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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.”
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.
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.
Luckily 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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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
Son 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.
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)¬†
The 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.
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.
The 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.
The 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‚Äô Nashville rock and roll, long hair, denim and tattoos, lookin‚Äô on‚Äôry and mean. Singin‚Äô songs about that lonesome road, some of ‚Äėem might even be true. But there ain‚Äôt no outlaws anymore‚Ä¶”
Hank Williams Jr.
The 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.
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.
Daughter 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.
Surrounded 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.
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‚Äôs 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‚Äôs guitar player for the first two years of Dwight’s career.
It‚Äôs only because of Eddie‚Äôs untimely death that he‚Äôs 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.
Though 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.
It 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‚Äôt always allow her to be judged on her own merit, while her musical accomplishments veer towards being somewhat misunderstood because she‚Äôs not always been nestled smack dab in the country realm as people want, expect, or anticipate.
But Rosanne‚Äôs 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.
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!
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‚Äôre the son-of-a-bitch that sat at that desk over there and fired Johnny Cash. Let it go down in history that you‚Äôre the dumbest son-of-a-bitch I‚Äôve 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.
Then 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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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‚Äôve been a lifelong fan,‚ÄĚ Hillcoat told The Guardian. ‚ÄúThe first film I made was a prison film, so there‚Äôs 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 ‚Äď that‚Äôs 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.‚ÄĚ
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.
The First Released Version:
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 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 ‚Äúnational prominence‚ÄĚ). 2) Veterans Era (eligible for induction 45 years after they first achieve ‚Äúnational prominence‚ÄĚ). 3) Non-Performer, Songwriter, and Recording and/or Touring Musician active prior to 1980 (rotates every 3 years). With a musician, Hargus ‚ÄúPig‚ÄĚ 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.
Potential Modern Era Inductees
Last year’s inductee – Kenny Rogers
Ricky Skaggs ‚Äď 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‚Ä≤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 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 Jackson ‚Äď 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 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 & Dunn ‚Äď 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 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‚Äôs preeminent piano players cannot be denied. If Elvis is in the Country Hall (and he is), his old Sun Studios buddy can‚Äôt be counted out.
Jerry Reed – Such a great ambassador over the years for country music from his work with Smokey & The Bandit to Scooby-Doo, but Jerry Reed should be inducted for his stellar and influential work as both a performer, songwriter, and a musician. There weren‚Äôt 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 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 Anderson & Dottie West ‚Äď 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.
The Maddox Brothers & Rose ‚Äď 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‚Äôs 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 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 Hartford ‚Äď This is a long shot pick, but he deserves induction. As I said in my prognostications from a couple of year ago, ‚ÄúThe 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.‚ÄĚ
Tompall 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 and David Allan Coe ‚Äď These names come up every year from hard country fans, and are names regularly held up as evidence of the Hall of Fame‚Äôs illegitimacy. The simple truth is that with these two performer‚Äôs 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 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
Aaron 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‚Äôs 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‚Äôll opt for my usual … making sure the song has emotion and feeling and means something… I don‚Äôt know what it is that country radio is playing these days. I‚Äôm really not quite sure. There‚Äôs a song out right now that‚Äôs 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‚Äôre like, ‘Oh, there‚Äôs the country aspect of it. Now I get it.’ But that is not country music, I‚Äôm sorry.”
Lewis also says he doesn’t like to be lumped in with Kenny Chesney when he mentions he plays country.
“It‚Äôs 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‚Äôs country like Merle Haggard, Waylon Jennings, George Jones and Johnny Cash … I almost even like the fact that I‚Äôm having all of this success without the machine really embracing me. And I‚Äôm 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‚Äôve sold out every honky-tonk place in the last few years and it‚Äôs 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.
Between 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.
In 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.
Cash’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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In 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.
Back 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‚Äôs the only one that didn‚Äôt 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.‚ÄĚ
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.
The 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
- Hank Williams Sr.
- Loretta Lynn
- The Carter Family¬†
- Bobby Bare
- Chris Gantry¬†
- 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
- 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‚Ä≤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‚ÄĒsuch as Waylon Jennings, Willie Nelson, and Jessi Colter‚ÄĒrecognize 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.
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.
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.
With 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.
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.
On August 15th, the plans for the upcoming Outlaw Country Music Hall of Fame and an accompanying Outlaw Music Association were made public. 5,000 sq. ft. of space has been allocated for the new Hall of Fame in Lynchburg, TN, and a Board of Directors has been formed that includes Jeremy Tepper of SiriusXM, Terry Jennings of Korban Music Group, author of Outlaws Still At Large Neil Hamilton, Joe Swank at Bloodshot Records, mayor of Lynchburg Sloane Stewart, Professor of Entertainment Law David Spangenburg, architect Thomas Bartoo, and CEO of Sol Records Brian DeBruler.
The announcement stimulated a lot of speculation about what direction the upcoming Hall of Fame would take, but not many serious answers. So Saving Country Music reached out to Gary “Sarge” Sargeant, the spearhead of the Outlaw Country Hall of Fame, to try and clear up many questions about what folks can expect from the upcoming institution.
Sarge is also putting on a charity event coming up October 25-27 for Troy Rector who suffered a debilitating medical accident. The event will be at Chopper Hill in Altamont, TN (More information). The inaugural class of inductees to the Outlaw Hall of Fame will be announced during the event.
You can listen to the entire interview below. For those who prefer a written form, the meat of the interview is transcribed below as well.
Gary Sargeant: I’m a lifelong fan, 55 years old, of Outlaw music, independent artists and labels, and just firmly believe in people who stay true to themselves and their music, and don’t compromise. It all started at a David Allan Coe benefit that I attended back in June. He was in an accident and wasn’t able to tour. I was kind of upset that David Allan Coe required a benefit. That at 73, he had to tour just to pay his bills because back in the day, things happened and he doesn’t own his catalog. And I was trying to think of a way we could support legends, and recognize people like David, or any number of people that have contributed so much to this music, and have never compromised. I wanted to make sure we had a place to recognize those folks who will never get recognized by anybody else, and then also be able to support today’s Outlaws—the Pete Berwick’s, the Gurf Morlix’s. Its time has come, and we’re going to do this.
