Browsing articles tagged with " David Allan Coe"
Sep
29

Country Artists And Their Famous Look Alikes

September 29, 2014 - By Trigger  //  Random Notes  //  18 Comments

briand-kelley-doogie-houserHave you ever been scanning through photos of your favorite (or least favorite) artists and thought, “Hot damn! That dude look just like this other dude!” From eery similarities like Sturgill Simpson and Javier Bardem’s creepy character from the movie No Country For Old Men, to Johny Paul White and Johnny Depp who I am pretty much convinced are the same exact person, here are some country artists and their famous doppelgangers.

 


Jason Isbell (Americana Artist of the Year) – Matthew Stafford (Detroit Lions Quarterback)

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Brian Kelley (Florida Georgia Line) – Doogie Houser (M.D.)

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John Paul White (The Civil Wars) – Johnny Depp (part-time pirate)

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Sturgill Simpson – Javier Bardem from No Country For Old Men

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Seth Avett (The Avett Brothers) – Ashton Kutcher

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Jeremy Fetzer (Steelism, Caitlin Rose guitar player) – Joey Lawrence (Blossom-era {whoa!})

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David Allan Coe – Geico Caveman

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Scotty McCreery – Alfred P. Newman

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Kristian Bush (Sugarland) – Lucky Charms leprechaun

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Colt Ford – Grimmace

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Tyler Hubbard (Florida Georgia Line) – A Bottle of Massengill (douche)

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Sep
13

Michael Goodman Carries On What Nashville Left Behind

September 13, 2014 - By Trigger  //  Reviews  //  2 Comments

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It’s is one of the complaints from contemporary music listeners that all popular music is beginning to sound the same no matter what station you tune in. Popular music is coalescing into one gobby monogenre blob. But the truth is when you go back in time to popular American music’s founding, before rabid commercialization really grabbed it’s foothold, it was sort of the same story. Before country was country, and rock & roll was rock & roll, there was little difference between the two. Bands like Maddox Brothers & Rose played both “hillbilly” music and “boogie woogie” with little to no distinction as separate art forms. Elvis Presley started out as a rockabilly artist and went rock. Johnny Cash started as a rockabilly artist and went country. In many respects, rock and country were the same thing before they were ever split and combined together again, especially in Memphis, TN.

Michael Goodman is a good modern illustration of this primitive era of American popular music where rock and country were virtually the same. As an actor, Goodman has portrayed Johnny Cash, Elvis Presley, and Carl Perkins in the acclaimed Million Dollar Quartet theatrical production and other places, and can play all the with haunting accuracy. This exemplifies both Goodman’s flexibility, and depth of knowledge about those formative country and rock years, and he brings this all to life again in Unbreakable Heart. Funny yet formidable, sad but rocking, Michael Goodman smoothly takes you on a musical time warp to the roiling 50′s to both cut a rug and cry in your beer in a time when music was much better across the board and became immediately timeless.

michael-goodman-unbreakable-heartUnbreakable Heart almost feels like two separate albums fashioned together. Though “rockabilly” may be the easy way to describe the one half, this album is a little less Brian Setzer and Reverend Horton Heat, and a little more Nick Curran and JD McPherson. He stays a little more rock than billy so to speak without reaching into the punk vibe. There’s an Everly Brothers-sounding tune called “Everly Avenue” and a boisterous joke song called “Cock Block Ninja.” Comedy and wit is one of the calling cards of Michael Goodman’s music and something that separates him from the crowd. “Kissed A Lot” is another of the album’s really good old-school rock and roll cuts.

But where Michael Goodman won over this critic was with his country fare. Coming at you hard and straight, this is traditional country music in every sense, yet approached with a freshness and enthusiasm so it doesn’t feel drabby or anachronistic. Goodman lists people such as Waylon Jennings, David Allan Coe, and Jerry Reed as influences, but what you mostly get on Unbreakable Heart is straight-laced throwback traditional stuff. Growing up in Kentucky, Goodman was surrounded by bluegrass bands and church choirs. Singing and country music was at the core of his upbringing, and this comes through in tracks like “Drinking About You,” “Why Don’t You Love Me,” and “Lyin’ Cryin’.” He gets a little closer to the Outlaw era with songs such as “Carrying On What Nashville Left Behind” and “I’m Just Country,” but it still feels more traditional than country rock. “Old Damn Games” is where Goodman begins to venture more towards the 70′s vibe than the 50′s.

There are a few songs that bridge the old-school country and rock worlds, but this “together, yet separated” approach to country and rock makes for a very fun, and spicy album that has you guessing at what’s coming up next. And whether it’s the country twang or the rock and roll warble, Goodman’s interpretation of the music and his singing is spot on, and he’s a great guitar player to boot.

Concerns about Unbreakable Heart are mild, but he could have spent a little more time working out his approach to “Everly Avenue,” and maybe solicited someone else to sing with him instead of trying to pull off the close harmony himself. Also some of the songs, especially the old school country tracks feel like they step down in production quality from the other songs, possibly to make them sound “old,” but the volume and mixing left a little to be desired.

Like walking into Sun Studios circa 1956, Michael Goodman and Unbreakable Heart take you back to a time when the music of American was uncorrupted, the sentiments were sincere, and the promise was unending.

1 3/4 of 2 Guns Up.

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Preview & Purchase Unbreakable Heart on Amazon

Preview & Purchase Tracks on CD Baby

Sep
7

David Allan Coe’s Entire Columbia Collection Finally Sees Reissue

September 7, 2014 - By Trigger  //  News  //  32 Comments

david-allan-coe-tennessee-whiskeyFor the better part of 15 years, country music Outlaw David Allan Coe recorded for Columbia Records and worked with Hall of Fame producer Billy Sherrill on timeless recordings that have become treasured releases in country music. However obtaining these records had become difficult to impossible over the years as they subsequently went out-of-print, and fans were forced to purchase Greatest Hits collections to get their David Allan Coe fix. As buying patterns shifted to digital, many of Coe’s most iconic tracks were non-existent on download sites like iTunes and Amazon, and through streamers such as Spotify.

Now that is all changing as Sony’s Legacy imprint is releasing Coe’s entire Columbia discography in conjunction with his 75th birthday, celebrated on September 6th. To be released in four separate installments, all of David Allan Coe’s 20 Columbia releases will see the light of day once again, and be made available to a new generation of Coe fans. His first five albums were released on 9/02, starting with 1974′s The Mysterious Rhinestone Cowboy, and Legacy will release five more on each Tuesday leading up to September 23rd when his last album, 1989′s Crazy Daddy, will be released.

Though the release of this material may help win Coe new fans who’ve never had easy access to his discography, Coe has stated numerous times that because of bad contracts and the forfeiture to creditors, he receives little to no royalties from his previous recorded music under Columbia. However, this massive release of music—over 200 songs—should help solidify and bolster David Allan Coe’s legacy in country music, which has been marred significantly over the years from things such as the release of his “X-rated” albums, to unsavory details of his personal life.

READ: 10 Badass David Allan Coe Moments (75th Birthday Special)

 

david-allan-coe-tattooReleased on 9/2/14

 

david-allan-coe-compass-pointReleased on 9/9/14

 

david-allan-coe-castles-in-the-sandReleased on 9/16/14

 

david-allan-coe-unchainedReleased on 9/23/14

(not available yet for pre-order)

  • Darlin’, Darlin’ (1985)
  • Unchained (1985)
  • Son of the South (1986)
  • A Matter of Life…and Death (1987)
  • Crazy Daddy (1989)

 

Sep
6

10 Badass David Allan Coe Moments (75th Birthday Special)

September 6, 2014 - By Trigger  //  Outlaw History  //  18 Comments

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The question about David Allan Coe has never been if he’s a badass, but if he’s a little too badass. Some of his stories are hard to believe. Others are even harder to validate. And others are hard to herald because of the malevolent nature of the occurrences or outcomes. David Allan Coe is a living dichotomy. He’s a scary, weird, train wreck of a man; one of these people we all knew growing up in school or in the neighborhood that was always in someone’s face and that could twist off at any moment. At the same time, and for some of the same reasons, David Allan Coe is an American treasure, and a country music legend. And country music, and the rest of the world, would be a lot less of a colorful place without him. Because whether you like him, respect him, or hate him, there will never be another person or performer in country music or the American culture like David Allan Coe.

READ: Look, This is the Deal with David Allan Coe (An Editorial)

More in this series:

 


1. Spending 20 Years In Reform School & Prison

david-allan-coe-prisonIn a genre of music where what you’ve done and how you lived goes a long way into putting legitimacy behind the songs you sing, David Allan Coe’s story is arguably filled with more street cred than any other major performer in the history of the genre. Institutionalized from 9-years-old in reform schools, David Allan Coe committed crimes such as robbery and grand theft auto in early adulthood, and ended up in and out of jail and prison for two decades. Though Coe claims a lot of miraculous meetings with former and future famous individuals and other rowdy incidents while in the pen, including killing a man in self-defense and spending time on death row (see at bottom), one claim that is widely accepted is that while incarcerated in Ohio, Coe met fellow Ohio native Screamin’ Jay Hawkins who encouraged Coe to pursue songwriting. David’s rough and tumble early life would go on to lay the foundation for future songs that would help shape the sound of country music. When he finally got out of prison in 1967, he stayed out, and put together one of the most legendary, curious, and colorful country music careers the genre has ever seen.


2. Living In A Hearse / Parking It at the Grand Ole Opry

After getting out of prison in 1967, David Allan Coe moved to Nashville to pursue his country music career. He was homeless at the time, and lived in the back of a red Cadillac hearse that he parked regularly in front of the Ryman Auditorium—aka the “Mother Church of Country Music” where the Grand Ole Opry was conducted at the time. Crudely decaled to advertise the Opry, as the crowds came and went, there was David Allan Coe busking in front of the famed venue. It was his way of getting the attention of the industry. What was the result? It worked. Plantation Records recognized Coe and signed him to the label. Coe’s first two albums—Penitentiary Blues and Requiem for a Harlequin—were through Plantation, and that was the big break he needed. Later he singed with the major label Columbia Records.

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3. Being The First Country Artist to Have and All Girl Backup Band

That’s right. The man that would probably would be fingered as country music’s biggest misogynist had country music’s first female backing band called the Ladysmiths. Though they only lasted a short time too early in Coe’s career for many people to notice, he still deserves the distinction.

Not only was it an all-girl band, but they were from New Jersey,” David Allan Coe once said in an interview. “Seven years later Porter Wagner [Wagoner] had his TV show, and had an all girl band and that was a big deal. Porter was famous so he got the credit for being the first to use an all-girl Country band. Nobody paid attention when I did it. I wasn’t famous – and it didn’t matter to me.”

Of course, you have to balance out this info with the fact that Coe once also claimed to have as many as seven wives, and once claimed allegiance to the Mormon Church to justify his polygamy. As you can imagine, the Mormons were not happy.

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From Michael Bane’s “The Outlaws”


4. Recording “The Ride”

If you’re anything like me, when you first heard this song, and when you realized Coe was singling about Hank Williams, it was one of those singular musical moments that made your spine tingle and the hair on your arms stand on end. Written by Gary Gentry and J.B. Detterline Jr. and released in February of 1983, “The Ride” simply wasn’t just another great David Allan Coe song, it was the one that revitalized his struggling career at the time, and put him back on the mainstream map.

Columbia Records had fitted Coe with legendary Countrypolitan producer Billy Sherrill. The Coe / Sherril collaboration was a success, and along with another hit of the era “Mona Lisa Lost Her Smile,” “The Ride” drove David Allan Coe to the top of the country charts. The song made it to #4 on the Billboard Country chart, and spent 19 weeks in the chart.


5. Writing “Take This Job & Shove It”

One of the biggest songs of David Allan Coe’s career, and Johnny Paycheck’s. The #1 hit (the only one of Paycheck’s career) released in October of 1977 created its own colloquial expression and snowclone that is still in practice today. It inspired a 1981 film of the same name and too many popular culture references to count. Coe released his own version of the song on his 1978 record Family Album and an alternative version called “Take This Job And Shove It Too” that included the line, “Paycheck you may be a thing of the past”—a veiled stab at Johnny who Coe felt betrayed him by alluding to the public that he wrote the song.


6. Living In A Cave After IRS Seizure

David Allan Coe once had a house in Key West with other songwriters such as Shel Silverstein and Jimmy Buffett. In fact it was when listening to Silverstein’s off-color comedy songs that Coe was inspired to record his two X-rated albums, Nothing’s Sacred in 1978, and the Underground Album in 1982. Coe had a falling out with Jimmy Buffett when Buffett accused Coe of stealing the melody of his song “Changes In Latitudes, Changes in Attitudes” for his song “Divers Do It Deeper.” Buffet later said, “I would have sued him, but I didn’t want to give Coe the pleasure of having his name in the paper.”

Coe nonetheless had hard times coming. In 1990 his contract with Columbia Records came to and end, and after a bitter divorce and troubles with the IRS, Coe’s Key West home was seized and he was thrown out on the street. With no place to go, David Alan Coe lived in a cave for several months in Tennessee, or at least that is how the story goes. Some have questioned the validity of Coe’s cave-living claims.


7. Being Criminally Overlooked for Writing & Recording Powerful Love Songs

Whenever you say the name “David Allan Coe,” people immediately think of his hellrasing Outlaw songs, confederate flags and the use of the ‘N’ word, his X-rated albums, prison time, and many other seedy events that have sensationalized his life and country career. But what might be the most underrated part of David Allan Coe’s contributions is his ability to write and record some of the best, most touching love songs the country genre has ever heard. The breadth of David Allan Coe’s songwriting ability, and his ability to perform a heartfelt tune when called upon it is something that even the most hardened David Allan Coe detractors could find beauty in.

