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- Willie Watson on NPR's Mountain Stage
- Fader Interviews Lucinda Williams
- Chuck Mead on NPR's Mountain Stage
- Apple Reportedly In Talks with Majors for Cheaper Music
- Ricky Skaggs, Sharon White Release New Album "Hearts Like Ours"
- If You Missed It: Lucinda Williams on Fallon 9-30
- SXSW Probably Isn't Going Anywhere But Big Changes Loom
- Revisiting Cowboy Jack Clement, Country Music's Jester and King
- Audiobook Review: Tom T. Hall "The Storyteller's Nashville"
- Mac Wiseman Featured in The Wall St Journal
- Live Nation Moving Off of Music Row
- After SiriusXM Success, The Turtles Take on Pandora
- American Songwriter reviews new Sons of Bill album
- Cool Music Photos from New "Still Moving" Picture Book
- The Telegraph "Sturgill Simpson: Space Cowboy"
- Jambands Reviews Cory Branan's "No Hit Wonder"
- Zoe Muth at WAMU's Bluegrass Country
- A night in the life of Austin City Limits ringleader Terry Lickona
- Sons of Bill Release New Album "Love and Logic"
- Can the people Nashville hopes to attract afford to move to Nashville?
This is the news relayed from George’s widow, Nancy Jones, who announced today that she has spent $4.35 million on two pieces of adjacent property at 128 and 130 Second Ave. N. in Nashville that was the former home of the Graham Central Station nightclub complex. The property is right near the Cumberland River, and within walking distance of both the Country Music Hall of Fame, and the recently opened Johnny Cash museum. Early plans call for a 44,000 sq. ft. facility that would include event space, a music venue, restaurant, and gift shop, all to commemorate the legacy of country music legend George Jones who passed away on April 26th, 2013.
“We are overjoyed to share George’s legacy and memory with the Nashville community,” Nancy Jones said in a statement. “We hope that this will draw George’s friends and fans worldwide to our great city. George and I made this our home, and he would be happy to know that we found a home to continue his legacy in the heart of Music City.”
The three-story building that currently resides on the 1/4-acre lot was shut down in March by Nashville police after it was deemed to be a public nuisance because of “persistent criminal activity” according to The Tennessean. Called The Hooper Building, it has a 3rd floor rooftop patio that overlooks the Cumberland River and Nashville’s Riverfront Park. The building was originally built in 1924 and was owned previously by the Callen Trust. Nancy Jones is currently working with designers on how to move forward to reconfigure the space for the museum’s needs, and expects to have more information about what country music fans can expect from the new museum in the coming weeks and months.
The Johnny Cash Museum, which opened at 119 3rd Ave S in downtown Nashville in May of 2013, has been a great addition to the area. As Nashville has experienced dramatic growth over the last few years, many older and historic properties are getting bulldozed in favor of condominium complexes and other new developments. The George Jones museum will be another positive addition to downtown Nashville’s historic neighborhood.
The Hooper Building in downtown Nashville:
via Google Maps
Blake Shelton. The Decider. Mount BS. Mr. Lambert.
On August 18th, he released his latest single called “Neon Light” from his upcoming Bringing Back The Sun album. As a rather sedated, nondescript, somewhat country, but ultimately sort of boring offering, it was really hard to get worked up about it one way or the other. Sure it has a banjo and a somewhat country setting, but it’s no “Tear In My Beer.” And sure it starts off with a stupid hip-hop beat, but that’s every damn song on mainstream country radio today. Starting a song with a hip-hop beat isn’t expected in 2014, it’s required. That stop sign was blown through and a couple of pedestrians mowed over on country music’s way to careening head on into a retaining wall some nine months ago. In 2007 this song would have made us all want to drink Drano, but in 2014? Eh, there’s much bigger fish to fry, and much better stuff to listen to.
But either Blake Shelton let some Twitter troll get the best of him, or he’s decided to tilt at windmills to give a little jolt to the song’s deflated reception, and he’s struck out on the warpath against the “haters.” “Of course, Iâm always going to have the haters and critics out there that say it’s not [country],” Blake told Rolling Stone Country. “But then, kiss my ass! I know more about those records than a lot of people.”
Whoa, slow down there speed racer. First off, who exactly has a huge problem with this song? I’ve scoured the world wide internet looking for negative reviews for “Neon Light” and came up with a big bag of nothing. You check all the usual suspects of Blake Shelton hate, including Saving Country Music, and mum’s the word on “Neon Light.” Not to say there isn’t someone chirping out there in some social network comment section, but that’s for every song. And what’s up with unilaterally tearing into our country music knowledge for criticisms that don’t exist?
Blake Shelton then goes on to say, “The song, the melody, the chorus is so George Jones or George Strait. It really is.”
Oh okay Blake, so just because your song has banjo and is loosely about seeking refuge in a bar it’s now fitting company to be compared with the overlords of the genre? Is it really up to an artist to decide where a song fits in the pantheon of country music, or is that the job of history?
The simple fact is that Blake Shelton’s “Neon Light,” aside from the opening hip-hop beat—which should immediately relegate songs to the trash heap of country music history—is symbolic of the very slow, but very present return of a little bit more sustainable country sounding substance that is being evidenced across country music in the emerging post Bro-Country era. “Neon Light” should in no way be compared to George Jones and George Strait, no matter what measuring stick or perspective is employed. But is it better than Blake’s “Boys ‘Round Here”? Sure. Of course this is all a symptom of the diminishing returns we’ve been receiving from country music for the past few years, but you can’t help but identify the green chutes of promise when they begin to emerge out of the barren landscape of horrendously bad music.
“Neon Light” is not terrible, but it’s not good either. That’s about the best I can give it. It still is slavish to the rhythmic trends plaguing country music in the way the song repeats words in triples, but the chorus shows off Shelton’s vocal range. How it will fare on the country music charts will be almost exclusively tied to how much money the label decides to put behind it in promotion, because it’s not good enough to have a life of its own. Blake Shelton knows he can’t compete with the worst of Bro-Country, so he’s trying to carve out his niche as the popular traditionalist.
But George Jones, or even George Strait? I’m sorry, that’s BS.
It’s been a working theory for years here at Saving Country Music that country is constantly trying to apologize for itself, and explain away all of the stereotypes of the genre to garner wider acceptance. Country spends all of its energy trying prove that it’s not a bunch of rednecks and racists and old people’s music, instead of educating people on the beauty of country in both its traditional and contemporary forms. I remember a couple of years ago when Jason Aldean said right before the ACM Awards,
Â Country music still kind of fights the stereotypes a lot of times. And here weâre having a country music show, and itâs in one of the glitziest cities in the world, so it just shows you that were not still sitting on hay bales passing out awards at these shows.
And you see this attitude play into the production of country music’s annual award shows and other large events more and more as time goes on. They invariably start off with the most non country performance as possible, attempting to lure viewers in by proving how not country the genre really is. This was especially evident during Tuesday (8-5) night’s broadcast of the CMA Music Fest special on ABC. There was little to nothing country about it. It came across as nothing more than an infomercial about how non-country the music of country really is. Dierks Bentley spelled it out before the night even started when he said, “âItâs a young, current, hip thing thatâs happening that deserves to be in a downtown city center thatâs new and growing and feels vibrant and just feels âŚ represents the music properly. You know, this is not like your grandfatherâs country music anymore.â
In an interview with Country Weekly, classic country artist Sammy Kershaw, who’s promoting his new Do You Know Me? George Jones tribute album had some poignant things to say about country music’s poor self-esteem.
Look, Iâve always said country music is the only genre that hates itself. It wants to be everything else, but country music. Iâve been in it for a long, long time and Iâve seen the changes, but it always comes back. But now, I donât see it coming back. It finally found a routeÂ toÂ go.
Hopefully Kershaw is wrong about country music coming back, but what he’s most certainly right about is country music wanting to be everything else than what it’s supposed to be. Whether the circle is truly broken forever, or it will eventually come back around again like it has done before in the past, there’s no doubting country is farther out on the loop than ever before.
Man. If you want to make a live music DVD, get yourself a Southern rock band. And if you’re looking for a Southern rock band, you best be looking in the direction of Atlanta, GA’s Blackberry Smoke. These days you can find all manner of variations on the Southern rock theme, and there’s some damn good ones out there—folks mixing Southern rock with Motown soul, and Southern rock with surf, punk, and so much more. But if you’re looking for the band that defines what Southern rock is in the modern day world, Blackberry Smoke is your poison. They’re the guys taking the torch that was first lit by Lynyrd Skynyrd and The Allman Brothers, then was passed on to bands like The Black Crowes, and are doing one of the South’s most storied subgenres all manner of proud in making sure that sound is passed on to a new generation.
Just look at these bastards. They look like they could make the inside of a tour bus smell like steak and motor oil just by looking at it, or walk into a Southern buffet and bankrupt it in one sitting. These are some long-haired, burly, and badass dudes who drip nothing but cool and authenticity. Lead singer Charlie Starr’s mutton chops are longer than the Florida panhandle. And when all those pop country guys get up there on stage and start trading Stratocaster licks doing their best to be cool, a band like Blackberry Smoke is who they are trying to emulate. But it will never be as real as a Blackberry Smoke show.
