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Mamie Warner, aka Mamie White, sister of Dancing Outlaw Jesco White, and one of the main characters in the 2009 Johnny Knoxville-produced film The Wild & Wonderful Whites of West Virginia has been arrested in Boone County on numerous charges. Mamie was taken into custody on November 8th for first offense driving under the influence of alcohol (DUI), possession with intent to deliver a controlled substance, and assault and battery of a police officer with a weapon. She was taken to the Southwestern Regional Jail in Holden, WV and placed on $25,000 bond.
Mamie had a very small appearance in the original The Dancing Outlaw movie that was released through PBS in 1991 that began the cultural fascination with the White family of West Virginia, and eventually landed her brother Jesco appearances on the TV show Rosanne and other high profile roles. In 2009′s The Wild & Wonderful Whites of West Virginia, Mamie was arguably the focal point of the film as the family’s matriarch after the passing of her mother, Bertie Mae White. Mamie commonly acts as de facto manager and liason for her brother Jesco, who was also arrested near the release of Wild & Wonderful Whites, but all the charges against Jesco were later dropped.
The Wild & Wonderful Whites of West Virginia explicitly depicts Mamie White, and other members of the White family abusing and selling prescription drugs and other illegal substances. Since the release of the film, Mamie and other White Family members have distanced from the depictions, and claimed they were taken advantage of by the film. Mamie told the Coal Valley News, “I’m not happy with the scenes of drug use and neither is Jesco…We haven’t gotten enough from Johnny Knoxville to amount to anything.”
The Whites have appeared in songs by numerous country music artists, including Big & Rich, and Hank Williams III who also appeared in the Wild & Wonderful Whites film, but later distanced from the film as well.
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.
Few things get people talking in the independent channels of country music like a Hank3 release. From his neotraditional days in the early 2000′s when he had traditionalists singing his praises, to his magnum opus Straight to Hell from 2006 that saw his punk and metal influences bleed over into a hard country approach, to his last few releases that have become a polarizing subject with many fans—some still saying he’s the torchbearer and king of underground country, while others speak about the quality issues and lack of diversity in the lyricism.
The first observation that must be given about Brothers of the 4×4 is just how much music is included here. The album contains 16 songs—a big bushel to begin with. But then factor in that out of those 16 songs, 9 of them are over 5 minutes, 7 of them are over 6 minutes, 3 of them are over 7 minutes, and one, which happens to be the opening track, clicks in at 8:34. Forget scaling music for radio play, Brothers of the 4×4 is the country music equivalent to a rock opera, with wide, sweeping, monster undertakings of music, playing out grooves with fiddle, banjo, and guitars trading breaks until their exhaustive end. This approach in itself is an expression of creativity and a new direction for country that is more akin to a Frank Zappa, or Grateful Dead approach, but without the heady, or space jam baggage.
And according to Hank3, he wrote, recorded, mixed, and mastered this entire album, along with a completely separate punk album called A Fiendish Threat in 4 months. Though this may be unusual for the country crowd, this isn’t unusual if you go back and look at the output and approach a Frank Zappa would take with his music for example. And that’s the vein this album should be taken in—one of a late 60′s, early 70′s experimental project as opposed to a straight-laced 3-chords and the truth-type approach to 3-minute country songs.
But the breadth of the project lends to Brothers of the 4×4‘s biggest problem, which is the same problem with many of Hank3′s latest releases: quality control.
If this album was boiled down to maybe half of its current weight, and just a little more time was spent on whatever was left, you very well may have a 2 guns up, 5 star album here. But because you have to wade through a decent amount of chaff, and because Hank3 goes to similar wells so many times, by the end of the album he is showing his hand in places, and your ears are physically tired. At the same time Hank3 achieves some moments that harken back to his golden era in the early and mid 2000′s, while still forging new ground and achieving new marks that he will struggle to meet in the future.
Beyond the volume that Hank3 seems to be trying to achieve, there are two main issues keeping him from putting out another landmark album. The first is that he continues to insist on using the same consumer-grade Korg D1600 tracking machine that he recorded Straight to Hell on nearly a decade ago, even though there are much better means for home recording that would in no way impinge on his DIY, home recording philosophy. The continuance of the D1600 era casts a film on all of his recordings from its inferior technology, while still not giving it the warmth an analog recording affords, which is the “new” old way of making records.
Second, he’s not writing songs, he’s writing music, and then putting words on top of that music to make songs. Or at least this is the way the priority of things comes across in the music. We see the appearance of the same tired phrases and themes that felt original and fresh on Straight to Hell, but now are beyond tired. But to Hank3′s credit, there seems to be fewer of these songs on Brothers of the 4×4 than you would expect. Hank3 exists in a very unique niche of music, where he takes bold, creative leaps sonically and structurally, while sometimes residing in a very predictable place lyrically. The most unfortunate part of this is it clouds people’s perspectives from seeing just how progressive and downright groundbreaking Hank3 can be, evidenced on the other half of his last country record, Guttertown. His core audience is hellraising rednecks, and this isn’t the place you would traditionally look for progressive country being pushed to its cutting edge.
Another big point to make about Brothers of the 4×4 is that it is very, very country. His famous yodel makes a reappearance, though it is run through a megaphone-sounding filter to help bolster the tone. Maybe the album’s greatest achievement is once again striking that balance he struck so well in Straight to Hell, where he brought his punk and metal influences right up to crossing the line, but still kept the music solidly country. That accomplishment is what won Hank3 the widest audience in underground country, and he does it again on this album.
When it comes to the songs themselves, Brothers of the 4×4 is somewhat of a mixed bag, but with more good points than bad. “Broken Boogie” is downright epic, and must be named in the same breath with Hank3′s other signature songs. Unlike some of the album’s other 6 and 7-minute tracks, the lyrics are actually an asset instead of a detriment, and the song achieves an infectiousness and depth that sucks you into a fully-immersive musical experience. The sparse, mandolin-driven “Gettin’ Dim” is the shortest song on the album, but holds just as much boldness as it’s longer counterparts. I kept waiting for the 8-minute opening track “Nearly Gone” to turn boring, but it never does, driven by Hank3′s rediscovered yodel. “Possum in a Tree,” though in no way a deep or meaningful song, is still one of the album’s fun ones, featuring banjo legend Leroy Troy.