Coe’s first big success in country music came as the songwriter for Tanya Tucker’s #1 hit in March of 1974, “Would You Lay Me Down (In A Field Of Stone).” Coe’s own version of the song is also highly regarded by singers and songwriters. His recording of “Mona Lisa Lost Her Smile” written by Johnny Cunningham was Coe’s highest-charting single in his career, hitting #2 on the Billboard Country charts, and Coe’s “Jody Like A Melody” rarely leaves a dry eye in the house.

David Allan Coe’s long relationship with producer Billy Sherrill, who was known as one of the founders of the refined Countrypolitan sound, resulted in some beautiful recordings that may not balance out all the bad he’s done in his life, but certainly speak to the wide expanse of Coe’s talent and contributions.


8. Standing Up to Casino Security Guards in Iowa

In June of 2008, David Allan Coe was at the Prairie Meadows Racetrack and Casino in Altoona, Iowa with his girlfriend (now wife) during a stopover between shows. The altercation happened after Coe hit the jackpot on a slot machine. His wife stayed with the machine to collect the jackpot, and Coe moved on to another slot to continue playing. When the casino workers came to deliver the jackpot, they told David’s girlfriend that he had to be present because he was the one who pushed the button. When the casino workers found Coe at the other slot machine is when the trouble started. As Coe was trying to give the casino proper ID, a young security guard became combative with Coe. To avoid an altercation Coe began to walk away, but security cornered him, wrestled him to the ground, detained him, and charged him with Disorderly Conduct and other charges.

Bad thing for the security is the entire thing was caught on tape, and completely corroborated David Allan Coe’s side of the story. It clearly shows security unnecessarily wrestling Coe to the ground, and all charges were dropped. Coe blames the incident for why he has to walk with a cane, and still down while performing. He counter sued the casino.

The video of the incident is pretty astounding.


9. Partnering with Pantera for Rebel Meets Rebel

Yes, there’s many partnerships and collaborations in music where two famous artists or bands get together and do something that is usually really exciting on paper, but the results musically are fairly negligible beyond the novelty of the collaboration. Rebel Meets Rebel took it a step further, and has withstood the test of time for many fans of both David Allan Coe and metal band Pantera.

Recorded between 1999 and 2003, and not released until May 2nd, 2006—two years after Pantera guitarist Dimebag Darrell was brutally murdered on stage. This wasn’t David Allan Coe playing metal, or Pantera playing country. This was a true collaboration that mixed influences from both disciplines. Hard-edged and unapologetic, it is mostly a meal for the red meat crowd, but stands above most other country/metal collaborations as one that got it right.


10. Surviving a Horrific Car Crash

If you need any further evidence of just how badass David Allan Coe is, just appreciate that in March of 2013, David Allan Coe was broadsided by a Peterbilt 18-wheeler in Ocala, Florida and live to tell the tale. The impact sent Coe’s 2011 black Suburban all the way into a nearby parking lot, which the semi ended up on its side and wrapped around a cement pole. Coe suffered cracked ribs and bruised kidneys, and spent a couple of weeks in the hospital, but was back performing months later. Just looking at the pictures from the accident, it’s a wonder Coe made it out alive. A badass indeed.

Read More About Coe’s Accident.

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BONUS #11 – Recording “You Never Even Call Me By My Name”


Bonus #12 – Being Part of the 1% Outlaw Motorcycle Gang

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Badass DAC Moments That Are Probably Not True

Taught Charles Manson How To Play Guitar - Though David Allan Coe claims he taught Charles Manson how to play while they were both in prison together, there’s no evidence to support that the two were in prison together ever, let alone that Coe would have the kind of access to Manson to teach him. Another man Alvin “Creepy” Karpis is given credit by most sources for teaching Manson guitar while in prison.

Killed A Man In Prison / Served Time on Death Row - This has been one of Coe’s most contentious claims; sworn to be true by him, but refuted by journalists, penitentiary workers, and legal experts. According to Coe, while in prison a man tried to rape him, so Coe killed him in self-defense. When a story in Rolling Stone in the 70′s refuted Coe’s claims, he wrote a song in response called, “I’d Like To Kick The Shit Out Of You.”


More in this series:

Jul
23

What Is Going On with the Outlaw Music Hall of Fame?

July 23, 2014 - By Trigger  //  Random Notes  //  4 Comments

outlaw-music-hall-of-fameIn August of last year, plans were unveiled for a new Outlaw Music Hall of Fame to be located in Lynchburg, TN. A letter of intent had been signed on a 5,000 sq. ft. property in downtown Lynchburg, and numerous personalities from the independent and Outlaw music community were named as board members, with the intention of opening the Hall in the spring of 2014. Later in October at an event in Altamont, TN, the inagural inductees to the Hall were announced, including Willie Nelson, Waylon Jennings, Johnny Cash, David Allan Coe, and a slew of other country music greats.

However as time has gone on, questions have arose about what is happening with the Hall of Fame. The spring of 2014 came and passed, and no progress or dates for an opening or inaugural induction ceremony were announced. Then an examiner.com article was published questioning the intent and legitimacy of the Hall, but as Saving Country Music pointed out, the article included gross inaccuracies and incorrect information, including the assertion that the Hall did not have a not-for-profit status.

As Saving Country Music explained at the time, the Outlaw Hall of Fame has been delayed because the location it planned to occupy was caught in a legal battle with the original owners and the bank that carried the deed on the property. This has caused caused a significant delay in the opening of the Hall, but according to the Hall of Fame’s point man Gary Sargeant, the Outlaw Hall of Fame is not dead.

“Last summer we signed a letter of intent to occupy the Lynchburg location, and gave them a deposit on their offer,” Gary explains. “I accepted their offer. Well the bank turned around because so much money was owed on it and two other pieces of property by the previous owners that the bank put a quash on the deal. We were supposed to take possession November 1st of 2013. Well in January 2014 the bank foreclosed on the property. The property is available for sale, but I am not able to personally buy the property. We had it on a lease option, which would have allowed us to move into the property. After a year we could have purchased it, and we had the first three months free. The bank is willing to let it go at 50% of the assessed value, let alone the appraised value. They want it off the books. But we do not have the money to purchase it outright. So that’s kind of where the Hall of Fame is sitting.”

One of the more controversial portions of the Hall of Fame was an Outlaw Music Association that was intended to help artists network with each other for touring, etc. Sargeant, who was injured in a motorcycle accident in October of 2013 right before a Hall of Fame-sponsored festival, say he has turned the reigns over to someone else in that portion of the venture.

“I have handed day-to-day operational control for the Outlaw Music Association over to Robin Randall because the last benefit I did for tornado victims in March, I lost another $3,000. Instead of paying bills, I took care of my commitments for that benefit. And I said, ‘I can’t do this anymore. I’m broke. This has bankrupted me. I’m losing everything I own. I’ve got to go back to work.’ The doctors had finally cleared me to go back to work (from the motorcycle accident). So I’m back to work now in construction, and we’re in the regrouping stage.”

According to Sargeant, the bank foreclosure on the proposed Outlaw Hall of Fame building has been the biggest hitch in the plan.

“The brick and mortar physical location for the Hall of Fame is the key to everything. The focus got lost when we were waiting to see what the bank was going to do, and they foreclosed and we started focusing on the Outlaw Music Association. The attention needs to go back on the Hall of Fame. I’m trying to get back up on my feet financially. It’s not like we’ve given up, it’s just very very hard for one individual to try to do something, and I think people’s expectations were a little bit higher than our abilities. It’s not like it’s gone south or died. It’s just regrouping and trying to put a package together that is going to make it be successful. This is a major undertaking and it’s not going to get done with one fan. It’s about pulling everyone together and letting them know what the real expectations are. The bank foreclosing on the building and the inability to purchase it outright really hurt the Hall of Fame opening this year. We’re looking at other venues right now, alternate sites. We still have a lot of support.”

In March the Hall of Fame published a video (see below) in hopes to attract investors, sponsors, or a buyer for the building that the Outlaw Hall of Fame could then lease the building from.

“We tried to attract some investors. We are willing to have somebody else buy it and turn around and lease it to us. They’re going to buy a commercial property and already has a tenant, and they’re going to buy it for less of what half the assessed value is. It’s a beautiful investment for someone, but that doesn’t happen overnight.”

Another issue according to Sargeant has been the passing of country artist Wayne Mills, who was on the Board of Directors for the Hall of Fame’s Outlaw Music Association.

“Wayne was a very big part of the Outlaw Music Association. People don’t realize that. He founded Alabama Line. Alabama Line is a group that promotes Alabama artists. All the Association is, is Alabama Line on a national basis, on a national scale. He was very integral. Wayne was so smart, and I miss that. Not just as a friend, I miss his council and everything he provided. We lost a lot when we lost him. And every time I wanted to say, ‘I can’t do this anymore. This is too much,’ then I would think, ‘It’s not about me, this is Wayne’s dream too, and it’s about the artists.’”

Because of the delays, people have had questions about if the Hall of Fame inaugural induction ceremony or a new round of inductees will happen this year.

“I have people tell me that we should do the induction ceremony anyway and use it as part of a fundraiser for the Hall itself, which might make sense. It’s an idea that’s being kicked around. We’re talking to sponsors. It would have to be that we do new inductees after this year’s induction. Everything is still pretty much as it’s supposed to be as far as a plan. Just without a physical building, it changes the execution.”

Gary Sargeant is willing to admit that mistakes have been made in the rollout of the Hall of Fame, and that in certain sectors of the Outlaw country and independent music world, he’s not highly regarded, and others are suspicious of the intentions of the Hall and the Outlaw Music Association.

“When you’re working on a volunteer effort, everyone’s time is limited. For something that should take two or three days, it sometimes takes two to three weeks. And it doesn’t take long for something to drag out three or four months. Then after three or four months, you have 10,000 people across the country that don’t know what is going on questioning what you’re doing. I’ve always been very quiet on Facebook and everything else. I hate Facebook. I don’t do that. I monitor it to keep my finger on the pulse of what’s going on. If people want to hate me or hate us, that’s fine, I don’t have a problem with that. But at least be educated, and know why we’re where we’re at.”

Setbacks aside, Gary insists the Outlaw Music Hall of Fame is not dead, just delayed.

“Quitting is something we’re not going to do. We might change some of our goals, but everyone can see that we’re still moving forward. I’m working hard. I’m trying to get the right people together. I will be the first to say that I’m inexperienced and I failed at certain things. There’s reasons I failed, from lack of experience to banks not honoring the letter of intent we signed. There’s different things that have happened, but if nothing else, we’ve raised the profile over the last year. The biggest thing is that we’re regrouping, and the focus is now on the Hall of Fame.”

An Outlaw Music Festival at the Wishbone Ranch in Bowling Green, KY October 9th thru 12th has been planned, and though Gary Sargeant says they are not associated with the Outlaw Music Hall of Fame, he still supports the event.

“I think it’s a great thing. I love it. I think it’s fantastic. This is not about the OMA or Gary Sargeant, this is about artists getting promoted, helping each other. It is being run by Moonshine Barbecue Sauce, which is one of the original vendors at our Altamont festival last year who enjoyed it, saw that it was a great thing. But he also saw—and rightly so—that he could do a better job than me. So I hope it’s wildly successful because it’s only benefiting the artists. And the Last Honky Tonk Music Series, same thing. It’s all about promoting and getting the music out there.”

Also a raffle for a motorcycle with the proceeds scheduled to go to the family of Wayne Mills that was being administrated through the Outlaw Music Hall of Fame is still happening, and all raffle tickets sold will still be honored. It has just changed hands to a different administrator. All the current raffle tickets are still accounted for, and a winner will be chosen once they hit the ticket threshold for the raffle.

The promotional video put together in March for the Outlaw Music Hall of Fame property:

Jul
15

The Waylon Jennings Quote About Garth Brooks – Real or Fake?

July 15, 2014 - By Trigger  //  Outlaw History  //  36 Comments

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“Garth Brooks did for country music what pantyhose did for finger fucking.”

This is the quote that has been attributed to Waylon Jennings that you are likely to see in much greater frequency now that Garth Brooks has come out of retirement. For some, it is the totality of their argument against Garth. Forget all his music, past and future, whatever merits his music might have beyond the flashy stage show, however much the test of time has validated his music or not. To tens of thousands, or maybe hundreds of thousands of people, the totality of their Garth hatred, the alpha and omega of their anti-Garth argument, rests on this quote. And if you don’t believe me, just mention Garth’s name in the right (or wrong) company, it it will come flying out at you unsolicited.

The problem is there’s no verifiable records of Waylon ever saying it. And if he did ever say it, that he is the originator of the quote. But just like the urban myth that Kentucky Fried Chicken had to legally change their name to KFC because the birds they use are so genetically altered they can’t be classified as chickens, if you parrot something enough, people take it as fact.

If I had a hunch, not based on fact or research whatsoever, I would say that at some point Waylon Jennings probably did utter those words about Garth, and they probably made it out to the greater world through his son Shooter Jennings. But I’ve also heard from some who say that Poodie Locke—Willie Nelson’s long-time stage manager and one prone to such humor—was the first to say it. Maybe Waylon picked it up there. But I can’t verify that Poodie Locke said it either. There are records of the “_____ did for ____ what pantyhose did for finger fucking” phrase being used for other purposes way before Garth Brooks had even released his first album, so is it really fair to attribute the analogy to anyone?