Two years after releasing their last studio album The Whippoorwill to critical-acclaim, Blackberry Smoke is back with a double live album and DVD called Leave A Scar: Live in North Carolina. There’s a few ways you can choose to partake in this live experience: You can either hear it on a double disc CD set (or download), or you can get the DVD and watch and listen. Or you can do both. The DVD gives you the option to either watch the entire concert seamlessly, or see it with a series of background spots about the band. The background portions probably don’t go as in-depth as a full-fledged documentary, but offer great insight about the band, their families, their cars, their kids, and how they all fit into the band and help make Blackberry Smoke tick so well both on and off the stage.
Your tour guide is Blackberry Smoke front man and primary songwriter Charlie Starr. He introduces you to the two brothers: bass player Richard Turner and drummer Brit Turner, the latter who also acts as the band’s archivist and avid business man. Piano and organ player Brandon Still tells the story about being hired by Blackberry Smoke, and the only stipulation was he had to give up his ‘new wave’ X-wing keyboard stand for a psychedelic-draped piano stand to join. “I was like ‘You know what? We can get rid of the X-wing stand,’” Brandon recalls, and the rest is history. Brandon and lead guitar player Paul Jackson are good friends outside the band as you see on the DVD. “Brandon hangs out, and he’s like Uncle Brandon to Paul’s kids,” says Charlie Starr.
But the music is what we’re here for, and the performances on Leave A Scar: Live in North Carolina are as tight and entertaining as you would expect for a band who’s been going at it for going on 15 years. They’re beyond road-tested, and can play these songs in their sleep. A good mixture of Blackberry’s catalog is featured in this CD/DVD project, and aside from breaking into Memphis Minnie & Led Zepplin’s “When The Levee Breaks” in the middle of one song, it features all original Blackberry Smoke material.
Hard work and hard play isn’t just a marketing mantra for these guys and their fans. It’s the only thing they know, and that’s what comes through most evident on this project. Seeing some of the shots from the crowd and the fans singing along in the perfect-sized venue for this type of undertaking really captured the relationship and value Blackberry Smoke has with the fandom they’ve earned over the years. The project is keenly shot by Judd Films, with Neltner Creative supplying the cover art, and a great engineering feat by Logan Patton doing the live vibe justice and giving the recording the perfect amount of crowd noise to put you right there in the room.
Though I might still recommend to someone who has never heard Blackberry Smoke to start with one of their studio projects, Leave A Scar: Live in North Carolina is a treasure trove for the hardcore Blackberry fan, including bonus footage on the DVD that shows the band recording with Jamey Johnson and the recently-deceased country legend George Jones.
Blackberry Smoke likes to take their time between studio releases, which can be frustrating for some salivating fans. Leave A Scar: Live in North Carolina is the perfect thing to tide them over, and chronicle what one of the most important modern-day bands in the Southern music realm do on a nightly basis for appreciative fans.
1 1/2 of 2 guns up.
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The health status of Randy Travis still remains very much in question, but that is not stopping the Randy Travis camp and Warner Bros. from releasing the second installment of his Influence: The Man I Am series on August 12th. The first album in the series was released on September 30th, 2013—a few months after Randy suffered a serious heart condition and subsequent stroke. Travis had to undergo brain surgery, and has been taking part in significant rehabilitation and physical therapy ever since the health episode.
Randy’s Influence series of releases looks to chronicle the classic country songs that went into the sound that may Randy Travis one of the most popular and influential country music artists of the late 80′s and into the 90′s and beyond. The new collection includes covers of Hank Snow’s “I’m Movin’ On”, Kris Kristofferson’s “Sunday Morning Coming Down”, Hank Williams’ “Mind Your Own Business”, and Waylon Jennings’ “Only Daddy That’ll Walk The Line”. It also includes the Randy Travis tribute to George Jones “Tonight I’m Playin’ Possum” written by Keith Gattis. Randy’s performance of the song at the 2013 CMA Fan Fest was one of his last public performances before his health issues (see below). Travis recorded both volumes in the Influence: The Man I Am series before last year’s health scare.
The extent of Randy’s paralysis after his stroke and surgery, and if he will ever sing again have been a topic of great speculation in the tabloid press, with multiple unnamed and named sources leaking conflicting information about Randy’s health status, while pictures of Randy appearing in public continue to surface. Last week yet another story citing an unnamed source surfaced in Closer Magazine, saying, “He hasnât plateaued in his recovery, which is always a big fear. He really faces a long, tough battle.â The story also cites songwriter and Randy Travis friend Bonnie Paul who says, “Heâs taking great strides and getting better. Heâs a cowboy! If he gets back his strength, then anything is possible.â
Meanwhile any true health information about Randy’s status remains unclear, and his camp has yet to release any official statements about his prognosis or rate of recovery.
This Influence: The Man I Am series gives Randy Travis fans something new to listen to while Randy continues his hard-fought recovery to better health.
George Riddle, a songwriter and musician whose music and influence can be heard throughout the classic country music world, passed away on Saturday night, July 19th after battling with throat Cancer.
Over his long career in country music, George Riddle wrote songs for artists such as George Jones, Ray Charles, Faron Young, Tammy Wynette, Mickey Gilley, Del Reeves, Melba Montgomery, and Margie Singleton among others, and wrote 13 songs for George Jones alone. George Riddle also sang and performed his own songs, recording at various times for United Artists, Musicor, MGM, Starday, Marathon, and Roma Records, releasing seven full albums and multiple singles throughout his career. For 40 years, George Riddle was a regular on the Grand Ole Opry, backing up many of the biggest Opry stars. But he might be best known as the very first and original Jones Boy, backing George Jones up in what would later become George’s legendary band. When George Jones first started out, it was just him and George Riddle. And as they say, the rest is history.
George Riddle was born in Marion, Indiana September 1st ,1935, and graduated from Van Buren High School in 1953. He served in the United States Army from 1958 till 1960, then went to Nashville to pursue his dream of becoming a country and western singer. This is where he met George Jones and became one of country music’s marquee sidemen.
Riddle also made appearances on The Johnny Cash Show, The Nashville Network, in the movie Country Music on Broadway, and many other notable stage and television appearances throughout his career. Most recently he hosted a classic country radio show on WCJC 99.3 FM in Indiana every Saturday morning from 6 am till 11 am near his home in Gas City, Indiana.
Despite his accomplishments throughout his career, George Riddle was known as a private person, not desiring the spotlight. In 2011 and 2012, Riddle received R.O.P.E. (Reunion of Professional Entertainers) Awards for his DJ work, as a songwriter, and a Lifetime Achievement Award.
George Riddle will be greatly missed as an important contributor to classic country music.
The below photos are from the George Riddle Facebook page. The first is with George Jones and Patsy Cline. It is believed to be one of the final pictures of Patsy, and was taken the day before her tragic plane crash.
Tom Petty has been known to speak his mind from time to time, including in August of 2013 when he criticized modern country as “Bad rock with a fiddle.” Now in a new interview with Canada’s CBC news organization, Petty has relayed some pointed opinions about what he characterizes as stars that have “won a game show” and that makeÂ “plastic computer music.”
Speaking to reporter Jian Ghomeshi of CBC about his past, Petty said that discos and DJ’s presented a problem for Petty’s first band Mudcrutch when they first came onto the music scene.
“Now if you’re a band it’s really tough to find places to work, places to play,” Petty says. “This changed so much. I remember when we were a working band, when Mudcrutch was just a working band, we had to work all the time in order to eat, you know? And disco suddenly changed over to cats who just played records, and the bands were out of work. And we were so insulted. Like, ‘What? You mean, we’ve been fired for a guy that plays records?’ But that was the first wake up call that wow, there’s a lot of gigs being taken away. And if you want to keep working, you’re going to have to get better and better.”
When talking about his influences, and how Petty saw Elvis, The Beatles, and The Rolling Stones, and eventually onto what rock music would become, Petty said, “Nothing was any worse than corporate rock. Nothing worse has come along, though there is a lot of popular kind of plastic computer music that’s not that interesting. I don’t feel like somebody … like the artist did that, you know? You put your name on it, but you didn’t do that. But nevertheless, how a record’s made isn’t important to the audience. What’s important to them is what they’re hearing.”
When the idea of fame was brought up to Petty, he replied, “As far as getting famous, I don’t know nothing about getting famous … A lot of people get famous now very quickly, and then they seem to have a turnover where they weren’t famous for that long, but someone else steps in to fill the slot. They’re sort of disposably famous I suppose. But I can’t keep up with who’s famous anymore … I know in my time, in my generation, if you had come, if they tried to offer my generation music by someone that had won a game show, it would have been hysterical. You would have been laughed out of the room. I mean we were suspicious of people that had hit records. I mean it was that different of a time.”
The interview happened at Tom Petty’s Woodshed Recording studio in Malibu, where Petty is getting ready for the release of his latest album Hypnotic Eye on July 29th; his first album with The Heartbreakers since 2010′s Mojo. Tom Petty and the Heartbreakers also have a massive tour planned to begin on August 3rd.
Petty is given credit by some for sparking off the Season of Discontent last summer and fall that saw artists from both the country and rock worlds coming out in record numbers to criticize the direction of country music. “Well, yeah I mean, I hate to generalize on a whole genre of music, but it does seem to be missing that magic element that it used to have,” Petty said at the time. “Iâm sure there are people playing country that are doing it well, but theyâre just not getting the attention that the shittier stuff gets. But thatâs the way it always is, isnât it?”
Later Florida Georgia Line responded to the Petty quotes with a petty “U think we care?” Country songwriter Chris Stapleton also took Petty to task for his comments.
