behemoth convention center and hotel complex in downtown Nashville being built right beside the Country Music Hall of Fame. It was announced previously that the Country Hall Of Fame would be connected to Music City Center and have some shared space between the two buildings. Now the Songwriters Hall of Fame whose home has been virtual up to this point, will have a permanent place as part of the project.
But there is an important wrinkle to this story that is going unreported.
As important of an institution as the Songwriters Hall of Fame is, it may not be the most deserving of a spot in Music City Center. If all things were equal, that opportunity would go to the Musicians Hall of Fame: the institution that was imminent domained by the City of Nashville and given a week to remove its artifacts before being bulldozed to make way for the new building. And more importantly, the Musicians Hall of Fame was the one initially promised the space.
The Musicians Hall of Fame opened in June of 2006 just across 4th St. from the Country Hall of Fame in Nashville, with the charter of showcasing the unsung heroes of music: the musicians behind the big names, and the big names that are excellent musicians as well. Though located in Nashville, the Musicians Hall of Fame didn’t showcase just country music, but all genres, and hosted music lessons and workshops, as well as private events in their museum space.
When plans were launched for the new Music City Center complex, it was determined by the City of Nashville that the Musicians Hall of Fame had to go. Nashville initially reached out to the institution and offered them a space in the new building.
“We were told that they would provide us a place to go for free while the construction was goin’ on for the convention center for the next three years, and then we would move into the new convention center,” says Joe Chambers, the founder and CEO of the Musicians Hall Of Fame. “They brought plans over, they had the plans drawn out for us.”
Where things went south was when the city’s appraiser valued the Musicians Hall of Fame land for $4.8 million, half of what a private appraiser, and the same appraiser that evaluated the property when the Musicians Hall of Fame bought it in 2003 valued it at; $9.8 million. When Chambers refused the City of Nashville’s discounted offer, Nashville took the matter to the courts and had the property seized through governmental fiat. Then the Musicians Hall of Fame was only given 7 days to vacate the 30,000 sq. ft. of space filled with the museum’s priceless artifacts.
This is where the story gets worse.
Since the Musician’s Hall Of Fame was a museum with no home, they were forced to put all of their artifacts in storage. Then in the middle of May, 2010, when downtown Nashville experience historic flooding, the storage place housing the museum’s artifacts was flooded, destroying many of the priceless instruments, including the first drum ever played on the Grand Ole Opry, the upright bass played in Hank Williams’ last recording session, and guitars from people such as Jimi Hendrix, Peter Frampton, and Johnny Cash.
Eventually the Musicians Hall of Fame did find a new home a mile down the road at the Nashville Municipal Auditorium. The Hall of Fame will be housed in the building’s basement, and the name of the building is being changed to “Musicians Hall of Fame at the Municipal Auditorium” but this is no gift from the City of Nashville. The Hall of Fame is having to lease the space from the city instead of owning it like the previous location. They also must pay for all the expenses due to the name change of the auditorium.
The good news is the Musicians Hall Of Fame did eventually find a new home, and one that still exists in downtown Nashville. The Musicians Hall Of Fame is still not open at its new site. Its website says the hope to open sometime later in 2012. Calls and emails to them from Saving Country Music for comment were not immediately returned.
The question that citizens of the City of Nashville and citizens of the music community should be asking is how did the Songwriters Hall Of Fame and the Musicians Hall Of Fame get swapped in the Music City Center project? If there is enough room for a hall of fame on the premises, why would the preference not go to the one initially promised the space, and whose home got razed in the construction?
No offense to the Songwriters Hall Of Fame. It is great they finally have a physical home, and it appears that the Musicians Hall Of Fame is happy with their location at the municipal auditorium, and that the city is working with them to attempt to make it right. But with the announcement of the Songwriters Hall Of Fame being part of the Music City Center complex, if feels like an injustice has been done to the Musicians Hall Of Fame. Once again.
Because Dwight is just so damn cool, and because it’s been quite a while since his heyday, it’s easy to forget that at one point he was one of the biggest things going in mainstream country music; selling out arenas, and shaking up the sound with his neotraditional, Bakersfield-fueled tunes. Yoakam has sold over 25 million records and charted 30 singles, but you don’t think of him as a mainstream success, he’s the man you shake your fist at, but love all the same because he will always be cooler than you.
7 years is a long time to be absent from an original release, though Yoakam has plenty of excuses and been plenty busy with numerous movie appearances. He says the long lapse was not planned, but after coming off the joyride that was the mid 80′s through the early 2000′s for Dwight, crowds and sales were beginning to dwindle. Where he once played arenas, he was now headlining county fairs and releasing albums on smaller labels like Koch and New West.
Now he’s back on Warner where his career started in earnest after coming up playing mostly in rock and punk circles and being branded too “out there” by Nashville. You probably won’t see Yoakam’s name on your local arena’s marquee (he plays a lot of concert-catering casinos these days), but it feels like the Yoakam hiatus allowed his career to baste and simmer until now he’s re-emerged as a younger, but bona fide country music legend; a much more appetizing alternative to grasping to hold on to your youth and mainstream relevancy (see Hank Jr.). 3 Pears debuted at #3 on Billboard’s country chart, and was helped along by a top-notch media push by a big label.
