- Ralph Stanley and Grandson Making Gospel Album
- George Jones' widow wants fans to see tribute (video: autoplay)
- Funny: Honest Billboard Country Airplay Chart
- Scott Biram Announces New Album, Releases New Song
- Watch Loretta Lynn Being Awarded Medal of Freedom
- Good Read - Shopping for Hits: A Look at Music Row's 'Pitch Lists'
- Download Free Sample from Sturgill Simpson on NoiseTrade
- Stream "Foreverly" Norah Jones and Billy Joe Tribute
- Galleywinter Reviews Cody Canada's New Live Acoustic Album
- Bottle Rockets Reissue First Album and "Brooklyn Side"
- John Prine has operable form of lung cancer
- Shovels and Rope Documentary Captures the Life of an Americana Couple
- Loretta Lynn: 5 reasons why she earned Presidential Medal of Freedom
- If You Missed It: Nikki Bluhm on Conan
- Kellie Pickler Debuts in Top Five On Top Country Albums Chart
- Shovels and Rope to Reissue First Album. Listen to Revamped Song
- Ricky Skaggs Revisits Country Hits During Hall of Fame Performance
- The World's Highest-Paid Musicians 2013
- Justin Timberlake's Dreams of Country Music Stardom 'Still Alive'
- Ry Cooder Featured In The New Yorker, New Live Album
- Jello Biafra Likes Larry and His Flask!
So Eric Church, you think that genres are dead? Well then why don’t you turn in your Country Music Association Album of the Year trophy, your Academy of Country Music Album of the Year trophy, your Academy of Country Music award for Best New Solo Vocalist from 2011, and your Academy of Country Music award for Vocal Event of the Year that you won with your country-rapping douche buddies Jason Aldean and Luke Bryan as you march your aviators-wearing ass straight out of the non-existent country genre that has made you millions upon millions of fucking dollars and see if the rock world will embrace your “Outsiders” Bon Jovi rehash and bestow awards, coast to coast radio play, and industry support to your ungrateful, arrogant ass.
You’re right Eric, genres are dead, and it’s because assholes like you have killed them by making murky, soulless, rootless pap to appeal to the wide masses while the roots of music wither, and there’s no better evidence of that than your latest rock opera being rammed down the throats of what are supposed to be country consumers, throwing the homogenization of the American culture into hyper drive so that you can hold on to your mainstream relevancy and make even more money stained with the blood of what country music once was.
If you want to play rock music because you think that country is too restrictive, then by all means Eric, do your worst. Play the music you want. But then stay the hell off of country radio, don’t perform at the country awards shows, and forfeit your trophies to the runners up if the country genre is meaningless to you or meaningless in general. Who do you think laid the groundwork for people like you to have untold success? Did you not notice the names as you were trouncing on the way to the top? You can’t use the legacy of country music to make it to the top of the hill, and then disregard it once you’re there.
Eric Church is a hypocrite ladies and gentlemen. From saying he’d never call himself an Outlaw while simultaneously selling Outlaw merch, to now saying genres are dead while shamelessly reaping the rewards of one. Remember the Eric Church song “Lotta Boot Left To Fill”? Remember the lines “I don’t think Waylon done it that way. And if he was here he’d say Hoss, neither did Hank,” and “You sing about Johnny Cash. The man in black would’ve whipped your ass”? What would Hank, Hoss, and Cash have to say to someone claiming the genre they worked their entire lives in and shed their blood for didn’t matter? I know what they’d say. “Eric who?”
And the sad part is yes, when talking about the very top of mainstream country males, Eric Church outpaces his peers as far as quality and innovation, his latest “The Outsiders” single rocketing up the charts notwithstanding. But that may say just as much about the lack of quality in his peers as it says about Eric. It’s his damn attitude, the arrogance bordering on downright hubris, and the uncaring if he completely tears down the country genre, or really anything on his way to the top as long as he gets his.
The death of genres in mainstream music means the death of contrast, and this is something that shouldn’t be regarded flippantly, something that shouldn’t be celebrated just because it secures the financial success of mono-genre artists like Eric Church for the future. It means that music will have that much less color and diversity moving forward and be much more about commercial success than making an artistic mark.
And that’s a sad commentary.
This is a guest post from Austin-based singer-songwriter Slaid Cleaves. Slaid recently was featured on Saving Country Music after making some critical comments about modern country music in an interview with the Chicago Sun-Times, and he wanted an opportunity to elaborate on his statements. Slaid’s latest album, the critically-acclaimed “Still Fighting The War” was released in June.
- – - – - – - – - – -
I’m a lucky bastard. Driving out of Austin to my home in Wimberley on a Friday afternoon, I don’t curse the horrendous traffic, because this is what I hear on the radio on my way home: It starts on KDRP with some 1990s Steve Earle, new music from local writer Nathan Hamilton, and then Virginia’s Scott Miller, followed by the latest Mark Knopfler (Privateering – coolest six and half minute song I’ve heard in a long time) and then Hank Williams’ Honky Tonk Blues (which sounded clear and punchy and vital, like it was recorded yesterday down at Gruene Hall). As the signal fades out in the low water crossings of Driftwood I switch over to KNBT coming up out of New Braunfels and catch the intro to my own Still Fighting the War (which I had help in writing from my friend and neighbor, Wranglin’ Ron Coy) followed by the (real, live) DJ back-announcing Lyle Lovett, John Prine and Kevin Fowler. Coming up after the break: Sonny Landreth, Tift Merritt and Adam Hood. Pulling into my driveway I was tempted to sit in the car and listen, but dinner was waiting. (BTW, even the commercial breaks on stations like KNBT tend to be pretty easy to take. They are mostly locally produced ads for local businesses, relevant to the community and tastefully done.)
I’m not exposed to Nashville country music very often. But when I come across it I have a visceral negative reaction to it. It seems like a false picture of life. It doesn’t resonate with me at all. I don’t know, maybe there are places where there are dudes in $100 designer jeans driving brand new $40,000 pickup trucks, constantly surrounded by partying swimsuit models, all trying to out-redneck each other. But that’s not a world I’m familiar with, and when I see it on TV it just seems fake to me. The vocals and music itself are so overproduced and smoothed over and glossy, like it’s been run through a bunch of computers and focus groups. I predict someday Chinese engineers will discover the algorithm for Nashville country music and begin mass producing hits from a computer in Shinzen.
Sorry, I’m ranting. Judging from the comments following the posting of a portion of my recent Chicago Sun Times interview, I’m preaching to the converted. But in the end, what’s the use in talking about music we don’t like? The fact is: lots of people like this stuff. Lots of people go to Kenny Chesney shows. I don’t understand why. And those people probably don’t see what I see in Adam Carroll. It’s like two different tribes, and each is seeking a different experience. I wouldn’t pay a dollar to see Kenny Chesney or any other Nashville star. Likewise, a Kenny Chesney fan would have no fun at all at one of my “listening room” gigs.
And no, it doesn’t matter that Clear Channel plays Chesney and not me. My music doesn’t translate in a mass market situation. Can you picture me singing in a hockey arena? My kind of music works in the little local music club and on the community radio station where people present only the music they are passionate about, and the audience fits into a room that’s smaller than Keith Urban’s drum riser. My music works for people who want a more intimate connection to music, and are more interested in the subtleties of songwriting and the depth of storytelling you can find only in the “artisanal” country music being made today.
There’s no reason to despair. There’s an embarrassment of riches to be found on the edges of commercial music today. And even if you live in a “food desert,” where there’s nothing but Piggly Wiggly and Clearchannel radio, you have no excuse. Because dozens of great, locally programmed radio stations across the country are available online and even via smartphone apps. Sure it takes a little extra effort, just like ordering a chicken breast sandwich (which is not boneless) at Prince’s Hot Chicken Shack in Nashville takes a bit more effort that ordering a dozen McNuggets at the drive-thru. If you like Nashville country music, all you gotta do is spin the radio dial till you hear people hitting the “redneck” buzzwords of the day. But if you want to hear a song you’d actually care to hear more than once, one that will sound as good 10 years from now as it does today, a song made by independent artists working hard to make a decent living, artists making music for the people of their community, you need to put a little extra effort into it. Download an app. Sign up for a mailing list. Share your new find with friends. Go to a show at the local club. Stop talking about the music you don’t like, and talk about the music that does make your heart race or your throat choke up or makes you want to sit in the car and keep listening in the driveway.
If you haven’t done so lately, put a Kitty Wells LP on the turntable, or a Hank Williams 78 on the old Victrola. Or seek out Robbie Fulks’ brand new release, Gone Away Backward. It’s worth the extra effort. You’ll hear a fellow human voice, imperfect and glorious, singing in a room, accompanied by the sounds of wood and gut string and enhanced only by some little coils of copper wire. You might hear a story that resonates with your very own. And that’s what it’s all about.
The inaugural inductees to the Outlaw Music Hall of Fame set to open in the Spring of 2014 in Lynchburg, TN have been unveiled. In an event carried live during a 3-day concert in Altamont, TN, the 17 initial inductees were announced in two different categories: Pioneers/Innovators (Pre-1970), and Highwaymen (1970-1990).
Along with the official inductees, the Outlaw Music Hall of Fame also announced Guardian Award winners. The Guardian Award is not a Hall of Fame induction, but a one-year award meant to honor an artist’s hard work and unwavering commitment to their music and their fans and best exemplify the tradition of those who came before them. The Hall of Fame also announced that fans will be able to vote on Guardian Award winners in the upcoming years.
OUTLAW HALL OF FAME INDUCTEES
- Hank Williams Sr.