The 63-year-old Gainsville, FL native has shown his appreciation for country over the years, including covering the Conway Twitty / George Jones song “Image of Me”.
In the annals of country music, the amount of concept albums proffered to the public have been very very few. But these extra efforts have almost always gone on to loom larger than their more standard format counterparts, and become pillars of influence from which scores of other albums draw their inspiration. Johnny Cash’s Bitter Tears: Ballad of the American Indian was arguably country music’s first concept album, and has gone on to become a cult favorite. Willie Nelson’s Phases & Stages helped stimulate his rise in country as a performer, and his Red Headed Stranger is arguably the greatest country music album of all time. Hank Williams III’s Straight to Hell helped create a country music underground and put the 3rd generation star on the map. And even today, whether you consider Sturgill Simpson’s Metamodern Sounds in Country Music a concept album or not, it has critics singing its praises and marks the starting point of a fast-rising artist.
Lost among country music’s great concept albums though, unless you count yourself amongst the die hard Marty Stuart fans, was the 1999 offering from Marty called The Pilgrim released 15 years ago today. A commercial flop that was poorly-promoted but well-received by all the critics who happened to receive a copy, The Pilgrim produced no singles and no awards, but it wasn’t meant to. This was Marty Stuart flexing his creative muscles, and doing what he wanted to do at the end of a century, and the end of an era.
In 1999, Marty Stuart was at a crossroads. He still had his signature black hair and some semblance of a mainstream career, but the gray was filling in and he was quickly being forgotten by radio. He still was using The Rock & Roll Cowboys as his backing band. It wouldn’t be until his next album that Stuart would saddle up with his long-standing and current outfit The Fabulous Superlatives. The album was his last with MCA Nashville and an opportunity for Marty to do what he wanted, free of the commercial worry of a major label breathing down his neck about delivering on their investment. This brew of circumstances resulted in arguably the Philadelphia, Mississippi native’s crowning opus.
What some don’t know about The Pilgrim, even some of its apostles, is that the linear narrative of the album is based on a true story from Marty Stuart’s hometown. It begins with a man named Norman, characterized as “cross-eyed” but still able to land the town’s most beautiful woman by the name of Rita. When Norman becomes jealous and protective of Rita, she takes to the arms of “The Pilgrim”, who doesn’t know that Rita is married. When Norman finds out about the relationship, he commits suicide, and filled with guilt, The Pilgrim takes to traveling, ending up on the West Coast before returning eventually to be with Rita once more.
Along this journey, Marty Stuart takes the role of Norman, and other characters as he narrates the theme. Helping Marty unfurl the story of The Pilgrim is one of the most impressive collection of legendary country music names this side of the Nitty Gritty Dirt Band’s “Will The Circle Be Unbroken” session. The indelible voice of Emmylou Harris greets listeners early in the album, assuring that The Pilgrim will be full of surprises, turns, and towering contributions. Pam Tillis, George Jones, Ralph Stanley, Earl Scruggs, and Marty’s former boss and father-in-law Johnny Cash also contribute, with Cash helping to conclude the album with a haunting performance.
The Pilgrim consists of twenty total tracks, including instrumental interludes and recurring “acts” that lend corresponding sonic shades to compliment the arc of the story. And it’s all written by Marty Stuart himself, aside from some contributions here and there from notables like Gary Nicholson, and Mike Campbell (Tom Petty’s Heartbreakers). Other notable musicians lend their talents to the music of The Pilgrim including fiddle player Stuart Duncan and organist Barry Beckett. The instrumentation on the album is nothing short of world class, pulling out all the stops to paint The Pilgrims‘ story in vibrant colors, and endow it with the timeless touch of some of country music’s most noble torch bearers.
In the twenty tracks, The Pilgrim exemplifies tremendous range, almost like an audio timeline of country music’s evolution. From blistering bluegrass-inspired mandolin numbers from Stuart’s nimble fingers, to the more honky-tonk style electric rockers that Marty is known for now and during his near past, to the poetic and smoky surprise of the album, a song called “The Observations of a Crow” that show a beatnik style from Stuart seldom seen, the music of The Pilgrim is in no way an afterthought to the story, and so many of the compositions can be taken out of context and thrive autonomously, and often do when Marty reprises many Pilgrim tracks during live performances; some of them staples of his Marty Stuart Show with The Fabulous Superlatives by his side.
Fifteen years after the release of this somewhat forgotten, but unquestionably iconic album, Marty Stuart looks like the genius for pulling it off, especially when some of the contributors would unfortunately pass on, and others lose the essence of their skills so soon after the release. Whatever financial flops The Pilgrim recorded on the books of MCA Nashville, it did what many other commercially successful albums of the period couldn’t—withstand the test of time, and grew richer with age.
Two guns up!
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King George Strait played what is expected to be his final show as a big ticket touring musician to a packed audience at Dallas Cowboys’ stadium in Arlington, TX on Saturday night, and the event that saw people travel from all over the world to witness, and drew some of country music’s biggest names in support, shattered previous attendance records for an indoor concert. A head count of 104, 793 attendees was taken, roughly 5,000 over the stadium’s listed capacity of 100,000, and breaking the previous record for an indoor concert of 87,500 held by a Rolling Stones show at the Superdome in New Orleans in 1981—the same year Strait released his first hit “Unwound”.
The George Strait concert was the final show in his 60-date farewell “Cowboy Rides Away” tour that embarked on the road January 13th, 2013 for a show in Lubbock, TX. Showing up to support George was an impressive list of performers, especially since the date competed with the big night of Nashville’s CMA Fest at LP Field. The show included Jason Aldean, Kenny Chesney, Eric Church, Vince Gill, Alan Jackson, Miranda Lambert, Martina McBride, Lee Ann Womack, Sheryl Crow, and Asleep At The Wheel. Alan Jackson and George Strait reprized their CMA Award-winning duet “Murder On Music Row” from 2000 on the custom-built stage that sat in the center of the field. “It’s still appropriate,” the duo said about the protest song.
Other performances included George Strait and Vince Gill covering George Jones’ song “Love Bug” as well as “Does Ft. Worth Ever Cross Your Mind”, Martina McBride and George sang duets on “Golden Ring” and “Jackson”, Miranda Lambert joined in for “How ‘Bout Them Cowgirls”, and Alan Jackson also sang “Amarillo By Morning” with night’s man of honor. At the end of the concert, everyone took the stage, including Ray Benson from Asleep At The Wheel to sing “All My Ex’s Live in Texas” and finish up with “The Cowboy Rides Away”.
George Strait performed 584 shows since 1990 that grossed more than $405 million, had 44 Number One hits on Billboard’s country chart, and sold nearly 70 million records. But as Strait promised when first announcing the tour, this doesn’t mean he will stop recording or playing shows upon occasion. It will just be the end of the long haul stadium/arena tours. “Like Arnold Schwarzenegger says, I’ll be back,” Strait said before the final song. There was also a film crew shooting the whole event that saw tickets spike to an average of $688 in the secondary market.
“I can’t tell you how excited I am to be here tonight,” said Strait from the stage. “It’s just been on my mind since we started this tour two years ago, and finally it’s here tonight. We broke a record for the most people, ever. Really? Why wouldn’t we, huh?”
On Saturday night (5-31), Valory Music Group artist Brantley Gilbert headlined the Blue Ridge Music Festival in Salem, Virginia, with Thomas Rhett, ABC Nashville actress and singer Clare Bowen, and Travis Tritt opening for him. Apparently what transpired stimulated Travis Tritt to take to Twitter to question the level of respect he and his fellow openers were treated with, and the respect he and other aging artists are receiving in general. Here are the Tweets in sequential order.
Even though @BrantleyGilbert only gave us 8 feet of stage, we had a great time performing for everyone @BlueRidgeFest tonight. Great crowd! My word of advice to all up and coming performers: Don’t kick anymore asses on your way up than you are willing to kiss on your way down! I’ve always treated my heroes and peers with respect. I’ve respected everyone from George Jones, Waylon and Charlie Daniels who opened.
Then Tritt tended to soften his stance as the tweets continued.
I doubt very seriously if @Brantley Gilbert knows how disrespectful his stage setup is to those who open for him. However, I’m just saying. Regardless of circumstances, I love performing for an appreciative audience. The folks make the show for me. Nobody appreciates y’all more! Make no mistake, @BrantleyGilbert is a fellow Georgia boy. He deserves whatever place he has carved for himself in the biz …. All I’m saying is that his handlers/management should be a little more aware of how he comes off to those he works with. No disrespect. Everyone in this biz knows we can’t please everyone, in spite of our best intentions. However, non of us can fix what we don’t know is wrong.
About an hour later, Tritt added:
Know this. I’ve had openers from Trisha Yearwood, Dixie Chicks, Little Texas, Joe Diffie, Lynyrd Skynyrd & LeRoy Parnell over the years …. And I’ve always personally made sure that they had all the stage space and production that they needed to put on the best show possible.
No response has been seen from Brantley Gilbert, who has not posted a Tweet since May 30th. Gilbert at the moment is promoting his recently released Just As I Am album which has been surprising people with its sales numbers and debuted at #1 in country music.
Tritt’s snipping of Gilbert’s nose (or at least his crew and management’s) is reminiscent of last summer when artists began speaking out like never before about the direction of the genre and the lack of respect for older artists, arguably crowned by Zac Brown who called Luke Bryan’s song “That’s My Kind of Night” the “Worst Song Ever.”