On the other side of the coin, “Hurtin’ For Certin’” just may be one of the worst songs Hank3′s has every written, with completely contrived lyrics and music set in a register that is unflattering to Hank3′s tone. Songs like “Toothpickin’,” “Outdoor Plan,” and the title track “Brothers of the 4×4″ are big offenders of going to the whole “runnin’ and gunnin’” and “lookin’ for a good time” set of themes that have become Hank3′s substandard signature. But something about their approach on this particular album makes the lyrics either more tolerable, or at least forgivable, because the music is just so much fun. This is a fun album more than anything, and the listener should approach it as such.
Yes, Hank3 is as an isolated and disconnected artist to the rest of the music world as you will ever find. When he’s not on tour, I picture him perpetually mowing his lawn in east Nashville with his fingers in his ears, unbeknownst to the groundswell of resurgent roots artists that is happening right in his own neighborhood. Would he benefit from some slightly new equipment and a few more voices in the room as he’s recording? No doubt, and this is not because he lacks creativity or fresh ideas, it is because he doesn’t. But just like we all do, it takes feedback and collaboration to see those ideas come to their most ideal fruition, and compromises should be made to make those collaborations possible and foster an environment of growth.
But whether it is because the expectations are lowered, because the album is more country than his last, or because Hank3 has found a way to re-ignite his creative spark, Brothers of the 4×4 symbolizes a retrenching of Hank3 as a creative force in country, capable of generating inspiring moments in music. It’s just a shame you have to dig somewhat to find them.
1 1/2 of 2 guns up.
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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.
The last few weeks might go down in history as one of country music’s most feud-laden moments. From Gary Allan going off about country music and indirectly accusing Taylor Swift and Carrie Underwood of not being country, to Zac Brown calling out Luke Bryan’s song “That’s My Kind of Night,” and Jason Aldean calling out Zac Brown in Luke’s defense.
Though country music feuding may be on a sharp rise here recently, it is not an uncommon or recent occurrence in country music by any stretch. Many artists have had a beef with the Grand Ole Opry over the years, including Johnny Cash and Stonewall Jackson. Curb Records has been in the middle of many feuds, most notably with Leann Rimes, Hank Williams III, and a big one with Tim McGraw that pitted cross-town heavyweights Mike Curb and Scott Borchetta against each other. But nothing gets folks talking like a good old artist on artist donnybrook. Here are some of the most infamous over the years.
Dolly Parton and Porter Wagoner were one of country music’s most legendary pairings, but when Dolly wanted to leave the Porter Wagoner camp in 1974, things turned heated. Parton did the best she could to leave Porter’s side in an amicable way, even penning and performing her legendary song “I Will Always Love You” for her long-time singing partner. But Porter turned around and sued her for $3 million in a breach of contract suit in 1979.
However, the two made up eventually, and Porter performed with Dolly on her TV variety show in 1988. Dolly Parton was also by Porter Wagoner’s side when he passed away in 2007.
In the midst of Billy Ray Cyrus’s “Achy Breaky Heart” success, Travis Tritt was asked what he though about it, and always willing to be a lightning rod, Travis Tritt responded, “I haven’t seen his show so I can’t say anything about that. I haven’t seen the man personally, so I can’t say anything about him personally. I haven’t listened to his albums, so I can’t make a statement about that. But I have seen the video and I have heard “Achy Breaky Heart”, and I don’t care for either one of them. It just seems kind of frivolous. The video doesn’t appeal to me because it shows him stepping out of a limousine in front of thousands and thousands of fans, and nobody’s even heard of this guy.. Garth Brooks didn’t even do that. It doesn’t seem very realistic to me.”
Travis Tritt recalled in his autobiography Ten Feet Tall and Bulletproof, “I apologized to Billy Ray, told him I hoped he sold ten million copies of the record. Went home. I sent Billy Ray a peace lily and a get well card because I heard he’d been feeling bad enough to cancel his Fan Fair appearance. Headline in the local paper the next day. ‘Travis Tritt Trashes Billy Ray Cyrus.’ The more I said about it, trying to rectify the situation, the worse it got.”
Waylon Jennings really didn’t like Garth Brooks, and wasn’t very good at hiding it. Though in the portions about Garth in Waylon’s autobiography he was careful not to use Garth’s name, during interviews in the 90′s Waylon would regularly let his anti-Garth anger slip. For example in an interview with The Inquirer form September, 1994, Waylon said about Garth, “I think he’s the luckiest s.o.b in the world. He’s gotten more out of nothing than anybody I can think of. I’ve always accused him of sounding like Mr. Haney on Green Acres.”
There’s another Waylon quote about Garth that goes something along the lines of “Garth Brooks did for country music what panty hose did for finger fucking.” But there has yet to be a verifiable attribution of the quote.
Still to this day, not much is known about the exact details of the feud between these two men, but in the mid-70′s you couldn’t find two artists more tied to the hip than Waylon and Tompall. Tompall was the proprietor of Hillbilly Central in Nashville—a renegade studio where Waylon mixed and mastered his album Honky Tonk Heroes, and recorded his album This Time. Waylon and Tompall appear together on Wanted: The Outlaws—country music’s first million-selling album. The two became close friends and were kindred spirits from their hated of Music Row’s business practices. They would spin long hours battling each other on pinball machines or picking out tunes or playing pranks on each other. But when the friendship went south in the late 70′s, it went south hard, and the two men never resolved their differences before their respective deaths, despite both men still insisting on their deep love and appreciation for each other.
The crux of the beef between two of country music’s most famous sons is that Hank3 felt Shooter Jennings stole his persona. Hank3 had a song called “Dick In Dixie” that included the line, “I’m here to put the Dick in Dixie, and the cunt back in country.” Shooter, who previously had been in a rock band called Stargunn, came out with his first country record entitled Put The ‘O’ Back In Country in 2005, and Hank3 perceived the title was a little too close for comfort.
If you wanna go down that road and rip us off, mutherfucker, I’ll see you in ten years and five thousand shows down the road.” Hank3 said. We’ll see where the fuck you’re at. You know, I called him out and just flat out said, “fuck you if you’re gonna rip us off like that on your first release.”
Shooter for his part seemed unwilling to reciprocate the feud, saying “You know what, I don’t even comment on these things, really. I don’t even know him. I met him once, I think, for a second. And somehow all this stuff started about how he hates me. I don’t know. It’s, like, stupid.”
In fairness to Shooter, Carlene Carter had used the line “If that doesn’t put the cunt back in country, I don’t know what will” at a show in New York in 1979 when her mother June Carter and father-in-law Johnny Cash were in attendance. Eventually Shooter and Hank3 reportedly buried the hatchet.