- Loretta Lynn
- The Carter Family
- Bobby Bare
- Chris Gantry
- Willie Nelson
- Waylon Jennings
- David Allan Coe
- Kris Kristofferson
- Merle Haggard
- Johnny Cash
- Johnny Paycheck
- Sammi Smith
- Steve Young
- Jessi Colter
- Hank Williams Jr.
- Billy Joe Shaver
- Dallas Moore
- Wayne Mills
- Hank Williams III
- Jamey Johnson
- Whitey Morgan
The Hall of Fame is dedicated to those artists, both musicians and songwriters, whose work best exemplifies the qualities of the Outlaw movement that first began in the 1970′s and has gained renewed momentum as an alternative to the current Nashville pop country scene. In doing so it will place the spotlight on music firmly attached to the roots of country. Moreover, the Hall of Fame will educate the public about Outlaw country, memorialize founders of the genre—such as Waylon Jennings, Willie Nelson, and Jessi Colter—recognize current Outlaw artists, and provide a platform for them and for the independent record labels who currently have little if any voice in the industry.
The facility, due to open in spring of 2014, will encompass more than 5,000 square feet and feature a state-of-the-art layout, including interactive displays. There will also be a studio to allow for live broadcasts to be streamed over the Internet. Located on the town square in Lynchburg, the Outlaw Music Hall of Fame will sponsor a concert series each April to November to showcase independent roots country artists.
The son of Hank Jr. and the grandson of Hank Williams known as Hank3 is poised to release two new albums next week, and embark on an extended tour of Texas, the West Coast, and upper Midwest. Brothers of the 4X4 and A Fiendish Threat come on the heels of an extended touring hiatus after Hank3′s drummer Shawn McWilliams required shoulder surgery. Hank3 was gracious enough to talk with us ahead of the tour and releases to let fans know what they can expect, and about other issues around the independent music world.
You can listen to the entire interview below. For those who prefer a written form, the meat of the interview is transcribed below as well.
Trigger: On Octobers 1st you’ll be releasing two new albums, Brothers of the 4X4 on the country side of things, and A Fiendish Threat on the punk side. These come out of an extended period when you were not touring because your drummer needed shoulder surgery. Was it your plan to put out new albums now, or did they come out of the tour void?
Hank3: Basically, I always record records in the winter time. So since Shawn was down for a while, I picked up the pen at the end of January and everything was written and recorded and done by April on both records. So they came pretty naturally. A couple of the songs that in my eyes are more of the traditional roots, songs like “Loners For Life” or “Deep Scars,” we’re getting a little more old school. “Possum In A Tree” was specifically written for Leroy Troy, a clawhammer banjo player. I had him in mind when I wrote that song, and went over to his place and had some fun and captured the sound we were going for. At least on Brothers of the 4X4, it gives you a a couple of the old roots ones, it gives you a couple of songs like “Lookey Yonder Commin’” that at least the first part of the song has some of the bluegrass feel on the drive of it. And then you have a couple of songs that are not necessarily country, like “Ain’t Broken Down” is almost like your Spaghetti Western / Pink Floyd kind of sounding song. So there’s quite a few different moods on it.
With your last country-ish album Ghost to a Ghost, you went out of your way to say that you really didn’t think it was country. With Brothers of the 4X4 you’re saying there’s traditional country tracks on it. Can people expect to hear something more similar to what they heard on your earlier records as opposed to the more recent ones, or is that simplifying it?
I still think every record has its own different sound, and a different approach. The players change, I change. Even though it’s different, it will have the roots on it. If you put it up against and pop country radio song, yeah, it has a lot more of a traditional feel in my eyes. I always make sure I have the banjo and the stand up bass, stand up steel guitar, the acoustic, and fiddle, and just have that foundation there.
As time has gone on, you have assumed more and more responsibilities in your album making process to the point where now you’re doing most everything on the country record except for playing the lead instruments. You’ve talked before about how you hate producers. Do you feel like you’re missing out on something by not engaging in the collaborative process of music, or do you feel like you work best by yourself?
I don’t hate producers. I hate it when people are trying to tell you, “You need to do this to make your song better.” I’m totally in to people who know a million things about sound and all that stuff. But I know my sound, I know my songs, I write songs for myself. Buzz from The Melvins is the exact same way. He totally agrees with that same philosophy. Some people don’t want to have anything to do with the songwriting process, and want people to tell them, “Hey, do this.” But when you’re dealing with someone as creative as me or as creative as Buzz, we know our sound, we know our riffs, we know what we’re going for. So that can be a problem. If I wake up at 5:30 in the morning and I’m ready to start playing drums, especially on the punk rock record where there’s pretty intense moments, if I have to wait two hours for somebody to show up, then the spark is usually gone by the time they get there and get everything set up. I like being able to play when I’m ready to play. And sometimes I pull some pretty long days. That’s pretty much the reason, for now, I’m taking on everything. Some producers are good to work with, and some aren’t. It just depends the environment. But most of the time I’m into just going for it.
Speaking of collaborations, you recently had a song come out with David Allan Coe. It seemed like a long time coming, but it finally did. How did “The Outlaw Ways” come about?
I’ve known him since I was a child. I’ve always looked up to him on stage and touring, and he’s been a good friend to me, and a hero. Basically we talked about it, and over time we were able to get some lyrics where we wanted them, he came by the house, and we got it sounding how he was envisioning the song. It was a fun process, and glad to be able to give back to one of my heroes.
I’ve only heard a couple of people talk about it. It is what it is. Hopefully they’ll get it up and running. I know opening up any kind of business is always tough to do. Good luck for them, and hope for the best for it.
Have you heard about Dale Watson’s Ameripolitan movement, and have any thoughts on that?
I’ve been kind of out of the loop just trying to get all the new players and new drummers and trying to get the road crew, and everything lined up for the tours. That’s been basically 24 / 7 so I’m kind of out of the loop on that right now.
Despite going on some pretty long tour hiatuses over the last few years, you still seem to be drawing pretty consistently live—still selling-out decent-sized venues. What do you attribute this to?
I would just say hard work, paying respects to the fans, and always keeping the hard working men and women in mind on the money. Trying to give them the longest show for the cheapest ticket price. I’ve always gone out of my way to fight for that. A lot of times when you show respect, you get respect back in return. I would just say a hard work ethic has paid off.
Along those same lines, Shooter Jennings recently started charging people $85 for meet and greets before his shows. Is that something you would ever do?
No. The old country way is you do your show and you say “hello.” That’s the way I’ve done it ever since I’ve been on the road. Why would I change it now? I think if I did that, my fans would definitely would be like, “What’s this?” I’ve always done the show, and after I shake every hand, take every picture, and I make my fans feel connected to what we do.
You seem to be a guy who is really big into artifacts, whether it be your boots that you wore for a long time that you had duct taped, I know you had a hat that was important to you stolen a few years back, and you’ve been wearing the same pants and vests. Why do you think you have such a draw to artifacts of your life?
It’s just like a frame of mind. A lot of different people and crews have worked on those. You got a lot of drifting kids, a lot of train kids. Basically it’s just like art. You create, and then you destroy. So a lot of people over the years have helped me rebuild a lot of that stuff. So it has a lot of heart to it, and a lot of meaning to it. Those are my work clothes for right now.
I recall a recent comment of yours that there might be some upcoming activity on your attempt to get Hank Williams reinstated into the Grand Ole Opry. Do you have any updates for us?
All we can do is just talk about it. As long as we talk about it, you know, we’re not asking for a $100,000 statue, we’re just asking for one night, paying some respects, and that’s basically it. As long as we talk about, sometimes people come and go in the business, and all it takes is one person to be re-hired in a position, and there you go, it could happen as simple as that.
(Full list of winners below)
The 2013 Americana Music Awards once again transpired in Nashville at the historic Ryman Auditorium as part of the week-long Americana Music Conference. Top winners were Shovels & Rope with two awards for Emerging Artist of the Year and Song of the Year, and Emmylou Harris and Rodney Crowell with two awards for Album of the Year and Duo/Group of the Year.
Delbert McClinton lead off presentation with Hank Williams’ “Hey, Good Lookin,’” leading into MC Jim Lauderdale giving a poignant introduction that included the line, “The past matters, traditions matter, even when we explore ways to have those traditions extended and expanded.”
Hank Williams was named the recipient of the President’s Award, presented to his granddaughter Holly Williams by filmmaker Ken Burns who is currently working on a documentary about country music. In the acceptance speech, Holly said, “Hank would be Americana if he was alive today.” She then played “I’m So Lonesome I Could Cry” on the same stage that her grandfather graced so many times.
This was followed by a performances by John Fullbright and Shovels & Rope, and then Jim Lauderdale presented the Lifetime Achievement Award in Songwriting to Robert Hunter. The famous songwriting counterpart to Jerry Garcia then played an acoustic performance of “Ripple.” It was his first public performance in nearly a decade.
Kelly Willis and Bruce Robison played their duet “Border Radio,” followed by Richard Thompson performing “Good Things Happen To Bad People,”eventually leading into prominent Nashville resident Dan Auerbach from The Black Keys presenting the Lifetime Achievement Award for Performance to Louisiana’s Dr. John. JD McPherson followed this up with a performance of his song “Northside Gal.”
Billy Bragg and Tift Merritt awarded Emmylou Harris and Rodney Crowell with the Duo / Group of the Year. “We were Americana before it had a name,” Emmylou said in her acceptance speech. This was chased by The Stellas (the two young girls from ABC’s “Nashville” show) singing The Lumineers “Ho, Hey!”
Guitar player Ry Cooder presented Jack Emerson with the Lifetime Achievement Award for Executive. Then Jim Lauderdale introduced the newest members of the Grand Ole Opry, Old Crow Medicine Show, who proceeded to play the song that has since become a #1 for Darius Rucker, “Wagon Wheel.” This led to actor/comedian Ed Helms presenting Old Crow with the Trailblazer Award—a WW2 Harmony guitar with the lyrics of “Wagon Wheel” written on it.