When you announced the Outlaw Country Music Hall of Fame, you included a Board of Directors. Why have a Board of Directors?
Well, again it goes back to me being just a fan. I’m a fan with an idea. But I knew if we were going to do this and be taken seriously, and if it was going to be successful, I needed to put together a group of industry professionals.
The term “Outlaw” has already been taken by Music Row and used for marketing purposes. It’s safe to say that there’s music consumers out there that think Outlaw means Justin Moore, Eric Church, and others. How do you distinguish yourself from Music Row’s version of Outlaws when Music Row’s reach is so vast?
Nashville can tell somebody to dress in black jeans, grow a five day stubble, put on these boots, act all bad boy. That doesn’t make you Outlaw. Outlaw to me is not a genre of music. Outlaw is an attitude. Outlaw is a refusal to compromise your music or your beliefs in order to make a dollar. It is traveling up and down the roads, thousands of miles a year, traveling 500 miles to play a $150 show. True Outlaws are doing it for the love of the music only. I believe there’s going to be a lot of defections from Nashville music once the Outlaw Music Association and Hall of Fame are established and up and running. The definition of Outlaw should be made by those that are truly Outlaw, not some publicist sitting in an ivory tower in Nashville thinking that this will sell records.
Some may say the term Outlaw is outmoded because Nashville is taking it and using it with very prominent artists like Justin Moore—that the term doesn’t hold the same sway or meaning it once did. Are you saying that term needs to be fought for?
I’m saying it needs to be clearly defined. Of course Nashville is going to try and take anything successful and try to co-opt it. But them jumping on the bandwagon doesn’t make them independent artists. They’re playing to a formula. But the formula doesn’t work. Listen to the stuff coming out of Nashville.
How do you feel about Dale Watson’s Ameripolitan movement, and how does it fit in your plans for the Outlaw Music Association? Will there be overlap? Could there be potential conflict? Is it splitting the independent-minded or Outlaw populous of country music into two segments?
I wouldn’t think so. My hope would be that people going in that direction, because that’s very narrowly focused right now, I hope they would go, “Hold on a second, here’s something that has come along, that is exactly what we’re trying to do, but encompasses even more people, and hopefully is a very inviting and open Association.” Because I believe if we start putting restrictions on who is going to be in it, then we’re no better than the CMA or anybody else. Great music is great music, whether it be Texas Swing, or Southern rock country, or traditional country. If you’re an artist and you believe in what you’re doing, and you’re good at what you do, we’re going to give you all the support in the world, whether it be Dale Watson, or Shooter Jennings who can go off in different tangents and experiment with different music, or Hank3 who is so excellent. There’s so many artist out there that don’t have a place to call home, and that’s what the Outlaw Music Association is gonna be. It’s gonna be a place where independent labels and artists can receive support, promotion, and have a place they can call home and feel welcomed for who they are instead of something somebody else wants them to be.
We’ve seen in the past, for example with Shooter Jennings’ “XXX” movement and Dale Watson’s Ameripolitan movement, there’s been a lot of conflict and dissension with these attempts to unify the music behind a common purpose. I think that may be what is at the root of some fear and concern of what the Outlaw Music Association and Outlaw Country Music Hall of Fame will become. There’s a history of trying to find a uniting element apart from the CMA in the history of country music. Back in the 70′s there was “ACE” that was set up after Olivia Newton-John and John Denver had won CMA Awards. Traditional country artists met at the house of George Jones and Tammy Wynette and tried to form a new thing. The Academy of Country Music was set up because West Coast entertainers felt like the CMA was bias against California country artists. ACE never really took off, and the ACM just became a doppelganger of the CMA….
…and you forgot to mention the AMA, the Americana Music Association.
Sure, which I personally have said in the past is very narrow in focus, even though a lot of the artists they help promote are great artists.
I couldn’t agree with you more. To me, there is an extreme hunger and thirst out there to have an alternative to what’s being pushed down everybody’s throats by Nashville, the record labels, and the conglomerate of radio stations that are out there. Our focus is not narrow. I don’t care if it’s Dale Watson, or Hellbound Glory, or Jamey Johnson, it doesn’t matter. There’s a whole group of artists out there that deserve to be supported. We are not going to impose conditions. If you’re talented, and your music speaks for itself, and your music speaks to fans, our goal is to make sure that we support you. We’re not guaranteeing success for anybody. But we’re not going to say, “You’re not worthy.” Everybody’s worthy if they’re a musician, and they work hard, they write their own music and stay true to it, and they have some fans and are successful, we’re going to make sure they have an opportunity to be even more successful. We are a non-profit. Our proceeds go to supporting the legends, and also supporting the independent artists of today.
The narrowing of perspective seems to be a really big challenge of independent music right now, whether it is with the Americana Music Association, or just these little scenes that have popped up in independent music. How do you insulate yourself from that trend?
Technology is changing by leaps and bounds every month, let alone every year. The money to be made in today’s world is through touring…touring and merchandise. So we are going to support tours. As a non-profit—it’s kind of being dubbed the Outlaw iTunes—where independent artists can upload their music, and we will turn around and allow it to be downloaded for 99 cents a download, and we give all of it back to the artists while not taking 63 cents. We will be asking for a small donation that will go back to the legends. Technology is changing so quickly, and we have some very good people who are up to speed on today’s technology and the future of music distribution. Those are the areas we want to educate independent artists and labels on, and assist them in giving them an outlet to distribute their music, and use the Hall of Fame to support tours, and get [artists] out in front of the people. Are we going to be the savior? Hell no. But are we going to do everything that we can to help these folks who are working so hard and believe in what they’re doing? Yes, we’re going to do everything we can. Is it guaranteeing success? No. Is it guaranteeing effort? Yes.