It would have been impossible to screw up 3 Pears. With Dwight’s molasses voice, all you have to do is cut open a live mic in a studio and magic will happen. What’s the old saying about singing the phone book? When Johnny Cash has cited you as his favorite country singer, you know the talent is natural. All it needs is an outlet.
After giving 3 Pears an extended listen, I was curious of why even though I liked all of the songs, only a few of them seemed to grow on me to the point of where I craved them. I think this is a product of the production. Though none of the approaches to the songs are necessarily wrong, some feel like they are stretching, like they are trying to make sure the songs sound hip and fresh instead of letting them breathe and find their own path.
For example, the very first song, “Take Hold of My Hand” starts off with a very hip bass line. This is a song that Yoakam had been sitting on for 20 years and reached out to Kid Rock to help finish. No offense to bass guitar (or Kid Rock), but when I hear a Yoakam song, I don’t want to notice the bass. I want to be grabbed by the collar by Yoakam’s voice and have everything else compliment it. Similar bass action starts of the song “Trying”, an otherwise excellent song and one of the best on the album. But despite whatever production miscues, the strength of the material rallies.
Beck also helped out on 3 Pears, collaborating and recording two songs at his Malibu studio, “Missing Heart”, and in my opinion the gem of the project, “A Heart Like Mine”. This song is where everything comes together. Where some of the tracks on 3 Pears come across as a little too polished, here the guitar is dirty, the words a hard to make out, and that’s the way I want my Dwight. If I can’t understand the words because Yoakam’s voice is in that sweet spot for his drawl and inflections, that’s perfect, because that means I can feel them.
One of the hardest things for an excellent singer to do is to write to their vocal strengths. That’s one of the reasons Dwight has released 4 cover albums, and why some of his biggest hits were version of recognizable songs, (ex: “Crazy Little Thing Called Love” and “Streets of Bakersfield”). Yoakam finds that magical combination of originality and his singing sweet spot a few times on 3 Pears. He also let’s fly a great cover of the oft-covered “Dim Lights, Thick Smoke” that has its roots in the original Bakersfield Sound that Dwight helps carry on and that is being showcased right now (and that song specifically) at the Country Music Hall of Fame’s Bakersfield Sound exhibit.
Dwight Yoakam is an important figure in the quest to save country music. He’s authentic, real, and original. Yet he’s also successful, accepted, proven, palatable to the mainstream, and perfect for outreach with his acting career. He’s country’s king of cool (despite what he looks like without a hat), and 3 Pears is a solid contribution that will hopefully re-ignite interest in this iconic, one-of-a-kind country music talent that generations deserve to hear.
1 3/4 of 2 guns up.
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Warning: Rank classless immaturity ahead.
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As some of you may already know, I’ve got a good friend named Pointer, and every year we get together for an annual trip to downtown Nashville around Labor Day. Pointer and I are great friends and we both love country music, but we couldn’t be on more opposite sides of the country music spectrum. You see, I like the old stuff and the cool independent stuff of today, while Pointer loves pop country. But that’s okay, we’re such good friends we get along with each other and enjoy our annual trip to Nashville together.
Last year Pointer and I visited downtown Nashville and had a great time. He loves to have his picture taken in front of things. So I thought I’d share some snapshots from Pointer’s and I’s 2012 downtown Nashville trip.
The first thing we saw as we were pulling into downtown Nashville on I-40 was a huge billboard advertising Rascal Flatts!
Pointer is a HUGE Rascal Flatts fan, and so he had to get his picture taken with it!
Then we headed into downtown Nashville proper. Nashville has such a beautiful skyline. I snapped this picture when Pointer and I were strolling along the Shelby Street Pedestrian Bridge across the Cumberland River.
Pointer loves the Nashville skyline too. He’s also a HUGE fan of CMT’s new reality programming like Redneck Vacation and Bayou Billionaires. I don’t like those shows because I think they perpetuate negative country stereotypes, but it’s all Pointer watches. So when we were strolling downtown, he insisted he get his picture taken in front of their building!
Then we walked across Broadway to the Country Music Hall of Fame!
I was really excited to go to the Hall of Fame to check out their new Bakersfield Sound Exhibit!
One of the things I love about the Country Music Hall of Fame and Museum is that they house the largest archive of country music memorabilia that exists. The most important part of the collection is called “The Precious Jewel” which is 6 of some of the most-important instruments to ever be played in the genre: Bill Monroe’s Gibson F-5 mandolin, Hank Williams’ Martin D-28 guitar, Lester Flatt’s D-28, Jimmie Rodgers’ Martin 00-18 guitar, “Mother” Maybelle Carter’s Gibson L-5 guitar, and Chet Atkins’ D’Angelico Excel.