In January, Travis Tritt also had some criticism of the direction of the country music business, telling Peter Cooper of The Tennessean:
Thereâs a mentality in the country music world of Nashville that says, âYou donât know anything, and we know how to do this.â Itâs âWe know whatâs best for you: You get to the microphone, sing what we tell you to sing, play what we tell you to play, and youâll be fine.â That scares people away from branching out and doing things that creatively are out of the box.
The music business establishment does not have a crystal ball. They do not know everything that they tell you they know. Iâd say to any of the new people coming out, âFind the courage to step out and try it your way.â Otherwise, what we get is a cookie-cutter mentality that isnât good for artists who are having to portray themselves as something they arenât, or that are capable of doing so much more but are being stifled.
Garth! Hey buddy, it’s been a long time. Yeah, I know, we’ve seen each other in passing here and there. Some appearances at the award shows and such, and that whole thing out in Vegas and the recent box set release, though I’m not really sure if any of that counts. But hey, don’t worry, I’m not jumping on your butt or anything. You hung the moon for me for over a decade, and no matter what you decide to do from here on out, I’m forever in your debt for taking me to levels I thought were never possible, flying over stadiums on suspension wires and inspiring the Billy Ray Cyrus’s of the world notwithstanding. Hell I don’t even know that I can get worked up about all of that stuff anymore, or about your whole Chris Gaines gimmick, or for trying out for the Padres baseball team. I get it now. You were bored. You had climbed the mountain, conquered it, and were looking for the next challenge. Well let me tell you Garth, if you’re looking for a good challenge, I’ve got one. A big one. And this is one you might be able to accomplish. In fact, you might be the only one left on Earth who can.
Don’t think for a second that I blame you for taking a dozen-plus years off to spend time with your family, please. In fact I commend you for it. If we all spent a little more time putting family first, this probably would be a much more pleasant world to live in. Hell, don’t think the idea of dialing it all back doesn’t cross my mind every damn day, yet here I am working like a three-peckered billy goat. Do you know they say that country music is the biggest American music genre now? Ha, did you ever think we’d see that day Garth?
But this is the problem old friend. They’ve thrown the barn doors wide, and now everybody and their cousin is calling themselves country, and it’s gotten completely out of control. Be careful what you wish for, right Garth? I mean we’ve got DJ’s who don’t do anything but stand behind a couple of turntables pressing buttons now calling themselves country, rappers calling themselves country, hard rockers calling themselves country. It’s to the point now where I yearn for the days where Kenny Chesney and Taylor Swift were the biggest pains in my ass. I look back now at the time when they said you were ruining the genre as the good ol’ days. By the way, do you have any idea if Waylon Jennings ever really said that line, “Garth Brooks did to country music what pantyhose did to finger $#@!ing?” Because for the life of me, I can’t verify it anywhere. And yeah, I know I just censored myself. But to some of us Garth, country music is still a family format.
I’m swallowing my pride here Garth. I need your help. Whether it was you and I pairing up in the in the 90′s to sell all those records that truly stimulated all these problems in the first place or not, the simple fact is you and I coming back together could maybe spell the end of it, or at least restoring some sort of balance to where if someone turns on their radio and tunes it to a country station, they might actually hear something that sounds like country.
I know there’s no need to pry you off you’re couch or anything; you’ve already got all the plans in the works for your big triumphant return, so this is not the direction my pleas are headed. What I want to implore you to do Garth is to keep it country. For the love of all things holy, keep it country. Please, as a favor to your old pal. Just be yourself. This is no longer about about trying to turn away the hordes who will call anything “country.” Truth is they won the battle years ago. That ship has sailed. This is about storming the gates ourselves, and taking back what is ours. You may be the best-selling solo artist in the history of popular music, but as I’m sure you know Garth, country music is bigger than any one person (not to gloat, but you know…), and it is the responsibility of everyone, however big or small, to preserve and protect the country music institution, especially an artist like yourself whose benefited in the manner of untold riches from it.
They can say what they want about you Garth. There are old codgers and punks out there that will bad mouth your name no matter how the rules of the game change, and how much time redeems your past accomplishments. Actually, you want to put those critics to bed? Simply put out a true country album that is successful, and those people’s anger will turn to nostalgia and appreciation. I know deep inside of you is still that little boy from Oklahoma that grew up listening to Merle Haggard and George Jones; that appealed to the masses not by borrowing from other genres, but from finding and writing meaningful songs and singing them from the heart. Some focus on your wireless mic and your flawless, almost too-perfect presentation. But I focus in the fire in your eye, the aching moan in your voice that mimics a steel guitar the comes bursting through the mix to remind us all of the magic that country music can evoke when done right.
And you Garth, and only you, may still have the power at this late hour to remind the masses of that magic.
You did it once for the money Garth. Now, do it once for the music. Because we need it now more than ever.
Your once strained, but now rehabilitated and appreciative friend,
Country is the only genre of music on planet Earth where the midlife crises of its artists play out on the airwaves and populate the very top of the charts, effecting the sonic path of the entire format for all the world to unbearably behold. And right now, Jerrod Niemann is doing the country music equivalent of blowing his retirement kitty on a red Lamborghini, and showing an unhealthy, creepy interest in his daughter’s hot best friend’s after school extra-curricular activities.
To call Jerrod Niemann an “ass” isn’t even hyperbole at this point. He isn’t spreading his arms wide in a submissive pose and pandering to Music Row to do their worst with him—be damned whatever destruction it might do to his legacy or long-term perception—Niemann’s precarious position at the moment much more resembles the compromising and unsavory posture of the poor bastard that graced the original cover of Pantera’s album Far Beyond Driven. Jerrod Niemann in 2014 might as well be like that fictional, computer-generated pop star in Japan: soulless, inhuman, and completely void of free will, relegated to a malleable piece of pop country EDM silly putty for marketing pricks to digitally program and have do their bidding without any fear of human will hindering the money making process or harboring any resentment or conscience. Jerrod Niemann is nothing more than a puppet, and the iron hands of the recording industry are confidently ensconced in his orifice whose colloquial name is an alternative to the title of his new single, “Donkey”.
Don’t fall for the ruse that just because Jerrod Niemann admits that this song is stupid that it somehow absolves it of all of the inexcusable, heinous sins it commits. Forgo all of the superfluous banjo on this track, Niemann’s cadence on “Donkey” evokes hellish nightmares of a cross between a castrated Right Said Fred and whoever the fuck sang that omnipresent mid 90′s ear worm “How Bizzare”. The line “They all walk funny when they’re done riding you know who,” singularly sets back country music 50 years, and would turn Loretta Lynn into stone like Medusa’s gaze if it ever graced her sainted ears. Our Lord Jesus Christ should resurrect Waylon for the exclusive purpose of shoving one of his Flying “W”‘s straight up old Niemann’s keister to see what kind of gait his pathetic ass would sport afterwards.
The jargon and inspiration for “Donkey” comes directly from the uncultured mouths of mid-pubescent 14-year-old boys with hard on’s, and any man who ever utters the term “honkey tonkey” in his entire existence should be banished from ever feeling the touch of another woman till the end of eternity, or certainly from mentioning the immaculate George Jones or his riding lawnmover in their stupid songs. And Niemann shows just how “country” his designer drug, upper crust dance beats are when he reveals that he thinks the term “donkey” and “mule” are interchangeable.
“Donkey” is an uprovocated ass raping of the ears, and if any Niemannites come here preaching to me the virtues of this song because “country music must evolve,” I will personally take a pair of donkey balls and use them to tea bag each and every one of their bedroom pillows when they’re not looking. “Donkey” isn’t just bad, it defines the catastrophic trainwrecking of the entire human evolutionary timeline. 800,000 years of homo sapien progress brought to a screeching halt because one pudgy douchebag wants an arena-sized “country” career before his pubes turn gray. “Donkey” is a harbinger for a dark age for arts, entertainment, and intelligence that humankind is on the precipice of plummeting headlong into.
The worst song ever? I’m tired to doling out this distinction only to have to offer a revision every six weeks when some other pop country asshole finds a new gradient for rock bottom, but Jerrod Niemann’s EDM-encrusted, braying ass certainly deserves to be in the discussion for that most disgraceful of honors.
Two guns way down!
It was a year ago today that country music legend George Jones passed away due to Hypoxic Respiratory Failure at the age of 81. On Saturday, friends, fans, and family, including George’s widow Nancy, country star Larry Gatlin, and others gathered at the Woodlawn Cemetery on Thompson Lane in the Berry Hill portion of southern Nashville to honor George and to plant two Dogwood trees in his memory. The event was open to the public, and fans began to congregate early in the morning to witness the ceremony that transpired at 1:00 PM.
The two dogwoods were planted on either side of the “He Stopped Loving Her Today” monument that was unveiled at the Woodlawn Cemetery on November 18th, 2013. Members of George’s family did the honor of placing the trees and helping to fill the holes of the two Dogwoods. âThis day is going to be bittersweet,â says Nancy Jones. âI know how much people loved George, and the love has continued even a year later. I am so fortunate for the friends and fans that George and I made through the years. I want everyone to come celebrate with us, not because he is no longer with us, but to keep his legacy alive.â
Nancy Jones, Larry Gatlin, and others spoke at the event, circled by gatherers who are still mourning the passing of one of the greatest country music artists of all time. A framed letter from the State of Tennessee Senate was also unveiled, and the ceremony culminated in the assembled crowd singing “Amazing Grace.”