There’s a lot of people out there touring and writing their own songs, but that doesn’t necessarily mean that their music is valuable enough to be heard by the masses. What’s to keep people who may not embody the Outlaw spirit from just becoming part of this if there’s no governor to keep anybody and everybody from applying?
The fans of Outlaw music are by far the most discerning fans in the world. Otherwise, these artists wouldn’t have any success. An artist will make it if his fans want him to make it. The fans are going to decide if you make it or not, not the Association.
The assertion about Music Row is that they choose who is going to be the stars, and then they push that to the fans. What you’re saying with the Outlaw Music Association is the fans would choose the stars, and the OMA just gives them the platform and the support so that the fans can make that choice.
Eloquently put. And shouldn’t that be the way it is? Shouldn’t the fans be able to say what they like and don’t like? They shouldn’t be told what’s good and not good. With the focus being so narrow and money dictating who is going to be the next star, we’re all robbed. The fans are robbed, the artists are robbed, everybody is robbed of the next potential star. It’s not my job to decide who is good and who’s not good.
Tompall Glaser recently passed away. Right after he died, I posted a quote that came from him back in the 70′s that goes, “Damn it, the fight isn‚Äôt in Austin and it isn‚Äôt in Los Angeles. It‚Äôs right here in Nashville, right here two blocks from Music Row, and if we win‚Äďand if our winning is ever going to amount to anything in the long run‚Äďwe‚Äôve got to beat them on their own turf.‚ÄĚ 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.”
In 2013, there is only one music artist who can say they’re officially banned for life from country music’s most storied institution: the Grand Ole Opry. No, it’s not David Allan Coe, Hank Williams III, or some other hothead, firebrand artist quick to call out the Opry and other mainstream country music institutions at any perceived slight. No, the offending party is none other than alt-country luminary Neko Case.
This may not be completely surprising seeing how Neko got her start in music as the drummer for a punk band, and has regularly collaborated with artists and bands outside of the country fold like The New Pornographers. But like many of the artists making up the alt-country movement in the mid 90′s, it can be argued that Neko had more respect for the roots of country music, and for country music institutions like the Grand Ole Opry, than many of country music’s artists did at the time, and certainly do today.
In October of 1998 when Neko’s first album The Virginian was blowing up in the alt-country realm, the Las Vegas Sun interviewed the young songstress, where she professed her philosophy behind country music, and her love for the Grand Ole Opry, in an article appropriately titled “Neko Case’s Quest for the Grand Ole Opry.”
I don’t play “alternative country” music; I just play country music. I want to have the same outlets, the same goals that all my heroes in country/western music have had. I want to play the Grand Old Opry in my grandmother’s lifetime, you know what I mean? I want to be played on mainstream radio. I’m not willing to change my music to get there faster, but I’ll fight for it anyway. I don’t think anyone gives a shit about country radio. It’s bullshit. It just makes me mad that (country radio) is using the term “country music,” when it doesn’t belong to them.
I think now is the time for change in country music; hopefully it’ll change for the better. It really burns that all the bands that inspired me were part of a national country music culture that was really admirable and fairly diverse at one time. I want to have the same avenues open to me. It’s like having this beautiful old building in your neighborhood and coming back to find that they’ve torn it down and built a Wal-Mart in its place.
Neko Case would get close to having her Grand Ole Opry wish granted when she was invited to perform at the Grand Ole Opry Plaza Party just outside the Grand Ole Opry House in the summer of 2001. Playing the Plaza Party was seen as a precursor to being able to play the Opry proper, and is the place where many Opry mainstays like Old Crow Medicine Show and Dale Watson got their Opry starts. With the respect Neko Case had for the Opry, she was excited for the opportunity.
“People who have gone to the Opry or are on their way to the Opry come by and check you out while they’re coming and going,” Neko explained to the Denver Westword that summer. “You get to go backstage at the Opry, which is the really cool part.”
Everything seemed to be going well for Neko and her Opry dream until one afternoon performance in July at the Plaza Party that was especially sweltering. The stage the Opry had set up for their Plaza performers was black, and right beside it was a barbecue pit that was pouring heat out onto the performers. With dreams of making it onto the Opry’s main stage, Neko Case persevered through the heat during her show, but it began to get unbearable and she started to wilt.
Neko Case started making requests for water from surrounding staff, but they went unfulfilled and she began to get dizzy. As Case began suffering from the effects odf heat stroke, she asked the staff if she could take a short break, and was told no. The situation became desperate for Neko, who was on the verge of passing out or suffering from some serious, long-term damage if she couldn’t resolve her rising body temperature. So in a panic, Neko removed her shirt to help cool off. As you can imagine, the family-friendly Opry did not look favorably upon this.
Exacerbating the shirt removal was the weight of Neko Case’s past in music and her statements about country, seeming to imply to the Opry and others that this wasn’t just an instance of heat exhaustion, but that Neko was making some symbolic statement by bearing her womanhood in public (though she still had a bra on beneath). As the stories swirled about Neko’s shirtless set, it was taken by some as an obscene gesture to cause a sensational outcry, or to stand against the direction of country music, or some other counterculture statement.
But that wasn’t the case.¬†I wasn’t trying to be sexy or rebellious — I was just getting heatstroke up there,” Neko later explained to Rolling Stone. “I didn’t do anything obscene. I wouldn’t want to see me with my shirt off, either.” But the explanation didn’t do much good, and the incident resulted in a lifetime ban from the Grand Ole Opry—the institution Neko cherished so.
Neko has since come to peace with her fate. “I was pretty depressed for a couple of months after that happened, but I got over it,” Neko told The Guardian. Neko later memorialized the incident by naming her 2002 album Blacklisted.
She still hopes to return to the Opry some day and fulfill her dream. “They’ll forgive me one day,” she told Fairfax Digital. “I still love them.”
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Neko Case just released a new album, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You.