With such important and historic relics housed in one place, you can imagine my horror when Shooter Jennings and his XXX movement decided a good way to push their branding was to point a tank at a museum hosing these precious icons. Pointer was neither here nor there on Shooter until his recent duet with The Nickelback of Country Music, Bucky Covington. Pointer LOVES Bucky, and loves the duet “Drinking Side of Country” so he wanted to get his picture taken at the place where Shooter pointed his belligerent tank at the last remaining country music institution preserving its history and traditions.
For some reason, Pointer insisted on holding the lens cap when taking the picture. I wonder about that boy sometimes.
So then it was starting to get dark so we decided to hike down to Music Row, the place in downtown Nashville where all the major labels have their home offices. Last year our big stop on Music Row was Curb Records. This year Pointer wanted to find the elusive, unmarked offices of his favorite label, Taylor Swift’s Big Machine Records owned by the Country Music Anti-Christ Scott Borchetta. They purposely leave their building unmarked, but after some cyber-sleuthing and asking around, we found the proper place and Pointer couldn’t wait to get his picture taken in front of it!
Many Music Row offices are housed in older houses, and some tear down the old houses and build bigger buildings as the label grows. According to Pointer and I’s sources, the building being constructed right beside Big Machine’s current home office will be their new office soon, so Pointer wanted to be pictured in front of that as well!
Oh but I’m leaving out the best part! As we were trolling around, looking for Big Machine’s building, who did Pointer and I see than none other than Scott Borchetta himself! I can’t you how much Pointer would have LOVED to get his picture with him, but by the time we had pulled over and located the camera, Scott had slithered inside. So Pointer had to settle for getting a picture with Borchetta’s car.
Pointer and I really enjoyed our trip to Nashville once again, and looking forward to many fun Nashville adventures in the coming years.
Last week it was revealed that in the June issue of the upcoming W Magaine, Miranda Lambert lets loose one mother of a backhanded compliment toward Taylor Swift, saying:
Taylor Swift is a pop singer. But she really helped country music. When she hit, I was thinking, Thank God Taylor’s out there to show people we’re not cheesy. Some people still think that country music is twangy and cheesy, and they pigeonhole us. But I thought if they’re looking for Taylor’s videos or songs, they might see or hear other people they like. If her fans are watching for her, they might like me too.
There’s really many things to unravel from this Miranda statement, including that she calls out Taylor for not being country, but then praises her for showing people country is not “twangy.” Isn’t the presence of twang what makes country country? And the lack of it is what makes country pop? Isn’t Miranda herself offered up many times as an example of country twang? It hearkens back to statements Jason Aldean made before the ACM Awards, about how he didn’t want people thinking country was hayseeds sitting on hay bales.
But more important is this question of how effective Taylor Swift is as a country music apostle, going out there in the world, turning crossover fans into country converts with her music. This certainly must be one of the theories behind the move announced today by the Country Music Hall of Fame to open a “Taylor Swift Speak Now: Treasures of the World Tour” exhibit on June 6th, running through November. Taylor just made a massive $4 million donation to the Hall of Fame for a children’s education center. The two couldn’t be related, could they?
But the Hall of Fame has already had a small Swift display up for a while, across from some of the biggest memorabilia the Hall boasts at the west end of the top floor. The idea is to engage the kiddos with someone they can relate to, and then maybe, just maybe, they may give some attention to all this old people, backwoods hillbilly stuff.
Is this theory effective? I don’t know. And the question embodies the underlying dichotomy of Taylor Swift. In one respect, she’s the country music savior we’ve all been waiting for. She writes her own songs, plays her own music, produces her own albums, respects herself, is a positive role model, and gives back to the community. As a product, she’s brought tremendous revenue to a struggling industry and genre. Bless her heart, she has inspired millions. And as pop, her music holds tremendous levity. But the problem still remains: Taylor Swift is not country.
Do we really think legions of her fans are going to gateway from her music to Waylon Jennings, or even Alan Jackson, or even Justin Townes Earle? And for as many people she may convert to the pop version of country, may she scare just as many away from the traditional side? What are the ratios here? For all the good she may do enticing young fans to the genre, is she chasing away the older ones?
I don’t have any answers here. Taylor could be doing tremendous amounts of good, or she could be doing irreplaceable damage to country. Or her toll could be a complete wash. I think Taylor Swift has done tremendous good for society, culture, and music in general. But I think it’s important for all of us to question the effectiveness of Taylor Swift as a country music gateway drug, and what the lingering, long-term side effects of that drug could be.
Last week, Axl Rose became an enemy to some, and a folk hero to many when he not-so-politely declined his induction into the Rock & Roll Hall of Fame as part of the original lineup of Guns & Roses, and then went on further to question the legitimacy of the whole institution, it’s funding, it’s voting practices and how it justifies its mandate of deciding who gets to be deemed the most important Rock & Rollers of all time.
I still don’t exactly know what the Hall is or how or why it makes money, where the money goes, who chooses the voters and why anyone or this board, out of all the artists in the world that have contributed to this genre, officially “rock” enough to be in the Hall?