Produced by T Bone Burnett, the new Secret Sisters album called Put Your Needle Down—the sister duo’s first record in nearly four years—was produced by T Bone Burnett. T Bone Burnett produced this sophomore effort, and lending his efforts in a production role was T Bone Burnett. T Bone Burnett, T Bone Burnett, T Bone Burnett.
Did I mention that T Bone Burnett produced this album? Okay good. Because apparently that’s a more important point than who this album is by and what it’s titled, and T Bone’s name must precede this information in any copy or conversation.
It’s not that T Bone Burnett isn’t an accomplished and successful producer. I mean hell, you can’t stick your nose anywhere in the Americana realm without finding apostles of T Bone telling you how brilliant he is. The problem though is the hype around his work has become so pervasive, I’m afraid he’s begun to believe it himself, and uses it as justification to employ an extremely heavy hand in his producer capacity, relegating the artists he works with as secondary, if not arbitrary to furthering the weight behind his own name. Or at least, that’s the way it sounds.
No doubt T Bone Burnett is a towering man of music. There’s no denying his record. But that doesn’t give him the right, or make it right to overhaul, supplant, or bury the God-given sound, style, and talent the artists he works for are born with. People can come to T-Bone’s defense and say that this is the fate these artists chose when they signed up to work with him, but it still doesn’t erase the fact that the role of a producer is supposed to be one of a subordinate. Yes, the producer should guide and mentor, but the best producers in the business do not reshape artists into their own appointed image, they coax the best attributes already alive in artists out into the open to be captured in the recorded context. Inexplicably, with The Secret Sisters and Put Your Needle Down, T Bone Burnett does both.
This album shouldn’t be characterized as The Secret Sisters with T Bone Burnett. It should be couched as The Secret Sisters versus T Bone Burnett. Such an over-produced wall of serrated sounds punishes the ear throughout this album, it’s like trying to view the Eiffel Tower through a plague of locusts: You know there’s something very pretty and breathtaking there, but you have to fight with flailing arms to see, and you’re rarely allowed to relax and bask in its beauty.
T Bone Burnett’s production doesn’t seem to have any sense or respect for the time and place The Secret Sisters’ music naturally evokes; their music seems only the canvas for T Bone to do his worst. After the very first song, I was already tired of the ever-present tambourine on this album, which permeates this record deeper than a sheepdog’s flea dip. The tambourine rattles inside your skull like a ricocheting bullet; steadfast and unrelenting. I couldn’t get the iconic image of Will Ferrell banging on a cowbell from that famous Saturday Night Live skit out of my head, but replaced by a round, jingle-filled adult-sized death rattle. Mucky, incongruent moans of excessively chorus-inflected guitar tones burden this work like the apparitions that keep you in slow motion as you’re being pursued in a nightmare by an apex predator.
Am I being a teeny bit harsh here maybe? Is some deep-seated, unnecessary hatred for all things T Bone shining through and compromising my integrity? Perhaps, but I’ll tell you, despite the monstrosity T Bone constructed though his work on this album, I love Put Your Needle Down. I think this album is great—one captivating song after another. Why? Because no different than how the primitive artists of country had to fight through poor production situations when they were making the very first country albums, or in the 60′s when Music Row producers couldn’t resist adding strings and choruses to every damn song, or in the 80′s when everyone decided the best thing to do was get into the keyboard business and over-modulate the hell out of the drum signals, good songs, and good artists will always shine through. And that’s what The Secret Sisters are, and that’s what The Secret Sisters did on Put Your Needle Down.
And if we’re going to smear T Bone with such colorful language, we also have to give him credit. Whether it was by accident, on purpose, or despite his best efforts, on Put Your Needle Down, the sheer, untouched genius of The Secret Sisters was unearthed in all of its dazzling beauty, and captured so splendidly despite the production woes, that you could fall under it’s spell even if you had to listen through an A-bomb blast.
Sisters Laura and Lydia Rogers were born and raised in one of the holy lands of American music: Muscle Shoals, Alabama. Fertilized with music from George Jones, Merle Haggard, and Doc Watson, and singing in a church that had no instruments, their Southern harmonies were born with such a purity that can only be found in sister siblings. When The Secret Sisters harmonize, it is the sound a pining heart makes, or the sound emitted when a crack cleaves the soul. Or it’s the salve that mends the heart and soul, depending on the theme of the story their soaring voices carry.
Their first, self-titled album from 2010 was a selection of classic country-style songs and was produced by Dave Cobb–famous for working recently with both Jason Isbell and Sturgill Simpson on their critically-acclaimed albums—with T Bone Burnett breathing down Cobb’s neck as an “executive producer.” The Secret Sisters debut captured them in their most native environment, and in a sincere, country offering. No, my defacing of T Bone’s effort has nothing to do with him taking this album in a non-country direction; it’s that he didn’t respect the natural sound of The Secret Sisters. He could have added some rock or progressive sounds here and there, but the production effort of Put Your Needle Down was a complete whitewashing. And get this: I’m so dug in on this stance, I don’t even care if The Secret Sisters disagree.
But damn if I don’t love virtually everything The Secret Sisters themselves do on this album. Put Your Needle Down differs, and his enhanced from their first album by featuring mostly original songs. The pain and desperation captured in their performances on tracks like “Iuka” and “The Pocket Knife” evoke the plight inherent in the female condition when it’s torn and tested by the villainous priorities of men. The heights reached in the chorus of the 50′s-ish do woppy “Black And Blue” with the sisters harmonies dancing and twirling in such synchronicity, like smoke-trailed acrobats rising eloquently and unresponsive to gravity until it is impossible to discern them apart in formation, is nothing short of awe-inspiring.
One respite from T Bone the Terrible’s reign is on the subdued and simple “Lonely Island”, which if recorded 50 years ago, would be a standard of the country music song book today. It is simply a masterpiece.
And as jarring and inappropriate as the production of this album is, you even get to a point where you’re okay with it, if for no other reasons than refusing to let it ruin what was going on here beneath the layers and layers of over-production, and the fogginess that besets this album—sometimes a symptom of when a project’s mixes have been reworked too many times, especially when they are recorded on 2-inch tape to capture the “warmth” that Audiophiles love to preach about. And yes, I understand what T Bone was trying to do here: he was trying to take something classic and pure, and make it hip and progressive to appeal to a wider audience. On paper, there’s nothing wrong with that. But from a production standpoint, it didn’t work. T Bone was not the right one to try this feat with this particular project.
And why did it take nearly 1 1/2 years for this album to get to our ears? It was recorded in December of 2012, and January of 2013. I think there’s a story there in itself, if only to answer why two young women with the wind behind their backs from their first album had to wait so long for a second release.
But I’ll be damned, I really, really enjoy this album overall. Simply put, The Secret Sisters are the best female duo out there right now, and Put Your Needle Down comes highly recommended….with the obvious production caveat.
1 3/4 of 2 guns up.
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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,Â 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)Â
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 sellinâ Nashville rock and roll, long hair, denim and tattoos, lookinâ onâry and mean. Singinâ songs about that lonesome road, some of âem might even be true. But there ainât no outlaws anymoreâŚ”
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 fatherâs 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 Yoakamâs guitar player for the first two years of Dwight’s career.
Itâs only because of Eddieâs untimely death that heâs 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 donât always allow her to be judged on her own merit, while her musical accomplishments veer towards being somewhat misunderstood because sheâs not always been nestled smack dab in the country realm as people want, expect, or anticipate.
But Rosanneâs 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!
George Jones. The Possum. Possibly the man whose life and story embody the themes of a country song better than anyone. From rags to riches, back to rags, and eventually onto rehabilitation and redemption, George Jones was a man that faced demons more fierce than any of us can imagine, and eventually came out on top. Was he a badass? You bet, and here’s 10 reasons why.
- 10 Badass Willie Nelson Moments
- 10 Badass Waylon Jennings Moments
- 10 Badass Johnny Cash Moments
- 10 Badass Hank3 Moments
- 10 Badass Merle Haggard Moments
- 10 Badass Marty Stuart Moments
1. Flipping the Dinner Table at Tammy Wynette’s House
Before George and Tammy were married, George went over to Tammy’s house one night to have dinner with her and her then husband, songwriter Don Chapel. George knew Tammy through their mutual booking agent. While fixing dinner, Tammy and Don Chapel got in a heated argument, resulting on Don calling Tammy a “son of a bitch” in front of George. George, secretly hiding his admiration with Tammy, lost it.
“I felt rage fly all over me,” Jones said in his autobiography. “I jumped from my chair, put my hands under the dinner table, and flipped it over. Dishes, utensils, and glasses flew in all directions. Don’s and Tammy’s eyes got about as big as the flying dinner plates.”
George professed his love for Tammy right then and there, and the country music couple were soon married.
2. Helping To Found ACE — The Association of Country Entertainers
George Jones was never considered an Outlaw, but he participated in one of the most significant precursors to country music’s Outlaw revolution in the mid 70′s. Some know the story of Charlie Rich burning the envelope announcing John Denver as Entertainer of the Year at the CMA’s in 1975, but it was the year prior when the stink had begun about performers outside of the country genre walking away with the industry’s accolades. Olivia Newton-John’s win in 1974 for Female Vocalist of the Year caused such a stir that traditional and even pop-leaning country performers at the time organized behind the acronym “ACE” that stood for “Association of Country Entertainers”.