During Johnny Cash’s legendary concert at San Quentin Prison in 1969, photographer Jim Marshall said to Johnny backstage, ‚ÄúJohn, let‚Äôs do a shot for the warden.‚ÄĚ The result was the photograph above that mostly remained under wraps until 1998. That is when producer Rick Rubin decided to use the iconic photo in an ad in Billboard magazine decrying country radio’s lack of love for Johnny’s second album on Rubin’s American label called Unchained. Despite no industry support, Unchained went on to win the 1998 Grammy for “Best Country Album.”
Since then the image of the angry face and the raised middle finger has become an iconic symbol of defiance against the direction of country music. As indecent as a raised middle finger happens to be in the first place (and the propensity for some seedy country fans and artists to over-saturate its use in every single photo of them), it has come to mean much more than its vulgar connotation in the fight to save country music.
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Willie Nelson’s middle finger photo was shot by a photographer named Sean Moorman on Willie Nelson’s tour bus on July 26, 2002. The title of image is “Willie Nelson Sending Jim Marshall Regards.” Both the Jim Marshall photo of Johnny Cash and the Sean Moorman photo of Willie stimulated litigation when Urban Outfitters printed up Johnny Cash middle finger T-shirts without permission, and Spencer Gifts did the same with Willie.
Dale Watson doing his best Johnny Cash impression:
Hank Williams III and David Allan Coe in younger days:
Jonny (Corndawg) Fritz telling a fan they’re #1 (Kayley Luftig – Photographer):
Bob Wayne, adding the stink eye for extra emphasis:
Jeff Austin of the Yonder Mountain String Band doing the double bird (Chad Smith Photography):
Keith Richards’ middle finger is insured for $1.6 million. Yes, that one he’s point at you. And no, I’m not kidding.
The wet cigarette of country music, Kid Rock. And Saving Country Music friend “Pointer” from a downtown Nashville excursion in 2011 getting his picture with Kid Rock on the front of Tootsie’s Orchid Lounge.
Townes Van Zandt, from the back cover of his 1972 album The Late Great Townes Van Zandt.
Kellie Pickler telling Kanye West “Fuck You!” for not liking country music (see video).
Lenny Kravitz giving the crowd at the 2013 CMA Fan Fest the double bird because they “couldn’t get with love” during his elongated set that left the crowd underwhelmed.
A sign hanging up in the Johnny Cash themed bar and music venue in Austin, TX called the Mean Eyed Cat.
The ad Rick Rubin placed in Billboard Magazine after Johnny Cash won the 1998 Grammy for Best Country Album:
Authenticity and dysfunction are regularly celebrated in country music, and what better way to celebrate that than to look back in time a some of the most notable mugshots and arrests of country music’s most notable stars.
Cash was arrested twice. The first was after a trip to Mexico when he tried to hide 1,163 Dexedrine and Equanil tablets in his guitar case while crossing the border near El Paso, TX in 1965. Since the drugs were prescription instead of illegal narcotics, Cash received a suspended sentence. He was arrested again in 1966 in Starkville, Miss. for … get this … picking flowers late at night. The property owner pressed trespassing charges, and Johnny spent time in the Starkville County Jail, resulting in the song of the same name.
Though Cash was famous for his concerts at Folsom Prison and San Quentin, he never served time in anything bigger than a city jail (the bottom mug was just for show).
The trouble started for Willie Nelson way back in 1960 when he was arrested for speeding in Pasadena, TX (near Houston). And then came the pot busts:
- 1974 – For possession in Dallas, TX.
- 1994 – For possession in Hewitt (near Waco) when Willie pulled his Mercedes off the side of the highway for a siesta and an officer found a joint in the ashtray and eventually a bag of marijuana. The judge ruled the evidence inadmissible and the charges were dropped.
- 2006 – For possession in St. Martin Parish, Louisiana for one-and-a-half pounds of marijuana and 3 oz. of hallucinogenic mushrooms. Willie, his sister Bobbi, and Willie’s manager were all arrested, eventually receiving 6 months probation.
- 2010 – For possession of 6 ounces of marijuana at the Sierra Blanca, Texas border checkpoint. Willie eventually only had to pay a fine.
Jerry Lee Lewis
In the dead of night in November of 1976, a drunken and armed Jerry Lee Lewis showed up to the gates of Graceland demanding to see his fellow Sun Studios alum Elvis right then and there. The guard rang Elvis who refused “The Killer’s” request, and then rang Memphis police when Lewis began waving a gun around.
Hank Williams Jr.
You may think because Hank Jr. was the last of his rowdy friends to settle down that at some point he would wind up in the pokey, but it turns out his mugshot was for a bunk charge from a 19-year-old in March of 2006 that said Jr. put her in a choke hold after she refused to kiss him. Jr. turned himself in, and after finding out the girl was looking to cash in big on the accusation and that there was no real evidence of the altercation, the charges were dropped.
In November of 2003, Glen Campbell was arrested at his home near Phoenix, AZ after hitting and running while drunk in his BMW. Then while Campbell was being processed, he kneed an officer in the leg, which added an aggravated assault of a police officer charge. Campbell pleaded down some of the counts, and eventually spent 10 days in jail.
Domestic abuse charges landed Rodney Atkins in front of the police camera in February of 2012, but the news about the charges didn’t come out until his wife filed for divorce a few weeks later. The news also came on the heels of Rodney re-signing with Curb Records. The charges were later dropped as part of the divorce settlement.
An indelible image of country music’s first superstar in this midst of his downfall in 1952, leaving the jailhouse in Alexander City, Alabama.
Billy Joe Shaver
Notable country music songwriter Billy Joe Shaver sits on the witness stand stemming from an altercation behind Papa Joe’s bar near Waco, TX in 2007 when Shaver shot a man non lethally in the face with a .22 pistol. The incident became a piece of country music lore when Dale Watson wrote a song titled “Where Do You Want It?” allegedly for the question Shaver asked his victim before he pulled the trigger. The high-profile trial incuded Willie Nelson showing up as a Shaver character witness, and eventually all charges were dropped against when it was ruled Shaver was acting in self defense.