Nicki Bluhm and Sam Bush presented the 2013 Artist of the Year award to Dwight Yoakam, who was not in attendance, but Sam Bush said he accepted it on Dwight’s behalf and wore the “tightest pants I have.” This was followed by a performance from the Milk Carton Kids, and the Americana house band led by Buddy Miller, with Jim Lauderdale joining in with a song from the duo’s recent album.
BBC Radio’s Bob Harris presented the Lifetime Achievement Award for Instrumentalist to Duane Eddy. “Hank Williams was my mentor, though he didn’t know it,” Eddy said in his acceptance speech, and then played his most famous song, “Rebel Rouser.”
Shovels & Rope and “Birmingham” won the Song of the Year award, followed by a performance by Emmylou Harris & Rodney Crowell. Emerging Artist of the Year was presented next to Shovels & Rope by members of Wilco, making Shovels & Rope the first multi-award winner of the night. The Spirit of Americana Freedom of Speech award went to Stephen Stills, who played the signature Buffalo Springfield hit “For What It’s Worth” with Kenny Wayne Shepherd joining in.
And handing out the final award, Rosanne Cash and Alejandro Escovedo presented the Album of the Year to Emmylou Harris and Rodney Crowell for their album Old Yellow Moon. Dr. John led the final song, “Leaving Louisiana In The Broad Daylight,” with Emmylou Harris, Rodney Crowell, and many more joining the band.
Emerging Artist of the Year
Shovels & Rope
Album of the Year
Emmylou Harris and Rodney Crowell’s Old Yellow Moon.
Artist of the Year
Song of the Year
“Birmingham” by Shovels & Rope
Duo/ Group of the Year
Emmylou Harris & Rodney Crowell
Instrumentalist of the Year
Lifetime Achievement in Songwriting
Lifetime Achievement Award for Performance
Lifetime Achievement Award for Instrumentalist
Lifetime Achievement Award for Executive
Old Crow Medicine Show
Spirit of Americana Freedom of Speech Award
The underground country movement initially formed around the mid 90′s not because somebody launched a website or a record label. It wasn’t because of a festival or because someone came up with a special name for a new genre. It wasn’t because some personality who was bestowed a famous name took the reigns and began promoting music. The strength, the support, and the fervor that went into forming underground country and the bonds and infrastructure that is still around today came from the songs artists were writing, recording, and performing; songs that spoke very deep to the hearts of hungry listeners. In the end, all leadership and must come from the music. A good song will solve its own problems. Like water, it will eventually find a path to thirsty ears, and funnel support to the artist and infrastructure that surrounds it.
This isn’t necessarily a list of the greatest underground country songs, or even the most influential. It is simply 12 songs that were so good, they helped create something where there was nothing before.
Wayne “The Train” Hancock – “Juke Joint Jumpin’”
Wayne Hancock is one of the fathers of underground country, and he’s also the King of Juke Joint Swing, so it’s only appropriate to include one of his signature songs here. The very first song on his very first album Thunderstorms & Neon Signs from 1995, it made listeners wonder if they were hearing the ghost of Hank Williams. Later Hancock would perform the song as a duet with Hank Williams III.
Hank Williams III – “Not Everybody Likes Us”
Hank3 has probably written better songs, but not that speak to the spirit of underground country so well. “Not everybody like us, but we drive some folks wild” epitomizes the philosophy behind the country music underground—that it doesn’t matter if the masses like your music, only if you and your friends do. Add on top of that a big dig at country radio, and “Not Everybody Likes Us” has become a rallying cry of underground country music.
.357 String Band/ Jayke Orvis – “Raise The Moon”
This song is so good, it has been released twice, been played regularly by three different bands, and still is not tired. Written by Jayke Orvis, “Raise The Moon” originally appeared on the .357 String Band’s first album Ghost Town in 2006. When Jayke Orvis left .357 for a solo career and a spot in the Goddamn Gallows, the song appeared on the Gallows’ album 7 Devils. 7 years later and the song still remains a staple of Jayke’s live show, and a defining sound of underground country.
The Boomswagglers – “Run You Down”
Authenticity is such an unattainable myth in modern music these days that it is nearly impossible to find a truly original and untainted sentiment. But that is what The Boomswagglers serve up with “Run You Down.” It is one of those songs that immediately sticks in your head and stays with you for a lifetime. Defying style trends, it is simply good, and its story, like much of The Boomswagglers music, is deceptively deep. Songs like this withstand the test of time.
Hank Williams III – “Straight to Hell”
The title track off of Hank3′s magnum opus Straight to Hell from 2006 was the “hit” of underground country if it ever had one. It has risen to become one of Hank3′s signature songs, and he regularly uses it to start off his live shows.
Bob Wayne – “Blood to Dust”
Bob Wayne may be best known for his wild-assed party songs laced with drugs, loose women, and running from the cops, but that doesn’t mean he can’t write a deep song when he wants. As Bob will tell you, every word in this song is true, and the personal and poignant nature of the story makes it very hard to not be affected emotionally when it is listened to with an open heart. “Blood to Dust” speaks to the broken nature of many of underground country’s artists and fans. The song appears on Bob Wayne’s very first album of the same name, and his first big release Outlaw Carnie on Century Media.
JB Beverley & The Wayward Drifters – “Dark Bar & A Juke Box”
Underground country isn’t just a sound, it is a sentiment; a feeling that something is wrong in country music, and something needs to be done about it. This is the foundation for the title track off of JB Beverley & The Wayward Drifter’s 2006 album. At the time JB Beverley may have been better known for fronting punk bands. But unlike many of the underground country bands that would come along later, blurring the lines between punk and country, JB Beverley serves “Dark Bar & A Juke Box” up straight, in a sound that refers Wayne Hancock’s throwback style.
Wayne “The Train” Hancock – “Johnny Law”
If “Juke Joint Jumpin’” is Wayne Hancock’s signature song, then Johnny Law is his defining jam. This song has become a showcase for some of the greatest musicians in the history of underground country during the extended breaks for both the guitar and upright bass player. It might also go down in history as one of the most requested songs in underground country.
Dale Watson – “Nashville Rash”
For a precious time in the late 90′s ans early 2000′s, the triumvirate of Wayne Hancock, Hank Williams III, and Dale Watson looked like they were going to take the country music world by storm. It was because they were willing to speak out, and lead by example, both sonically and lyrically. Dale is still leading today, and his legacy of country protest songs like “Nashville Rash” still gets you pumping your fist.
Rachel Brooke & Lonesome Wyatt – “Someday I’ll Fall”
Rachel Brooke, The Queen of Underground Country, and one of the founding fathers of Gothic country, Lonesome Wyatt from Those Poor Bastards, teamed up in 2009 for the landmark album A Bitter Harvest. The album, and specifically the song “Someday I’ll Fall” symbolize the collaborative spirit inherent in underground country—where two artist come together to become greater than the sum of their parts. “Someday I’ll Fall” is also a great example of taking old school influences and embedding them in a new, fresh approach.
Joe Buck Yourself – “Planet Seeth”
One of the men responsible for helping to revitalize the hallowed ground of lower Broadway in Nashville in the mid 90′s delivers this bloodletting of a song where the audience is actively encouraged to release their hate in Joe Buck’s direction. Though the language and music may be too hard for most, the concept and execution of “Planet Seeth” is nonetheless genius. It embodies the participatory aspect of underground country, where the crowd is as much a part of the show as the artist, giving back in energy what they receive from the performer in a symbiotic relationship.
Wayne “The Train” Hancock – “Thunderstorms & Neon Signs”
Few songs can evokes mood and reminiscent memory like Hancock’s “Thunderstorms & Neon Signs.” It set the standard for the old-school style of country swing that was so seminal to the formation of underground country. The song’s legacy was cemented when Hank Williams III covered it on his first album Risin’ Outlaw, introducing Wayne Hancock to a whole new audience, and vice versa. “Thunderstorms & Neon Signs” helped cement the underground country movement.
Of all the people you could have picked to become an outspoken dissenter to the direction of country music, Rodney Crowell would have been pretty far down the list. Not that he doesn’t have the skins on the wall to say such things and have them carry weight, or that he doesn’t practice what he preaches when it comes to his own approach to music. Rodney is in the direct lineage of legacy-caliber songwriters like Guy Clark and Townes Van Zandt, and came up playing in Emmylou Harris’s “Hot Band.” He and Emmylou recently released a duet’s album together, but he always seemed to be more of a reserved soul when it came to such things as saying country music is headed in the wrong direction.
Well he’s not being very reserved at the moment, taking his second opportunity in the last month to decry the direction of country in a recent interview:
I watch these young country artists come in and burst onto the scene, and I always have to remind myself that these artists didn’t experience Hank Williams Sr. or Big Joe Turner or Kris Kristofferson, who was able to bring the bedroom and sensual poetry into country music. These artists came from a different set of archetypal images. If I took the old school curmudgeon approach, I would say these guys are really missing the boat.
A couple of weeks ago, Crowell made similar disparaging remarks about the direction of country, carefully worded, coy, and cunning in the way the words cut right to the heart of the problem, saying in part:
Ever since country music entered the back door of main stream commerciality—most noticeably in the early sixties—the debate over who possesses the more noble heart, the purists or the popular entertainers has never stopped. (Remember the credibility scare of the late 80′s.) Generally speaking, the purists make the more timeless music.
Pop culture is a disposable culture, therefore it stands to reason that those who want the big bucks and the power are inclined to produce slick and disposable music. I don’t see anything wrong with artists getting rich by pigging out at the trough of poor taste.