Spearheading ACE was George Jones and then wife Tammy Wynette, and the inaugural meeting of ACE was held at their Tennessee residence. Other participants in ACE included Dolly Parton, Bill Anderson, Porter Wagoner, Faron Young, Conway Twitty, Hank Snow, Mel Tillis, Barbara Mandrell and more than a dozen others. ACE demanded more representation of traditional artists on the CMA’s Board of Directors, and more balance on country radio playlists (does any of this sound familiar?).
Just how successful ACE was can be argued, but it was the precursor to future organizations looking to restore balance and better representation from the CMA, and helped usher in country music’s Outlaw movement and the return to a more traditional sound that the mid 70′s saw in country.
3. Riding a Lawnmower to the Liquor Store
The first and most well-documented lawnmower incident was the late 60â˛s. George Jones was living 8 miles outside of Beaumont, TX with his then wife Shirley Ann Corley. Jones had experienced a few #1 hits by that time, and his success fueled his wayward ways with alcohol. He was drinking so bad, his wife Shirley resorted to hiding all the keys to the vehicles before she would leave the house so George wouldnât drive to the nearest liquor store in Beaumont.
But that didnât stop him. After tearing the house apart looking for a set of keys one time, George looked out the window to see a riding lawnmower sitting on the property under the glow of a security light. âThere, gleaming in the glow, was that ten-horsepower rotary engine under a seat. A key glistening in the ignition,â George recalled in his autobiography. âI imagine the top speed for that old mower was five miles per hour. It might have taken an hour and a half or more for me to get to the liquor store, but get there I did.â
The second, lesser-known incident of George Jones’s escapades on a riding lawnmower happened when he was married to Tammy Wynette. Taking a cue from Georgeâs previous wife Shirley, Tammy hid all the keys from George, but George had been down that road before. Wynette woke up one night at 1 AM to find George missing. âI got into the car and drove to the nearest bar 10 miles away,â Tammy recounted in 1979. âWhen I pulled into the parking lot there sat our rider-mower right by the entrance. Heâd driven that mower right down a main highway. He looked up and saw me and said, `Well, fellas, here she is now. My little wife, I told you sheâd come after me.â”
The George Jones lawnmower incidents later went on to be memorialized in many country videos, including Hank Williams Jr.âs âAll My Rowdy Friends Are Coming Over Tonight,” Vince Gillâs 1993 hit âOne More Last ChanceâÂ that includes the line, âShe might have took my car keys, but she forgot about my old John Deere,” and John Richâs âCountry Done Come to Town,” and George’s own “Honky Tonk Song.”
4. Recording “He Stopped Loving Her Today”
Yes, it could be easy to highlight George’s signature song and say it was awesome for him to cut it, but the story behind “He Stopped Loving Her Today” goes much deeper. The song not only saved George’s career, it potentially saved his life, and all of this is from a song that at first he didn’t want to record because he thought it was too depressing, too long, and nobody would play it. It eventually became his first #1 in six years, salvaged his career, introduced him to a new generation of fans, and solidified his place as one of country music’s biggest ever superstars. Jones himself says about it, “A four-decade career had been salvaged by a three-minute song.”
Written by Country Music Hall of Famer Bobby Braddock (who you can argue would not be a Hall of Famer if it weren’t for the song), along with Curly Putnam, “He Stopped Loving Her Today” went on to spend 18 weeks at #1, won the Grammy for Best Male Country Performance in 1980, both the ACM for Single and Song of the Year, and was the Song of the Year from the CMA’s for 1980 and 1981. After George’s death, the song re-entered the charts at #21. “He Stopped Loving Her Today” deserves to be in that elite class of songs that can be argued are the greatest country music songs of all time.
5. Being The Best Male Duet Partner in the History of Country Music
When you have the best voice in country music, your services as a duet partner are going to be called on early and often. And despite George’s body of solo work being worthy of a Hall of Fame career, his work as a duet partner is unparallelled itself. Country music stars young and old, male and female lined up to take advantage of his voice over many decades, and duets accounted for five of the fourteen #1 hits George had over his storied career. Here’s a rundown of just some of the people George performed duets with over the years:
â˘Tammy Wynette â˘Loretta Lynn â˘Buck Owens â˘Waylon Jennings â˘Willie Nelson â˘Johnny Cash â˘Dolly Parton â˘David Allan Coe â˘Jerry Lee Lewis â˘Hank Williams Jr. â˘Patty Loveless â˘Lynn Anderson â˘Emmylou Harris â˘Ricky Skaggs â˘Garth Brooks â˘Tracy Lawrence â˘Charlie Daniels â˘Marty Stuart â˘Merle Haggard â˘Ralph Stanley â˘Randy Travis â˘Vince Gill â˘Alan Jackson â˘Sammy Kershaw â˘Shelby Lynn â˘Mark Chesnutt â˘Travis Tritt â˘Barbara Mandrell â˘Brenda Lee â˘Shooter Jennings â˘The Staple Singers â˘Keith Richards â˘B.B. King
6. Walking out of the CMA Awards
Ahead of the 1999 CMA Awards, George Jones was enjoying yet another resurgence in his career. Jones was slated to perform the song “Choices” on the CMA’s, but when producers insisted he must sing an abbreviated version, he walked out of the ceremonies and boycotted the show.
In a super act of class and solidarity, Alan Jackson halfway through his performance of “Pop A Top,” stopped down and shifted gears to perform “Choices” in protest. The event has gone on to be considered one of the biggest moments of country protest in the history of the genre.
7. Recording “Who’s Gonna Fill Their Shoes?”
Throughout his career, George Jones held fast to the ideals of traditional country music, and wasn’t afraid to fight for them, or speak out about what was happening in the genre. And as one of the few artists who registered hits in multiple decades (according to Billboard, Jones had more “hits” than any other country artist), when George Jones spoke, people listened.
George’s song “Who’s Gonna Fill Their Shoes” comes from the 1985 album of the same name, and was written by Troy Seals and Max D. Barnes. It’s a poignant tribute to the history of country music and its previous greats, while calling attention to the abandonment of country’s roots. The song was so potent, the phrase “Who’s Gonna Fill Their Shoes?” has become one of the most popular go-to colloquialisms concerning the state of country. The song was also a hit, rising to #3 on the Billboard country chart in 1985.
8. Overcoming His Personal Demons
Some people assume that becoming a rich celebrity solves many of your problems, when for many artists it exposes and fuels their problems. Such was the case for George Jones, who had major issues with alcohol, and later in his career, drugs. At one point in 1979, despite being one of the best-selling artists in the history of country music, he was bankrupt and destitute, living in his car, weighing around 100 pounds and living off of junk food. George spent time in mental institutions tied to his drinking multiple times and had to be straighjacketed on numerous occasions. He became known as “No Show Jones” because he missed so many engagements over his career.
But in many ways George Jone’s bad behavior only helped his reputation. His fans didn’t turn on him, they loved him more because they could relate to him and their own personal struggles, and because he was such a great artist and performer when he would show. Alan Jackson once said about Jones, “…what I like most about George is that when you meet him, he is like some ole guy that works down at the gas station…even though he’s a legend!”
Waylon Jennings and others first helped get George Jones sober in the early 80′s, and the result was a resurgence in his career. However later in life George Jones would fall back into his old habits. George gave up drinking and drugs for good in 1999 after wrecking his car and spending two weeks in the hospital. After the crash he pleaded guilty to drunk driving charges. Jones told Billboard later, “…when I had that wreck I made up my mind, it put the fear of God in me. No more smoking, no more drinking. I didn’t have to have no help, I made up my mind to quit. I don’t crave it.”
9. Wanting to Die Performing
Some artists perform because they want to, others perform because they have to. In March of 2012, George Jones was hospitalized with an upper respiratory infection. The 80-year-old performer was having trouble breathing, and it was thought that he didn’t have much more time before his lungs would fail him. Instead of heading home to recuperate and potentially prolong his life, George set to planning a 60-date farewell tour, culminating in a star-studded event set to transpire at Nashville’s Bridgestone Arena in November of 2013 with over 50 special performers.
According to George’s wife, before he even left on the tour, he knew he would not make it to the finale. Doctors said he was in no condition to perform or tour, but he did anyway. On April 18th, 2013 George Jones was hospitalized in Nashville, missing tour dates in Alabama and Salem. He eventually passed away on April 26th, 2013 at the age of 81.
10. Having The Greatest Male Voice in the History of Country Music
- “When people ask me who my favorite country singer is, I say, ‘You mean besides George Jones?’” — Johnny Cash
- âThe greatest voice to ever sing country music.â â Garth Brooks
- âThe second best singer in Americaâ â Frank Sinatra
- âIf we all could sound like we wanted to, weâd all sound like George Jones,â â Waylon Jennings
- âAnyone who knows or cares anything about real country music will agree that George Jones is the voice of it.â â Dolly Parton
Okay, Red Sovine only pondered killing Waylon and Willie in hyperbole and sarcasm. In fact by all accounts this succulent little lost country classic was written and recorded as a tribute to the success of the two Outlaw country music greats. And as one of the very last recordings trucker song overlord Red Sovine ever made, and one that was released in a much more straight-laced time in country music when its genius may have been lost on most, it only seems fair to resurrect it now and shine a spotlight on it for our listening enjoyment.