When you start to try and find the origination point of the quote, and any factual information on if Waylon truly said it or coined it, you start finding a tremendous amount of fiction. The simple fact is the quote is so juicy, and many people just want it to be real so badly, they’re willing to look the other way and proffer it up for human consumption regardless of the truth.

ethan-hawke

Ethan Hawke

The first record of the quote being used goes back to of all places, Willie Nelson’s 70th Birthday Party in 2003, and from of all people, actor Ethan Hawke. In April of 2009, Ethan Hawke penned a feature on Kris Kristofferson for Rolling Stone. In the feature, Ethan Hawke recounts a story from 2003 where Kris Kristofferson and Toby Keith get into a verbal argument, and Kristofferson says the Waylon quote in response to Toby Keith’s demand, “None of that lefty shit out there tonight, Kris.”

Here’s the complete interchange from Rolling Stone, as dictated by Ethan Hawke:

“Up from the basement came one of country music’s brightest stars (who shall remain nameless). At that moment in time, the Star had a monster radio hit about bombing America’s enemies back into the Stone Age.

“Happy birthday,” the Star said to Willie, breezing by us. As he passed Kristofferson in one long, confident stride, out of the corner of his mouth came “None of that lefty shit out there tonight, Kris.”

“What the fuck did you just say to me?” Kris growled, stepping forward.

“You heard me,” the Star said, walking away in the darkness.

“Don’t turn your back to me, boy,” Kristofferson shouted, not giving a shit that basically the entire music industry seemed to be flanking him.

“You ever worn your country’s uniform?” Kris asked rhetorically.

“What?”

“Don’t ‘What?’ me, boy! You heard the question. You just don’t like the answer.” He paused just long enough to get a full chest of air. “I asked, ‘Have you ever served your country?’ The answer is, no, you have not. Have you ever killed another man? Huh? Have you ever taken another man’s life and then cashed the check your country gave you for doing it? No, you have not. So shut the fuck up!” I could feel his body pulsing with anger next to me. “You don’t know what the hell you are talking about!”

“Whatever,” the young Star muttered.

Kristofferson took a deep inhale and leaned against the wall, still vibrating with adrenaline. He looked over at Willie as if to say, “Don’t say a word.” Then his eyes found me. “You know what Waylon Jennings said about guys like him?” he whispered.

I shook my head.

They’re doin’ to country music what pantyhose did to finger-fuckin’.”

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Yes, as a traditional country fan, maybe you’re pumping your fists. “Hell yeah, you tell ‘em Kris!” The problem is, Ethna Hawke’s story is, and was, complete bullshit, including the Waylon Jennings quote. And this was verified later by both Kris Kristofferson, and Toby Keith.

In the aftermath of the Ethan Hawke story, Kris Kristofferson told The Tennessean: ”I have to say, I have no memory of talking so tough to anyone at Willie’s birthday party — least of all to Toby Keith, (if that’s who the nameless star is), for whom I have nothing but admiration and respect.”

As for Toby Keith, he was a little more heated about the situation, as can be seen in this clip from the 2009 ACM Awards that happened right after the story was published.

But the damage had already been done. The Waylon quote was so juicy, and the clarifications about the story so buried compared to the reach of the original Rolling Stone article, the quote became a matter of public record. In fact some people want the Waylon Jennings quote about Garth Brooks to be true so bad, as well as the fictitious Toby Keith vs. Kris Kristofferson interchange, that they say the clarifications by Toby Keith and Kris Kristofferson are just saving face, and if fact both the quote, and Ethan Hawke’s story are still true.

Of course beyond Kris and Keith’s clarifications, Ethan Hawke and the story’s defenders also have to figure out how to resolve the fact that Toby Keith, flag waver or not, is and was a registered Democrat. So for Keith to say “None of that lefty shit,” seems very unrealistic. Also the quote from Kris from the story, “Have you ever killed another man?” seems to allude that he has. But this gives into the common misconception that Kris Kristofferson saw combat as a helicopter pilot in the Army when in fact he was stationed in Germany during The Vietnam War, and never exchanged live fire.

Though Ethan Hawke’s fictitious story had the Waylon Jennings quote about Garth Brooks going down in 2003, it wasn’t until 2005 when we find the first documented source of the quote in print—at least that can be found on the internet. It comes from an East Bay Express feature on Shooter Jennings, but interestingly, Shooter isn’t giving the quote, it is used to preface the Shooter interview and is recounted by the author of the story. This was 3 1/2 years before the quote would wind up in Rolling Stone and become a matter of public record. Again, it’s very likely that Shooter probably did hear his father use the quote, but was Waylon the originator?

This also opens up the second problem with this supposed Waylon Jennings quote, which is that it is no longer relevant in the forum of public discourse. For example, in the 2005 feature, Shooter says he thinks country music became more about show through Garth. But later in 2013 in an interview with the Charleston City Paper, Shooter says,

“Garth Brooks is as country as shit. Back then it was like, what the fuck is going on. This guy is terrible. This isn’t country music.” Jennings says. “I would take that any day now. That means the bar has been lowered so far that we’re like, please. I would listen to only Garth Brooks all day if that’s what I could get.”

As Saving Country Music once spelled out in detail, time has been kind to the music of Garth Brooks, and this change of heart by Waylon’s son has played out in the hearts of many country fans over time. In fact when Shooter first spoke on Garth in 2005, Garth had already been retired for half a decade. Garth hasn’t even been around for 13 years to hate on. But some, including many who have the Waylon quote top-of-mind and at-the-ready any time Garth’s name is uttered, use it as a crutch to continue their war on Garth Brooks.

Another die-hard Garth Brooks hater turned apologist has been singer-songwriter Todd Snider. Todd had a beef with one of Garth’s songwriters after a dispute over the song “Beer Run”. Todd also interfaced with Garth’s alt. rock character Chris Gaines at one point, and told defaming stories as part of his stage schtick for years. But in Todd’s new book released in 2014 called I Never Met A Story I Didn’t Like, Snider reconciles his Garth hatred, and says from his personal interactions with the entertainer, he was more kind to him than most in the music business.

I loved Garth Brooks. I was, and am, a very big fan. I think Garth Brooks fucked up country music for a while, through no fault of his own: he made music so good and so successful that tons of people came along after him trying to imitate what he did. Garth fucked up country music like Kurt Cobain fucked up rock.

Because of Garth’s massive success, there’s a bit of a push and pull in Nashville about him. When you sell more records than anyone has ever sold, you tend to make more people jealous than have ever been jealous of a singer.

It’s a crock that I think prevails in this country: we bully the people who entertain us. We get on the computer and bully them. We buy magazines with pictures of them where they look fat or drunk or imperfect. And we suppose that those people’s success excuses our meanness.

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Another interesting thing about the Waylon quote about Garth, and something that leads to speculation if it’s true or not, is that the exact same quote has been attributed to different people. It has been attributed to Willie Nelson and David Allan Coe for example, and to Kris Kristofferson directly because of the Rolling Stone piece.  In 2012, the alt-country band Deer Tick took to Facebook and attributed the quote to Merle Haggard, illustrating the urban myth nature of the Waylon/Garth quote.

Interestingly, in January of 2012, Merle Haggard was read the supposed Waylon Jennings quote by 11th Hour, and Merle’s response was,

Well. I think, Waylon got dumber with age. I don’t know. I love Waylon, but he was awful critical of different things. He just got grouchy. I love listening to Waylon and Willie and Johnny. They still set my ears to burning … I think what Waylon meant by that statement was that somebody ought to be able to walk out on a stage with a guitar and put on a good show that people can enjoy. We don’t really need explosions to enjoy a concert do we?

Whether the quote is completely true and coined by Waylon Jennings himself, was borrowed by him from someone else, or the entire thing is a total fabrication of urban myth, the simple fact is that the Waylon quote about Garth is no longer a statement that in any way does the complex perspective that one needs to understand Garth Brooks any bit of justice. Garth started his career a quarter century ago, and hasn’t released a new album in over 13 years. And Waylon Jennings has been dead for a decade.

Here’s some quotes that can be verified that they actually came from Waylon Jennings because they can be found in his autobiography. They’re nearly 20 years old, but relevant as ever to the conversation.

Of course, the next generation better not believe everything they hear. At this point, I’ve been accused of all manner of carousing. Mostly, it’s something that I might have done, or would have done, or couldn’t even imagine doing. Pretty soon it’s etched into stone. If I led the life that people think I did, I’d be a hundred and fifty years old and weigh about forty pounds …

The thing is, we’re in this together, the old, the new, the one-hit wonders and the lifetime achievers, the writers and the session pickers and the guy who sells the T-shirts. The folks that come to the shows, and the ones that stay at home and watch it on TNN. Those who remember Hank Williams, and those who came on board about the time of Mark Chestnut, who named his baby boy after me …

My friends. This town is big enough for the all of us.

Waylon Jennings

Jul
3

Richard Rawlings Says David Allan Coe Tried To Extort Club

July 3, 2014 - By Trigger  //  News  //  55 Comments

david-allan-coeOutlaw country music legend David Allan Coe was scheduled to play at the Gas Monkey Bar N’ Grill in Dallas, TX on Wednesday night (7-2), but a dispute between Coe and the venue forced a cancellation of the show. The venue, located just north and east of downtown and owned by Discovery Channel personality Richard Rawlings claims that the singer and/or a member of his camp attempted to extort them. We are sorry to all the disappointed Gas Monkey fans that came out to see Mr. David Allan Coe,” The venue said in a statement. “We did everything in our power to try and make the show happen! Unfortunately not everyone in our industry operates honestly. Refunds will be made available to all the fans that purchased tickets to tonight’s show through Ticketfly. We look forward to seeing all of you at GMBG soon!!!”

richard-rawlingsRichard Rawlings of the Gas Monkey Garage and the Discovery Channel’s Fast N’ Loud show apologized to patrons about the incident.I just heard that David Allan Coe bailed on his fans tonight and canceled his show at Gas Monkey Bar N’ Grill. First of all, I want to apologize to all the fans who were let down tonight. Long story short, he tried to extort us for extra money up front to “perform outside” despite the fact that that wasn’t in our contract. A member of his camp HIGHLY disrespected Alex, the GM at the Bar N’ Grill, and we don’t stand for that. I hope David Allan Coe realizes that his fans are the reason he’s as popular as he is. Sorry again and I hope you enjoy your night at the Bar N’ Grill despite that!

This is not the first time recently that a venue has complained that David Allan Coe has held up a show and demanded more than he was contractually obligated to receive. On June 12th at a show at Mojoes in Joliet, IL near Chicago, patrons and management said that David Allan Coe refused to play until an amount higher than originally agreed upon was received, and hot meals were served to him and his crew. The demands resulted in the show starting three hours later than advertised. The police were called to manage the dispute between Coe and the venue, as well as the angry fans that were demanding refunds. Patrons who purchased $70 meet-and-greet packages were left in a lurch, and once Coe did finally take the stage, he played for only 30 minutes according to attendees.

READ: Look, This is the Deal with David Allan Coe (An Editorial)

Saving Country Music has reached out to David Allan Coe’s management for a statement on the accusations, but none was received by the time of this post. If one is made or received, it will be posted here.

Apr
25

Anthony Bourdain Bemoans The Rise of EDM Over Live Music

April 25, 2014 - By Trigger  //  Random Notes  //  19 Comments

anthony-bourdainOh to go back to the day when country rap was the worst thing we had to worry about.

EDM ,or Electronic Dance Music, has become so pervasive throughout popular music that even country—once thought to be immune from inhuman instrumentation in music—is now just as gripped with this phenomenon as any genre. From Jerrod Niemann to Tim McGraw, to the intro of just about any single you will hear on country radio, some sort of electronic dance element is almost sure to make an appearance in 2014.

On last week’s episode of CNN’s Emmy Award-winning program Parts Unknown hosted by Anthony Bourdain, the well-known chef spouted off about the state of live music and EDM’s involvement when touring Las Vegas. He talked to Penn of Penn & Teller (a well-known fan of David Allan Coe), and tried to discover what is so alluring about EDM, and where it puts live acts in the pantheon of modern music.

“These days for better or worse, live acts, live performers, are being squeezed out in favor of EDM: Electronic Dance Music,” Bourdain explains. “It’s a DJ’s world, and where they once used to say cocaine was God’s way of telling you you had too much money, now maybe EDM is…Come ye lords and princelings of douchedom. Hear my clarion call. Anointeth thyself with gel and heavenly body spray. Maketh the sign of the devil horns with thine hands. Let there be high-fiving and the hugging of many bros, for this is the kingdom and the power.”

READ: EDM Replacing Rap As The Scourge of Country Radio

As Bourdain points out, many of the big Vegas EDM clubs now make more money on a nightly basis than the casinos. In fairness, EDM at clubs is administered by a live DJ (though playing pre-recorded, electronic music), but the rapid growth of the genre does appear to put the future of live acts at risk. Country music now has its own superstar DJ’s like Deejay Silver who is currently touring with Brad Paisley. If you’ve been wondering what the mono-genre might sound like when it arrives, it might be heralded by a moronic bass beat, and waves of glowsticks being raised to the sky. EDM is the new generation’s rock music—pervasive and inescapable throughout society. Either get out of the way, or be run over.