By Axl being willing to sacrifice a little bit of his legacy, he solidified it for all time by proving he is one of the most devout rock & rollers of them all, and what a sham of an institution the Rock & Roll Hall of Fame has become in many people’s eyes. Some consider the Rock & Roll HOF a sham because The Beastie Boys, or even Axl’s Guns & Roses were inducted into it before the Canadian band Rush. Others think it’s a sham because Madonna and many others were inducted at all.
Was/is Madonna rock & roll? How about Hank Williams or Johnny Cash who are both inductees? Johnny Cash a little…maybe. Could you see The Beatles and Led Zepplin being members of the Country Music Hall of Fame based solely on their importance in music? Elvis is in the Country Music HOF, but this was in consideration of his deep rockabilly, gospel, and Tennessee roots.
In the end, the Rock & Roll Hall of Fame isn’t illegitimate because of who has been inducted into their institution, it’s illegitimate because it is an institution, formed around a genre of music whose roots are in rebelling against institutions. Conversely, where the Rock & Roll HOF found its fundamental weakness is where the Country Music HOF finds its strength, as an institution representing a genre of music whose fabric is built around the preservation of institutions and traditions.
The Country HOF has also done its rock & roll counterpart one better by keeping its list of inductees fiercely exclusive, not pandering to every petition drive or pretty name who might meet the requirements, being inclusive with their coverage of all aspects of the genre (their new exhibit on California Country being a great example), and being transparent in their operations, financing, and voting system.
Make no mistake, The Country Music Hall of Fame is not perfect, but it is better at preserving its purity than many other country music institutions, like The Grand Ole Opry for example, or even country music itself. Country music fans should be peacock proud of their Hall of Fame, but at the same time take wisdom from Axl Rose’s words, and the mistakes made from its Rock & Roll counterpart. Radio formats, awards shows, TV specials, they all must dabble with the here and now that doesn’t have the benefit of time to prove whether the content is worthy of recognition or not. But with a Hall of Fame, purity must be preserved at all times for the institution to remain strong.
Axl Rose, along with the Sex Pistols’ Johnny Rotten may have been some of the first to refuse their Rock & Roll HOF inductions, but after witnessing the success of their decisions, it’s easy to assume they will not be the last. Let’s hope that the Country Music Hall of Fame does not begin to be known for who requests to remain outside of its round walls, but for who’ve been granted the exclusive and distinct honor of being welcomed within.
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
Yesterday Hank Williams III whose preparing for an East Coast tour in March participated in a live chat on Yowie.com (watch full session at bottom) where he dropped some interesting tidbits about some upcoming plans and projects, including that he’s planning to tour Europe again June 15th through July 15th playing clubs and some festivals, and will be releasing an unspecified collaboration with David Allan Coe in a couple of months. The project came up in connection with the legendary song “The Conversation” between Hank Williams Jr. and Waylon Jennings, and if him and Shooter Jennings would ever do a remake.
Well me and David Allan Coe have taken on that, and it will be coming out in about another two months or so. That’s just one of those songs that no matter who did it, it will never be the same, it will never be as cool as it was. It was a really special song for Hank Jr. and Waylon. Who knows what will happen in the future, but what David Allan Coe and me did will be the closest thing to something like that.
When asked how fans should approach Curb Records’ upcoming release of Long Gone Daddy, an album constructed of outtakes from Hank3′s early Curb albums, he told people to treat it like another disputed album, Hillbilly Joker, and bootleg it instead of buy it.
I would say do what you did with Hillbilly Joker. All they’re trying to do is take away from my sales. That’s why they keep putting out these records because they’re trying to take me and my organization down. So of course I don’t respect any of it. There might be a song on there that you like, but there’s a lot of things that you won’t like on there. You’ll see in time how some people have taken sides with Curb Records, people that were nobody and I helped them back in the day, and now they’re getting a little respect and they’re sticking with the corporate world. So I don’t have any respect for it. I would say get it, burn it, pass it out. I know I’ll never be listening to it. That’s what YouTube is for.
He also talked about his appearance on the new kids album Farmer Jason & Buddies Nature Jams put out by Jason Ringenberg of Jason & The Scorchers.
Jason & The Scorchers has been a big inspiration throughout the years. For him to have the guts to ask me to be on a kids record had a lot of respect. I think he respects my work ethic. He just called me up and said, “Man, would you be into it,” and I said “Sure!” The song was fun, and to be on a track with one of The Ramones, he’s got a lot of interesting people on that. Who knows what will be in the future but that was my first official kids record.
And as for the status of Reinstate Hank:
The sad part about it is they didn’t do it while the Hank Williams exhibit was open at the Country Music Hall of Fame. That’s really the biggest letdown. They should’ve had the ceremony while the Country Music Hall of Fame was showing respects. All we can do is keep ruffling their feathers.
One of the reasons the the Country Music Hall of Fame is one of the most revered and respected Halls in all the land and specifically in music is because it is so hard to get into. It is always better that you look at a list of Hall inductees and wonder why certain names are not in, instead of looking and wondering why certain names are. Sure, just like everyone, I could look at the Hall inductees or a year’s specific class and opine how it should be different, but I have 100% faith in the the Country Hall’s process, and their dedication to always looking big picture when it comes to the preservation of the roots and history of country music.