Rodney Crowell may be no Dale Watson when it comes to the temper he brings to his country music dissent, but the more voices speaking out and reaching different audiences, the better. By saying many of today’s pop country artists are “missing the boat,” Crowell is showing the leadership country music needs to help right the ship.
Country music throwback Joey Allcorn, known for his classic style and appreciation for traditional country, is putting together a benefit album for the Hank Williams Museum in Montgomery, AL. Also slated to appear on the album are the Queen of Underground Country, Rachel Brooke, Jake Penrod, David Church, Arty Hill, Andy Norman, and Bobby Tomberlin.
This will not be your usual artist tribute album that includes covers of original songs of the artist being paid tribute to. Instead the project with the working title of Midnight: The Death of Hank Williams will focus more on songs that touch on Hank’s final days and death, and on the other people that surround the Hank Williams death narrative, including Braxton Schuffert, one of Hank’s very first musical mentors, and Charles Carr, the driver for Hank Williams on his famous last ride, and the last person to see Hank Williams alive. Both men passed away earlier this year. Bobby Tomberlin and Arty Hill’s contributions to the project are tribute songs to Charles Carr for example. Braxton Schuffert’s “Rockin’ Chair Daddy” will also be on the album, as well as “Midnight,” which was the last song ever sung by Hank.
As Joey Allcorn explains, the death of Charles Carr, and the very first tribute song ever written to Hank Williams is what inspired the project.
“I stopped by the museum after Charles Carr had died, and they had the lyrics in there to an old song by Jack Cardwell called ‘The Death of Hank Williams.’ “ Allcorn explains. “This is a song that is available now on iTunes, but before iTunes, you couldn’t find this song anywhere. To me it was an interesting song because it was the very first Hank Williams tribute. Nowadays, doing a Hank Williams tribute is just sort of par for the course. This particular song that we’re centering the project around, it just captures a very basic feeling that happens after some sort of tragic event. The lyrics that are on display [in the museum] tell a similar story, because it was a woman in Montgomery who heard the words on the radio as a child, and they meant so much to her that she wrote them down. If you go to the Hank museum, they’re still sitting there by Hank’s Cadillac. It’s the handwritten lyrics of this little girl wrote after hearing this song, and when she was upset or sad.
“So then I had the idea that it would be fun to record that song. I really don’t want to put it on one of my records. I don’t feel like it would fit in. But then I thought I could do it for the museum, and do it as a fundraiser. So I called Beth Petty [at the Hank Williams Museum] and she said that was great because everyone that comes in the museum and reads those lyrics asks where they can get that song on a CD. And the answer is, ‘Nowhere.’”
Joey Allcorn goes on to explain that this benefit album is being released at the nexus of some very important Hank anniversaries.
“This year marks 60 years since Hank’s death and 90 years since his birth. And this year we lost Braxton Schufert who was one of Hank’s mentors, and Charles Carr who was the last person to ever see Hank Williams alive. And the song that me and Rachel [Brooke] are going to do is “Death Is Only A Dream,” which is a really obscure, old Gospel song that Hank said was one of his favorite songs in one of his last interviews. It’s kind of a way to expose the songs within the Hank Williams canon for people who may have not studied it to that level.”
Joey Allcorn has launched a $4,000 indiegogo campaign to help pay for the costs of the tribute album, with the incentives coming from the Hank Williams Museum that the album is going to benefit.
“Every penny of it is going to go to the Hank Williams Museum. The museum is going to be the only place you can get the CD. We’re not going to put it on iTunes or anything like that. You actually have to order it from the museum. I think that crowd funding is a fantastic avenue for projects like this. Personally, I would not want to fund one of my albums this way because I made the choice to be an artist and a singer, and therefore it is my responsibility to find ways to fund my career. I hate to say that because it sounds very disparaging of people that do that, and I understand that not everybody has avenues to get private funding for their albums or whatnot. But to me it seems a lot more honest of a venture if its going to a cause as opposed to an individual.”
- – - – - – - – - – - – - – - – - – - – - – - – -
UPDATE: (9/17/13): The Hank Williams Commemorative Album was successfully funded through Indiegogo, raising $5,370 of a $4,000 goal. Today, on the 90th anniversary of the death of Hank Williams, Joey Allcorn has released the “Death of Hank Williams” song.
After a six year wait to release an album of original material at the mercy of Curb Records’ career-shattering and sometimes illegal talent retention program, prolonging the release process for artists on their final album with the label nearly indefinitely, the embattled and bruised LeAnn Rimes has finally released Spitfire—a diverse country pop record with a few interesting moments, a few moments that are not so interesting, but an intriguing mix of content and influences that is worth a deeper sniff than your average Music Row fare.
These days with so many of country music’s women setting the bar higher and higher in regards to quality and progressiveness of content, you almost can’t discount any country female project without a closer investigation. As the men try to outpace each other in their headlong dash to see who can reach the newest low in country on a daily basis, the women are doing everything they can to keep country out of the dirt road ditch. And after all, you have to be a pretty hard critic to not hear some of those very first LeAnn Rimes hits like “Blue” and not feel a stirring in your country heart and keep hope that LeAnn will at some point in her career re-discover her original, unblemished magic.
But LeAnn Rimes has been her own worst enemy over the past few years. A big glossy magazine cover story cheating scandal erupted for her a few years ago, and more recently a strange story about her tipping off photographers to where to snap her wearing a bikini in hopes to draw positive pub. When you’re a bona-fide superstar at 14-year-old, it can do strange things to the psyche, and that is what we’ve seen with LeAnn over the years. One minute she wants the cameras to respect her privacy, and another she wants their focus.
The chatter around Spitfire has been polarizing to darn near bellicose, with the main focus being the album’s lack of commercial appeal. While in the mainstream world this accusation might be poison, to independent country fans this is a flag that maybe this album is one of those rare Music Row gems, similar to Kellie Pickler’s 100 Proof from 2012. But what you get with Spitfire is an album that is neither here nor there, resting in sort of the demilitarized zone of country music where neither the mainstream nor independent world really want to claim it or sing its praises.
But when stripped down to just the songs, there is still some material on Spitfire worthy of both mainstream and independent ears. The second song on the album “What Have I Done” is surprisingly mellow, subtle, and artistic, without being sappy or mawkish like many mainstream ballads can veer towards. It’s a sincere little song right off the bat that let’s you know that Spitfire is not going to be some cookie cutter album. It also sets the tone in the album of LeAnn directly addressing her now well-chronicled infidelity, giving Spitfire a personal feel. And then how does LeAnn follow this up? With another song that delves into these very same subjects, and with a similar understated and artistic approach in “Borrowed” that is brushed with mournful steel guitar.
But in between these songs is the busy and overdone “Gasoline and Matches.” Just like the title track of the album, it tries too hard to evoke this overused theme in modern pop country of badass women oversinging songs that always involve fire in some way and that completely sap any soul out of a composition. As complimentary as one can be about female country in 2013, this audio equivalent to three snaps in a ‘Z’ formation is as unsavory as it gets to the active music listener, and so is the oversinging that usually accompanies it. This formula rears its ugly head again in the very rhythmic, almost rapping “You Ain’t Right.” Though you can hear how the lyrics would be a fun listen for some women, these songs illustrate that in female pop country in 2013, it’s not what you sing, but how you sing it, squeezing in silly, acrobatic vocal runs that ruin the story of the song, ignore the sweet spot of the singer’s range, and stretch the song’s pocket until it just comes across as saccharine diva-ish show-offidness. It’s the singing competition show influence on popular music.
Another song from Spitfire that has some people talking is “I Do Now.” The track mentions Hank Williams, Merle Haggard, and delves into how you may love classic country artists and their songs when you’re young, but never really understand the subject matter until you’ve lived through the themes yourself. Though the story of the song works very well, once again LeAnn’s vocal approach centers your attention around her singing, and will keep traditional country fans that the song would otherwise appeal to at arm’s length.
And that is pretty much how Spitfire goes. It may be too heady for a wide mainstream audience, but there’s a little too much fluff to enact a resurgence of LeAnn’s traditionalist roots. Or, if you want to see the glass half full, there’s a little something for everyone. Maybe this album was destined to be misunderstood, and seeing how it has fallen pretty precipitously in the charts, this would seem to be a proper diagnosis (though it may be just as much a commentary on Mike Curb’s eroding powerbase). But instead of letting one song or LeAnn’s personal missteps outside of music turn you off of this album, if you’re subject to liking some of the music coming from the mainstream when it’s not positively awful, you may want to give Spitfire a fair glance and decide for yourself.
1 1/4 of 2 guns up.
- – - – - – - – - – - – - – - – - – - -
Two guns up on the two songs below.
Authenticity and dysfunction are regularly celebrated in country music, and what better way to celebrate that than to look back in time a some of the most notable mugshots and arrests of country music’s most notable stars.
Cash was arrested twice. The first was after a trip to Mexico when he tried to hide 1,163 Dexedrine and Equanil tablets in his guitar case while crossing the border near El Paso, TX in 1965. Since the drugs were prescription instead of illegal narcotics, Cash received a suspended sentence. He was arrested again in 1966 in Starkville, Miss. for … get this … picking flowers late at night. The property owner pressed trespassing charges, and Johnny spent time in the Starkville County Jail, resulting in the song of the same name.
Though Cash was famous for his concerts at Folsom Prison and San Quentin, he never served time in anything bigger than a city jail (the bottom mug was just for show).
The trouble started for Willie Nelson way back in 1960 when he was arrested for speeding in Pasadena, TX (near Houston). And then came the pot busts:
- 1974 – For possession in Dallas, TX.
- 1994 – For possession in Hewitt (near Waco) when Willie pulled his Mercedes off the side of the highway for a siesta and an officer found a joint in the ashtray and eventually a bag of marijuana. The judge ruled the evidence inadmissible and the charges were dropped.