Apr
12

Jackson Taylor & The Sinners “Live At Billy Bob’s Texas”

April 12, 2014 - By Trigger  //  Reviews  //  14 Comments

jackson-taylor-live-at-billy-bobs-1

Jackson Taylor & The Sinners are the best hard-driving country band you’ve never heard of. How do I know you’ve never heard of them? Because nobody has, except for the people that have, and as those people can attest, nobody has heard of them. Hell even when despite all their unknown-ness, they were somehow nominated for one of those Dale Watson Ameripolitan Awards a while back, at the awards banquet in February the presenter called them “JASON Taylor and the Sinners” when reading off the names of nominees. For the people in attendance who knew about the band, it seemed every bit appropriate. Why? Because nobody knows about them. Here they were amongst friends, and they were still unknown. “And the winner is…” the presenter then continued, and someone yelled out from the crowd, “Jason Taylor!” Unfortunately for them neither Jackson Taylor nor Jason Taylor won. But dammit, everyone in attendance that night will remember Jason Taylor from here on out, while Jackson Taylor remains sandwiched in some sort of weird no man’s land between Red Dirt, underground country, and Southern rock & roll.

It ain’t from a lack of sweat equity that Jackson Taylor & The Sinners aren’t any better known. They’ve paid their dues and then some. Maybe it’s because the uptight crowd that would usually get into their hard country sound don’t like the cussing, and the underground cusses don’t care to pay attention to anything outside of their Facebook feeds. But the jokes on them, because Jackson Taylor & The Sinners is one hell of a good time. Just ask the people who know about them.

Don’t take it that Jackson Taylor & The Sinners are like the sisters of the poor. They’ve had their days in the sun, and it certainly must be a proud achievement for them to be featured a part of the prestigious, critically-acclaimed, world-renown, and long-running album series called Live At Billy Bob’s Texas right beside names like Willie Nelson, David Allan Coe, Billy Joe Shaver, and on and on from there. Created by Rick Smith some years back and recorded at the “World’s Largest Honky Tonk” in Ft. Worth, it’s a high honor to be asked on the series even if you get up there on stage and lay an egg.

jackson-taylor-sinners-live-billy-bobsLuckily we don’t have to worry about that outcome with Jackson Taylor. They come out swinging like Joe Frasier with some of their most lethal haymakers right out of the gate like “Jack’s Drunk Again” and “Old Henry Rifle”. And when they’ve pinned you to the ropes only four songs in, they shift gears into some of their more subdued, songwriting material like “The Mirror” and “Sunset”.

Something cool to note about this set captured live in both excellent audio and full concert DVD is that it all transpired on July 27th, 2013, only a few months after the passing of the Ol’ Possum, Mr. George Jones. So despite this being very much a signature set of Sinner’s music, No Show is there in spirit and is given a healthy tip of the hat when they cover “He Stopped Loving Her Today” (capped off with some of Jackson’s alternative lyrics), as well as their song “No Show” early in the set.

Jackson Taylor is one of these guys you can’t take too seriously or you lose touch with the total enjoyment you can get from him, while at the same time he can be deceptively deep when you read between the lines, or when he performs a song like “Faulkner By Dashboard Lights”—a true and personal track from Jackson and one of the standouts from the set.

Can you really still be unknown and have your own Live At Billy Bob’s release? That wouldn’t seem right, and this 16-song disc/DVD combo that includes an interview with Jackson is probably the perfect introduction to a band for someone who isn’t scared off by the warning that Jackson isn’t shy about cussing a little and getting a little strange, or mixing some over-driven rock guitar into his country. But Jackson Taylor & The Sinners is still country no doubt with the Johnny Cash train beat behind most everything they do, and they do great justice to the weight behind the Live At Billy Bob’s stamp that marks this album’s cover.

1 3/4 of 2 guns up.

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Purchase Live At Billy Bob’s Texas from Jackson Taylor

Preview & Purchase Tracks on Amazon

Apr
1

16 Great Sons & Daughters of Country Music Greats

April 1, 2014 - By Trigger  //  Reviews  //  39 Comments

Country music isn’t just a genre of music, it is a musical religion, a way of life, a cultural lineage passed down from generation to generation and preserved through the blood and bond of its performers and fans. That’s why it seems country music performers so very often tend to turn out to be the parents of country music performers themselves.

Let’s take a look at some of country music’s greatest sons and daughters.


Justin Townes Earle

justin-townes-earleSon of alt-country pioneer Steve Earle, and middle namesake of the man who was good friends with his father and considered one of the greatest songwriters ever, Justin Townes Earle has spent the last seven or so years trying to live up to the lofty expectations of both names, and has done so valiantly. Releasing a startling debut EP in 2007 called Yuma, Earle and his obsession with the craft of songwriting have led to critical success for the five albums he’s released through Bloodshot Records. Considered by many as one of the biggest names in the new generation of alt-country/Americana performers, Justin has done it not by being a chip off the old block, but by forging his own path.

Justin’s relationship with his father has been rocky over the years. Steve Earle left Justin and his mother when Justin was just 2-year-old, and the younger Earle had a tumultuous, troubled, and at times, drug-fueled childhood. But he has soldiered on to carry a name all his own.


Waylon Payne

The son of Willie Nelson’s long-time guitarist Jody Payne and Grammy Award-winning country music singer Sammi Smith, Waylon is named after his Godfather, Waylon Jennings. Raised by his aunt and uncle due to his parents’ heavy touring schedules, Payne attended seminary after high school and was on track to become a minister before catching the music bug. For a while Payne was part of the popular Eastbound and Down country night at the King King Club in Hollywood where performers would swap classic country songs. Payne later released the album The Drifter in 2004 through Republic Universal.

Music isn’t Waylon Payne’s only creative calling though. He may be known more as an actor than a musician. In the award-winning Johnny Cash film I Walk The Line, Payne played Jerry Lee Lewis. He also played country great Hank Garland in a small film called Crazy, along with making numerous television appearances, including on CSI: Crime Scene Investigation.


Hank Williams III (or Hank3) 

hank3-photoThe grandson of Hank Williams and the son of Hank Jr., if there was ever a spitting image of country music’s first superstar, it would be him. He not only carries the visage and build of Hank Sr., but also the voice and writing style when he wants to go in that direction. The youngest Hank though has a hankering to delve into the wild side of music as well, and has released multiple punk albums during his career that has now stretched into two decades.

Hank3 started out playing drums and guitar in underground punk bands, with no real drive to be a part of the country music machine. But when a paternity suit put him in court, he decided to sign with Curb Records, and entered into a tumultuous period with the label that at the least resulted in multiple landmark records, including the neo-traditional country stalwart Lovesick, Broke, & Driftin’, and his double album opus Straight to Hell. Hank3 is now an independent artist, and carries on the family tradition of doing the music he wants and defying expectation.


Holly Williams

The granddaughter of Hank Williams, daughter of Hank Jr., and half sister of Hank Williams III has had a somewhat strange musical journey, but one that has seen her bloom recently to become one of the leading females in country/Americana, keeping the music true to its roots while moving it forward.

Holly’s early career saw her sign to major labels like Universal South and Mercury Nashville, trying to break into the big time, but always seemingly with one foot in, and one foot out of that mainstream approach to music. She was also seriously injured in a near fatal crash in 2006 along with her sister Hilary who also is a performer. Then in February of 2013, Holly released The Highway independently, and since then has become a critical darling and a live performer not to miss. Though there were some that at times wondered if Holly was just a famous name, she’s proven recently that she’s so much more.


Ben Haggard

ben-haggardThe son of Merle Haggard and an official member of Merle’s legendary backing band The Strangers, Ben is a chip off the old block when it comes to slinging Telecasters and perfecting the West Coast, twangy Bakersfield tradition of loud and electric country music. Patterned in the mold of the pioneer of the craft, the under-appreciated Roy Nichols, Ben can be seen plying his craft and staring at the back of his father on any given night out on the road. This isn’t just your usual slot filled by a family member on stage. Ben’s skills are regarded by his musician peers as being standalone from any famous name.


Shooter Jennings

shooter-jenningsThe only child of Waylon Jennings and Jessi Coulter, Shooter started his musical journey in the rock band Stargunn before signing with Universal South in 2005 and releasing his first country record, Put The ‘O’ Back In Country. He subsequently released two more country records infused with some Southern rock & roll before putting out his rock opus, the experimental album Black Ribbons. Shooter re-established his country roots with the 2012 album Family Man, followed up by 2013′s The Other Life.

Like many of country music’s famous sons and daughters, Shooter Jennings marches to his own drum, but always seems to come back to the country music fold.


Jubal Lee Young

Son of legendary Outlaw country songwriter and performer Steve Young (Lonesome, Onry & Mean, Seven Bridges Road), and songwriter Terrye Newkirk, Jubal Lee Young from Muskogee, Oklahoma put out an album in 2011 called Take It Home that included the song “There Ain’t No Outlaws Any More” that loudly proclaims, “Here comes another badass sellin’ Nashville rock and roll, long hair, denim and tattoos, lookin’ on’ry and mean. Singin’ songs about that lonesome road, some of ‘em might even be true. But there ain’t no outlaws anymore…”

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Hank Williams Jr.

hank-jrThe most obvious and most successful of country music’s greatest sons, Hank Williams Jr. is very likely a future country music Hall of Famer, and has won multiple CMA Entertainer of the Year Awards and sold millions of albums. He started out his career as a virtual impersonator of his famous father, but rebelled against this preordained future to become so much more. Hank Jr. took a precipitous fall off of Ajax Mountain in Montana in 1975, landing on his face, and having to go through multiple surgeries before he could return to performing. And when he did, he quickly became known as “Rockin’” Randall Hank as he emerged with a sound that was just as much Southern rock as country.

In the mid 80′s, Hank Williams Jr. was one of country’s biggest stars, and now sits as a legend in the genre. He also is responsible for two other famous country offspring: Hank Williams III and Holly Williams, and a 2nd daughter Hilary Williams has also been a performer.


Georgette Jones

The only daughter of the country music super pairing of George Jones and Tammy Wynette, Georgette was said to have a recording contract on the day she was born. She recorded her first song at the ripe age of ten with her dad called “Daddy Come Home.” From there Georgette began singing backup for her mom, and she has gone on to become an accomplished songwriter and solo performer herself. Georgette has released numerous albums, including three for Heart of Texas Records. Her latest album Til I Can Make It On My Own is a tribute to her mother.

Georgette also appeared in the TV Series Sordid Lives and recorded numerous songs for the soundtrack, including Tammy Wynette tunes. She also recently released a memoir called The Three of Us: Growing Up with Tammy and George, Georgette Jones.


Shelli Coe

shelli-coeDaughter of David Allan Coe, Shelli was born in Nashville and raised in Austin, and appeared at the tender age of 3-years-old on her father’s Family Album project. She later worked as a backup singer for her father before landing in Branson, MO for a while where she performed in clubs, collaborated with other songwriters and appeared on the album Branson Songwriters Out in the Streets. Shelli subsequently returned to Austin where she is known to perform off and on. Her first full-length CD A Girl Like Me was released in 2010, and is worth a listen for folks that like traditional country music.


Lukas Nelson

lukas-nelson-sxsw-2014Surrounded by a bevy of musical siblings and one awfully famous father, the argument can be made that Lukas was the Willie offspring that received the most potent douse of Willie’s musical genes, and has a powerful voice to match his father’s. A dynamic, top-flight performer with a sound that trends much closer to rock than country, but still has an earthy, rootsy feel nonetheless, Lukas is on a fast track to becoming a superstar all his own.

From his towering leg kicks, to playing the guitar with his teeth, at only 23-years-old, Lukas could already be crowned as a guitar god. Leading his band The Promise of the Real, they’ve made waves in the music world on big tours. About the only thing holding the young star back is that rock music is in a weird spot right now, and guitar blazers are not what the masses are particularly looking for. But like his father, Lukas is not worried about anything but following his heart, and he promises to have a very bright future ahead of him with a tower of talent to draw from.


Eddie Shaver

Son of Outlaw country legend Billy Joe Shaver, Eddie Shaver was one of the best country music guitar shredders to ever take the stage. Aside from being his father’s right hand man for many years, Eddie Shaver studied under Dickey Betts of The Allman Brothers, played with Willie Nelson, Waylon Jennings, Kris Kristofferson, Guy Clark, The Eagles, and was Dwight Yoakam’s guitar player for the first two years of Dwight’s career.

It’s only because of Eddie’s untimely death that he’s not better known. He was scheduled to release his first solo album in 2001 when he died of a heroin overdose on New Years Eve of 2000. Though Billy Joe Shaver is known most for his songwriting, and Eddie as a guitar slinger, it only takes a glimpse at either to see that the musical talent runs very deep with the Shaver clan.


June Carter

01374463.JPGThough one might first think of June Carter as more of a mother of famous country artists instead of a daughter of them, June Carter is arguably the first daughter of country music. Her mother is “Mother” Maybelle Carter, given her nickname for being the mother of her performing daughters, and arguably the mother of country music. June began performing at the age of ten in 1939 as part of the landmark country outfit The Carter Family. It was through their mutual love of country music that she would eventually meet and fall in love with Johnny Cash, and the two went on to be one of country music’s powerhouse couples. June Carter was a muti-instrumentalist with a classic voice, and defines the nexus between country music’s primitive, classic, and modern eras.


Rosanne Cash

rosanne-cashIt can be easy to overlook just what kind of impact Rosanne Cash has had on American music over the years. She seems to always be overshadowed by her father, by other famous sons and daughters of country legends, measured against them, and dogged by preceding labels that don’t always allow her to be judged on her own merit, while her musical accomplishments veer towards being somewhat misunderstood because she’s not always been nestled smack dab in the country realm as people want, expect, or anticipate.