In 2003, daughter Judd was pulled over for speeding and subsequently blew a .175, lading her in jail before she posted a $500 bail. It all happened right down the street from Music Row, so maybe it’s true what they say about the country music industry driving artists to drink.
Just like the “Wet Cigarette of Country Music” to get arrested at a Waffle House. In October of 2007, Kid Rock and his crew stopped into the DeKalb County, Georgia eatery where they proceeded to brawl with gawking patrons. Other members of Kid Rocks posse were also arrested. Rock was found guilty of simple battery. It was his 4th chance to strike the perp pose over the years for various charges.
David Allan Coe
You better believe DAC would be here, but unfortunately this is the biggest photo we can drum up of David from his time in the Ohio State Penal System.
Coe was also arrested in 2008 after an altercation in a casino when a misunderstanding about a jackpot resulted in security officers and police wrestling Coe to the ground. Coe countersued in 2010 for false arrest and assault. The entire altercation was caught on tape.
Yes, we know that some of the younger generation of country performers don’t want to pander to the “old farts and jackasses,” but maybe Billy Currington took it a little too far when he threatened a 70-year-old boat captain for coming too close to his waterfront property in Tybee Island, Ga. Currington was cited in April of 2013 for making “terroristic threats” and “abuse of an elder.” Case is still pending.
Johnny Paycheck spent 4 years battling an aggravated assault charge after shooting a man in a Hillsboro, OH bar during a brawl. Though multiple appeals kept Paycheck out of prison for a while, he was finally sentenced to the Chillicothe Correctional Institute in 1989 where he served two years before being paroled.
In May of 2008, Louisiana country star Chris Cagle got in a tussle with his girlfriend Jennifer Tant at the Player’s Bar in Nashville before the couple took the bout home. Cagle wielded Jennifer’s purse. Jennifer weilded an umbrella, and they both ended up in the big house. Police said they were both too drunk and disorderly to press any serious charges.
When the underground country band from Austin, TX went to release their first album, they chose their mutual mugshots from the same Williamson County roundup to make up the CD art.
No mugshots of George Jones’s numerous run ins with the law during his drinking days have ever surfaced, but video did a few years ago from a George Jones documentary.
Get well Randy! …. but we couldn’t make this list without you. Travis was forced to pose for police camera twice in 2012; once after a drunken fight at a church, and the other after driving drunk….and naked.
“In America, one of the great things to do is listen to Mickey Newbury sing.” –Waylon Jennings
It always seems like the most creative among us are never fit for the masses. Their gifts are too blinding, too rich for the wide palette, and so it takes an interpretation of their genius through others to find the broader audience their artistic expression deserves. These creative originators may not be fit for everyone, but for those tragic musical junkies who have built up such a tolerance to the interpretations and derivatives peddled on repeat radio for these very many years, seeking out and discovering the musical headwaters of a movement is like the discovery of untold wealth; a second chance to enjoy music like you’re listening to it for the very first time.
Mickey Newbury would certainly qualify as one of these musical specimens, if not the ideal case study. Mickey was nothing short of a legend amongst his songwriting brethren, but was an artist whose own performance career was never graced with significant attention like many of the artists he lent his song material and inspiration to. A somewhat reclusive character who lived on a houseboat just outside of Nashville before moving away to Oregon to purposely get as far away from the music industry as possible, the case could be made that Mickey Newbury was one of the very first, if not the first true American country music “Outlaw.” Mickey was the first to be released from his contract with the intrusive RCA label and win the stipulation to be able to produce his own albums or choose his own producer—years before Willie Nelson and Waylon Jennings would accomplish the same from the Nashville recording establishment, partly inspired by Newbury’s story.
Just like Willie, Waylon, and Kris Kristofferson, Mickey Newbury was originally from Texas. Famous country DJ Ralph Emery calls Mickey the first “hippie cowboy.” And though Willie Nelson’s Phases and Stages from 1974 is usually given the credit of being one of country music’s very first concept albums, Newbury’s 1969 Looks Like Rain might be the more worthy candidate.
Looks Like Rain was the first installment in what would become an album trilogy from the gifted songwriter between 1969 and 1973, later to be christened An American Trilogy after arguably Newbury’s most memorable song of the same name. Though Newbury was best known as an original songwriter, “An American Trilogy” was a medley that included parts of the Confederate Anthem “Dixie,” the Bahamian lullaby “All My Trials,” and the Union army’s “Battle Hymn of the Republic.” It became Newbury’s signature performance piece, showcasing his incredibly powerful voice, and ability to conjure moments in music that haunt you well after the last refrain.
In 2011, the three albums of Looks Like Rain, ‘Frisco Mabel Joy, and Heaven Help The Child, along with 15 demo songs, rarities, and unreleased recordings were assembled together in hopes of presenting Newbury’s music to a new generation, and reminding an older generation of Newbury’s contributions. When you think of “Outlaw” songwriters, you think of rough and tumble characters like Billy Joe Shaver or David Allan Coe, but Newbury and his American Trilogy has a sparse, almost genteel approach, leaning more on organ and strings than steel guitar, giving it a reverence and a lifting action like nothing else heard in country music, then or now.
The first album Looks Like Rain works like one continuous track, spelling out a very personal narrative, with wind chimes seamlessly creating a bed in between songs, pulling you into the album’s depths; into the little proprietary world Mickey creates, and enhancing the entire experience beyond the allure of the individual songs themselves.
‘Frisco Mabel Joy may be the most complete and accessible album of the collection, with the “An American Trilogy” opening song setting the mood. It loosely follows a young Southern man on a journey to find a lost love that traverses the American continent, and seems to tell the country’s story along the way. “An American Trilogy” captures such an inspired performance, it deserves to be considered right beside the greatest American compositions of all time like “Ode To The Common Man” and “This Land Is Your Land.” The album ends with the plaintive, but very enjoyable “How I Love Them Old Songs,” marking one of the trilogy’s most country compositions.