- 2006 – For possession in St. Martin Parish, Louisiana for one-and-a-half pounds of marijuana and 3 oz. of hallucinogenic mushrooms. Willie, his sister Bobbi, and Willie’s manager were all arrested, eventually receiving 6 months probation.
- 2010 – For possession of 6 ounces of marijuana at the Sierra Blanca, Texas border checkpoint. Willie eventually only had to pay a fine.
Jerry Lee Lewis
In the dead of night in November of 1976, a drunken and armed Jerry Lee Lewis showed up to the gates of Graceland demanding to see his fellow Sun Studios alum Elvis right then and there. The guard rang Elvis who refused “The Killer’s” request, and then rang Memphis police when Lewis began waving a gun around.
Hank Williams Jr.
You may think because Hank Jr. was the last of his rowdy friends to settle down that at some point he would wind up in the pokey, but it turns out his mugshot was for a bunk charge from a 19-year-old in March of 2006 that said Jr. put her in a choke hold after she refused to kiss him. Jr. turned himself in, and after finding out the girl was looking to cash in big on the accusation and that there was no real evidence of the altercation, the charges were dropped.
In November of 2003, Glen Campbell was arrested at his home near Phoenix, AZ after hitting and running while drunk in his BMW. Then while Campbell was being processed, he kneed an officer in the leg, which added an aggravated assault of a police officer charge. Campbell pleaded down some of the counts, and eventually spent 10 days in jail.
Domestic abuse charges landed Rodney Atkins in front of the police camera in February of 2012, but the news about the charges didn’t come out until his wife filed for divorce a few weeks later. The news also came on the heels of Rodney re-signing with Curb Records. The charges were later dropped as part of the divorce settlement.
An indelible image of country music’s first superstar in this midst of his downfall in 1952, leaving the jailhouse in Alexander City, Alabama.
Billy Joe Shaver
Notable country music songwriter Billy Joe Shaver sits on the witness stand stemming from an altercation behind Papa Joe’s bar near Waco, TX in 2007 when Shaver shot a man non lethally in the face with a .22 pistol. The incident became a piece of country music lore when Dale Watson wrote a song titled “Where Do You Want It?” allegedly for the question Shaver asked his victim before he pulled the trigger. The high-profile trial incuded Willie Nelson showing up as a Shaver character witness, and eventually all charges were dropped against when it was ruled Shaver was acting in self defense.
In 2003, daughter Judd was pulled over for speeding and subsequently blew a .175, lading her in jail before she posted a $500 bail. It all happened right down the street from Music Row, so maybe it’s true what they say about the country music industry driving artists to drink.
Just like the “Wet Cigarette of Country Music” to get arrested at a Waffle House. In October of 2007, Kid Rock and his crew stopped into the DeKalb County, Georgia eatery where they proceeded to brawl with gawking patrons. Other members of Kid Rocks posse were also arrested. Rock was found guilty of simple battery. It was his 4th chance to strike the perp pose over the years for various charges.
David Allan Coe
You better believe DAC would be here, but unfortunately this is the biggest photo we can drum up of David from his time in the Ohio State Penal System.
Coe was also arrested in 2008 after an altercation in a casino when a misunderstanding about a jackpot resulted in security officers and police wrestling Coe to the ground. Coe countersued in 2010 for false arrest and assault. The entire altercation was caught on tape.
Yes, we know that some of the younger generation of country performers don’t want to pander to the “old farts and jackasses,” but maybe Billy Currington took it a little too far when he threatened a 70-year-old boat captain for coming too close to his waterfront property in Tybee Island, Ga. Currington was cited in April of 2013 for making “terroristic threats” and “abuse of an elder.” Case is still pending.
Johnny Paycheck spent 4 years battling an aggravated assault charge after shooting a man in a Hillsboro, OH bar during a brawl. Though multiple appeals kept Paycheck out of prison for a while, he was finally sentenced to the Chillicothe Correctional Institute in 1989 where he served two years before being paroled.
In May of 2008, Louisiana country star Chris Cagle got in a tussle with his girlfriend Jennifer Tant at the Player’s Bar in Nashville before the couple took the bout home. Cagle wielded Jennifer’s purse. Jennifer weilded an umbrella, and they both ended up in the big house. Police said they were both too drunk and disorderly to press any serious charges.
When the underground country band from Austin, TX went to release their first album, they chose their mutual mugshots from the same Williamson County roundup to make up the CD art.
No mugshots of George Jones’s numerous run ins with the law during his drinking days have ever surfaced, but video did a few years ago from a George Jones documentary.
Get well Randy! …. but we couldn’t make this list without you. Travis was forced to pose for police camera twice in 2012; once after a drunken fight at a church, and the other after driving drunk….and naked.
Much ado has been made about Rolling Stone giving accused Boston Marathon bomber Dzhokhar Tsarnaev rock star treatment by putting his mug on their latest issue. Though it’s a free country with free press and I would fight for the right of Rolling Stone to put whatever they want on their cover, here are some simple, friendly, and current alternative ideas of what could have graced the front of Rolling Stone‘s July 2013 issue.
A country music superstar who won wide cross-genre appeal despite his heavy traditionalist sound, and who’s currently in the struggle of his life after suffering a major heart ailment and subsequent stroke, who better deserves to be on the cover right now than Randy?
One of rock & roll’s most legendary bands just released a comeback record called “13″ that both critics and fans are raving about, produced by studio extraordinaire, Rick Rubin. This story is custom made for the Rolling Stone cover.
He just released a career album in Southeastern that has critics falling all over themselves. The former Drive By Trucker is beginning to be recognized as one of the great songwriters of our generation, and a Rolling Stone cover could help solidify this distinction and broaden his audience. (In fairness, their last issue did have a story on Isbell).
Mavis is a force of music nature who is seeing a massive resurgence in interest in both her work as a Staple Sister and a Gospel Goddess. She’s worked with folks as wide ranging as The Band, George Jones, and Ray Charles, and even made an appearance on a Johnny Paycheck tribute album. Mavis just released an album called One True Vine, and would be a good candidate to grace the Rolling Stone cover.
Because he’s Willie Nelson. And yes I know he’s been on the cover before. But again, he’s Willie Nelson. Nuff said.
Caitlin Rose & Country’s Inspiring Women
Rolling Stone justified their use of Tsarnaev on the cover saying that he was at an age that their readers could relate to. Well so is Caitlin; a young, budding starlet with a very interesting story of how her mom is the woman who helped write many of Taylor Swift’s hits. Caitlin’s music has a fresh and relevant take, and if Caitlin isn’t big enough for you, consider including all the women that have made a splash in country in 2013 that have many proclaiming (including former Rolling Stone senior editor Chet Flippo) 2013 the “Year of the Woman” in country music.
I don’t know if there is a neotraditional artist that has benefited from such a meteoric rise like Pokey LaFarge in the history of music. Pokey’s now got Jack White pushing him, and he just played Letterman. Pokey’s crossing genres, and surely deserves a bigger spotlight.
After all, Chet was a towering personality in music journalism, and called Rolling Stone home starting in graduate school, working his way up to Rolling Stone‘s New York Bureau Chief, and eventually to Senior Editor in 1974. He wrote books about The Rolling Stones, Paul McCartney, David Bowie, and Hank Williams, and having passed away last month, could have surely been a worthy choice for the cover.
The Town of West, TX
If you want to delve deep into the anatomy of a tragedy, the toll it takes on a community and the psyche of its people, and end it with a positive statement on the resiliency of man, there’s no better example than here.
The People of Boston
For being courageous and persevering through and unspeakable tragedy foisted upon them unexpectedly.
One of the last man to see country music legend Hank Williams alive, is now dead.
Charles Carr, the young driver hired to take Hank Williams from Montgomery, AL to a show in Canton, OH, died after a brief illness at his home in Montgomery. He was 77-years-old.
On January 1st 1953, Hank Williams was scheduled to perform a New Year’s show in Canton, OH. Because of bad weather, he couldn’t fly as planned, and hired Charles Carr, a freshman college student at the time, to drive him in his powder blue Cadillac. Hank suffered from chronic back problems, and had injected himself with morphine during the trip from Knoxville, TN and also was drinking alcohol. Hank Williams died of heart failure sometime that night with varying accounts of exactly where and when, though a gas station in Oak Hill, WV is given credit as Hank’s final destination. Hank was 29.
The story of Hank’s final fateful trip was recently made into a movie called The Last Ride, A Story of Hank Williams, with the part of Charles Carr scripted as Silas Combs, and played by actor Jesse James. The film was not meant to be an accurate historical portrayal of the trip, and instead focused on the perceived relationship that may have developed between the two men.
Hank’s daughter Jett Williams has since clarified some of the famed last ride story, saying that Charles Carr was not the only one in the Hank’s Cadillac when he died. In an interview with Saving Country Music corespondent Joshua Morningstar, Jett said Hank’s personal physician Toby Marshall and a second relief driver named Donald Surface were also present when Hank passed away in Oak Hill, West Virginia.
“Toby Marshall actually ended up in Oak Hill, West Virginia on that fateful trip. I mean he was there. That’s a little tidbit that’s always been left out. And there were actually two drivers and not one driver. He’s been identified as Donald Surface and he was hired in Bluefield (Virginia). So there were two drivers in the car, and both of those drivers were in Oak Hill when my dad was pronounced dead.”
Charles Carr was a friend of the Williams family. Beth Petty, the director of the Hank Williams Museum in Montgomery, says that Carr “was always kind to fans of Hank,” and he never tried to profit from the fact that he was driving when Hank Williams passed away. Carr worked in investment and real estate in Montgomery.