But Rosanne’s critical and commercial accomplishments are far more than complimentary, they define a very successful career: Eleven #1 country singles, twenty-one Top 40 singles, and thirteen Grammy nominations is nothing to sniff at, and ultimately might at least get her mentions as a potential Hall of Fame inductee.


john-carter-cash-001John Carter Cash

The only offspring between the country music super marriage of Johnny Cash and June Carter, John Carter Cash has spent his time as a singer and performer, but many of his important contributions to country music have come behind-the-scenes as a producer, songwriter, author, and general champion of the Cash estate and all things country music. It’s remarkable how many places you see John Carter’s name attached to projects as his puts effort out to make music happen in whatever capacity he can help in. Like his father, he has that selfless streak of service that surfaces in some of the most generous and cool ways.


Bobby Bare Jr.

Born in Nashville, TN to the original Outlaw Bobby Bare, Bobby Bare Jr. grew up next door to Tammy Wynette and George Jones in Hendersonville, and was nominated for a Grammy next to his father for the Shel Silverstein-written song “Daddy What If” from his father’s tribute album to Silverstein. Fronting roots rock bands like “Bare Jr.” and “Young Criminals Starvation League”, Bare’s career has been the result of avoiding “working a real job at any cost,” despite earning a psychology degree from the University of Tenessee, and not really getting deep into his own music until later in life. His high energy on stage and dark sarcasm in his songs have won him fans worldwide.


Other Famous Sons & Daughters:

Pam Tillis – 1994 CMA Female Vocalist of the Year, and daughter of country great Mel Tillis

The Carter Family Daughters – Carlene Carter, Helen Carter, Anita Carter, Rosie Nix Adams.

Jett Williams – Daughter of Hank Williams that found out about her famous father later in life. Jett has been a performer and plays an important role as one of the executors of the Hank Williams estate.

Jesse Keith Whitley – Son of Lorrie Morgan and Keith Whitley

Marty Haggard, Noel Haggard, and Scott Haggard- More performing sons of Merle.

Dean Miller – Son of Roger Miller

Lilly Hiatt – Daughter of John Hiatt

Chelsea Crowell – Daughter of Rosanne Cash and Rodney Crowell

Paula Nelson – Leader of The Paul Nelson Band.

Tyler Mahan Coe – Guitar player and writer who spent years touring in his father’s band.

Folk Uke – Made up Willie Nelson’s daughter Amy, and Arlo Guthrie’s daughter Cathy.

Whey Jennings – The son of Terry Jennings, and grandson of Waylon Jennings.

Lucas Hubbard – Son of Ray Wylie Hubbard who often plays lead guitar with his father.

Lucky Tubb – Not technically a son or daughter, but a great nephew of Ernest.

Bluegrass – There are many performing sons and daughters of famous bluegrass musicians, but for fear of forgetting some and getting yelled at for it, this sentence is in dedication to them all. You rock! Or pick, or strum, or pluck! Go YOU!

Mar
25

Album Review – Johnny Cash’s “Out Among The Stars”

March 25, 2014 - By Trigger  //  Reviews  //  19 Comments

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I’m not certain that the impact of Johnny Cash getting dropped from the CBS/Columbia record label that had been his home for nearly 30 years has ever been fully appreciated. It truly was the end of an era, or the beginning of one depending on how you want to look at it. It stimulated a young Marty Stuart (an understudy of Cash) to get int the face of  Columbia executive, resulting in him eventually being ejected from the label. It made Merle Haggard tell Rick Blackburn, the man responsible for Cash’s firing, “You’re the son-of-a-bitch that sat at that desk over there and fired Johnny Cash. Let it go down in history that you’re the dumbest son-of-a-bitch I’ve ever met.” And it also meant that an entire, cohesive album from one of the most well-respected artists in the history of American music went unheard for 30 years after its original recording. This is the type of peril American music is put through at the hands of suits, that such a ridiculous, unintuitive aberration could transpire in the custody of one person’s art, especially the art of Johnny Cash.

Out Among The Stars is a difficult album to critique. Since it was originally crafted to be heard by the public some 30 years ago, with stylings and sensibilities more steeped in the country modes of that time, it’s hard to know how to calibrate your ear to this music. Compounding this problem is the information that some, or all of the tracks have been “fortified” by a team that included Marty Stuart, Buddy Miller and others to be more akin to what a modern ear might expect. Then you pile on top of all of that the fact that some of these songs like “She Used To Love Me A Lot” and “Out Among The Stars” have already wormed themselves into our brains with versions from other artists. It would not be fair to call Cash’s versions “cover” songs because of the way the timeline sits. They are simply Cash’s takes of contemporary tunes that were never heard because of the nature of this project. Nonetheless you can’t help but compare these “new” versions to the ones you’re more familiar with.

While you’re listening to Out Among The Stars, you almost feel like Marty McFly contemplating the strange space-time continuum this project puts you in, asking yourself, “Would the 1984 me like this? And do I like it now?” The mid 80′s was its own strange time in country music as well. Just listen to the introduction to Willie Nelson’s version of “Pancho & Lefty”. Johnny Cash amidst his recovery from drug addiction wasn’t the only one trying to find his compass; the entire genre of country was. The original Out Among The Stars sessions were produced by Billy Sherrill of all people—a producer known as one of the masterminds of the countrypolitan or Nashville Sound. As strange as it was for him to be working with Johnny Cash, at the same time he was working with wildman David Allan Coe, trying to revitalize Coe’s career as well. Billy Sherrill—one of the principles the Outlaws had risen up against—was now one of their brothers in arms. A strange time in country indeed.

johnny-cash-out-among-the-starsThen you take the emotional quotient of simply being able to hear the legendary voice of Johnny Cash again in completely unheard, studio-quality content, and it’s hard to hold onto any and all objectivity. Even if Out Among The Stars was a verbatim recitation of the Nashville Metropolitan phone book circa 1984, this album is a gift from beyond that any sane country music fan would dare not stare too long in the mouth.

The reason that Out Among The Stars became “lost,” and Johnny Cash got dropped from Columbia is because nobody knew what to do with him, including Johnny himself. In some respects, the song material on this album is somewhat indicative of this searching for direction. It is sort of the take of two Johnnys—one introspective, dark, and even disturbed at times, and the other the more “aw-shucks” Arkansas boy. Musically, whether the fault of Sherill or the super-team assembled to deal with the recordings in the present day, is where Out Among The Stars shows cohesion and confidence. Though some of the songs might be more fit for the 80′s country listener, the music throughout is timeless.

The somewhat cornpone and timecasted song “If I Told You Who It Was” is where the album most shows off it’s 80′s stripes, but Cash’s versions of “Out Among The Stars” and “She Used To Love Me A Lot”, the melancholic “Call Your Mother,” to the downright sadistic “I Drove Her Out Of My Mind” are right in the mode of classic Johnny Cash whose willing to delve deep into the darker side of life. These are balanced by the sweet and simple approach of songs like “Tennessee” that expires in an uplifting chorus signature to Billy Sherrill’s touch, and the sweet duets with June Carter “Don’t You Think It’s Come” and “Baby Ride Easy”. The organ/piano combination, combined with the fairly sappy lyrics of “After All” might make it the album’s most forgettable track, while “Rock & Roll Shoes” and the cover of Hank Snow’s “I’m Movin’ On” with Waylon Jennings check in as the album’s most fun tunes.

Johnny Cash left music, and left the world behind at the top of his game, having been revitalized and resurrected in the public consciousness as the result of his American Recordings era, leaving the crowd wanting more as all great entertainers do. Though Out Among The Stars may not reach the high critical acclaim Cash set for himself in the last era of his career, it is a more than worthy offering allowing the Man in Black to once again live among us in our hearts and imaginations, leaving the listener ruminating on the historic accomplishments of a man whose musical accomplishments will never be equaled.

1 3/4 of 2 guns up.

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Preview & Purchase Tracks from Out Among The Stars

Mar
12

New Video for Johnny Cash’s “She Used To Love Me A Lot”

March 12, 2014 - By Trigger  //  Reviews  //  24 Comments

johnny-cash-out-among-the-stars

This story has been updated.

On Wednesday morning, Legacy Recordings released the official music video for Johnny Cash’s version of the song “She Used To Love Me A Lot” off of the upcoming lost album Out Among The Stars due March 25th.

The video was done by famous Australian filmmaker John Hillcoat. “I’ve been a lifelong fan,” Hillcoat told The Guardian. “The first film I made was a prison film, so there’s definitely a connection there with the whole Folsom prison thing. I was also inspired by his voice, which has a truth to it at all times – that’s always helped me in terms of working with actors, no matter how big … If I recall correctly Cash was one of the first major public figures to openly talk about drug addiction, his inner demons and his problems with women and relationships. America loved him because he spoke for the common man.”

The version of “She Used To Love Me A Lot” on the music video is a different mix compared to the initial version originally released in mid-January. Where the first version features acoustic guitar and mandolin, the new version doesn’t. The new version also features organ, while the first version featured piano. Other, more subtle differences can also be heard between the two tracks. Both versions are slated to appear on the album, with one marked as the “JC/EC Version”.

The original recordings for Out Among The Stars were taken from archived masters that were made between 1981 and 1984 with producer Billy Sherrill. They were then “fortified” before being readied for release by a team that included Marty Stuart and Buddy Miller. The fortification process may have resulted in multiple versions of the song.

David Allan Coe, also working with producer Billy Sherrill, was the first artist to release “She Used To Love Me A Lot” in December of 1984, but Cash may have recorded his version first, or around the same time. At the time Sherrill, a Country Music Hall of Famer, was working with both men to help revitalize their careers. Coe’s version eventually reached #11 on the charts. The song was written by Dennis Morgan, Charles Quillen, and Kye Fleming.

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Feb
17

2014 Country Music Hall of Fame Picks & Prognostications

February 17, 2014 - By Trigger  //  Random Notes  //  92 Comments

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It’s that time of year again when we’re on the verge of hearing who the next class of inductees to the Country Music Hall of Fame will be. Though the date seems to be getting later and later each year (last year it stretched all the way to April 10th—2012 was announced on March 6th), as soon as spring starts to break, you can be assured an announcement is coming soon.

It must be said whenever broaching the subject of the Country Music Hall of Fame that it has been The Hall’s desire over the years to have it be an exclusive institutions when it comes to inductees. Where the Rock and Roll Hall of Fame and certain sports seem to throw the barn doors wide and accept all comers, the Country Music Hall of Fame would rather take gruff for who is not in the The Hall as opposed to who shouldn’t be, but is. You can always induct someone in the future, but it’s nearly impossible to throw someone out.


The Rules

country-music-hall-of-fameThe Country Music Hall of Fame inductees are selected through a committee process appointed by the Country Music Association, or 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 a non-performer in “Cowboy” Jack Clement selected last year (though he was a performer and songwriter, it was more for his producer role), it would a songwriter’s turn up to bat this year.

Since 2001, anywhere from 2 to 4 names have been added to the Hall of Fame 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 from a category, then both may come from that category.

See The Complete Hall of Fame Induction Process


Potential Modern Era Inductees

Last year’s inductee – Kenny Rogers

ricky-skaggsRicky Skaggs – Ricky Skaggs is the artist that has felt like he’s been right on the bubble of being inducted over the last couple of years. Skaggs has bookened his career as a mandolin maestro, studied under Bill Monroe, and is 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. Few could argue with this pick and Skaggs is very well liked across country music. He was also announced recently as the Country Music Hall of Fame’s “Artist in Residence.” Though there is no official correlation between being named an Artist in Residence and being inducted the next year, that coincidence has happened numerous times, including for last year’s modern era inductee, Kenny Rogers. Skaggs has to be considered a frontrunner.

ronnie-milsapRonnie Milsap - Milsap is a name that has probably been on final ballots for the Hall of Fame for going on two decades, and in a couple of years will cycle over to a veteran’s era candidate, if he hasn’t already depending on where you want to start the clock on him. Though his commercial success is unquestionable, the fact that he started outside the genre and found a lot of his success as a crossover star might make him a hard name for voters to pull the trigger on. Having said that, seeing another name who started outside of country and had a lot of his success in the crossover world get inducted last year in Kenny Rogers, might move Milsap one step closer.

alan-jacksonAlan Jackson – 2013 was Jackson’s first year of eligibility, and there was a sense he just missed out on being a first year Modern Era inductee like Garth Brooks and Reba McEntire. A huge commercial success in his day who always payed homage to the roots of the genre and the artists who came before him, Jackson is a shoe-in for The Hall eventually, and should be a very strong candidate this year. He’s well-liked, with little to no baggage (there was that whole George Jones “Choices” thing back in 1999 at the CMA Awards, but hey, that was a long time ago). Alan Jackson is a strong contender.

randy-travisRandy Travis – At this time last year, despite Randy’s fresh eligibility and unquestionable credentials for the Hall, he was facing a string of drunk driving charges, and spinning the unsavory story of trying to bum a cigarette at a gas station naked. In such a crowded field, it was easy to give Travis a pass. But this year the story is much different. After suffering from a heart condition and stroke while in the midst of a strong recovery from his personal issues, Randy Travis has to be considered the sympathy favorite for the distinction. Will it be enough? Maybe not, but Randy will be a frontrunner in the Modern Era until he’s inducted.

brooks-and-dunnBrooks & Dunn – A commercial powerhouse whose career was somewhat overshadowed 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 but one between 1992 and 2006. 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, and with this crowded of a field? And does the fact that they’re no longer a functioning act hurt them, or is Kix with his radio work and Dunn with his brewing country revolution still visible enough? A few more names may have to tick off the list before their turn, but they have to be considered contenders.