Hank3 is the legitimate son of Hank Williams Jr., but Hank Jr. was not Hank3′s everyday father. Hank3 was raised by his mother, and usually only saw Hank Jr. once a year when growing up. In 2001, Hank Jr. began collaborating with Kid Rock in songs like “The ‘F’ Word” and others, and Hank Jr. often referred to Kid Rock as his “rebel son.” This stimulated a rumor that Kid Rock was in fact Hank Jr.’s biological offspring. Though both men denied it, the urban myth grew legs, and Hank Williams III began to be asked by people if Kid Rock was his brother, which didn’t sit too well.
Then the situation escalated when Kid Rock accosted Hank3 at a show in Detroit, trying to patch up the strained relationship between Hank3 and his father. “He kept trying to come on the bus, you know, him and Pam Anderson, and all that shit,” Hank3 recalls. “And I said, ‘Tell that motherfucker I got nothing to say to him,’ and then he finally get his way back in there and tells me how I need to be treating my father, and I’m like, ‘All right, you crossed the line motherfucker.’ And I don’t know how many times I have to say it: No, he’s not my fucking brother . . .”
The altercation eventually led to the line in Hank3′s song “Not Everybody Likes Us,” “Just so you know, so it’s set in stone, Kid Rock don’t come from where I come from. Yeah it’s true he’s a Yank, he ain’t no son of Hank, and if you though so god damn you’re fucking dumb.”
It is considered one of country music’s most legendary moments—when Charlie Rich took out his lighter at the 1975 CMA Awards and burned the envelope announcing John Denver as Entertainer of the Year while Denver watched via satellite. Rich had clearly been drinking, and his antics were taken as an act of defiance against the intrusion of pop influences into country music, and have since become a rallying cry for country music purists.
Recently when video surfaced of the incident, people began to question what Charlie Rich’s true intentions were because Rich didn’t appear to look as malicious as the moment had been materialized in many people’s minds without the aid of the archived footage. Though historians and the Country Music Hall of Fame clearly spell it out as being considered a conflict at the time, Charlie’s son Charlie Rich Jr. says that his father was simply trying to be funny. So maybe there was a Charlie Rich vs. John Denver, or maybe there wasn’t, but the moment still makes for great country music lore.
Probably not much more than the names of these two needs to be said to to infer that they wouldn’t get along. Maines started the scuffle in response to Toby Keith’s song “Courtesy of the Red, White, & Blue” saying, “I hate it. It’s ignorant, and it makes country music sound ignorant. It targets an entire culture—and not just the bad people who did bad things. You’ve got to have some tact. Anybody can write, ‘We’ll put a boot in your ass’ … ”
Toby Keith’s response? “I’ll bury her. She has never written anything that has been a hit…” Maines kept up the heat, wearing a shirt with the letters F.U.T.K. on the 2003 ACM Awards. And of course, all of this was exacerbated when Maines criticized President George Bush at a concert in London a month before.
Keith was the one to publicly bury the hatchet, saying in August of 2003, “You know, a best friend of mine lost a two-year-old daughter to cancer. I saw a picture of me and Natalie and it said, ‘Fight to the Death’ or something. It seemed so insignificant. I said, ‘Enough is enough’ People try to make everything black and white. I didn’t start this battle. They started it with me; they came out and just tore me up. One thing I’ve never, ever done, out of jealousy or anything else, is to bash another artist and their artistic license.”
Toby Keith vs. Kris Kristofferson
It sure made for a juicy story at the time, but according to both of the named belligerents, it was a feud that never was. In April of 2009, actor Ethan Hawke published a story in Rolling Stone that without naming his name, accused Toby Keith of saying to Kris Kristofferson at Willie Nelson’s 70th birthday in 2003, ““None of that lefty shit out there tonight, Kris.” According to Hawke, a rolling argument ensued that ended with Kris Kristofferson saying, ““They’re doin’ to country music what pantyhose did to finger-fuckin’” (see Waylon Jennings vs. Garth Brooks above.)
However, according to both Toby Keith and Kris Kristofferson, the incident never happened. Even more damming to Ethan Hawke and Rolling Stone, though Toby Keith became famous from his flag-waving songs, he’s a registered Democrat, making the likelihood Kieth saying to Kristofferson “lefty shit” very unlikely. Ethan Hawke and Rolling Stone stood by their story, but the press who perpetuated it got an earful from Toby about it at the 2009 ACM Awards.
Feuds that involve accusations of songs getting ripped off can get especially nasty, and this was the case when Jason Isbell took to Twitter to accuse Dierks Bentley of ripping off his song “In A Razor Town.” “‘Dierks’ has officially ripped off my song ‘In A Razor Town.’” Isbell fired off. “Dierks is a douchebag. The song of Dierks is called ‘Home.’” Isbell continued to pummel Dierks through Twitter, even getting political because of the flag waving nature of “Home.” Dierks in his defense referred to an interview one of the song’s co-writers Dan Wilson did with ASCAP that explained how the song came together.
The result? Though Isbell went silent after he said he was told to do so by his lawyer, if there was ever litigation over the song, the results were never made public. Isbell has since in interviews blamed his heavy drinking at the time for his Twitter tone. Though the two songs do sound similar, whether it was truly a ripoff or not seems to remain inconclusive.
Robert Earl Keen put Toby Keith in his crosshairs when he believed Keith lifted the melody from his song “The Road Goes On Forever” for his 2010 song “Bullets In The Gun.” Keen recalls, “I got all these calls from my friends. They were saying, ‘This is ridiculous. What are you gonna do? I felt like this individual had been picking on me for a long time, and I was sick of it. So instead of getting really ugly about things—I don’t really believe in lawsuits or threats—I took the Alexander Pope road and answered this guy in song.”
Keen recorded “The Road Goes On And On” as a shot at Toby Keith (though he never mentions his name), with lines that included:
You’re a regular jack in the box
In your clown suit and your goldilocks
The original liar’s paradox
Your horse is drunk and your friends got tired
Your aim grew weak and uninspired . . .
Toby Keith has never formally responded to the accusations.
This battle of heavyweights ensued when Eric Church was quoted in Rolling Stone in late April of 2012 saying, “Honestly, if Blake Shelton and Cee Lo Green turn around in a red chair, you got a deal? That’s crazy. I don’t know what would make an artist do that. You’re not an artist. Once your career becomes about something other than the music, then that’s what it is. I’ll never make that mistake. I don’t care if I starve.”
Miranda Lambert, who is married to Blake Shelton and also has a reality show past, came out swinging, saying through Twitter, “I wish I misunderstood this . . .Thanks Eric Church for saying I’m not a real artist. You’re welcome for the tour in 2010,” referencing Church’s opening spot on one of her tours.