UPDATE (7-6-13): The funeral service for Charles Carr will be held today, Saturday June 6th at Leak Memory Chapel in Montgomery, with the burial following in Greenwood Cemetery. Visitation will be from 1 to 3 p.m. at Leak Memory Chapel.
When looking at the historical timeline of country music, many times it is big events that set the wheels of change in motion, for the good and the bad. Whether it is intrusion of pop or rap into country, or the ill-treatment of country music greats, here are some of the most embarrassing moments in country music history.
Shuttering of the Country Music Mother Church
The Grand Ole Opry needed a bigger home and the move was inevitable, but the result was the complete shuttering Ryman Auditorium, also known as the Country Music Mother Church, for 20 years. Aside from being opened by special permission to shoot videos for folks like Jason & The Scorchers, John Hartford, and for parts of the Coal Miner’s Daughter movie, the venue was abandoned between 1974 and 1994, also allowing the surrounding lower Broadway area to be overrun with strip clubs and dirty bookstores. It wasn’t until Emmylou Harris recorded a live album at the Ryman that a renewed interest in the historic venue was sparked, eventually leading to its restoration and re-opening.
Garth Brooks Goes Flying Over Texas Stadium
In 1993 at the old Texas Stadium in Irving, TX, Garth Brooks does a video shoot and decides to pull a Sandy Duncan and go flying over the crowd suspended with wires. Though it was a one-off demonstration, it illustrated Garth’s influence of turning country into more of a commercial, arena-rock presentation.
Jessica Simpson plays the Grand Ole Opry
You already forgot that reality star Jessica Simpson had a stint trying to be a country performer, didn’t you? Her career lasted weeks, but that was long enough for the Opry to decide to give her an opportunity to be on the sainted Opry stage on September 6th, 2008, while many other more worthy performers still wait indefinitely in the wings for the distinguished Opry opportunity.
Unfinished Hank Williams Songs Turned Into Lost Notebooks Album
Publisher Sony ATV cashed in on a collection of lyric sheets left behind by Hank Williams—some unfinished, and all without music—by doling them out surreptitiously to Bob Dylan, and a bevy of undeserving artists including Jakob Dylan and Sheryl Crow, to finish and record. The Lost Notebooks of Hank Williams raised the ire of many, including Hank’s daughter and Williams estate executor Jett Williams who said about the project, “It was like ‘here are some lyrics’ instead of trying to think, “If Hank Williams was sitting here with me and it’s got his musical footprints all over it.” You would think that when you heard the song being sung by the artist, that it would have some kind of (Hank) feel to it, which I’m not feeling it myself.”
DeFord Bailey Fired from the Grand Ole Opry
Harmonica player and Country Music Hall of Famer DeFord Bailey was one of the early stars of the Grand Ole Opry, and was an official member from 1927 to 1941 when a dispute with BMI-ASCAP wouldn’t allow him to perform his most famous songs on the radio. Instead of standing behind one of their founding performers, the Opry fired DeFord. This ended his performance career and DeFord shined shoes for the rest of his life to make a living. DeFord did not play the Opry again until 1974 when he appeared on an “Old Timers’ Show.”
Jason Aldean Performs “Dirt Road Anthem” with Ludacris on CMT Awards
“History has been made baby!” Ludacris declared from the stage in June of 2011 when country music saw its first rap performance on an awards show, and the first live mainstream collaboration with a rap artist. This event and “Dirt Road Anthem” hitting #1 would open the country rap flood gates.
Olivia Newton-John and John Denver Winning CMA Awards
Olivia Newton-John’s CMA for “Female Vocalist of the Year” in 1974, and John Denver’s CMA for “Entertainer of the Year” in 1975 symbolized the historic intrusion of pop into the country format in the mid-70′s. The trend was staved off the next year when Willie Nelson and Waylon Jennings ushered in the Outlaw movement in country.
Taylor Swift Wins First CMA for Entertainer of the Year
The date 11/11 was not good luck for country music in 2009, when Taylor Swift took home her first Country Music Association “Entertainer of the Year” award along with three other trophies on the night. Teen pop had now taken center stage in country music.
Induction of Keith Urban, Rascal Flatts, & Darius Rucker Into The Grand Ole Opry
The Grand Ole Opry had already been wanting to appeal to a younger, more youthful crowd, but in recent years they have ratcheted it up another notch, completely ignoring older country stars worthy of induction for pop country’s latest trends.
“Struggle” Turns Waylon Songs Into Rap
It was bad enough when rap infiltrated country music. Now it has gone back in time to overwrite the songs of country greats that have passed on. Waylon Jennings’ grandson-in-law nicknamed “Struggle” (his real name is Will Harness, and his real grandfather is Duane Eddy) took 7 Waylon Jennings songs, and rehashed them into rap songs in an album entitled I Am Struggle released in May of 2013. It was an unprecedented intrusion of rap into country music’s past, perpetrated by one of the few people who could get the blessing of the Waylon estate to do so. (read more)
Stonewall Jackson Stonewalled by the Grand Ole Opry
After having his performances on the Grand Ole Opry cut back so much that he lost his health benefits, Stonewall Jackson sued the Opry claiming age discrimination against Opry General Manager Pete Fisher. Stonewall claimed the Opry breached a long-standing code that if stars performed a set number of dates each year, even when they could make more money playing tour dates, they would always have a place to play at the Opry even in their older age. The lawsuit was eventually settled in court, and though the specific details of it were never revealed, Stonewall was happy with the outcome, and his performance schedule increased afterward.
Garth Brooks Becomes Chris Gains
In 1999, a bored Garth Brooks created a fictional dark pop character from Australia called Chris Gaines and released an album called The Life of Chris Gains. It gained Garth one Top 5 hit, “Lost In You,” but Brooks’ Chris Gaines idea met with very heavy criticism and confusion from fans, and after only a few weeks, Chris Gains rode off into the sunset and Garth Brooks re-appeared before a planned movie The Lamb could go into production.
The Grand Ole Opry’s Refusal to Reinstate Hank Williams
Even though there is a Hank Williams impersonator to greet Opry attendees at the door, the institution has refused to reinstate one of country music’s most legendary icons, and one that made the Opry an internationally-known institution, even in a symbolic gesture. Hank was dismissed from the Opry in 1952 for missing performances and rehearsals due to alcoholism, and was told he could return once he sobered up. Hank never got that opportunity, dying on New Years Eve of that year. A movement called Reinstate Hank looks to reinstate the country star back into the institution.
George Jones “Choices” & Other CMA Performances Cut Short
At the 1999 CMA Awards, George Jones was asked to perform an abbreviated version of his song “Choices.” George refused and boycotted the show, and in response Alan Jackson, while preforming his song “Pop A Top,” cut his own song short, and launched into George’s “Choices.” (read more)
This was actually the second time an artist boycotted the CMA’s. In a much less publicized event, Waylon Jennings refused to perform an abbreviated version of “Only Daddy That’ll Walk The Line.” Waylon recalls, “They told me not to get smart. Either I did it or I got out. They said, ‘We don’t need you.’ I decided that was true and left.”
The wide palette of influences that came together to form country music’s unique sound is something that can be a marvel to explore. From the Gaelic and Celtic influences carried by northern European immigrants to the United States, to blues modes from the deep South, to the cowboy themes from California and folk’s influence of telling the story of the common man, these and many more influences all coagulated into this unique American art form that appeals so deeply to the hearts and heritage of country fans.
Yodeling is also one of these influences—an ancient art form that originated in the central European alps as a way for herders and villagers to easily communicate over the sloping terrain. Just like the old-time fiddle tunes that went into the formation of bluegrass, yodeling was carried over to America by German immigrants that settled in Appalachia and the deep South, eventually intertwining with folk and blues until both Jimmie Rodgers and Hank Williams were employing the singing style as a way to communicate the pain inherent in the themes of country.
Yodeling became deprecated in popular country music by the late 1950′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 #2′s), his song “Rose Marie” 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. Whitman’s 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 let’s not forget that moment in 1996 when Slim Whitman’s music single-handedly saved the world from invading Martians when a Kansas teenager discovered through his grandmother that Slim Whitman’s yodel would melt the brains of the invaders, eventually leading to the military broadcasting Slim around the globe, destroying the Martians.
And people still say old-school country has no use. Ha!
RIP Slim. Yodeling champion, and savior of planet Earth.
Yes ladies and gentlemen, that is a picture of Hank Williams performing live on The Grand Ole Opry with the word “DUMMY” emboldened in all caps across his chest. The picture was taken at the CMT Awards last Wednesday by Raul Malo, the outspoken front man for The Mavericks who performed at the CMT Awards’ as the house band. The image incensed the singer so much he took to Twitter, posting, “Do we really need to say anymore about the country music establishment? This image ran for three days at the arena.”
Though the picture was likely a test image for the display used as part of the CMT Awards presentation, it symbolizes the palpable lack of respect and understanding for the traditions and artists of country music who sweated, and in the case of Hank Williams, died for the music, and built the legacy that modern institutions like CMT and the CMA now benefit from. Test image or not, how hard would it have been for the image to read “TEST” or to use an image of something else instead of Hank Williams?
But that’s only where the fallout from decisions made at the annual CMA Fan Fest conducted last week begin. Both the CMT Awards and the CMA invited rocker Lenny Kravitz to make appearances as part of the festivities. Though up-and-coming country acts like Ashley Monroe and Kree Harrison were only given 30 seconds to perform on the CMT Awards, Kravitz was given a full slot to execute the classic rock cover “American Woman.” Once again an incensed Raul Malo took to Twitter, saying, “So Lenny Kravitz demanded the AC be turned off in the arena before he came out. We should’ve demanded he turn off his mic…!” and later going further, “So when is country music going to grow some balls and close its legs to every has-been, asshole Rockstar that wants to be on tv? Yes ladies and gentlemen this is the leader of the house band for the CMT Awards tweeting these things.