Heaven Help The Child illustrates the ever-present evolution, transformation, and insistence on growth and understanding that Mickey Newbury’s life was an exemplar of, while once again highlighting his propensity to create a seamless album experience and memorable moments. All three albums were recorded at Cinderella Sound in Madison, Tennessee, so the albums all work seamlessly between each other as well. You don’t skip around to select tracks on An American Trilogy. You push play and allow yourself to get lost in the music.
The American Trilogy era from Mickey Newbury’s body of work has become an absolute wellspring of musical material for other artists, and one that helped lay the groundwork for country music’s Outlaw era. Penning First Edition’s (Kenny Rogers’ first band) “Just Dropped In” is what made the world aware of Newbury, but after he released the first trilogy album Looks Like Rain, both David Allan Coe and Waylon Jennings covered the songs “San Francisco Maybel Joy” and “The 33rd of August.” Johnny Cash and Bobby Bare both covered “I Don’t Think Much About Her No More,” from the trilogy’s 2nd installment, and all of a sudden a who’s who of performers in Nashville were listening to Newbury and trying to figure out how they could give their own unique take on his landmark recordings.
Tompall Glaser, and the venerable Bill Monroe would go on to cover Mickey’s “How I Love Them Old Songs,” Elvis Presley did his own version of “An American Trilogy,” and the seemingly never-ending list of songwriting accolades for Newbury continues from there, including 8 cover and tribute albums released to him over the years.
Songwriters like to say that their songs are like children. If that is the case, Mickey Newbury is a father, grandfather, and great-grandfather many times over. His An American Trilogy is an indelible, essential work of the American songbook, from which many branches of American music sprout from.
Two guns up.
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Mickey Newbury’s An American Trilogy is available in a 4 CD box set, a 4 CD fold out with 24-page companion booklet, or in MP3 form. All tracks have been remastered from their original tapes. It includes a total of 41 songs.
Outlaw country icon David Allan Coe went to war with a semi-truck, and lived to tell the tale. The 73-year-old performer suffered broken ribs, bruised kidneys, and head trauma on March 19th when his 2011 Suburban was broadsided by a semi at the intersection of Silver Springs Boulevard and Pine Ave. in Ocala, FL. The incident landed Coe in the Ocala Regional Medical Center for 4 days, but from the pictures of the wreck, the country singer was fortunate to be alive at all.
Now David Allan Coe is back performing, and on the 4th of July made the trek to Billy Bob’s Texas in Ft. Worth to participate in Willie Nelson’s 40th Annual 4th of July Picnic—an event that Coe has been a mainstay at for years. It was one of his first shows since the accident.
“They had come on the news and said that I’d died,” Coe explained to a packed Billy Bob’s. “A lot of people were calling my wife and saying that they’d heard that I’d died.”
When Coe told the crowd he’d been out of the hospital now for a month and a half, Billy Bob’s erupted in applause.
“I’ve got to tell you that everybody quit me, except my wife.” Coe went on. “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.”
David’s wife, Kimberly Hastings Coe, said right after David left the hospital, “‚ÄúDavid being David, said to me before leaving the hospital; ‚ÄėWell, now I have an opportunity to write another great song. A lot of fans tell me that my songs have given them strength to get through difficult times. This accident has given me another subject in my life to write about that will hopefully help others.‚Äô ”
Coe’s new band lineup is a rather avant-garde approach for country, with two keyboards and lots of percussion. “I’m going to play you some old songs, and I’m going to play you some new songs,” Coe told the 4th of July crowd. “And I’m glad I can play you any songs at all.” At the end of the Picnic, Willie Nelson invited Coe, along with Jamey Johnson, Gary Allan, and other performers onto the stage to close the night out singing gospel songs.
Coe also penned a personal letter to all of his fans who supported him through the incident, made available through his wife.
(11-9-13): David Allan Coe’s son and former guitar player Tyler Mahan Coe has responded to David Allan Coe’s take that his band “quit on him” and other issues.
Here is the entire post, originally posted on his Baby Black Windows blog.
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My father told me I was a member of his band when I was 15 years old. We were in the back of a stretch limo on the way back from his picking me up at the Orlando airport. I’d been visiting my mother in Tennessee, not having seen her in the year since I left home after finding brochures to military schools in our mail.
“You been practicing your guitar chords?”
‘Yeah.’ <— LIE
“Good. I’m recording a live album in three days. You’re on it.”
Little family chats like that are how you lose a decade of your life.
I was now the “rhythm” guitar player for the David Allan Coe band. “Rhythm” because that’s the label that stuck despite the wild permutations of its reality. Initially I played a six-string acoustic, seated, cheat sheets of the chord progressions to every song taped to the floor beneath me. With a full band, my contributions to the show were insignificant, to be sure.
I was, however, determined to get good at my instrument. I eventually did, only to discover that it didn’t matter how well I performed any given night. If my father decided the show wasn’t going to go well then it wasn’t going to go well. Thanks to his practice of introducing me as his son at the end of nearly every show and then leaving while I stayed behind to help load out, I became the unofficial Complaints Dept…
- “Your/his guitar is too loud!“ You’re right. It is. My father has hearing loss and refuses to hire (or heed advice given by) professional audio technicians because that would make it much more difficult to pretend there is a problem with the sound, which he would do, without fail, every night, for reasons ultimately known only to himself. His guitar amp is the loudest thing I’ve ever heard. Some people will tell you that my guitar amp is the loudest thing they’ve ever heard. That would be because they were standing directly in front of my amp, which was at a volume sufficient to allow myself to be able to hear it beneath my father’s.
- “Everything sounds distorted!“¬†That’d be the volume again. The man you saw running around the stage putting his head in front of various speakers was doing his best to make things sound okay but he was not a professional sound tech. Even if he was, he was being asked to perform an impossible task. A “band” comprised of three electric guitars and a drummer is just not going to sound like anything you’re used to, especially in “country” music. I developed a technique of playing bass notes with my thumb and cranked the lows on my EQ but there’s only so much that can be done.