The 2012 inductees will likely be announced in the next month or so. I anticipate this year’s list to be heavily laden with big names, and light on names from the legends era and behind-the-scenes types. Garth Brooks, Kenny Rodgers, and Hank Williams Jr. could all get in this year. The Oak Ridge Boys, Ricky Skaggs, and Ronnie Milsap are also strong contenders. June Carter Cash seems to be the only serious name for a legend on people’s lists, and Don Rich, Ralph Mooney, Hank Garland, and Johnny Gimble would be strong candidates for musicians who might make consideration.
Garth Brooks will be in the Hall of Fame. Though a few years ago, this might have driven many purists crazy seeing how he is the poster boy for commercial country, the modern day country landscape is shining a much more favorable light on one of the best selling artists ever, only rivaled by The Beatles and Michael Jackson. The question with Garth is not if, but when. We can wait on Garth’s induction because it’s inevitable, and give someone else a chance this year. However the rekindling of his career in Las Vegas and Reba McEntire’s induction last year I think does move Garth closer to induction.
Hank Williams Jr. is another shoe-in for the Hall eventually, but with his 2011 political side show, voters may side step him this year and hope for calmer publicity waters before making it official.
In many ways, Ricky Skaggs is the best of both worlds. The has the purist and roots vote for his unquestionable support and background in bluegrass, but he also played country music superstar for Music Row in the mid 80′s when there was a massive talent shortage. It is hard to make a case of why Ricky shouldn’t be in, and be in this year.
Kenny Rodgers may have started in rock and may carry mainstream baggage for purist voters, but his role in movies and television along with his huge mainstream country hits made him one the 80′s biggest country ambassadors. Weird face and chicken franchises be damned, I think Kenny makes it in, and this year.
2012 Hall of Fame Inductees Predictions
- Ricky Skaggs
- Kenny Rodgers
- On The Bubble – Garth Brooks, Hank Jr. , Jerry Reed, Oak Ridge Boys, Ronnie Milsap, Don Rich
If I had a vote
I do think that both Johnny Paycheck and David Allan Coe deserve to be in, and that it would be nice to see Coe be inducted before he passes. However, both men’s criminal pasts are going to be the long-standing road block against them. Though Coe may be the more recognizable name, I think Paycheck has the better chance as an “Outlaw” based out of Nashville instead of Texas, and how he carried the blue collar banner in country for years.
Another person I think that should be considered seriously is Ralph Mooney. From Buck Owens to Wynn Stewart, from forging the early Merle Haggard sound to touring with Waylon Jennings for 20 years, Ralph Mooney and his lonesome pedal steel guitar sound defined what people think of when they think of country music. He was wildly influential in his discipline. Those first few notes of Merle’s “Mama Tried?” Yeah, that was Ralph Mooney. I know he will not get in this year and maybe not anytime soon. But when the discussion is broached of who should be in The Hall, I believe it is the responsibility of all real country fans to help inject Ralph Mooney into the mix.
Since I believe to keep the Hall pure, no more than 3 inductees should be added in a given year, I’m only allotting myself 3 votes.
Here are my 3 votes:
Gram Parsons – The student in Emmylou Harris was inducted in 2008, now it’s time to induct the master. Simply put, there was never another artist that introduced more people outside the genre to country music than Gram Parsons. He turned The Rolling Stones into country fans. He discovered one of the most important women in country music history. Since Gram died young in 1973, he never got a chance to be prolific, or to settle into his proper place in country music history. But Gram Parsons was way much more than “that guy who played in the Byrds.” His impact is still being felt today. And for all he has done, country music owes him a debt of gratitude.
John Hartford – I understand this is a long shot pick, but as a songwriter, musician, and father of his own sub-genre in newgrass, it is difficult to make the case against him. Let me explain it like this: The Country Music Hall of Fame works like a timeline as you walk through the displays that weave around the massive archive in the center of the building. As you start from the beginning, each artist and their impact is displayed on a plaque that includes their Hall of Fame induction date. When I came to the John Hartford display on my last visit to The Hall this summer he was the first to have a display, but no Hall of Fame induction date. And then you had to go past many other artist’s displays, into the late 70′s-eartly 80′s before you found other artists given recognition on the great country music timeline without an induction date. John Harford is an indelible piece of country music history, and deserves to be a Hall of Fame inductee.
Jerry Reed – There is and was only one Jerry Reed. With an unmatched energy, style, groove and taste, he took honest to God country music and infused it with a groovy, relevant, and funky style that stole the human heart and sent it racing. An ultimate performer and character, his work from Scooby Doo to Smokey & The Bandit made him one of the 70′s best country ambassadors. But if Jerry goes in, he should go in as a guitar player first. With a wholly unique style matched by impeccable technique, he is as close as country music comes to a guitar god.