It got worse, much worse for Lenny Kravitz on Saturday night when he took the main stage at LP Field (the biggest stage of CMA Fan Fest) and proceeded to spare the crowd to death with his rehashed rock tunes, culminating in an excruciating 15-minute rendition of “Let Love Rule” that saw Kravitz pleading with the crowd to sing along.
At one point Kravitz ran out amongst the audience to try and engage them, then ran back on stage to flail his arms around ineffectively, finally giving up 10 minutes after his appointed set end and chiding the crowd for “not being able to get with love” before, ironically, exited the stage while flipping double birds with his back turned to the crowd. Lenny’s antics cost country performers stage time.
The CMT Awards and the CMA Fan Fest are also catching flack for not showing more respect to country legend George Jones who recently passed away. Though on Friday a panel of artists including Jamey Johnson and Randy Travis convened at Music City Center to discuss the passing of the country icon, the CMT Awards only spent 30 seconds in tribute to Jones on their broadcast, stimulating an angry letter from Naomi Judd that she sent to The Tennessean.
George Jones is to country music what The Beatles are to pop, the Rolling Stones to rock, Elvis to rockabilly, Mozart to classical and Aretha to soul. Yet, the “Country” Music Television awards show allowed only a “by the way” mention of Jones’ death and legacy. Incongruously, they chose alternative music group the Mavericks to perform their short version of George’s “The Race Is On.”
True country music fans are a loyal bunch and are passionate about our roots and heritage. Every year, CMT includes artists of unrelated genres, many of whom some country music fans don’t even know. I suggest the CMT Awards show change its name. Perhaps to “the Multi-Genre Awards Show, Featuring Artists under 30.”
I realize speaking out will cause me to now be forever banned by CMT. But I’m tired of folks messing with my country music. Especially when it involves my dear friend George Jones.
So this weekend we were reading the June edition of Playboy Magazine. You know, for the articles. And lo and behold, Saving Country Music is cited in a feature on Eric Church entitled “The Badass” that proclaims the performer from North Carolina the “new face of country music.”
You know, I could almost like Eric Church if he would quit so doggedly pursuing his persona as product, and Playboy helps perpetuate this persona by writing a puff piece that portrays Church as the edifice of badassery, and plays to the well-worn and indolent stereotype about how country music’s “traditionalists” don’t want country music to change.
“I don’t believe country singers should make the same fucking music over and over.” Eric Church is quoted as saying in the piece.
Well who in the hell is proposing or promoting that? Is Saving Country Music? You can comb through the 2,500+ article archive of this site and not find a single place where this theory is forwarded or implied. There may be a few traditional country fans who feel that way, but I don’t see this “make the same music over and over” theory commonly cited in “traditional” country circles or anywhere else. So why are “traditionalists” perpetually having to fight this assumption every time they say they don’t prefer a certain artist, song, or sonic direction?
Saying that people don’t want country music to evolve is a preconceived argument to a position that doesn’t exist to attempt to couch “traditionalists” as hard-headed, out-of-touch, non-evolving old farts and jackasses. Yes, this is the same argument Blake Shelton has made; Church’s mainstream nemesis after Eric called Shelton out for his involvement in reality TV shows. Saving Country Music has gone out of its way over the years to champion the causes of artists who are specifically attempting to evolve country music in a way that respects the roots of the genre, many of which who are regularly ignored by the mainstream country music industry.
But what exactly is Eric Church doing that is so new? “We’re further into rock and roll than anyone else, and that’s why a lot of traditionalists have a major problem with me…. [It's] not even close.” Oh Jesus Eric, you only wish. Hell, I’ve said many times myself that Eric Church is the last male in the mainstream country music hierarchy that has any sort of creativity to his sound. The problem is he keeps letting his persona get in the way of allowing intelligent listeners enjoy his music, like when he swore off calling himself an “Outlaw,” while at the same time selling Outlaw-branded merch online. But is there some appreciable rock difference between Eric Church, and other country rock acts like Keith Urban or Florida Georgia Line?
And what is so new about mixing country and rock and roll anyway? The Maddox Brothers & Rose were doing it in 1940′s, half a century before Eric Church was even born. Country and rock and roll evolved parallel to each other, and were bred out of the same sound. Ever heard of rockabilly? Elvis was playing it before he was playing rock. Lynyrd Skynyrd and The Allman Brothers were mixing country and rock back in the 70′s. Hank Williams Jr., Travis Tritt, and Marty Stuart were doing it in the 80′s and 90′s with just as much of an edge as anything Eric Church is doing right now. That’s not a knock on Church’s music, but to act like mixing rock and country is something Eric Church innovated, and that he’s the only artist taking it to the edge is just another example of his self-aggrandizing pap that tarnishes the appeal of his material.
But if Church is so enamored with rock and so dismissive of country, why is he even be pushed on country radio and winning country awards? “I didn’t grow up listening to Hank Williams Sr. or Earnest Tubb,” Church told Playboy. “I grew up with rock and roll.” If this is the case and his sound is so rock, why is he surprised when country fans come out and say he doesn’t belong?
Something else interesting in the Playboy article is how it references the rampant outbreak of fights at Eric Church concerts in a positive light. Performer Kip Moore cites a show in Battle Creek, MI where he opened for Church and says that “half of the crowd was fighting.” I’ve been to some of the craziest punk and heavy metal shows, and never seen anything like this. Despite entire venues descending into mosh pits, if someone crosses the line and starts fighting, they tend to be ostracized from the crowd immediately. A concert where half the crowd is fighting is the outcome of this type of shallow, surface machismo that the current new Outlaw country artists attempt to brand into their music.
And make no mistake, this Playboy article and the Eric Church persona are not at odds with the country music establishment as they would like you to believe. It is a purposeful marketing campaign to attempt to re-integrate disenfranchised country fans who left the genre when the likes of Taylor Swift became the country norm.
The Playboy article goes on to specifically cite Saving Country Music (but without using our name), saying:
In the old days, the photo of the 10 top country singers would look like a convict lineup. These days it might look like an Ambercrombie & Fitch catalog shot. Among hardcore traditionalists, this change hasn’t been popular. One highly trafficked country website routinely erupts in insults aimed at handsome singer Luke Bryan who’s apparently perceived as too feminine. The blogger who runs the site referred to Bryan as a woman, claimed the singer has a vagina and alluded to Bryan as gay.
Oh man, I don’t know whether to laugh or cry. The above quote is citing a year-old article clearly marked as “fake news,” both in the tags, and in the sarcastic tone of the content. Hopefully Playboy understood this, and was simply using it as an example in the stylistic change country has endured over the last dozen years, and the vehement opposition it has stimulated from certain sects of fans. But Saving Country Music would never accuse someone of being gay or transgender if it wasn’t in a clearly sarcastic light, and wouldn’t in any way characterize the frequency of our off-color commentary on Luke Bryan “routine.”
But as for Eric Church, if he wants to be considered a badass in the same breath of true country badasses like Waylon Jennings, Johnny Paycheck, and David Allan Coe, then he should take a que from them and not participate in self-aggrandizing cult-of-personality building in glossy magazines. Instead, he should do like they did—let the music speak for itself.
It seems like once or twice a year we get word of one of these country-relevant movies coming down the pike, but then we have to wait with bated breath for what seems like forever for the actual release because the movie makers must muck through the process of finding the right distribution channels. When the flicks are finally released, we tend to find out why such unfortunate delays belabored the release process, because despite strong casts and the best intentions, the small budget reveals itself in a less than appealing final product. Such seemed to be the case for the Ray Wylie Hubbard-written Last Rites of Ransom Pride movie starring Dwight Yoakam and Kris Krisstofferson, who also appeared in Bloodworth; another film beleaguered with distribution issues and bad reviews.
What neither of those movies had was the strength of a true to life story like The Last Ride. Based loosely around the last 48 hours of the life of Hank Williams, The Last Ride takes you on the ill-fated road trip beginning in Alabama, and ending in West Virginia where Hank Williams passed away on New Years Day, 1953. Though Hank’s name is never spoken in the movie, it’s taken as a given that you know who he is, and what fate awaits him. Hank is played by Henry Thomas (the kid from ET), who has the nearly-impossible task of portraying a man who lives larger than life in the mythos of American music. Though Henry’s visage and tones never quite meet your imagination of a living and breathing Hank Williams, by the end of the film you begin to connect with the emotions that the film portrays, and the emotions Hank must have felt on that fateful trip whether you believe Henry Thomas to be an accurate portrayal of Hank Williams or not.
Those looking for a period piece where every detail of Hank’s final days on earth is laid out with impenetrable accuracy will miss the point of this movie. In many respects Hank Williams is not the main character, it is Silas Combs (Jesse James), Hank’s 19-year-old driver and travel companion. But there are little nuggets of interesting Hank Williams history embedded throughout the movie that the learned Hank Williams fan will pick up on and enjoy. And despite a small budget, director Harry Thomason did a heck of a job scrubbing out any and all anachronisms in the movie, leaving the viewer smack dab in 1952 right before New Years.
The relationship between these two lost souls—the superstar on death’s door and the confused young man—is the centerpiece of The Last Ride. But moderate writing that generally lacked any true, gut-punching lines, and a few low budget distractions like the projected back window of a car ride instead of actual footage from a moving car somewhat saddle this movie from reaching the full potential of portraying the moments with the true weight of the actual events. Hank and driver Silas Combs are thrust into numerous scenes along the way meant to expose internal dialogues about the characters, but aside from a few special moments, they tend to be too short and feel too contrived to render any serious aid to your ability to suspend disbelief.