- “He didn’t play his own songs!” This is and isn’t a valid complaint. I don’t want to spend a lot of time on it. Briefly: I loved playing all the Waylon Jennings songs that we played. They are great songs and Waylon isn’t around to do them anymore. Conversely, I hated playing songs by, say, Toby Keith, because there was no reason for us to be doing that. It was frustrating but ultimately a life lesson on what you can and can’t control.
- “He only played pieces of his songs!” Same as the last. The medleys were a lot of fun when the transitions felt organic. Other times, they felt like a deliberate attempt to keep the show from going well. I know this could seem to you as if I’m bitterly saying these outlandish things but ask anyone who’s ever played for David Allan Coe and they’ll confirm what I’m saying. Too, I am so emotionally detached from everything being discussed on this list. They weren’t my decisions.
- “He didn’t play¬†any¬†songs!” While an obvious exaggeration, yes, there were nights it seemed he took the stage only to rant and complain about never having received his just rewards from critics, etc. I probably found this more annoying than anyone else because as it happened I was standing on stage, in front of everyone, doing nothing, like an asshole, with a heavy Gibson SG hanging from my neck.
- “It’s hot!” I know. My father’s skin and vocal chords are sensitive to the sudden changes in temperature found in air conditioned environments. I seem to have inherited this from him so I can say it is a valid requirement for him to perform.
- “He only played an hour and they said it was a two hour show!” They lied.
- “He’s late!” I know.
- “That vocal effect he’s using sounds terrible!“ I know.
- “That woman sounds terrible!” I know.
So, okay, you deal with all of that for years because it’s your father and family is family. And I would have kept dealing with all of it. I would have fought uphill until my father said, “Enough.”
To be fair, I don’t like her. So I’ve told you that up front…
There is a photocopy of a letter being posted throughout cyberspace. A letter written in my father’s hand. 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…
A Lesson in Subterfuge – The first thing you want to do is get in close with the target. Then you do everything you can to erode the stability of every standing relationship the target had previous to your arrival. First, lower employees, pawns. They’re easy. A small maneuver and they’re history. Then, you’re chipping away at the back row. Anyone who has decision making capabilities has to go. Anyone who controls money has to go. Friends who may take it upon themselves to offer advice to the target have to go. Family? This may prove difficult, as some family will no doubt see what you’re doing, but family absolutely must go. The target has to believe that you are the¬†only¬†person who has their interest at heart. Never relent and you will succeed in your task.
Back to that weird letter then…
Bruce and Linda Smith are good people. They did NOT steal anything from my father. Anyone who tells you otherwise is a liar or was lied to by a liar. Bruce Smith dedicated more of the time and energy of his life to my father than did any other living person, with no exception, including myself. That’s a fact. Bruce did quit his position as management for my father. In my opinion, he made a respectable decision to withdraw himself from a situation where his honor had been called in to question one too many times by a person whose own sense of honor seems non-existent.
The members of the David Allan Coe band did NOT quit their positions or abandon anyone. Steve Wood and Jake Stringer did not “abandon” their employer in a difficult time. They weren’t even contacted about continuing in their positions as touring band members. Let no person call into question their professional integrity.
I did NOT quit my job working for my father. The last contact I received from David Allan Coe was a text from him telling me that he was going to play some shows by himself, without a band, to get back into the swing of things and then we’d figure things out from there. That was in response to a text that I had sent him, telling him that I would do everything that I could to keep him touring with a good band. After he told me that he was going to do some solo shows, I contacted him with some information about a record label in Europe who is hoping to reissue some of his older material. I received no response about that and shortly thereafter found out that he was performing shows with an entirely new band. My feelings were deeply hurt when I learned that he was announcing onstage that his entire band had quit him and everyone had “abandoned” him when this was not the case. It became clear that my attempts to contact him were being deliberately ignored and I have no idea why.
So that’s what happened.
Make no mistake. This is not a tirade or reproach. I’m simply getting rid of the weight of keeping this shit a secret. I’m moving ahead. I’m going back to Nashville to be around the rest of my family. I have zero desire to be in another touring band at this time. I want to make the next SoC album. I want to spend time with my wonderful girlfriend. I want to put distance between myself and those who would piss on the legacy of my surname.
Today is my birthday. I’ve been breathing for 29 years.
-Tyler Mahan Coe – See more at: http://babyblackwidows.blogspot.com/2013/11/so-this-is-what-happened-or-becoming.html?spref=fb#sthash.a1X6A8WF.dpuf
So this weekend we were reading the June edition of Playboy Magazine. You know, for the articles. And lo and behold, Saving Country Music is cited in a feature on Eric Church entitled “The Badass” that proclaims the performer from North Carolina the “new face of country music.”
You know, I could almost like Eric Church if he would quit so doggedly pursuing his persona as product, and Playboy helps perpetuate this persona by writing a puff piece that portrays Church as the edifice of badassery, and plays to the well-worn and indolent stereotype about how country music’s “traditionalists” don’t want country music to change.
“I don’t believe country singers should make the same fucking music over and over.” Eric Church is quoted as saying in the piece.
Well who in the hell is proposing or promoting that? Is Saving Country Music? You can comb through the 2,500+ article archive of this site and not find a single place where this theory is forwarded or implied. There may be a few traditional country fans who feel that way, but I don’t see this “make the same music over and over” theory commonly cited in “traditional” country circles or anywhere else. So why are “traditionalists” perpetually having to fight this assumption every time they say they don’t prefer a certain artist, song, or sonic direction?