Eventually Eric Church apologized, saying, “The comment I made to Rolling Stone was part of a larger commentary on these types of reality television shows and the perception they create, not the artists involved with the shows themselves. The shows make it appear that artists can shortcut their way to success… I have a problem with those perceived shortcuts, not just in the music industry…I have a lot of respect for what artists like Carrie Underwood, Kelly Clarkson, and my friend Miranda Lambert have gone on to accomplish. This piece was never intended to tear down any individual and I apologize to anybody I offended in trying to shed light on this issue.”
As some have pointed out since, Eric Church apologized to Miranda, but never apologized to Blake.
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Eric Church also created a firestorm with Rascal Flatts in 2006. While playing in an opening slot, he purposely played too loud and for too long after numerous requests to respect the tour’s wishes, resulting in him being kicked off the tour. It also resulted in a young starlet named Taylor Swift getting a chance to open on the big tour, which many experts give credit for helping Taylor’s meteoric rise.
Blake Shelton vs. Ray Price
When Blake Shelton’s comments about how he considered country music’s traditional fans “Old Farts and Jackasses” came out, Country Music Hall of Famer Ray Price shot back, saying, “Every now and then some young artist will record a rock and roll type song , have a hit first time out with kids only. This is why you see stars come with a few hits only and then just fade away believing they are God’s answer to the world. This guy sounds like in his own mind that his head is so large no hat ever made will fit him. Stupidity Reigns Supreme!!!!!!! Ray Price (CHIEF “OLD FART” & JACKASS”) ” P.S. YOU SHOULD BE SO LUCKY AS US OLD-TIMERS. CHECK BACK IN 63 YEARS (THE YEAR 2075) AND LET US KNOW HOW YOUR NAME AND YOUR MUSIC WILL BE REMEMBERED.”
Blake Shelton later apologized, saying, “Whoa!!! I heard I offended one of my all time favorite artists Ray Price by my statement “Nobody wants to listen to their grandpas music”..And probably some other things from that same interview on GAC Backstory.. I hate that I upset him.. The truth is my statement was and STILL Is about how we as the new generation of country artists have to keep re-inventing country music to keep it popular. Just EXACTLY… The way Mr. Price did along hid journey as a main stream country artist.. Pushing the boundaries with his records. “For The Goodtimes” Perfect example with the introduction of a bigger orchestrated sound in country music.. It was new and awesome!!! I absolutely have no doubt I could have worded it better(as always ha!) and I apologize to Mr. Price and any other heroes of mine that it may offended.”
Ray also later apologized to Blake Shelton for being so harsh, and along with wife Miranda Lambert, they attended a Ray Price show in Oklahoma to patch things up in person.
In 2013, there is only one music artist who can say they’re officially banned for life from country music’s most storied institution: the Grand Ole Opry. No, it’s not David Allan Coe, Hank Williams III, or some other hothead, firebrand artist quick to call out the Opry and other mainstream country music institutions at any perceived slight. No, the offending party is none other than alt-country luminary Neko Case.
This may not be completely surprising seeing how Neko got her start in music as the drummer for a punk band, and has regularly collaborated with artists and bands outside of the country fold like The New Pornographers. But like many of the artists making up the alt-country movement in the mid 90′s, it can be argued that Neko had more respect for the roots of country music, and for country music institutions like the Grand Ole Opry, than many of country music’s artists did at the time, and certainly do today.
In October of 1998 when Neko’s first album The Virginian was blowing up in the alt-country realm, the Las Vegas Sun interviewed the young songstress, where she professed her philosophy behind country music, and her love for the Grand Ole Opry, in an article appropriately titled “Neko Case’s Quest for the Grand Ole Opry.”
I don’t play “alternative country” music; I just play country music. I want to have the same outlets, the same goals that all my heroes in country/western music have had. I want to play the Grand Old Opry in my grandmother’s lifetime, you know what I mean? I want to be played on mainstream radio. I’m not willing to change my music to get there faster, but I’ll fight for it anyway. I don’t think anyone gives a shit about country radio. It’s bullshit. It just makes me mad that (country radio) is using the term “country music,” when it doesn’t belong to them.
I think now is the time for change in country music; hopefully it’ll change for the better. It really burns that all the bands that inspired me were part of a national country music culture that was really admirable and fairly diverse at one time. I want to have the same avenues open to me. It’s like having this beautiful old building in your neighborhood and coming back to find that they’ve torn it down and built a Wal-Mart in its place.
Neko Case would get close to having her Grand Ole Opry wish granted when she was invited to perform at the Grand Ole Opry Plaza Party just outside the Grand Ole Opry House in the summer of 2001. Playing the Plaza Party was seen as a precursor to being able to play the Opry proper, and is the place where many Opry mainstays like Old Crow Medicine Show and Dale Watson got their Opry starts. With the respect Neko Case had for the Opry, she was excited for the opportunity.
“People who have gone to the Opry or are on their way to the Opry come by and check you out while they’re coming and going,” Neko explained to the Denver Westword that summer. “You get to go backstage at the Opry, which is the really cool part.”
Everything seemed to be going well for Neko and her Opry dream until one afternoon performance in July at the Plaza Party that was especially sweltering. The stage the Opry had set up for their Plaza performers was black, and right beside it was a barbecue pit that was pouring heat out onto the performers. With dreams of making it onto the Opry’s main stage, Neko Case persevered through the heat during her show, but it began to get unbearable and she started to wilt.
Neko Case started making requests for water from surrounding staff, but they went unfulfilled and she began to get dizzy. As Case began suffering from the effects odf heat stroke, she asked the staff if she could take a short break, and was told no. The situation became desperate for Neko, who was on the verge of passing out or suffering from some serious, long-term damage if she couldn’t resolve her rising body temperature. So in a panic, Neko removed her shirt to help cool off. As you can imagine, the family-friendly Opry did not look favorably upon this.
Exacerbating the shirt removal was the weight of Neko Case’s past in music and her statements about country, seeming to imply to the Opry and others that this wasn’t just an instance of heat exhaustion, but that Neko was making some symbolic statement by bearing her womanhood in public (though she still had a bra on beneath). As the stories swirled about Neko’s shirtless set, it was taken by some as an obscene gesture to cause a sensational outcry, or to stand against the direction of country music, or some other counterculture statement.
But that wasn’t the case. I wasn’t trying to be sexy or rebellious — I was just getting heatstroke up there,” Neko later explained to Rolling Stone. “I didn’t do anything obscene. I wouldn’t want to see me with my shirt off, either.” But the explanation didn’t do much good, and the incident resulted in a lifetime ban from the Grand Ole Opry—the institution Neko cherished so.