Since the beginning of Saving Country Music over 3 1/2 years ago, nothing but respect has been shown to The Country Music Hall of Fame. It is the last major country music institution that considers the preservation and promotion of the traditions and history of country music above commercial concerns, and as other institutions bend and sway with the current popular trends in country music, The Hall is a rock that stays steady, and always keeps its eye on the big picture. And unlike many other Hall’s of Fame, it is a living, breathing, relevant and viable entity in the country music world, that also happens to be located in a very important and historically-significant corridor of downtown Nashville.
In the last couple of years, a few issues have arisen involving the Hall of Fame in controversial matters, though always in an indirect manner. The “eminent domaining” of the Musician’s Hall of Fame to build a new convention center in downtown Nashville is giving rise to an expansion of the Country Music Hall of Fame which sits next door. The Lost Notebooks of Hank Williams project, though not funded or conceived by The Hall, is nonetheless being released in conjunction with their Family Tradition exhibit. But in both of these cases, The Hall is benefiting by the effect, not instigating the cause of the controversy.
However my personal opinions might align with these two issues, my support for The Hall remains unwavering. Every entity is going to have warts. Certainly Saving Country Music does. But in the end, without question, the good of The Country Music Hall of Fame far outweighs any possible bad.
That is why I was so shocked last week to discover that on the cover of the latest compilation of Shooter Jennings’ XXX movement, was the image of a tank on the front lawn of The Hall. I know this might sound like an over-reaction to a childish image, but I can only interpret this as an act of war against the Country Music Hall of Fame. And this image isn’t isolated. In late July, XXX pusher Adam Sheets wrote an open letter to The Hall of Fame on No Depression, making the classic mistake of expecting The Hall to cater their inductees to his particular reality tunnel; a mistake as common and unfair as generalizing negatively about country music entities and artists simply because they’re Nashville based.
Anyone can compile a list of The Hall’s omissions based on taste, but you would be hard pressed to find someone who could put together a list of artists who are in the Hall of Fame and shouldn’t be. That is the point. It is very hard to get into the Country Music Hall of Fame, as it should be. That is why it still means something and carries reverence and relevance, unlike the Rock n’ Roll Hall of Fame, and many other Hall’s of Fame throughout culture.
And that is why the picture of a tank in its front yard is so disturbing. Put aside all the excellent programs The Hall conducts, that building houses the single largest archive of country music history, memorabilia, and artifacts that exists. Bill Monroe’s mandolin is in that building. The briefcase that was in the back of Hank Williams’ blue Cadillac when he died is in that building. And so is a plaque commemorating Shooter Jennings’ father, who was inducted into The Hall in 2001. If I knew there was a tank taking aim at the Country Music Hall of Fame, I’d put on a space diaper and drive to Nashville immediately and stand in front of it like that Chinese student in Tienanmen Square.
XXX has been plagued by poor decisions since its launch in January. There is some great music, and excellent, hard-working artists on this compilation, and they deserve to be represented without bad branding and imagery. If they are trying to tap into some negative sentiment against The Hall, they will fail, because there isn’t any, only the opposite, even from folks like the Gram Parsons fans and Johny Paycheck fans that are petitioning for them to be inducted. And even if there are a few stray rednecks out there with a bone to pick, they might find it curios a compilation with a hip-hop artist rapping over a Waylon song is taking such a hardline stance against such a storied institution.
And I know a bunch of XXX folks will come running here saying, “Hey man, why can’t we just stay positive?” I’m not the one that just plopped a tank in someone’s front yard. Maybe I’m just supposed to shove a daisy in the barrel and make nice, but look at that picture and ask yourself, who is being negative? If you’re married to the tank concept, why not put the tank rolling down Music Row? Why not have it pointed at the offices of Gaylord Broadcasting or Curb Records? I can think of a dozen other places it could be pointed at, here’s a few suggestions.
The worst part is this is off-message. Traditionalists, and independent country folks from Marty Stuart to Hank3 have come out with unwavering support for The Hall and its many exhibits and programs. And stereotyping institutions simply because they’re big results in negative stereotyping being returned to places like Saving Country Music and the artists being represented. We must make opinions on each institution or artist based on their own merit, not on an ill-conceived notion that everything that is a corporation, or mainstream, or a large entity is bad.
We must be better than them, and this childish, off-message image construed from ill-informed opinions is something I can’t distance far enough from.
I can remember just a month ago walking through the Country Music Hall of Fame’s Family Tradition exhibit, an amazing and reverent tribute to the first family of country music, where you feel the ghosts of country music’s past bristling the hairs on the back of your neck with the sheer weight of historical significance . . . and then you walk around a corner, and there on a big screen is Bocephus, stealing a pair of pom-poms from a scantly-clad line dancer, pracing around like a jackass and screaming, “ARE YOU READY FOR SOME FOOTBALL!” . . . reducing the whole experience to a popcorn fart.