The song is called “The Waylon & Willie Machine,” and its wise-ass take on the two Texan’s success speaks to just how big Waylon & Willie were back in the mid to late 70′s. The song was originally written and recorded by country and rockabilly artist Marvin Rainwater with co-writer Max D. Barnes (George Jones’ “Who’s Gonna Fill Their Shoes” and Waylon’s “Drinkin’ and Dreamin’” just to name a few). Marvin Rainwater recorded the song with Jesse Fletcher on the very small “Okie” imprint at some point in the late 70′s (listen below), but very few 7″ copies were made.
Then Red Sovine got a hold of it in 1979 and released it on a 45 himself through Gusto Records, with Colorado Cool Aid on the flip side. Sovine’s would become the definitive version … if there was one. The song never made it on an album (Sovine passed away on April 4th, 1980 of a heart attack), and it was never released properly as a single, probably because it would be misunderstood by DJ’s and listeners alike. But listening to it now some 35 years later, the entertainment value hasn’t waned, but grown better with age.
Yes ladies and gentlemen, you’re seeing this right. Do not rub your eyes or adjust your monitors. In a wild upset, coming out of left field, and counter to just about every other music outlet’s top rated albums, Saving Country Music’s Album of the Year for 2013 is none other than the masterpiece from The Mavericks, the infectious celebration of the joys of life and music known as In Time.
Go ahead, leave your comments below about how this album is not country.
The Mavericks’ In Time cuts against the grain, and is counterintuitive to all of the well-noted and often-ballyhooed music trends of 2013. 2013 was coined as the “Year of the Woman” in country music by many, and the “Year of the Songwriter” by Saving Country Music and others. In Time doesn’t appreciably reside in either of those distinctions, though I would argue that it’s a much more deft songwriting presentation than it may seem on the surface. And no, it’s not especially country in the traditional sense.
But you reach a point in music where it is so good that no data points, no trends, no narrow-minded ties to genre matter. Music isn’t meant to be over thought as we so often do as active music fans, it is meant to be felt. And the best music simply grips you and allows you to lose yourself in it. In Time reminded this jaded music critic who must toil through reams of albums every day to find something even worthy of writing a few paragraphs about of what it meant to be a music lover all over again.
A masterpiece? I believe so. Singer Raul Malo is the the George Jones and Frank Sinatra of our time all rolled up into one, it’s just our time is gripped by the narrow, short attention span that doesn’t paying proper attention to talent like Raul’s towering vocal gifts that are unparalleled in virtually every corner of music this side of operatic maestros, or the tastefulness of guitar player and harmony singer Eddie Perez, or all of the admirable contributions of The Mavericks’ core and subsidiary players.
The country influences are certainly here, and anyone who asserts otherwise simply isn’t listening through the music to its inner soul. But without question, there are heavy Latin, cajun, surf, rock, and jazz influences here too. In Time is not simply the best album in country music in 2013, it is arguably one of the best, if not the best album in all of American music, and for it not to win the day in it’s home genre of country music would be a silly oversight, and tough to justify as In Time only becomes fortified by the test of time, divested from trend or taste as it is, and embedded with such universal appeal.
In Time by The Mavericks is the one; the only album that left no room for improvement, was both slick and tight, yet alive and breathing from the live aspect of the recording. It looked both forward, and behind. It led, but also paid tribute. It was a gift of music that gave more than any other in 2013, that also promises to continue to give for years to come.
Fans of this album will be the first to cry foul, but I will say what many long-time fans that knewÂ Sturgill before this album will all admit: Sturgill has even more in him than High Top Mountain captures. I say this in an appreciative way as someone who has known Sturgill’s music longer than most. Sturgill has a whole career of albums ahead of him, and may win half a dozen Albums of the Year from Saving Country Music and others before it’s all done. But if an artist could have even done more than a particular album displays, however excellent that album may be, it must be considered when making a choice for Album of the Year. Nonetheless, consider High Top Mountain a very close runner up.
Jason Isbell’s Southeastern should also be considered a very close runner up to In Time. It is an astounding collection of songs, but in the end didn’t carry the weight as a complete album concept the way In Time did in my opinion.
Also interesting to note, I did tally all of the clear and obvious votes from readers for all of the Album of the Year nominees. The Mavericks and In Time beat out Southeastern 20 votes to 19. High Top Mountain got the most with 24, but Saving Country Music is also much more familiar ground for Simpson and Isbell fans. It was interesting to see just how close these three albums came to each other, and it did help influence the outcome.
And lastly I would say, before people scream about how another album should have won, my request is only do so after you have given In Time a chance.
It is sometimes easy to get swept up in moments and convince yourself that it has never been as bad as it is now. But one thing is hard to argue: the amount of loss that occurred in country music in 2013 was to a degree the genre has rarely, or never experienced before. From the death of one of the most legendary country music performers of all time in George Jones, to the unexpected passing of Willie Nelson’s guitar player Jody Payne, 2013 seemed to be a year of suffering through one unfortunate news story after another. To illustrate this, just appreciate these three facts:
- Braxton Schuffert died the same day George Jones died, April 26th.
- Chet Flippo died the same day Slim Whitman died, June 19th.
- “Cowboy” Jack Clement, Jody Payne, and Tompall Glaser all died within a week of each other in early August.
Below find a collection of the unfortunate obituaries Saving Country Music was forced to write this year, and a commentary on the passing of Mindy McCready that many give credit as being one of the best-written articles on SCM in 2013.
Mindy McCready – February 17th, 2013
The dead American celebrityâwhether occurring quickly and unexpectedly, or slowly over time in a downward spiral of self destructive behaviorâis an eternal narrative of the American popular culture, and an everlasting disgrace on our legacy. From jazz greats overdosing on heroin, to Hank Williams dying on New Yearâs Day 1953 in the back of his powder blue Cadillac, to Jimi, to Janis, to Jim, Kurt, Michael Jackson and now Mindy McCready, as long as the American culture has been united through media, weâve been willing accomplices to murder by the act of our unhealthy obsessions with humans we both unfairly canonize and unnecessarily criticize in the idolatrous pop culture cycle.
Instilled in all of us at birth is the idea that becoming a celebrity is the apex of the human experience. We feed this philosophy to our children. We perpetuate it through media. Weâve made it a vital building block of our economy. It is enshrined and institutionalized in our educational system in the form of popularity contests. It has infiltrated our religious institutions. Yet nowhere is the philosophy of wealth and celebrity being broken promises given equal time. Nowhere are the eternal narratives held up as evidence that fame doesnât resolve personal problems, it exacerbates them, and that wealth doesnât resolve the downward spiral, it fuels it. We take individuals already predisposed to addiction, depression, suicide and other self-destructive behavior, and then we expect them to deal with these issues in the public eye for our entertainment.
I would be lying if I said I was a fan of Mindy McCreadyâs music, and I would feel remiss if I recommended it. It would also be disingenuous of me if I regurgitated certain facts here in some heartlessly-compiled obit and acted like I knew the ins and outs of Mindy McCreadyâs career over time. The truth is I shielded myself from Mindy McCreadyâs celebrity, as well as the drama that plagued her later life that played out in popular media. I did so from an inherent personal belief that this voyeuristic pursuit was unhealthy for both Mindy and myself.
Did we kill Mindy McCready? No, Mindy McCready killed Mindy McCready.
We simply sat back and watched.
Braxton Schuffert – April 26, 2013
Whether you want to go as far as to say Braxton Schuffert âdiscoveredâ Hank Williams depends on your perspective, but that Hormel delivery driver was certainly seminal to setting Hank Williams on the path to super stardom, shepherding the young man as a musician and songwriter, making critical contributions to the rise of Hank, and helping Hank as a close friend all the way up to his death in 1953. âIâd like to say I helped him out, but I didnât give him that voice and I didnât teach him to write those songs. Thatâs something you get from God.â
Braxton Schuffert was a local musician in Montgomery, AL that had his own band and a standing gig at local radio station WSFA where he would play and sing, just him and his guitar every morning from 6:00 â 6:30 AM before his Hormel deliveries. Since school was out at the time, Shuffert asked young Hank if he wanted to come with him the next day on his deliveries. âI told him weâd sing all day. Thatâs all he needed to hear. He was for anything to do with music.â
One of Hank Williamsâ first songs âRockinâ Chair Daddyâ was co-written by Schuffert. As Hank began to get bigger, Braxton helped form Hankâs Drifting Cowboy band, and was a revolving member of the band and was part of Hankâs inner circle throughout the country starâs career. Braxton Schuffert was his own accomplished country music singer, and worked to help keep the legacy of Hank Williams alive, performing as lately as last yearâs 33rd annual Hank Williams Festival in Georgiana at the age of 96. Schuffert has his own display case at the Hank Williams Museum.
George Jones – April 26th, 2013
While in the midst of his 60-date farewell tour, Jones was hospitalized for running a slight fever and for having irregular blood pressure, canceling shows in both Atlanta, and Salem, VA. A family member told TMZ, ââHe has been on oxygen for a long while now and his lungs finally just couldnât do it anymore and they collapsed and he passed away. He couldnât breathe anymore on his own.â
George died at Vanderbilt University Medical Center in Nashville, Tennessee. He was survived by four children and his wife of 30 years, Nancy. Jones was married a total of 4 times, including to fellow country music legend Tammy Wynette from 1969 to 1975.