Neko has since come to peace with her fate. “I was pretty depressed for a couple of months after that happened, but I got over it,” Neko told The Guardian. Neko later memorialized the incident by naming her 2002 album Blacklisted.
She still hopes to return to the Opry some day and fulfill her dream. “They’ll forgive me one day,” she told Fairfax Digital. “I still love them.”
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Neko Case just released a new album, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You.
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.
We live in a charmed time in music where if all you want to listen to is the throwback, neo-traditional sounds of artists like Wayne “The Train” Hancock, Lucky Tubb, BR549, and early Hank Williams III, then you can bury your nose deep in the internet and find darn near enough bands of that style that you don’t have to listen to anything else. And if you’re one of those country throwback types that prefers the drums be replaced with the slap of an upright bass while the lonesome sounds of swinging country blues fills your ears, Danny Kay and the Nighlifers can quench that rumble deep in your old school country music gut.
Crazy Lonesome Blue comes at you with no frills, offering up a bevy of original songs, a few covers and traditionals, and an all-star cast comprising the Nightlifer’s lineup. It’d take a DNA test to convince me that Danny Kay isn’t a cousin of Lucky Tubb in the way his lonesome drawl with a rounded cadence really pulls the emotion out of the words to a song while pulling the listener’s ear right in. After laying down the foundation and setting the story of the song, Danny’s gets out of the way and lets the hillbilly maestros in the Nighlifers do their handiwork.
It starts off with blazing lead guitarist Zach Sweeney from both Wayne Hancock’s and Lucky Tubb’s touring bands laying down some of the sickest, most tasteful leads you can find in country music. I’ve said it before, and I’ll say it again about Sweeny—he is a guitar-playing superstar of independent country, and deserves to get way more buzz and recognition. Then comes Liz Sloan (also in Jayke Orvis’s “Broken Band”) who matches Sweeny note for note for style and taste, while her beau and fellow Broken Band member Jared McGovern slaps out a dizzying bed of bass notes.
And Danny Kay is willing to share the spotlight with his Nightlifers. Crazy Lonesome Blue offers up two instrumental tracks, including “Urban Pioneer” that was penned by his sidemen. Dustin Delage offers some minimal, tasteful drums on a few tracks, and Mark Whiskey handles backing vocals.
Standout tracks for this listener were the aforementioned instrumental “Urban Pioneer,” “Heart of a Fool,” “Nothing’s Wrong (But There Sure Ain’t Nothing Right)” and the fun “Must Have Been Drunk.”
While listening to Crazy Lonesome Blue, you get the sense that acts like BR549 and Wayne Hancock are the teachers, while Danny Kay is still the student, but Danny Kay would probably tell you just as much himself. Nonetheless there’s not a bad track on this album, and it’s good to see new blood make their voice heard in the neo-traditional ranks.
1 1/2 of 2 guns up.
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Hank Williams III struck out today for Texas on a 2 week tour that will take him through the Midwest and parts of the South ahead of the release of 2 new albums on October 1st: the double CD Brothers of the 4×4, and the punk-infused A Fiendish Threat. Over the last few years, country fans have come to expect a mixed bag from Hank3, whose veered more towards punk and heavy metal as time has gone on. His first two albums Risin’ Outlaw and Lovesick, Broke, & Driftin’ became staples of the early 2000′s neo-traditionalist movement, while 2006′s Straight to Hell is considered his opus, and the beginning of his move to a much harder sound.
His last “country” album Ghost to a Ghost/Guttertown had a decidedly Cajun flavor to it, but ahead of the release, Hank3 was warning people not to expect a tear jerking traditionalist country effort. “I’m just saying that out of respects to my fans. Some of the Cajun stuff has a country feel. But I at least have to say that to my fans, because it’s a new line for a Hank3 country record.”
While speaking to The Dallas Observer ahead of his show at the Rail Club in Ft. Worth, Hank3 struck a much different tone about what people could expect from the upcoming Brothers of the 4×4:
It’s a traditional country record. It’s got your slow country songs if you need to get some bad emotions out. It’s got a couple of, you know, the not as sad kind of songs and a couple of songs that just aren’t really country but they’re kind of folky soundin’. When I make a country record, it’s always very important for me to have a banjo, steel and acoustic guitar, fiddle and a chicken pickin’ guitar on it. Those are really the deep roots of country music for me.
Hank3 wrote, recorded, produced, and played all of the drums and acoustic guitar on the new record, while using his stable of superpicking friends for all of the lead parts, including Andy Gibson, Zach Shedd, Billy Contreras, David McElfish, Daniel Mason, and a guest appearance by banjo champion Leroy Troy.
And for those wondering what they may get from the country punk A Fiendish Threat:
It’s done on an acoustic guitar with a little bit of fuzz on it and a stand-up basss beatin’ it down. It’s a different singin’ voice for me. A lot of people who’ve known me for 10 years say, ‘Man, if you hadn’t told me it was you, I wouldn’t have guessed. It just doesn’t sound like you.’ That’s a good thing for me. That just means I’m changin’ it up. Not everybody will get it, but some people will understand the creative process that’s going on.
Hank3 Tour Dates:
8/24 Austin, TX @ The Austin Bat Fest
8/25 Ft. Worth, TX @ Rail Club
8/26 Tulsa, OK @ Cain’s Ballroom
8/27 Lawrence (KC), MO @ Granada
8/29 Sauget, IL @ Pops
8/30 Ft. Wayne, IN @ Pierre’s
8/31 Flint, MI @ Machine Shop
9/1 Indianapolis, IN @ The Vogue
9/2 Pittsburgh, PA @ Alter
9/4 Lancaster, PA @ The Chameleon
9/5 Washington, DC @ 9:30 Club
9/6 Richmond, VA @ National
9/7 Charlotte, NC @ Amos Southend
9/8 Atlanta, GA @ The Masquerade
We’ve been saying it all year—right now it is women taking the leadership role in trying help to save country music. But they’re not the only ones, and if you wanted to look for another significant segment of artists doing more help than harm to the genre, there’s no better place to look than north of the border. Here are six Canadian showing the type of creative leadership country music needs.
If you’re looking for one modern-day Canadian who can stand tall in his boots and go toe to toe with the American born country legends, it would be the abominable, the incomparable Corb Lund. Whether you’re talking about Corb Lund the songwriter, Corb Lund the singer, or Corb Lund the performer, he’s one of these five-tool musicians who can do it all. Growing up on a ranch in Southern Alberta, he’s lived as an authentic country life as any. Many American-born country artists could learn from Corb Lund’s appreciation for true country music, and the wit he instills in his music that crosses all borders and notions of taste. Corb Lund is the current King of Canadian Country.