So apparently he compared President Obama to Hitler. Or did he? It baffles me that in 2011, people honestly think that drawing Hitler mustaches on political adversaries is a form of punditry, or that it holds any bit of effectiveness, like someone sitting on the political fence will look at it and say, “Well hell, I certainly don’t want to vote for Hitler!” Nazifying your foes is anger venting, nothing more, and if anything, it is adversarial to one’s political will. It also baffles me that in 2011 there still folks that think that if we just elect one side instead of the other, all these problems, perceived or real, will go away. We’ve been trying that shit for over 250 years and it hasn’t worked yet. Maybe at some point folks should realize the quickest way to change their circumstances is by rolling up their sleeves and acting themselves to change their own lives.
And then ESPN, bowing to the pressure of their boner pill and high fructose corn syrup sponsors, illustrates a fast trigger finger on the censorship button that would have given Judge Roy Bean a hard on. Don’t they know that half their beer and hot wings audience has probably said that exact thing or worse around their kitchen tables? Firing someone for their political beliefs is by far a bigger crime that any politically-incorrect gaff, however ignorant the message behind it is.
And what the hell was Hank Jr. doing on a news show anyway? Was he breaking down the socioeconomic impact of the Greek default by ethnic region? And don’t give me that it was just Fox News, because every major news outlet whores themselves out by shoehorning celebrity appearances into the format. Hell, the Kardashian girls are all co-hosting The Today Show this week. The last time I watched one of those morning shows, it was like watching Martha Stewart fuck a football while the news desk lady whipped up a practical yet delicious and healthy 4-cheese lean chicken Quiche that reduced the family’s carbon footprint. Oh yeah, and there’s some wars going on and massive world economic calamities, or something.
And that’s the real problem, not Jr.’s statements or The World Wide Leader’s whiplash decision, it is the fact that mass pop media is perpetually letting us all down, and giving in to the least common denominator. Hank should be happy. His career had been reduced to a weekly punch line. And ESPN should be happy they’re lighter a 200-pound blowhard who hasn’t had anything substantive to offer for 20 years.
And while we’re shitcanning celebrity theme-song personalities, whose leg I gotta hump to get Faith Hill run out of there on Sunday nights? I’d rather shit a knife than listen to her shriek out one more of those canned openings.
In the end, we run to football and music for the same reasons: to forget all the political divisiveness, and to bridge differences.
Next Tuesday, the Lost Notebooks of Hank Williams, a project pairing Bob Dylan and a list of other popular artists together with unfinished Hank Williams songs, will be released to the public. The project has raised grave concerns in certain circles of country music from people questioning the ethics of taking a dead man’s songs and finishing them, especially when the dead man carries the songwriting and historical weight of Hank Williams. An organization called Stop The Desecration of Hank Williams Songs is planning protests at the Country Music Hall of Fame on Oct. 1st, and again on the release date of Oct. 4th.
What has baffled me from the beginning is with the anticipated controversy this project would stir, why information about its workings and origins have been so difficult to obtain. It was made even worse by an article in The Morton Report, which included easily refutable information.
Saving Country Music has submitted numerous emails, made phone calls, and personally visited the Country Music Hall of Fame trying to get more information about the Lost Notebooks to no avail. The Hall is a partner in the project, as it is being released in conjunction with their ‘Family Tradition: The Williams Family Legacy’ exhibit. However The Hall is not the originator of the project, and neither is Bob Dylan. The one thing we have received more clarity on since the formal announcement of the album release is the chain of custody of the songs. The idea for the Lost Notebooks project and many of the decisions made for it were done by the owners of the songs, music publisher Sony ATV, who ferried these songs through numerous changes and adventures, from the original owners, Hank Sr.’s publisher Acuff-Rose.
Another entity that has been spared a lot of the controversy, but certainly had a part in the project is Hank Sr.’s estate. We do finally know that the estate endorsed the idea at some point, because Hank Williams Jr. appears in the EPK for the album (see bottom of article). As Hank’s grandson Hank3, who was not asked to participate in the project, said in a recent Saving Country Music interview:
The fans are very upset, and I guess I’ll just let them do my speaking for me. Because I can’t go and say something against Bob Dylan. That’s just not right man. I’d say maybe they need to scope out Hank Jr. a little more…
Something else we’ve learned from a recent New York Times article on the project is that both Bruce Springsteen and Neil Young were approached to be a part of it, and declined. We still do not know what happened to a Willie Nelson song that was part of the project, that Jack White’s spoke about when we very first heard about the Lost Notebooks back in 2007. It also states in the NY Times that Dylan initially called the task “too mighty.” And one of the biggest questions that remains is what happened between the recording of these songs in 2007, and their release in late 2011. That significant hole in the timeline leaves a lot to the imagination of why it took 4 years for the Lost Notebooks to see the light of day.
Completely putting aside the ethics questions for the project itself, I have drafted a list of 10 simple questions about the specifics of the Lost Notebooks that I think country music consumers have a right to be answered before they decide to purchase it.
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- A story published by The Morton Report on August 4th asserts that the idea for the Lost Notebooks project was hatched in March of 2008, months after we know many of the songs for the project were already recorded. When, generally or specifically, in years or months or days, was it decided that the Lost Notebooks project would move ahead, and with Bob Dylan?