Other Possible Modern Era Inductees:

  • The Oak Ridge Boys – Another Strong Contender
  • The Judds
  • Dwight Yoakam – You’d think with 25 million records sold, his name would be more associated with this distinction. Maybe in the coming years.
  • Keith Whitley – Garth Brooks a couple of years ago said he deserved induction before him.
  • Clint Black – If it wasn’t for his career’s disappearing act, his name would be right up there with Travis, Jackson, and Brooks & Dunn
  • Toby Keith – Officially eligible because he had his first success in 1993, but probably on the outside-looking-in for the next few years
  • Charlie Daniels
  • Tayna Tucker
  • Crystal Gayle
  • Gene Watson
  • Mickey Gilley

Potential Veterans Era Inductees

Last year’s inductee – Bobby Bare

Predicting the Veterans Era nominees is notoriously foolhardy because they pull from such a wide field of potential inductees. It’s made one measure harder by a general lack of chatter out there surrounding potential nominees compared to previous years. But here’s a few educated guesses.

jerry-lee-lewisJerry Lee Lewis – He’s a definite possibility for induction, and with the lack of a clear front runner, this might be his year. 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 Studios buddy can’t be counted out.

jerry-reedJerry 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, songwriter, and a musician. There weren’t many better guitar pickers back in the day than Jerry Reed. And his work as a session musician with so many of country music’s big names made him a well-known and likable character throughout the genre.

hank-williams-jrHank Williams Jr. – It’s somewhat hard to know if Hank Jr. should be considered a Veteran or Modern Era candidate because of the double-era aspect of his career, but he’s a contender either way. However despite his two CMA Entertainer of the Year awards and millions of albums sold, you don’t get the sense it’s his time just yet. Only playing around 18 shows a year these days, and generally being once removed from the moving and shaking of the country genre while he pursues a quasi political career, Hank Jr. could be passed over this year others pushing harder for the distinction.

lynn-andersonLynn Anderson & Dottie West – Lynn and Dottie are the two ladies that likely lead the field for female veteran inductees. Both of these ladies are right on the bubble, as they have probably been for many years. Since there wasn’t a woman inductee last year and there’s no strong female contenders in the Modern Era category, the pressure to include a woman from the veteran field in 2014 might be greater.

maddox-brothers-and-roseThe Maddox Brothers & Rose – The Maddox Brothers & Rose was a name that probably wasn’t on many people’s radar until the last couple of years. 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, especially West Coast country, and the flashy dress of country performers that still influences the genre today. It may be 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. And it would be great to see happen while the final member, the 91-year-old Don Maddox, is still around.

gram-parsonsGram Parsons – Gram’s inclusion here is always a topic of great discussion. In 2013 there was a greater push than ever to induct him, with influential Country Music writer Chet Flippo personally making the case for him, and other chatter that 2013 might be his year. But it wasn’t, and it may be years before it is, but his name is always in the field for this accolade, and looking at the influence Gram had showing millions of rock and roll fans the beauty of country music, it should be.

john-hartfordJohn Hartford – This is a long shot pick, but he deserves induction. As I said in my prognostications from a couple of year ago, “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.”

tompall-glaserTompall Glaser & The Glaser Brothers – Probably another long shot, but one that has to be considered a more legitimate contender in 2014 with the passing of Tompall last year. It probably helps that his brothers-in-Outlaw-country-arms Bobby Bare and “Cowboy” Jack Clement were inducted last year, moving folks like Tompall and other Outlaw-esque country music personalities one step closer in the process.

johnny-paycheck-150x150Johnny 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. One positive sign for them is the induction of Bobby Bare and “Cowboy” Jack Clement last year. This means the CMA committee is willing to pick Outlaw artists and personalities for the Hall, and those two inductions move Paycheck and Coe two steps closer.

Randomly, I also think there’s a strong chance that the next major rotating exhibit at The Hall could be a feature on the Outlaw era of country, which might also give people like Paycheck, Coe, Tompall, and others a chance to be featured at the Hall of Fame beyond induction.

Other Possible Veterans Era Inductees:

  • Jimmy Martin
  • Vern Gosdin
  • Ralph Stanley
  • Johnny Horton
  • The Browns
  • June Carter Cash
  • Wynn Stewart
  • Jim Ed Brown

Potential Songwriter Inductees

Last songwriter inducted – Bobby Braddock in 2011

The 3rd category rotates between a musician, a non-performer (executive, producer, journalist, etc.), or songwriter on different years. 2014 would be a songwriter year.

Though there may be some artists that would technically qualify for induction under this category like Keith Whitley, Townes Van Zandt, Billy Joe Shaver, or any number of other artists that have extensive songwriting credits, this category is meant for behind-the-scenes songwriters who would never be inducted if not for this category. Though the award might go to someone with a little more modern success as a songwriter to go along with their storied history, here’s two interesting names that deserve strong consideration.

Hank Cochran

Hank Cochran

Hank Cochran  – Hank would be a worthy inductee, and it just might happen for him as a songwriter of both critical acclaim and commercial success. It can’t hurt that Jamey Johnson also recently release a tribute to Cochran, making him front-of-mind when voters are thinking of songwriters who deserve this distinction. Cochran should be considered a front runner.

John D. Loudermilk – A cousin to The Louvin Brothers that had great commercial success as a songwriter in the 60′s and 70′s, he was inducted into the Nashville Songwriters Hall of Fame in 1976, and certainly deserves consideration for this distinction. Nonetheless, it’s probably a long shot.

Shel Silverstein would be another interesting name.


Picks and Predictions

Who I Think Will Be Inducted

  • Ricky Skaggs or Alan Jackson – Modern Era
  • Jerry Lee Lewis, Vern Gosdin, or Jerry Reed – Veterans Era
  • Hank Cochran – Songwriter

Who I Think Should Be Inducted

  • Ricky Skaggs – Modern Era
  • Maddox Brothers & Rose / Tompall & The Glaser Brothers – Veterans Era
  • Hank Cochran – Songwriter

Jan
23

Aaron Lewis Says “That Is Not Country Music, I’m Sorry”

January 23, 2014 - By Trigger  //  Random Notes  //  56 Comments

aaron-lewisAaron Lewis may know a little something about what country isn’t. He spent the first 16 years of his music career as the emotionally-distraught and misanthropic frontman of the alternative rock band Staind before deciding in 2010 to record a “country” EP. The project was released in 2011, and included the single “Country Boy” that despite the participation of George Jones and Charlie Daniels, still felt like what Aaron Lewis had been doing with his acoustic shows for over a decade, except for trying to brow beat the listener into buying into how country he was.

2012 saw the release of Aaron’s second single, “Endless Summer,” which along with other misdeeds, name dropped Jason Aldean of all people. It was looking like Lewis was falling right in line with the procession of other country music outsiders fleeing to the country genre in the twilight of their careers to find commercial strength. But when his full-length album The Road was released in late 2012, it was actually a pleasant surprise to hear just how country and non-commercial it was.

While talking to The Marion Star in Ohio ahead of an upcoming show, Aaron decided to let his disdain for the direction of country music be known.

“I think there’s enough beer on the beach, partying on the tailgate, driving around in a pickup truck, moonshine songs,” Lewis said. “I think that everything has been pretty well beaten to death. And I’ll opt for my usual … making sure the song has emotion and feeling and means something… I don’t know what it is that country radio is playing these days. I’m really not quite sure. There’s a song out right now that’s a big single for a big act, and at the very end of the song you can hear a banjo come up in the mix for four measures. And you’re like, ‘Oh, there’s the country aspect of it. Now I get it.’ But that is not country music, I’m sorry.”

Lewis also says he doesn’t like to be lumped in with Kenny Chesney when he mentions he plays country.

“It’s funny because people hear Aaron Lewis and country they often think Kenny Chesney when they should have thoughts of Jamey Johnson and David Allen Coe. It’s country like Merle Haggard, Waylon Jennings, George Jones and Johnny Cash … I almost even like the fact that I’m having all of this success without the machine really embracing me. And I’m not sure that it would have been as valuable to me as an artist to have the very first song I ever delivered to country go straight to the top of the charts and never have to work for it, so I never had to start out in the honky-tonks and where it should start. And man, I’ve sold out every honky-tonk place in the last few years and it’s where it should start. I believe in building a foundation and then building your house on top of that.”

Maybe Aaron is bitter because the country industry didn’t embrace him, or maybe he’s come around to the side of dissent for other reasons. But despite where Aaron Lewis and country music began or where it eventually may be going, at the moment he seems to be making the effort to understand that making country music means embracing more than just the name.

Jan
14

Review – Johnny Cash’s “She Used To Love Me A Lot”

January 14, 2014 - By Trigger  //  Reviews  //  22 Comments

johnny-cash-out-among-the-starsBetween 1981 and 1984, Johnny Cash recorded an album with the legendary Hall of Fame producer Billy Sherrill called Out Among The Stars that was subsequently shelved by Columbia Records and lost to the world until the masters were recently discovered during a search for archival Cash material. The album in its entirety is scheduled to be released on March 25th, and ahead of the release we have a chance to hear the song “She Used To Love Me A Lot,” written by Dennis Morgan, Charles Quillen, and Kye Fleming.

Learned country fans will recognize “She Used To Love Me A Lot” as a David Allan Coe single released in early December of 1984 off his album Darlin’ Darlin’. That version of the song also emanated from Columbia Records, with Billy Sherrill as producer, though it’s probably not fair to call Cash’s version a cover of David Allan Coe because Cash’s version was very likely recorded first.

david-allan-coeIn the mid 80′s, David Allan Coe was experiencing a resurgence of interest in his career, and Darlin’ Darlin’ was a strange project for him, heavily produced in the Billy Sherrill style, and consisting mostly of songs written by others. Sherrill’s approach with Coe was to showcase his often-overlooked vocal prowess through the selection of compositions, and Coe’s version of “She Used To Love Me A Lot” lives up to that charge, with a stellar vocal performance that communicates a great sense of pain through the song’s structure and the dark, minor chords, overriding any concerns about the heavy production hand Sherrill employed. The song eventually reached #11 on the Billboard country charts.

If Out Among The Stars had been released in its time, David Allan Coe many have never cut “She Used To Love Me A Lot,” and it would be Cash’s version that all others would be measured against. But instead it is Coe who defines the established expectations and prejudices our ears cling to when we become comfortable with a version of a song.

johnny-cashCash’s interpretation is certainly a more earthy, acoustic, and grounded take, driven by a fingerpicked acoustic guitar and a spirited mandolin handled by a young Marty Stuart, with the drums completely spared for some light percussion. Coe’s version hinged more on a thumping, Outlaw-esque bass drum beat and driving electric bass guitar, with the acoustic guitar along for the ride and drums filling the chorus. Coe is also more active in the verses with his cadence and range, where Cash seems to focus more on the conveyance of the story.

There’s the potential that some parts of the Cash recording were “fortified” after the fact, as archivists have said happened in a respectful manner as this album was being brought back to life. But the production and approach to “She Used To Love Me A Lot” is both tasteful and timeless; not striking the ear as indicative of any era as sometimes can be the concern with archive recordings.

Johnny Cash is blessed like few others with a warmly familiar timbre to his voice making anything he touches sound like mastery. To be afforded any new music from Cash a decade-plus after his death feels like a blessing in itself and best not heavily scrutinized. Nonetheless, even with a critical ear, there’s little to not love with this song.

1 3/4 of 2 guns up.

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Dec
19

Cash’s “Out Among The Stars” Not Just Another Re-release

December 19, 2013 - By Trigger  //  News  //  24 Comments

johnny-cash-out-among-the-starsIn the last few years, the amount of re-releases, rare recordings, and other such reconstituted music material we’ve been bestowed by the Johnny Cash and Hank Williams camps and others has made the announcement and release of archival material somewhat of a mundane event. It’s not that there isn’t material on these albums that is worthy of ears, but they’re usually only good for maybe a few individual tracks that you must find by sifting through outtakes and alternative versions to get to. Sometimes these releases are padded with material that has been previously released, or has been put out in bootleg form before. And with so many of these releases, the mystique of hearing something new from a deceased artist has ironically become commonplace. Sometimes the release dates for these projects come and go and you don’t even notice despite your loyal fandom.

That will not, and should not be the case for the upcoming Johnny Cash album Out Among The Stars set to be released on March 25th, 2014. Instead of a hodgepodge of live or radio recordings or other such discarded studio fodder, Out Among The Stars is a complete album that was recorded between 1981 and 1984 by Cash, with songs that were meant to be together, but never saw the light of day. A true “lost album” if there ever was one. It was produced by Country Music Hall of Famer Billy Sherrill, renown as one of the architects of the countrypolitan, or Nashville Sound. But this wasn’t 1965, and Johnny Cash wasn’t just some artist looking to soften his sound with strings and choruses. Sherrill was also the president of CBS Records at the time, and the pairing was meant to create something special; something that could re-ignite Johnny Cash’s career.