She isn’t just a pretty face and a short skirt. The ravenesque Lindi Ortega’s songwriting can rival that of the boys, and her US-born counterparts. A true throwback with a dark, neotraditional style all her own, she once told Saving Country Music, “I don’t care about money. I honestly don’t,” and it shows in the old soul approach to her music that takes into consideration creativity and self-expression above everything. If Corb Lund is the current King of Canadian country music, Lindi Ortega just might be the queen.
If you’re looking for Canada’s equivalent of old school Hank Williams III or BR549, then look no further than Daniel Romano. But Romano is not a neo-traditionalist in the traditional sense. He’s not trying to regale the modern ear with a new take on the classic country sound. Instead he is like the method actor of classic country, carving out his niche by offering a strict interpretation of classic country’s modes with striking accuracy. It’s not a retro sound, it is a strict, methodical re-enactment. Everything fits the period–the words, the instrumentation, the song structure, and it takes you back to a time when music still had meaning.
The artistry of the Deep Dark Woods is astounding, and their ability to touch virtually the entire array of American roots music is what makes them special. Gothic, poetic Americana, Gospel, bluegrass, and strait-laced country elements like steel guitar, they are all interlaced harmoniously with a broody pall cast over everything for a cohesive sound and an immersing experience. They would be Canada’s current Americana band of note, being nominated for the 2012 Americana Music Awards “Emerging Artist of the Year” category.
The fact that we don’t hear more about the Sadies on a daily basis is borderline criminal. This band whose nucleus is the two brothers Dallas and Travis Good is one of the most awe-inspiring assemblages of musical talent ever amassed under one band name in the history of country & western, or rock & roll music. Though they might be best known for backing up such big names as Neko Case, John Doe, Jon Langford, or Andre Williams, in both the recorded and live formats, they really shine when they simply let loose as their own band. The Sadies are like a controlled explosion, shocking you with how good they are, bringing mod style and stupid good musicianship to the country & western context.
This band is so good and sprouted so many solo projects, it may be appropriate to call them a supergroup at this point. Frazey Ford, Samantha Parton, and Trish Klein started playing music together in tree planting camps in British Columbia. Nearly 15 years later, they’re one of Canada’s legacy folk country bands. Solo artist Jolie Holland once called The Be Good Tanyas home as well, and their excellent blend of roots and superb singing inform the band’s folk, country, and bluegrass influences. Samantha Parton recently was involved in a series of car wrecks that have left her unable to tour. Friends are raising money to help her out.
Who are some other Canadian bands helping to Save 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.
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(6-10-13) UPDATE: “The Outlaw Ways” has just been made available on Red 10″ Vinyl at Hank3′s web store.
Just announced through Hank Williams III’s website, the grandson of Hank Williams and the son of Hank Jr.’s next album will be called Brothers of the 4X4. The album will contain 16 tracks, and be released on Hank3′s own record label distributed by Megaforce Records. The release will also be accompanied by a “hellbilly/punk” album called A Fiendish Threat that will include 13 tracks. No word on a release date or supporting tour dates as of yet, but the master tapes for both albums have been turned into the distribution company.
In early March, Hank3 release this statement:
I’m workin as hard as I can and as fast as I can to finish two records up. Right now I’m 25 songs deep in writin’ while playin’ guitar, singin’, doin’ my own drum tracks, then recording the other players. After that comes mixin’ it, master’n it, the artwork…Once all that is done it’ll be turned in. One is a country record…I’m not really sayin’ anything about the other record…As it looks right now, hopefully we can be on the road by May…
Hank Williams III has been on extended touring hiatus after his drummer Shawn “McNasty” Williams had surgery to repair a rotator cuff, reattach his bicep tendon, and remove bone spurs. In January McWilliams said, “The green light was real close” in regards to his physical therapy regiment and recovery. “This has been the hardest thing I’ve ever had to go through,” McWilliams said, “I can not wait to start playing.”
Please check back as a release date, cover art, track list, and more information becomes available.
In Red Dirt music, there is a place called “The Farm.” It was a 5-bedroom house outside of Stillwater, Oklahoma owned by Bob Childers where the Red Dirt movement started in earnest. No matter what happens in Red Dirt henceforth, whether it continues to grow or it fades away, the few Red Dirt members who called “The Farm” home in those formative years will always have their place in history cemented as forefathers of the music.
If underground country had a version of “The Farm,” Lonesome Wyatt would be one of its inhabitants. Lonesome Wyatt is a pioneer of Gothic country with his band Those Poor Bastards, and one of the originators of underground country whose song “Pills I Took” was covered by Hank Williams III on his landmark album Straight to Hell, he is one of the few artists who will never be forgotten regardless of the long-term fortune of the underground country sub-genre.
Gothic country is not for everyone. Similar to how punk and reggae may not have many similarities on the surface, but whose structures are steeped in similar modes when you explore the music deep at its core, Gothic country may come across initially as counter-intuitive, or even corrosive to someone who calls themselves a country fan. But within Gothic country, you find the stark distinctions of good and evil indicative of The Louvin Brothers and gospel, you find the the murder balladry of Doc Watson and Johnny Cash, you find the Gothic identity and presence of death of The Carter Family, and the empowerment of the poor of Woody Guthrie.
Lonesome Wyatt and his “Holy Spooks” side project may even be less accessible that other Gothic country because the sound is fairly stripped back and the approach quite fey. This is music to be listened to, not heard; music that you sit back and appreciate its textures as opposed to banging your head or tapping your foot to. But for those brave souls not scared off by the spooky dressing, they will discover some striking artistic expression interwoven with timeless storytelling in an album that reveals itself to be more entertaining and even prone to losing yourself in than you would initially expect.
If Lonesome Wyatt was an actor, he’d prefer the method approach to the craft. And if his music were a movie, it would be a graphic novel. Where Lonesome’s Those Poor Bastards material usually carries more anger, and angular, abrupt themes, Ghost Ballads is like a lost collection of Edgar Allan Poe poems written as if they were for children, but that were truly meant for adults. Then he sets it all to music. This is where Lonesome Wyatt’s singular artistic contribution to the world is evidenced, which is his ability to cull the perfect sounds from the universe to conjure a desired mood. A master craftsman of audio textures who is not afraid to pull from both the analog and electronic worlds, his ear is wickedly adept at picking up the most delicious subtleties in sounds that universally trigger dark responses in the human palette.