Saying that people don’t want country music to evolve is a preconceived argument to a position that doesn‚Äôt exist to attempt to couch “traditionalists” as hard-headed, out-of-touch, non-evolving old farts and jackasses. Yes, this is the same argument Blake Shelton has made; Church’s mainstream nemesis after Eric called Shelton out for his involvement in reality TV shows. Saving Country Music has gone out of its way over the years to champion the causes of artists who are specifically attempting to evolve country music in a way that respects the roots of the genre, many of which who are regularly ignored by the mainstream country music industry.
But what exactly is Eric Church doing that is so new? “We’re further into rock and roll than anyone else, and that’s why a lot of traditionalists have a major problem with me…. [It's] not even close.” Oh Jesus Eric, you only wish. Hell, I’ve said many times myself that Eric Church is the last male in the mainstream country music hierarchy that has any sort of creativity to his sound. The problem is he keeps letting his persona get in the way of allowing intelligent listeners enjoy his music, like when he swore off calling himself an “Outlaw,” while at the same time selling Outlaw-branded merch online. But is there some appreciable rock difference between Eric Church, and other country rock acts like Keith Urban or Florida Georgia Line?
And what is so new about mixing country and rock and roll anyway? The Maddox Brothers & Rose were doing it in 1940′s, half a century before Eric Church was even born. Country and rock and roll evolved parallel to each other, and were bred out of the same sound. Ever heard of rockabilly? Elvis was playing it before he was playing rock.¬†Lynyrd Skynyrd and The Allman Brothers were mixing country and rock back in the 70′s. Hank Williams Jr., Travis Tritt, and Marty Stuart were doing it in the 80′s and 90′s with just as much of an edge as anything Eric Church is doing right now. That’s not a knock on Church’s music, but to act like mixing rock and country is something Eric Church innovated, and that he’s the only artist taking it to the edge is just another example of his self-aggrandizing pap that tarnishes the appeal of his material.
But if Church is so enamored with rock and so dismissive of country, why is he even be pushed on country radio and winning country awards? “I didn’t grow up listening to Hank Williams Sr. or Earnest Tubb,” Church told Playboy. “I grew up with rock and roll.” If this is the case and his sound is so rock, why is he surprised when country fans come out and say he doesn’t belong?
Something else interesting in the Playboy article is how it references the rampant outbreak of fights at Eric Church concerts in a positive light. Performer Kip Moore cites a show in Battle Creek, MI where he opened for Church and says that “half of the crowd was fighting.” I’ve been to some of the craziest punk and heavy metal shows, and never seen anything like this. Despite entire venues descending into mosh pits, if someone crosses the line and starts fighting, they tend to be ostracized from the crowd immediately. A concert where half the crowd is fighting is the outcome of this type of shallow, surface machismo that the current new Outlaw country artists attempt to brand into their music.
And make no mistake, this Playboy article and the Eric Church persona are not at odds with the country music establishment as they would like you to believe. It is a purposeful marketing campaign to attempt to re-integrate disenfranchised country fans who left the genre when the likes of Taylor Swift became the country norm.
The Playboy article goes on to specifically cite Saving Country Music (but without using our name), saying:
In the old days, the photo of the 10 top country singers would look like a convict lineup. These days it might look like an Ambercrombie & Fitch catalog shot. Among hardcore traditionalists, this change hasn’t been popular. One highly trafficked country website routinely erupts in insults aimed at handsome singer Luke Bryan who’s apparently perceived as too feminine. The blogger who runs the site referred to Bryan as a woman, claimed the singer has a vagina and alluded to Bryan as gay.
Oh man, I don’t know whether to laugh or cry. The above quote is citing a year-old article clearly marked as “fake news,” both in the tags, and in the sarcastic tone of the content. Hopefully Playboy understood this, and was simply using it as an example in the stylistic change country has endured over the last dozen years, and the vehement opposition it has stimulated from certain sects of fans. But Saving Country Music would never accuse someone of being gay or transgender if it wasn’t in a clearly sarcastic light, and wouldn’t in any way characterize the frequency of our off-color commentary on Luke Bryan “routine.”
But as for Eric Church, if he wants to be considered a badass in the same breath of true country badasses like Waylon Jennings, Johnny Paycheck, and David Allan Coe, then he should take a que from them and not participate in self-aggrandizing cult-of-personality building in glossy magazines. Instead, he should do like they did—let the music speak for itself.
The long-rumored, long-anticipated Hank Williams III and David Allan Coe collaboration was a long time in the making and even longer coming. But it’s here, and though some may have been wishing for a few songs or even an entire album, clocking in at over 7 minutes, “The Outlaw Ways” will satiate your Hank3/David Allan Coe collaboration jones just fine.
It is easy to get over-hyped about a pairing such as this. History shows that these collaborations don’t always match the sum of their celebrity parts. Sometimes they fall flat, and sometimes they become part of country music lore, like the legendary pairing of Waylon Jennings and Hank Jr. in “The Conversation.” “The Outlaw Ways” is loosely based around this same lyrical structure, with the two country music Outlaws trading lines and coming together for the chorus. Both Hank Jr. and Waylon are also mentioned in the song. But instead of conversing about Hank Sr., Hank3 and David Allan Coe converse about each other and their friendship over the years, and about the authentic “Outlaw” identity that flies in the face of the faux Outlaw movement on Music Row these days.
“The Outlaw Ways” is no world beater, but it is a fun song with some cool moments in the verses that will be a treasure for the artists’ respective fans. With the most obvious focus being the pairing of the two men and the words, the music of “The Outlaw Ways” could have become an afterthought, but instead it is one of the songs strengths, starting off with a country fiddle riff, falling to half time in the ol’ Waylon style in the versus, and featuring a tasteful steel guitar solo in the middle.
When David Allan Coe was hospitalized after an accident in Florida, and with the recent passing of George Jones, it makes collaborations like this that much more prized and valuable. We let our country music heroes into our hearts and homes because we can connect with them so closely. It’s even more cool when they connect with each other.
1 1/2 of 2 guns up.
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(6-10-13) UPDATE: “The Outlaw Ways” has just been made available on Red 10″ Vinyl at Hank3′s web store.
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