- Was the Lost Notebooks project always meant to be in conjunction with the Country Music Hall of Fame’s ‘Family Tradition’ exhibit?
- If the Lost Notebooks project was meant to be released in conjunction with the ‘Family Tradition’ exhibit, either initially or eventually, then why is it not being released until over 1 1/2 years after the exhibit was initially scheduled to end in December of 2009? Why are the songs being released so long after being recorded?
- Were there any lawsuits brought against any entity involved in the Lost Notebooks project? And if so, for what?
- When and/or how was the Hank Williams estate involved in the project?
- Why were neither Hank Williams Jr. or Hank Williams III involved in the recording of the project? Was Hank Jr. asked to contribute to a song?
- Willie Nelson was initially named as contributing a song to the project by Jack White in late 2007. What happened to Willie Nelson’s contribution?
- How many, in total, unfinished Hank Williams songs are there, from how many different primary sources?
- Since there are more unfinished songs than are included in this project, are there plans to do more volumes?
- The liner notes for the Lost Notebooks project state that two of the four lost notebooks were taken from a locked vault. They state: “A police investigation was launched, and ultimately Sony regained possession of the notebooks and the handwritten songs.” But in March of 2007, a judge dropped all charges against Stephen M. Shutts and Francine Boykin for theft of the songs. How then were the two notebooks re-obtained by Sony ATV?
Last week as I was traveling through Tennessee, I took some time to visit downtown Nashville, where I hadn’t been in a few years, and I brought along one of my best friends named Pointer. Pointer goes wherever I go. Funny thing is, we don’t always like the same things. For example, when I go somewhere sightseeing, I really have no desire to have my mug in the picture. Pointer is just the opposite, he wants to be in all the pictures. We also have total opposite tastes in country music. I like the cool old stuff and the new independent stuff, while he likes the current pop country radio stars. But we’re both good enough friends that we can respect each other’s interests.
I thought it might be fun and informative to share Pointer and my pictures of our downtown Nashville trip for those who’ve never been there.
We started off the adventure on lower Broadway, the last bastion of what Nashville used to be. You can find cool vintage shops here like the Ernest Tubb Record Shop and Hatch Show Print, legendary venues like Robert’s Western World, where BR549 and Joe Buck got their start, and Layla’s Bluegrass Inn next door, a place Hank3 plays frequently, all overshadowed by the mother church of country music, the majestic Ryman Auditorium just across the alley.
Of course one of the most famous places on lower Broadway is Tootsie’s Orchid Lounge, where Kris Kristofferson, Willie Nelson and others would hang out and write songs all day (Ryman Auditorium in the background).
It’s also famous for the famous faces painted on the front of the building. Pointer found one particular famous figure he really wanted his picture taken with.
Then we walked around the corner to visit the majestic Country Music Hall of Fame. In front of the Hall we came to a really cool walkway called the “Music City Walk of Fame”, with stars of famous people like Ernest Tubb, Little Jimmy Dickens, and Kris Kristofferson adorning the sidewalk.
Pointer found numerous stars he wanted to get his picture with:
And of course, we already know what a HUGE Kid Rock fan Pointer is!
After touring the Hall of Fame, we went to inspect the construction site for the new Nashville Convention Center, the one they tore the Musicians Hall of Fame down for after promising them a new space, an action that eventually led to all the artifacts being ruined in the big Nashville flood last year. Pointer thought the construction site looked really neato.
While walking down 3rd and Commerce, we ran into some bona fide Nashville natives:
I asked Pointer if he wanted to have his picture taken with them, and he said no, that they looked like assholes. I told Pointer it’s not fair to judge a book by its cover.
Then we hiked a mile or so to the famous Music Row district, where all the big movers and shakers in country music do their business. Apparently we’d just missed by 24 hours a big shindig at the BMI headquarters, canonizing Jason Aldean, Colt Ford, and Brantley Gilbert on the success of the #1 song “Dirt Road Anthem”. From CMT’s account, it sounded like quite the affair:
Large, gold-painted stones anchored the burlap table cloths that flapped and curled in the late afternoon breeze as uniformed servers circulated through the crowd, proffering trays of miniature cheeseburgers and bite-size servings of barbecue.
Now if that ain’t country, I’ll kiss your ass.
Pointer, being a huge fan of Leanne Rimes and Tim McGraw, wanted to get his picture in front of the home office of his favorite record label on Music Row:
After this picture, Pointer leaned over to me and said, “This Curb character sure does have his name splattered on just about everything down here, doesn’t he?”
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In closing, I’d like to say that Pointer and I both really enjoyed our trip to downtown Nashville, and we both found downtown Nashville to be a land of contrast.
- Pete Berwick on Wayne Mills & “The Last Honky Tonk” (Review & Eulogy)
- James on Circumstances of Wayne Mills’ Death Leave Many Questions
- Eric on Wayne Mills & “The Last Honky Tonk” (Review & Eulogy)
- Jeremy on Circumstances of Wayne Mills’ Death Leave Many Questions
- Karl on Circumstances of Wayne Mills’ Death Leave Many Questions