And just when he has you in the darkest of all moods, the creepy bastard springs into the saccharine, 50′s-ish do-woppy “Dream of You” making the whole experience feel even that much more sinister.
Reportedly recorded surreptitiously at the haunted Maribel Caves Hotel in Maribel, WI, Ghost Ballads may not be the best starting point to get into Lonesome Wyatt’s uniquely dark and creative approach to music, but is a good selection if you’re looking for music to create camaraderie with a dark mood, or are looking to evoke one.
Lonesome Wyatt is a timeless artist, and I’m sure Ghost Ballads along with his entire discography will be haunting Gothic fans long after he’s in the grave.
1 1/2 of 2 guns up.
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Hank Williams III has been on extended touring hiatus, one of the longest of his career, as his drummer Shawn “McNasty” Williams had surgery to repair a rotator cuff, reattach his bicep tendon, and remove bone spurs. But the grandson of Hank Williams has apparently been using the time well, writing and recording a big chunk of new material. He announced on his website this morning that he has two new albums on the way and 25 new songs written:
“I’m workin as hard as I can and as fast as I can to finish two records up. Right now I’m 25 songs deep in writin’ while playin’ guitar, singin’, doin’ my own drum tracks, then recording the other players. After that comes mixin’ it, master’n it, the artwork…Once all that is done it’ll be turned in. One is a country record…I’m not really sayin’ anything about the other record…As it looks right now, hopefully we can be on the road by May…“
In January drummer Shawn McWilliams said the “The green light was real close” in regards to his physical therapy regiment and recovery. “This has been the hardest thing I’ve ever had to go through,” McWilliams said, “I can not wait to start playing.”
Hank3 released an unprecedented 4 albums on September 6th of 2011 after his production had been stymied by Curb Records for over 14 years. His initial plan was to focus on touring for years after, but the break in the action from his drummer’s injury means fans will be getting new material sooner than later. As always, Hank3 is recording in a DIY style, and will be releasing the records himself. As he told Saving Country Music in an interview:
Nowadays the independents have an opportunity they didn’t have 20 years ago. You don’t need a major label. All my new records are done on that same D1600 machine “Straight to Hell” was done on.
UPDATE 5/2/13: From Hank3′s website, “Artwork for the new releases is being finished up and after that, it will all be turned over for distribution. A release date will be posted when possible, as well as any tour dates, once a full schedule is confirmed.”
Wayne Hancock has more handles than a chester drawers: The Train, The King Of Juke Joint Swing, The Father of Underground Country, The Viper of Melody. He deserves every single one of them, yet none of them nor all of them combined seem to do justice to the enjoyment and influence his music has dispensed over the years.
A new Wayne Hancock album is like a gift from the country music gods; the same gods that bestowed upon him the capacity to be the closest living thing you can find to Hank Williams today (according to Hank Williams III among others), yet still be a wholly unique artist who finds himself in the very exclusive ranks of true music originators–those rare musical souls who’ve germinated their own genres and genealogy trees full of new artists inspired by their work.
Ride is probably Wayne Hacock’s most personal album to date, released after what might be the most tumultuous period in his career. Immediately after the street date of his last album in 2009 Viper of Melody, Hancock lost his band in the aftermath of a skirmish between his guitar player and steel player. This set to spinning a revolving door of touring players that still has yet to fully settle, though has showcased some extraordinary talent along the way. Then there was the cancelling of some tour dates and a rehab stint, then a separation from his wife. Then another rehab stint. All of this drama is contained in Ride in both candid and veiled references.
“I had a good gal, that I loved so. We got married, not to long ago. But then my drinking got in the way. So she left me, a year ago today,” Wayne says in “Best To Be Alone.”
Wayne Hancock has a track record since 1995 of only putting out quality releases. Go ahead, take the magnifying glass and the tweezers out and poke around his discography all you want. You may not sit right with his style, but Wayne is a master at what he does. By featuring top shelf players and a fairly straightforward methodology, Wayne knocked out Ride in 1 1/2 days; jaw dropping for even some of the best performers. People of note joining Wayne on the recording are long-time producer Lloyd Maines, and Bob Stafford, also known as “Texaco” that you can hear Hancock calling out to Bob Wills-style in some of his most legendary recordings.
Ride continues Wayne’s trend of stellar albums, but for the first time you see some slight chinks in the armor. The very first time I heard the title and opening track “Ride,” I could hear a lack of energy in Hancock’s voice that I had never heard from him in the recorded format. There’s nothing wrong with Wayne’s voice, you just don’t feel the same passion you know he’s capable of. This again shows up in the second song “Low Down Blues,” a track he says he wrote the day before going into the studio. I don’t mean these songs capture the depressed emotion of the story, they just simply sound a little uninspired. An artist must be balanced not only against their peers, but against themselves, and on these first few tracks, Wayne feels tired; a little un-Wayne Hancock.
Wayne pulls it out though, at the same time validating the tired hypothesis for the first few songs when he offers a truly inspired performance on the gospel-esque “Lone Road Home.” From there on, you re-discover the Wayne Hancock you know and love, with a bounce in his voice and bounding rhythms that are hard not to be compelled by. Another Wayne Hancock wonderment is his ability to pen instant classics, and that’s what you get with the sultry, jazzy “Gal From Kitchen’s Field” and the fun “Cappuccino Boogie.”
On Ride, Wayne starts by showing a little wear on the tires, but then rallies to prove he’s got plenty of tread left. He’s not just The Viper of Melody, or the King of Juke Joint Swing, he’s Wayne “The Train” Hancock by God. And even if he hangs up his guitar tomorrow, he will still go down as one of the most influential artists in American music, a true forefather of Americana, and one of the originating sparks of the roots music revolution.
1 3/4 of 2 guns up.
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It’s funny how fate deems certain artists worthy of national recognition, while others work away in a small circuit of local bars their whole lives without their names being recognized outside of the city limits. Some artists labor greatly to attain national recognition, even if it is in scenes revolving around the internet, while others are content with being local legends. And then there’s talent, which doesn’t always match up with recognition. In fact it rarely does.
Ray Lawrence Jr. was graced favorably by recognition when Hank Williams III put two of his songs on his last album Ghost to a Ghost. Since then Ray has seen quite an uptick in attention and has toured some nationally and played some bigger shows outside of his home state of Arizona. But the appeal of Ray Lawrence Jr. is that his music still embodies the warmth and familiarity of the old local honky tonk Shakespeare that sits in the corner of the bar and slays you with the sincerity of their songs, never wanting anything more than to make music for friends and neighbors.