But as the movie progresses and Hank’s health deteriorates, The Last Ride delivers some truly poignant moments that evoke the heaviness of the situation evolving in the characters. Silas Combs shares a brief, but intimate moment with Kaley Cuoco (Big Bang Theory) on New Year’s Eve. At one point Hank looks out from the back of his powder blue Cadillac and sees a group of very young boys passing a liquor bottle and smoking a cigarette, and seems to identify with the tragic narrative that he’s slowly becoming the final outcome of. Though these moments may take a little too long to develop in the movie, they make The Last Ride at least worth the 100-minute investment for people whose personal histories hold the name “Hank Williams” in high regard.
The soundtrack is handled mostly by other artists covering Hank Williams songs, with some contributions of other non-Hank artists here and there. Though this may irk some Hank fans, they should understand that with small budgets and the prohibitive costs of the licensing of original music, using actual Hank songs may have been financially impossible. Aside from the central story surrounding Hank Williams, this doesn’t really feel like a musical movie as much as an exploration into the human condition told through a historical interpretation.
Though the Hank Williams story is one of the most intriguing American tragedies in history, it remains woefully untapped by Hollywood and the rest of the movie industry in an era that seems to be anemic in engaging narratives. Though The Last Ride makes some headway in helping to cover the Hank Williams storyline, and specifically his final days, it leaves the viewer a little wanting, while that one definitive film that rises to the mystique of Hank Williams himself remains elusive.
1 1/4 of 2 guns up.
- – - – - – - – - – - – - – - – - – - -
Radio station 93.5 KOOK and 1230 KERV in Kerrville, TX, managed by legendary DJ Big ‘G’ Gordon Ames has a radio promo done by Kinky Friedman that simply says, “We play Hank. All of them.” Yes, we all know about country music’s most famous family, and the lineage passed down from Hank Williams, to Hank Williams Jr., to Hank Williams III. But here are the other 5 Hank’s that helped establish the sound of country music (and just like all three generations of Hank Williams, didn’t actually have “Hank” as their legal first names).
Clarence Eugene Snow, aka “The Singing Ranger” is a Country Music Hall of Famer and one of the few old-school country artists originally from Canada. In 1962 Snow was the first performer to take the country classic “I’ve Been Everywhere” to #1—just one of the over 85 singles Snow would have chart over a 3-decade period reaching all the way to 1980. Hank made his first record for RCA Victor in 1936 while still living in Canada. He moved to Nashville in 1945 and became one of the most influential singers of the time, as well as an accomplished songwriter. Snow was one of the primary people responsible for the rise of Elvis, helping to get him on the Grand Ole Opry stage in 1954 and introducing him to Colonel Tom Parker (who later dumped Snow to focus on Elvis’s career). Along with “I’ve Been Everywhere,” some other notable Hank Snow songs are “I’m Moving On”, “The Golden Rocket,” and “Hello Love.”
Lawrence Hankins Locklin from McLellan Florida was one of country music’s first honky tonk-style singer songwriters. Maybe not as well-known as Hank Williams, but he sold an estimated 15 million records worldwide and was a member of the Grand Ole Opry for nearly 50 years. Locklin songs have been recorded by Willie Nelson, Dolly Parton, Dwight Yoakam, and Dean Martin to name a few. His heyday was in the early 60′s with his most well-recognized song “Please Help Me, I’m Falling” hitting #1 in 1960. His first #1 was in 1953 with “Let Me Be The One” and he released his first charting single in 1949 called “The Same Sweet Girl.” Hank Locklin was an excellent singer, and released a series of tribute albums showcasing songs by Hank Williams, Roy Acuff, and Eddy Arnold. Hank released over 70 singles and 27 albums, including a gospel album as late as 2006. Though he had a hit in 1968 with the song “Country Hall of Fame,” Locklin has yet to be inducted to the prestigious institution.
Henry William Thompson born in Waco, TX was one of country’s most popular stars of Western swing and honky tonk all the way from the late 40′s to the mid 70′s. With his excellent backing band The Brazos Valley Boys, they were responsible for over 80 charting singles, including the iconic country classic “Wild Side of Life,” and the humorous “Rub A Dub,” both hitting #1. The 1987 novel Crazy Heart by Thomas Cobb that was later turned into the 2009 movie starring Jeff Bridges is rumored to have been inspired by many different country music artists. But according to Cobb, Hank Thompson is the true culprit, most notably from using local bands to back him up later in his career after The Brazos Valley Boys disbanded. Hank Thompson also had his own television show for a short period.
Garland Perry Cochran is one of the greatest, most prolific songwriters in the history of country music, who also had his own career as a recording artist. Patsy Cline’s “I Fall to Pieces” and “She’s Got You” were penned by Cochran. So was Ray Price’s super hit “Make The World Go Away.” Cochran was active and relevant in country music all the way up to his death, later writing hits for Merle Haggard, Ronnie Milsap, and George Strait. As a performer, Cochran scored 7 singles on the country charts. In 2012, Jamey Johnson released a tribute album called Living For A Song: Tribute to Hank Cochran to critical acclaim and commercial success. Few songwriters are held in as high regard in Nashville as Hank Cochran.
Walter Louis Garland was a country and rock & roll guitar God of the 1950′s and 60′s and beyond. Part of the “Nashville A Team” of studio musicians, Hank’s guitar handiwork appears on recordings from Marty Robbins, Mel Tillis, Patsy Cline, Roy Orbison, Conway Twitty, and many more. But he might be most famous for playing on many of Elvis’s big hits from the late 50′s and early 60′s, including “Little Sister,” and “I Need Your Love Tonight.” Hank Garland is one of those musicians who helped define the sound of an era. In 1961, Garland was in a car accident that left him in a coma, and he later had to re-learn how to talk and play guitar. Though Garland once again became an accomplished musician, he never regain his place as one of Nashville most sought-after guitar players. Despite being known mostly as a side musician, he had a million-selling record with his song “Sugarfoot Rag.”
The Last Ride, a movie depicting the final days of Hank Williams, will be released on DVD and Blu-ray on June 6th through Twentieth Century Fox Home Entertainment, but you can win a copy right here on Saving Country Music by leaving the name of your favorite Hank Williams song in the comments section below.
Starring Henry Thomas (the kid from ET), Kaley Cuoco (Big Bang Theory), Jesse James, Fred Dalton Thompson, and Fred Tolobowsky, The Last Ride follows the last 72 hours of Hank’s life as he rode in the back his 1951 powder blue Cadillac convertible. It is the powerful tale of country music’s original bad boy. The man, the myth and the music come together when Williams travels from Alabama to a series of New Year’s shows in West Virginia and Ohio. This remarkable journey leads straight into the heart and soul of the legendary performer…as he takes one last shot at redemption.
Fans of Hank Williams have waited patiently for news of when the movie would be available to the public since 2011 when information about the film first began to surface. Last year the movie saw a limited theatrical release in 15 select cities, but the new Blu-ray/DVD release will be the first time the film is made available to everyone. The soundtrack for the movie featuring 22 Hank songs sung by various artists was released on June 19th, 2012.
Saving Country Music will give away two exclusive copies of the movie to randomly selected readers who leave a comment below with their favorite Hank Williams song. And if you can’t list just one, list as many as you want! Make sure you sign in to the comments section with your REAL email address so we can contact you if you’re the winner!
(6-3-2012) – Congratulations to Adam Hook and Doombuggy, both of which were randomly-selected to receive copies of The Last Ride. Thanks to everyone who participated, and keep an eye out for a review of the movie coming soon from Saving Country Music!
The long-rumored, long-anticipated Hank Williams III and David Allan Coe collaboration was a long time in the making and even longer coming. But it’s here, and though some may have been wishing for a few songs or even an entire album, clocking in at over 7 minutes, “The Outlaw Ways” will satiate your Hank3/David Allan Coe collaboration jones just fine.
It is easy to get over-hyped about a pairing such as this. History shows that these collaborations don’t always match the sum of their celebrity parts. Sometimes they fall flat, and sometimes they become part of country music lore, like the legendary pairing of Waylon Jennings and Hank Jr. in “The Conversation.” “The Outlaw Ways” is loosely based around this same lyrical structure, with the two country music Outlaws trading lines and coming together for the chorus. Both Hank Jr. and Waylon are also mentioned in the song. But instead of conversing about Hank Sr., Hank3 and David Allan Coe converse about each other and their friendship over the years, and about the authentic “Outlaw” identity that flies in the face of the faux Outlaw movement on Music Row these days.
“The Outlaw Ways” is no world beater, but it is a fun song with some cool moments in the verses that will be a treasure for the artists’ respective fans. With the most obvious focus being the pairing of the two men and the words, the music of “The Outlaw Ways” could have become an afterthought, but instead it is one of the songs strengths, starting off with a country fiddle riff, falling to half time in the ol’ Waylon style in the versus, and featuring a tasteful steel guitar solo in the middle.
When David Allan Coe was hospitalized after an accident in Florida, and with the recent passing of George Jones, it makes collaborations like this that much more prized and valuable. We let our country music heroes into our hearts and homes because we can connect with them so closely. It’s even more cool when they connect with each other.
1 1/2 of 2 guns up.
- – - – - – - – - – - – - – - – - – - – - -
(6-10-13) UPDATE: “The Outlaw Ways” has just been made available on Red 10″ Vinyl at Hank3′s web store.
- Jack Williams on Wayne Mills of the Wayne Mills Band Shot Fatally in Nashville
- Sherman Mohr on George Jones Receives Monument in Nashville
- Trigger on Spike TV Airs Episode Featuring Bar Where Wayne Mills Was Killed
- Acca Dacca on Don’t Give Up The Term “Country,” Be Positive About It
- blah on Luke Bryan Loses “Male Video” Award for Having a Vagina