It was the early 1980′s and Cash’s label Columbia was not sure what to do with him. Like so many other golden-era, aging country artists at the time, Cash was seen as cold product, and eventually Columbia dropped Cash in 1986, shelving Out Among The Stars, even though they released some other recordings and albums that were made after the album. It is pretty obvious that Columbia executives didn’t think much of the project, but as we’ve come to find out over the years, from back then and today, just because Music Row doesn’t approve, doesn’t mean it is bad.

Apparently when Cash was cut from Columbia, June Carter stashed the masters for Out Among The Stars amongst other archival recordings. The masters weren’t even found until last year when the family was going through the material looking for potential archival releases.

“They never threw anything away,” Cash’s son John Carter Cash tells The Tennessean. “They kept everything in their lives. They had an archive that had everything in it from the original audio tapes from ‘The Johnny Cash Show’ to random things like a camel saddle, a gift from the prince of Saudi Arabia….We were so excited when we discovered this. We were like, my goodness this is a beautiful record that nobody has ever heard. Johnny Cash is in the very prime of his voice for his lifetime. He’s pitch perfect. It’s seldom where there’s more than one vocal take. They’re a live take and they’re perfect.”

Out Among The Stars features 12 tracks, including a duet with Waylon Jennings, and two duets with Cash’s wife, June Carter Cash. The recordings feature Country Hall of Fame keys player Hargus “Pig” Robbins, and a young Marty Stuart. And for better or worse, Legacy Recordings had Marty Stuart, Buddy Miller, and Jerry Douglas “fortify” the recordings for this release. No, this is not the dusting off of some old demos to have fans who will buy anything Cash dig into their pockets yet again. Great care was taken with this project from beginning to end, and the result may mean the continuance of the surprising and sustainable interest Johnny Cash enjoys well after his passing.

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Below is a clip of the song “She Used To Love Me A Lot,” written by Dennis Morgan, Charles Quillen, and Kye Fleming, and originally recorded by David Allan Coe with producer Billy Sherrill in 1985.

Nov
11

Look, This is the Deal with David Allan Coe (An Editorial)

November 11, 2013 - By Trigger  //  Random Notes  //  100 Comments

david-allan-coeBack in March, country music Outlaw David Allan Coe was in a horrific accident where his black Suburban was broadsided by a semi truck in Ocala, Fl. Coe suffered cracked ribs and bruised kidneys in the accident, but was able to recover to perform again.

In the aftermath of the accident, there was a shakeup in David Allan Coe’s band and inner circle. As Saving Country Music reported after attending David Allan Coe’s first show back as part of Willie Nelson’s 40th Annual 4th of July picnic, David was quoted as saying, “…everybody quit me, except my wife. She’s the only one that didn’t quit. My road manager of 35 years, he quit me. My band quit me. This is a brand new band, this is a brand new me.”

On November 8th, David Allan Coe’s son, Tyler Mahan Coe, who played guitar for his father, posted an in-depth letter describing his side of the story, saying in part, “The implication is that every person in his life, except his wife, abandoned him after his recent auto accident. Certainly, it doesn’t make sense to me that every person in someone’s life would take a hike because that person had a little accident. Must be something else going on there.” In short, Tyler blames David Allan Coe’s wife Kimberly for manipulating his father, leading to him and others being forced out of his father’s music business. Tyler also spelled out and addressed numerous concerns and grievances he and many David Allan Coe fans have had about his father’s live performances in recent years.

David Allan Coe’s accident, the subsequent fallout, and Tyler Coe’s letter have stimulated a discussion about David Allan Coe, his ethics and character, his contributions to the music world, and have many fans finally speaking out about a lackluster live show that they we’re unwilling to speak about previously out of respect for the performer.

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Look, this is the deal with David Allan Coe. David Allan Coe is a piece of garbage human being. As Al Goldstein once said straight to David’s face enlisting a cackle from David, “You’re a fucking degenerate.” He’s a sexist, racist, scary, weird, train wreck of a man; one of these people we all knew growing up in school or in the neighborhood that was always in someone’s face and that could twist off at any moment.

As Waylon Jennings once pointed out, David Allan Coe will stab you in the back and then ride off your name like he’s your best friend. He wears a stupid, waist-length golden-haired wig on stage as if he’s fooling anyone. He bashes anybody and everybody for getting in his way, abandoning him, or otherwise keeping him down, when he is clearly an arrogant, disrespectful, down-talking asshole who has little regard for anybody but himself, has bashed his Outlaw contemporaries while praising people like Kid Rock and Toby Keith, and once bragged about standing on top of the desk of a record executive, dropping his pants, and ordering him to perform oral sex on him.

At the same time, and for some of the same reasons, David Allan Coe is an American treasure, and a country music legend. Hank Williams Jr. may have sung about being a “Dinosaur,” but David Allan Coe truly is one. In a world where we’re all so whipped and so trained to not speak our minds, or to say what we think, and respect authority that is many times much more immoral, unfair, and corrupt than we could ever be, an individual like David Allan Coe is a breath of fresh air, and in a strange way, an inspiration in the way he is blatantly obvious about who he is, what he wants, and what he believes.

Anyone who wants to diminish David Allan Coe’s importance to country music, whether it’s because he’s put out some bad songs, bad albums, has a bad live show, or because he’s is a bad person, isn’t paying attention to the full breadth of his contributions, including some of the most indelible, important, and influential works of the country music canon. Forget “Longhaired Redneck,” go listen to “Jody Like A Melody” or “River” and then tell me David Allan Coe has nothing to offer.

And to simply call him “sexist” or “racist” really doesn’t do justice to the complex and tragic history of David Allan Coe’s life and upbringing, or the true nature of his opinions. David Allan Coe is one of the truest products and examples of the American experience because there is no bullshit from him, however ugly it is to behold. His attitudes and actions are a reflection our own sins and flaws as an American society, personified in a man who has zero respect for phony custom, or plastic courtesy. At the same time, it’s embarrassing that some choose to use him as their phony idol or icon for racist or sexist platitudes or principles, only reveling in the bad parts about David Allan Coe, and missing the complete panorama of his message and musical contributions.

I do not know Tyler Mahan Coe personally, though I have seen him perform with his father before. Having read many things he’s written over the years, including his latest letter clearing the air about what happen with his father, Tyler comes across as an intelligent and thoughtful individual, and I tend to take what he says as being the truth, and find his honesty and candor refreshing. Tyler Coe is right. Seeing David Allan Coe on any given night can be an exercise in disappointment, from his poor stage presence to his stupid vocal effects. But there is nothing that I read in Tyler’s letter, or anything else that gives me reason to respect David Allan Coe any less. The grim reality with any performer is that as time goes on, they will lose grip with their talent and abilities, especially when they live the type of self-destructive life fans expect, if not demand from certain artists.

When I saw David Allan Coe perform this summer at Willie Nelson’s 40th Annual 4th of July picnic, it was the most God awful performance of “country” music I had ever seen in my life. His band setup included two keyboards flanking him on the left and right, some weird percussionist guy, and struck the vibe of an underfunded and unrehearsed amateur church band that had set up in the food court of a mini mall in some forgotten region of scary, small-town USA preaching to inbreeds and introverts circa 1987.  At the same time, I was super glad to be there to catch it, and to be able to see David Allan Coe still alive and performing after his accident.

Why? Because when David Allan Coe is gone forever, what he symbolizes and embodies will be gone forever too. And country music, and the rest of the world, will be a lot less of a colorful place. Because whether you like him, respect him, or hate him, there will never be another person or performer in country music or the American culture like David Allan Coe.

Oct
26

Inaugural Inductees to the Outlaw Music Hall of Fame Announced

October 26, 2013 - By Trigger  //  News  //  42 Comments

outlaw-music-hall-of-fameThe inaugural inductees to the Outlaw Music Hall of Fame set to open in the Spring of 2014 in Lynchburg, TN have been unveiled. In an event carried live during a 3-day concert in Altamont, TN, the 17 initial inductees were announced in two different categories: Pioneers/Innovators (Pre-1970), and Highwaymen (1970-1990).

Along with the official inductees, the Outlaw Music Hall of Fame also announced Guardian Award winners. The Guardian Award is not a Hall of Fame induction, but a one-year award meant to honor an artist’s hard work and unwavering commitment to their music and their fans and best exemplify the tradition of those who came before them. The Hall of Fame also announced that fans will be able to vote on Guardian Award winners in the upcoming years.

OUTLAW HALL OF FAME INDUCTEES

Pioneers/Innovators Pre-1970

  • Hank Williams Sr.
  • Loretta Lynn
  • The Carter Family 
  • Bobby Bare
  • Chris Gantry 

Highwaymen (1970-1990)

  • Willie Nelson
  • Waylon Jennings
  • David Allan Coe
  • Kris Kristofferson
  • Merle Haggard
  • Johnny Cash
  • Johnny Paycheck
  • Sammi Smith 
  • Steve Young
  • Jessi Colter
  • Hank Williams Jr. 
  • Billy Joe Shaver

Guardian Award

  • Dallas Moore
  • Wayne Mills
  • Hank Williams III
  • Jamey Johnson
  • Whitey Morgan 

The Hall of Fame is dedicated to those artists, both musicians and songwriters, whose work best exemplifies the qualities of the Outlaw movement that first began in the 1970′s and has gained renewed momentum as an alternative to the current Nashville pop country scene. In doing so it will place the spotlight on music firmly attached to the roots of country. Moreover, the Hall of Fame will educate the public about Outlaw country, memorialize founders of the genre—such as Waylon Jennings, Willie Nelson, and Jessi Colter—recognize current Outlaw artists, and provide a platform for them and for the independent record labels who currently have little if any voice in the industry.

The facility, due to open in spring of 2014, will encompass more than 5,000 square feet and feature a state-of-the-art layout, including interactive displays. There will also be a studio to allow for live broadcasts to be streamed over the Internet. Located on the town square in Lynchburg, the Outlaw Music Hall of Fame will sponsor a concert series each April to November to showcase independent roots country artists.

Sep
26

Hank3 Talks New Album “Brothers of the 4X4″ & More

September 26, 2013 - By Trigger  //  Reviews  //  48 Comments

hank-3

The son of Hank Jr. and the grandson of Hank Williams known as Hank3 is poised to release two new albums next week, and embark on an extended tour of Texas, the West Coast, and upper Midwest. Brothers of the 4X4 and A Fiendish Threat come on the heels of an extended touring hiatus after Hank3′s drummer Shawn McWilliams required shoulder surgery. Hank3 was gracious enough to talk with us ahead of the tour and releases to let fans know what they can expect, and about other issues around the independent music world.

You can listen to the entire interview below. For those who prefer a written form, the meat of the interview is transcribed below as well.

LISTEN:

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Trigger: On Octobers 1st you’ll be releasing two new albums, Brothers of the 4X4 on the country side of things, and A Fiendish Threat on the punk side. These come out of an extended period when you were not touring because your drummer needed shoulder surgery. Was it your plan to put out new albums now, or did they come out of the tour void?

Hank3: Basically, I always record records in the winter time. So since Shawn was down for a while, I picked up the pen at the end of January and everything was written and recorded and done by April on both records. So they came pretty naturally. A couple of the songs that in my eyes are more of the traditional roots, songs like “Loners For Life” or “Deep Scars,” we’re getting a little more old school. “Possum In A Tree” was specifically written for Leroy Troy, a clawhammer banjo player. I had him in mind when I wrote that song, and went over to his place and had some fun and captured the sound we were going for. At least on Brothers of the 4X4, it gives you a a couple of the old roots ones, it gives you a couple of songs like “Lookey Yonder Commin’” that at least the first part of the song has some of the bluegrass feel on the drive of it. And then you have a couple of songs that are not necessarily country, like “Ain’t Broken Down” is almost like your Spaghetti Western / Pink Floyd kind of sounding song. So there’s quite a few different moods on it.

hank-3-brothers-of-the-4x4With your last country-ish album Ghost to a Ghost, you went out of your way to say that you really didn’t think it was country. With Brothers of the 4X4 you’re saying there’s traditional country tracks on it. Can people expect to hear something more similar to what they heard on your earlier records as opposed to the more recent ones, or is that simplifying it?

I still think every record has its own different sound, and a different approach. The players change, I change. Even though it’s different, it will have the roots on it. If you put it up against and pop country radio song, yeah, it has a lot more of a traditional feel in my eyes. I always make sure I have the banjo and the stand up bass, stand up steel guitar, the acoustic, and fiddle, and just have that foundation there.

As time has gone on, you have assumed more and more responsibilities in your album making process to the point where now you’re doing most everything on the country record except for playing the lead instruments. You’ve talked before about how you hate producers. Do you feel like you’re missing out on something by not engaging in the collaborative process of music, or do you feel like you work best by yourself?

I don’t hate producers. I hate it when people are trying to tell you, “You need to do this to make your song better.” I’m totally in to people who know a million things about sound and all that stuff. But I know my sound, I know my songs, I write songs for myself. Buzz from The Melvins is the exact same way. He totally agrees with that same philosophy. Some people don’t want to have anything to do with the songwriting process, and want people to tell them, “Hey, do this.” But when you’re dealing with someone as creative as me or as creative as Buzz, we know our sound, we know our riffs, we know what we’re going for. So that can be a problem. If I wake up at 5:30 in the morning and I’m ready to start playing drums, especially on the punk rock record where there’s pretty intense moments, if I have to wait two hours for somebody to show up, then the spark is usually gone by the time they get there and get everything set up. I like being able to play when I’m ready to play. And sometimes I pull some pretty long days. That’s pretty much the reason, for now, I’m taking on everything. Some producers are good to work with, and some aren’t. It just depends the environment. But most of the time I’m into just going for it.