George Jones was born in Saratoga, TX, and went on to record more than 150 country albums and have 14 #1 country hits. Dubbed âThe Possumâ by some for his marsupial look, and âNo Show Jonesâ by others for a well-documented period of alcohol and drug abuse, George had one of the smoothest voices to ever grace country music. He was inducted into the Country Music Hall of Fame in 1992, had been a member of the Grand Ole Opry since 1956, and was awarded a Kennedy Center Honor in 2008.
Chet Flippo – June 19th, 2013
In the mid 70â˛s when country music was in upheaval from a new crop of rough shot artists thinking they should be able to write their own songs, record with their own bands, and keep creative control of their music, Rolling Stone Associate Editor Chet Flippo hit the streets of Nashville to help chronicle what was happening. Not nearly as off-the-wall as his more famous Rolling Stone counterpart Hunter S. Thompson, but just as willing to take an offbeat approach and embed himself amongst his journalistic subjects to get the whole story, Chet Flippo became the eyes and ears for the rest of the world enraptured by country musicâs Outlaw revolution.
Beyond writing features for Rolling Stone, Flippo lent his pen to the very music of the Outlaw movement, writing the preambles and liner notes to both Wanted: The Outlaws, the first platinum-selling album in the history of country music, and Willie Nelsonâs Red Headed Stranger, arguably country musicâs most influential album of all time.
Flippo was born in Fort Worth, TX, and was a veteran of the Vietnam War, serving in the U.S. Navy. He went to college at the University of Texas in Austin, and after working as Contributing Editor for Rolling Stone magazine while in graduate school, he became Rolling Stoneâs New York Bureau Chief in 1974, rising to senior editor after Rolling Stone moved its offices from San Francisco to New York in 1977.
Slim Whitman – June 19th, 2013
Yodeling became deprecated in popular country music by the late 1950â˛s, but not before Slim Whitman who passed away on June 19th mastered the craft and made the world a timeless catalog of it in the country music context. Slim may not be given as much credit of the formation and popularization of country music as Hank Williams or Jimmie Rodgers, but he sold a surprising 120 million records worldwide, primarily by appealing to Europeans just as much, if not more than the American audience.
Though Whitman never scored a domestic #1 (he did have a couple of #2â˛s), his song âRose Marieâ held the record for the longest UK #1 for 36 years, spending 11 weeks at the #1 spot. Whitman was right-handed, but was a left-handed guitarist, stringing the guitar upside down; a practice later adopted by Paul McCartney after seeing Whitman playing guitar on a poster. Whitmanâs influence far outlasted his popular music popularity, and so do his songs that illustrate an astounding, enchanting control of the human vocal range.
Oh, and letâs not forget that moment in 1996 when Slim Whitmanâs music single-handedly saved the world from invading Martians when a Kansas teenager discovered through his grandmother that Slim Whitmanâs yodel would melt the brains of the invaders, eventually leading to the military broadcasting Slim around the globe, destroying the Martians.
“Cowboy” Jack Clement – August 8th, 2013
Country Music Hall of Famer, legendary producer, songwriter, musician, and cosmic music man âCowboyâ Jack Clement died at the age of 82, the same year he was inducted into the Country Music Hall of Fame.
Jack Clement got his start working at Sun Studios in Memphis under Sam Phillips while playing steel guitar in college. He would later use this important position to become a seminal figure in the formation of both country and rock and roll music in the mid 50â˛s. Sam Phillips hired Jack on as an engineer, and Jack would arrange such hits as Johnny Cashâs âRing of Fire,â and write Cashâs âBallad of a Teenage Queen.â Jack discovered Jerry Lee Lewis when Sam Phillips was away on vacation one time, and many of those early Sun Studios recordings have Jack Clementâs fingerprints on them.
Clement would later go on to operate a renowned studio out of his home called the âCowboy Arms Hotel and Recording Spa.â His house became a symbol of country musicâs Outlaw revolution, facilitating a relaxed environment where creativity and free expression were encouraged and cultivated with country musicâs progressive artistsâa sharp contrast to the authoritarian studios of Nashvilleâs Music Row. At Clementâs home studio, Waylon Jenningsâ Dreaming My Dreams was produced and recorded, as well as albums by Johnny Cash, Townes Van Zandt, Charley Pride, John Prine, Bobby Bare, Dolly Parton, and many more.
Jack Clement was also an inductee to the Songwriters Hall of Fame, The Music City Walk of Fame, and the Rockabilly Hall of Fame. He was considered a close friend and spiritual confidant to many country music performers.
Jody Payne – August 10th, 2013
Payne was part of Willie Nelsonâs legendary âFamily Bandâ for over 3 decades until he decided to retire from the road and began teaching guitar. He was born in in Garrard County, Kentucky where he began singing at six years old. Jody first played professionally with Charlie Monroe in 1951, and then was drafted into the army in 1958. After two years of service, he settled in Detroit where he initially met Willie Nelson in 1962, but did not start playing with him until years later. Throughout the 60â˛s Payne played bass for Ray Price, and also played with Merle Haggard among others before eventually joining Willie in 1973.
Payne was married to country singer Sammi Smith. The couple eventually divorced. They had a son Waylon Payne who is also a musician, performer, and actor. He is also survived by another son Austin Payne, and his wife Vicki who he married in 1980.
Tompall Glaser – August 13th, 2013
Tompall Glaser was born Thomas Paul Glaser on September 3rd, 1933 in Spalding, Nebraska. He got his start in country music with his two brothers Chuck and Jim backing up Marty Robbins. They went on to form Tompall & The Glaser Brothers and eventually became members of the Grand Ole Opry. The family band released 10 albums and had 9 charting singles before breaking up in 1975.
But Tompall came to be better known for his work as one of country musicâs original Outlaws. As one of Nashvilleâs first renegade studio owners, he was seminal to the trend of artists winning creative control of their music in the early and mid 1970â˛s. His âHillbilly Centralâ studio became a hangout for artists like Waylon Jennings, Willie Nelson, and many others that eventually would lead countryâs Outlaw movement to country music prominence.
Tompall most prominently appeared on the compilation Wanted: The Outlaws that became country musicâs first platinum-selling album. His contribution âPut Another Long On The Fireâ written by Shel Silverstein became his highest-charting hit. He released 15 solo albums over his long career, but had disappeared lately from the country music scene.
Wayne Mills – November 23rd, 2013
Wayne Mills was an Outlaw country music artists and songwriter who was shot fatally on November 23rd at the Pit & Barrel Bar in Nashville by the bar’s owner, Chris Ferrell. Originally from the very small town of Arab in Northern Alabama, he attended Wallace State Junior College as a baseball player, and eventually played football for the University of Alabama. Mills earned his degree in education and formed the Wayne Mills Band which became one of the hottest college bands on the honky tonk circuit.
Though Mills never rose to become a household name, his influence on country music cannot be overstated. He was close personal friends with Jamey Johnson, and was on tour with Jamey the week before he died. Jamey once opened for Wayne when he was making his way up in the ranks, so did future CMA Entertainer of the Year Blake Shelton, and American Idol winner Taylor Hicks. Mills also shared the stage with Blackberry Smoke, and toured both Europe and Australia during his 15-plus years of touring experience. Mills received the Guardian Award by the Outlaw Music Hall of Fame just last month to recognize his âhard work and unwavering commitment to their music and their fans and best exemplify the tradition of those who came before.â
Ray Price – December 16th, 2013
Ray Price was born in Perryville, TX and served in the United States Marine Corps for 3 years before joining the âBig D Jamboreeâ show in Dallas in 1949. He then went on to manage Hank Williamsâ Drifting Cowboy band after the untimely death of Hank in 1952. In 1953, Ray Price formed his own band, the Cherokee Cowboys, which had many notable members over the years, including Willie Nelson, Roger Miller, Johnny Paycheck , Johnny Bush, and steel guitar player Buddy Emmons amongst others.
Ray scored his first #1 hit in 1956 with the song âCrazy Armsâ written by steel guitar player Ralph Mooney, and later became seminal to the 1960â˛s âNashville Sound,â scoring a total of eight #1â˛s, including âMy Shoes Keep Walking Back To You,â âCity Lights,â âThe Same Old Me,â âFor The Good Timesâ in 1970 written by Kris Kristofferson, and âI Wonât Mention It Againâ in 1971. One of his most well-known songs is âHeartaches By The Numberâ released in 1959.
He released over 50 albums over his career and became a legend of country music, being inducted into the Country Music Hall of Fame in 1996. Ray won two Grammys, two ACM Awards, and a CMA Award for Album of the Year from 1971. Ray continued to perform all the way up to this year, and released his last album Last of the Breed with good friends Willie Nelson and Merle Haggard in 2007.
Other Notable Country Deaths:
- Cal Smith – best known for the song “Country Bumpkin”
- Jack Greene – Singer and performer, and first ever CMA Male Vocalist of the Year
- Patti Page – Singer of “Tennessee Waltz”
- Billy Joe Foster – Bluegrass Boy fiddle player for Bill Monroe & others
- Tony Douglas – Louisiana Hayride star that once turned down a contract for the Grand Ole Opry because he didn’t want to leave Texas.
- Johnny MacRae – Songwriter
- Patty Andrews – Of The Andrews Sisters
- Claude King- Singer, original member of the Louisiana Hayride
- Lorene Mann – Singer and songwriter
- Gordon Stoker – for The Jordanaires
- Sammy Johns – Songwriter of “Chevy Van” and other songs.
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