Speaking of collaborations, you recently had a song come out with David Allan Coe. It seemed like a long time coming, but it finally did. How did “The Outlaw Ways” come about?

I’ve known him since I was a child. I’ve always looked up to him on stage and touring, and he’s been a good friend to me, and a hero. Basically we talked about it, and over time we were able to get some lyrics where we wanted them, he came by the house, and we got it sounding how he was envisioning the song. It was a fun process, and glad to be able to give back to one of my heroes.

hank-williams-iiiSpeaking of Outlaws, have you heard about the new Outlaw Country Music Hall of Fame set to open in Lynchburg, TN? And if so, what are your thoughts on it?

I’ve only heard a couple of people talk about it. It is what it is. Hopefully they’ll get it up and running. I know opening up any kind of business is always tough to do. Good luck for them, and hope for the best for it.

Have you heard about Dale Watson’s Ameripolitan movement, and have any thoughts on that?

I’ve been kind of out of the loop just trying to get all the new players and new drummers and trying to get the road crew, and everything lined up for the tours. That’s been basically 24 / 7 so I’m kind of out of the loop on that right now.

Despite going on some pretty long tour hiatuses over the last few years, you still seem to be drawing pretty consistently live—still selling-out decent-sized venues. What do you attribute this to?

I would just say hard work, paying respects to the fans, and always keeping the hard working men and women in mind on the money. Trying to give them the longest show for the cheapest ticket price. I’ve always gone out of my way to fight for that. A lot of times when you show respect, you get respect back in return. I would just say a hard work ethic has paid off.

Along those same lines, Shooter Jennings recently started charging people $85 for meet and greets before his shows. Is that something you would ever do?

No. The old country way is you do your show and you say “hello.” That’s the way I’ve done it ever since I’ve been on the road. Why would I change it now? I think if I did that, my fans would definitely would be like, “What’s this?” I’ve always done the show, and after I shake every hand, take every picture, and I make my fans feel connected to what we do.

You seem to be a guy who is really big into artifacts, whether it be your boots that you wore for a long time that you had duct taped, I know you had a hat that was important to you stolen a few years back, and you’ve been wearing the same pants and vests. Why do you think you have such a draw to artifacts of your life?

It’s just like a frame of mind. A lot of different people and crews have worked on those. You got a lot of drifting kids, a lot of train kids. Basically it’s just like art. You create, and then you destroy. So a lot of people over the years have helped me rebuild a lot of that stuff. So it has a lot of heart to it, and a lot of meaning to it. Those are my work clothes for right now.

I recall a recent comment of yours that there might be some upcoming activity on your attempt to get Hank Williams reinstated into the Grand Ole Opry. Do you have any updates for us?

All we can do is just talk about it. As long as we talk about it, you know, we’re not asking for a $100,000 statue, we’re just asking for one night, paying some respects, and that’s basically it. As long as we talk about, sometimes people come and go in the business, and all it takes is one person to be re-hired in a position, and there you go, it could happen as simple as that.

Sep
18

Interview: Head of New Outlaw Country Hall of Fame Gary Sargeant

September 18, 2013 - By Trigger  //  Reviews  //  16 Comments

On August 15th, the plans for the upcoming Outlaw Country Music Hall of Fame and an accompanying Outlaw Music Association were made public. 5,000 sq. ft. of space has been allocated for the new Hall of Fame in Lynchburg, TN, and a Board of Directors has been formed that includes Jeremy Tepper of SiriusXM, Terry Jennings of Korban Music Group, author of Outlaws Still At Large Neil Hamilton, Joe Swank at Bloodshot Records, mayor of Lynchburg Sloane Stewart, Professor of Entertainment Law David Spangenburg, architect Thomas Bartoo, and CEO of Sol Records Brian DeBruler.

The announcement stimulated a lot of speculation about what direction the upcoming Hall of Fame would take, but not many serious answers. So Saving Country Music reached out to Gary “Sarge” Sargeant, the spearhead of the Outlaw Country Hall of Fame, to try and clear up many questions about what folks can expect from the upcoming institution.

Sarge is also putting on a charity event coming up October 25-27 for Troy Rector who suffered a debilitating medical accident. The event will be at Chopper Hill in Altamont, TN (More information). The inaugural class of inductees to the Outlaw Hall of Fame will be announced during the event.

You can listen to the entire interview below. For those who prefer a written form, the meat of the interview is transcribed below as well.

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SargeTrigger: Who is Gary Sargeant, and what motivated him to start an Outlaw Country Music Hall of Fame?

Gary Sargeant: I’m a lifelong fan, 55 years old, of Outlaw music, independent artists and labels, and just firmly believe in people who stay true to themselves and their music, and don’t compromise. It all started at a David Allan Coe benefit that I attended back in June. He was in an accident and wasn’t able to tour. I was kind of upset that David Allan Coe required a benefit. That at 73, he had to tour just to pay his bills because back in the day, things happened and he doesn’t own his catalog. And I was trying to think of a way we could support legends, and recognize people like David, or any number of people that have contributed so much to this music, and have never compromised. I wanted to make sure we had a place to recognize those folks who will never get recognized by anybody else, and then also be able to support today’s Outlaws—the Pete Berwick’s, the Gurf Morlix’s. Its time has come, and we’re going to do this.

When you announced the Outlaw Country Music Hall of Fame, you included a Board of Directors. Why have a Board of Directors?

Well, again it goes back to me being just a fan. I’m a fan with an idea. But I knew if we were going to do this and be taken seriously, and if it was going to be successful, I needed to put together a group of industry professionals.

The term “Outlaw” has already been taken by Music Row and used for marketing purposes. It’s safe to say that there’s music consumers out there that think Outlaw means Justin Moore, Eric Church, and others. How do you distinguish yourself from Music Row’s version of Outlaws when Music Row’s reach is so vast?

Nashville can tell somebody to dress in black jeans, grow a five day stubble, put on these boots, act all bad boy. That doesn’t make you Outlaw. Outlaw to me is not a genre of music. Outlaw is an attitude. Outlaw is a refusal to compromise your music or your beliefs in order to make a dollar. It is traveling up and down the roads, thousands of miles a year, traveling 500 miles to play a $150 show. True Outlaws are doing it for the love of the music only. I believe there’s going to be a lot of defections from Nashville music once the Outlaw Music Association and Hall of Fame are established and up and running. The definition of Outlaw should be made by those that are truly Outlaw, not some publicist sitting in an ivory tower in Nashville thinking that this will sell records.

Some may say the term Outlaw is outmoded because Nashville is taking it and using it with very prominent artists like Justin Moore—that the term doesn’t hold the same sway or meaning it once did. Are you saying that term needs to be fought for?

I’m saying it needs to be clearly defined. Of course Nashville is going to try and take anything successful and try to co-opt it. But them jumping on the bandwagon doesn’t make them independent artists. They’re playing to a formula. But the formula doesn’t work. Listen to the stuff coming out of Nashville.

How do you feel about Dale Watson’s Ameripolitan movement, and how does it fit in your plans for the Outlaw Music Association? Will there be overlap? Could there be potential conflict? Is it splitting the independent-minded or Outlaw populous of country music into two segments?

I wouldn’t think so. My hope would be that people going in that direction, because that’s very narrowly focused right now, I hope they would go, “Hold on a second, here’s something that has come along, that is exactly what we’re trying to do, but encompasses even more people, and hopefully is a very inviting and open Association.” Because I believe if we start putting restrictions on who is going to be in it, then we’re no better than the CMA or anybody else. Great music is great music, whether it be Texas Swing, or Southern rock country, or traditional country. If you’re an artist and you believe in what you’re doing, and you’re good at what you do, we’re going to give you all the support in the world, whether it be Dale Watson, or Shooter Jennings who can go off in different tangents and experiment with different music, or Hank3 who is so excellent. There’s so many artist out there that don’t have a place to call home, and that’s what the Outlaw Music Association is gonna be. It’s gonna be a place where independent labels and artists can receive support, promotion, and have a place they can call home and feel welcomed for who they are instead of something somebody else wants them to be.

We’ve seen in the past, for example with Shooter Jennings’ “XXX” movement and Dale Watson’s Ameripolitan movement, there’s been a lot of conflict and dissension with these attempts to unify the music behind a common purpose. I think that may be what is at the root of some fear and concern of what the Outlaw Music Association and Outlaw Country Music Hall of Fame will become. There’s a history of trying to find a uniting element apart from the CMA in the history of country music. Back in the 70′s there was “ACE” that was set up after Olivia Newton-John and John Denver had won CMA Awards. Traditional country artists met at the house of George Jones and Tammy Wynette and tried to form a new thing. The Academy of Country Music was set up because West Coast entertainers felt like the CMA was bias against California country artists. ACE never really took off, and the ACM just became a doppelganger of the CMA….

…and you forgot to mention the AMA, the Americana Music Association.

Sure, which I personally have said in the past is very narrow in focus, even though a lot of the artists they help promote are great artists.

I couldn’t agree with you more. To me, there is an extreme hunger and thirst out there to have an alternative to what’s being pushed down everybody’s throats by Nashville, the record labels, and the conglomerate of radio stations that are out there. Our focus is not narrow. I don’t care if it’s Dale Watson, or Hellbound Glory, or Jamey Johnson, it doesn’t matter. There’s a whole group of artists out there that deserve to be supported. We are not going to impose conditions. If you’re talented, and your music speaks for itself, and your music speaks to fans, our goal is to make sure that we support you. We’re not guaranteeing success for anybody. But we’re not going to say, “You’re not worthy.” Everybody’s worthy if they’re a musician, and they work hard, they write their own music and stay true to it, and they have some fans and are successful, we’re going to make sure they have an opportunity to be even more successful. We are a non-profit. Our proceeds go to supporting the legends, and also supporting the independent artists of today.

The narrowing of perspective seems to be a really big challenge of independent music right now, whether it is with the Americana Music Association, or just these little scenes that have popped up in independent music. How do you insulate yourself from that trend?

Technology is changing by leaps and bounds every month, let alone every year. The money to be made in today’s world is through touring…touring and merchandise. So we are going to support tours. As a non-profit—it’s kind of being dubbed the Outlaw iTunes—where independent artists can upload their music, and we will turn around and allow it to be downloaded for 99 cents a download, and we give all of it back to the artists while not taking 63 cents. We will be asking for a small donation that will go back to the legends. Technology is changing so quickly, and we have some very good people who are up to speed on today’s technology and the future of music distribution. Those are the areas we want to educate independent artists and labels on, and assist them in giving them an outlet to distribute their music, and use the Hall of Fame to support tours, and get [artists] out in front of the people. Are we going to be the savior? Hell no. But are we going to do everything that we can to help these folks who are working so hard and believe in what they’re doing? Yes, we’re going to do everything we can. Is it guaranteeing success? No. Is it guaranteeing effort? Yes.

There’s a lot of people out there touring and writing their own songs, but that doesn’t necessarily mean that their music is valuable enough to be heard by the masses. What’s to keep people who may not embody the Outlaw spirit from just becoming part of this if there’s no governor to keep anybody and everybody from applying?

The fans of Outlaw music are by far the most discerning fans in the world. Otherwise, these artists wouldn’t have any success. An artist will make it if his fans want him to make it. The fans are going to decide if you make it or not, not the Association.

The assertion about Music Row is that they choose who is going to be the stars, and then they push that to the fans. What you’re saying with the Outlaw Music Association is the fans would choose the stars, and the OMA just gives them the platform and the support so that the fans can make that choice.

Eloquently put. And shouldn’t that be the way it is? Shouldn’t the fans be able to say what they like and don’t like? They shouldn’t be told what’s good and not good. With the focus being so narrow and money dictating who is going to be the next star, we’re all robbed. The fans are robbed, the artists are robbed, everybody is robbed of the next potential star. It’s not my job to decide who is good and who’s not good.

Tompall Glaser recently passed away. Right after he died, I posted a quote that came from him back in the 70′s that goes, “Damn it, the fight isn’t in Austin and it isn’t in Los Angeles. It’s right here in Nashville, right here two blocks from Music Row, and if we win–and if our winning is ever going to amount to anything in the long run–we’ve got to beat them on their own turf.” And I’ve heard some similar criticisms about Dale Watson’s Ameripolitan genre where it seems like, “Okay, were going to give up on Nashville and country music, and we’re just going to call it what we want to call it.” What would be your rebuttal to that as far as setting up something that’s apart from Nashville and Music Row?

Lynchburg, TN is not but 55 miles south of Nashville. It’s close enough to pull resources from the Nashville area, but still far enough away and separated enough to say, “Hey, this is separate. This is an alternative.” The people, the demographics that are visiting Lynchburg on a daily basis are the same people that are going to visit our Hall of Fame. It’s all about inclusion. This country is based on freedom, and I believe artists ought to have the freedom to practice their music the way they want without the almighty dollar driving their product.

In closing, I would just like to say to all the fans of Outlaw country music, thank you, and if you really want to make a difference, you have an opportunity. But you have to express your voice. You can’t just sit in your truck or in your house and say, “This sucks,” and expect it to change. If you want change, this is your opportunity. This is a grass roots movement. This is your Hall of Fame. This is your Association. If you want to support artists that made the music what it is today, and those that are continuing in that same vein, support the Hall of Fame, support the Association. Let your artists know that you support us, that you support them by supporting us. This is only going to work if the average fan stands up and says, “I’ve had enough. I want a hand in what I listen to.”

Del Maguey
Old Soul Radio Show
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