Like Chris Knight, Ray Lawrence Jr. is a simple man who has this sensational talent to be able to put defining moments of the human experience to words and music in a way that rekindles the feelings of those moments. Ray’s simplicity becomes his strength by imbibing his music with a blue collar, colloquial grace. Since Ray’s wisdom isn’t defined by a Master’s degree or a master vocabulary, it manifests itself in a cunning wit that takes themes and language culled from real life experiences, and weaves them into high art through honesty and authenticity of expression. Ray Lawrence Jr. has an experience and writes a song about that very experience in his own words. There is no degree of separation that dilutes the soul from the original experience in the song.
As the album title implies, More Raw Stuff accompanies Raw & Unplugged that Ray released as the first album with this stripped-down approach. But don’t let that imply that these songs are warmed-over seconds. More Raw Stuff has some of Ray’s most impressive works, including what I consider one of his crowning songs, “Homeless.” The excellent story and moral, the engrossing walking guitar part, it all embodies what makes Ray a songwriter and performer worth paying attention to beyond the Arizona border.
As More Raw Stuff also implies, this album is just Ray, his guitar, and a microphone cut open with a little bit of reverb. This approach will be a little too raw for some, and my sense when listening to this record is that Ray’s vocals could have been balanced with the guitar a little bit better, and his vocals a little more clear. But this album is about the art of the song, and the stripped-down approach of the recordings facilitate that focus. Ray and others who prefer this simple method to album making would probably benefit from taking the time to produce a more fleshed out sound. But a basic recording is better than none, and the bigger imperative was to get Ray’s songs to our ears and make them a matter of public record.
Country songwriting doesn’t get much better than Ray Lawrence’s “Piece of Paper.” If it wasn’t for Ray’s humble nature, you’d swear he was showboating in how he can take a common article and use it to articulate such an acute sense of heartbreak. “A Time That I Loved In Vain” has a real classic, timeless feel, and though you don’t think of Ray as an ace singer, his voice hits a sweet, soulful spot in “The Right Time To Leave You.” “Dicken’s Cider” and it’s alternate meaning is another masterful display of Ray’s wit, and though overall this is an album of heartbreak, there is an underlying sense of hope in many of the songs, especially in “Another Wedding Vow.”
The approach may be simple, and the music may be raw, but Ray is now two for two in proving he deserved the greater recognition Hank3 bestowed him, and worthy of a wider ear than what his local bar can tender. Ray Lawrence Jr. is America’s local honky tonk singer.
1 3/4 of 2 guns up.
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The long-rumored, long-awaited Hank Williams III / David Allan Coe collaboration may finally be in the offing. The song called “The Outlaw Way” was recorded early last year at Hank3′s home studio in east Nashville when David Allan Coe was in town. Hank3 first spoke about the collaboration in a live chat last February, when a fan asked if he would ever participate in a remake of the famous Hank Williams Jr. / Waylon Jennings duet “The Conversation.”
Well me and David Allan Coe have taken on that, and it will be coming out in about another two months or so. That’s just one of those songs that no matter who did it, it will never be the same, it will never be as cool as it was. It was a really special song for Hank Jr. and Waylon. Who knows what will happen in the future, but what David Allan Coe and me did will be the closest thing to something like that.
Hank3 also mentioned the project a month later when talking to The Entertainment Nexus.
Yeah, we’re getting ready to have that come out here soon. It’s just making sure that everything is correct like it always has been… on a good relationship with him. The song will be coming out soon and it’s an honor to be able to work with David again. He’s like a grandfather to me as far as advice and saying hey and all that good stuff. We’ve got a song called ‘The Outlaw Way” that’ll be coming into play before we know it and I’m looking forward to that.
Since then there’s been no word on “The Outlaw Way” but numerous bits of unconfirmed chatter over the last few days has the song being released in a limited-edition 2,000-run vinyl format, with the song also being made available for download.
This wouldn’t be the first time David Allan Coe and Hank3 appeared in the same song. The pair traded off vocal duties in the song “Get Outta My Life” from the Pantera / David Allan Coe, metal / country fusion project Rebel Meets Rebel.
Saving Country Music started in the spring of 2008 as an organization called “Free Hank III” meant to help Hank Williams III who was suffering at the time from the repressive business practices of Mike Curb and Curb Records. From its inception, many perceived Free Hank III as a bunch of foul-mouthed yobs attempting to prop up a punk artist by over-zealously portraying Curb’s deceptive and dangerous business practices.
Now Mike Curb’s repressive stance towards artists and his sharky dealings with other labels is a given amongst the informed country music community, with his latest ploy being the release of a duets album from Tim McGraw two weeks before the former Curb artist is slated to make his debut on Big Machine Records.
But Hank3 and Tim McGraw are just the tip of the iceberg when it comes to Mike Curb’s draconian business dealings. Mike Curb’s rap sheet is long, so let’s take look at some of the most memorable Mike Curb wrong steps over the years.
Mike Curb Fires Frank Zappa
Mike Curb started his first record label Sidewalk Records in 1963 when he was 18. In 1969, Sidewalk merged with the ailing MGM Records, giving Mike a 20% stake in MGM and appointing him president. One of Curb’s first orders of business was to fire any artist that he felt advocated drug use, including Frank Zappa and the Velvet Underground. However neither Frank Zappa nor his music promoted drugs. He was one of the few clean artists in southern California in the late 60′s, often referring to drug users as “assholes in action.”
Mike Curb Abuses Political Power, Pisses off California Gov. Jerry Brown
After working on the political campaigns for Ronald Reagan and Gerald Ford in the late 70′s, Mike Curb decided to enter politics and ran for Lieutenant Governor in 1978, winning despite no political experience and not even regularly voting in elections. While then California Governor Jerry Brown was out of the state running for President, Mike Curb used his executive powers to fiat through legislation and judicial appointments that Jerry Brown flatly disapproved of. Curb signed anti-crime legislation and appointed a controversial, ultra-conservative judge to the influential California Court of Appeals. Jerry Brown was a liberal Democrat, and had to rush back to California to rescind Curb’s actions. Mike Curb became so controversial, the California legislature created the “Judicial Nominees Evaluation Commission” to keep Mike from making any new judicial appointments. The Sacramento Bee editorialized that Mike “tried to take advantage of [the] situation by making a controversial judicial appointment, but mostly succeeded in making an ass of himself.”
Mike Curb ran for Governor later, and lost.
Mike Curb vs. The Beat Farmers
Way before Mike Curb would bombard the country music public with incessant “Greatest Hits” releases from Tim McGraw (see below), or release albums with out the consent or knowledge of Leann Rimes (see below), he would pull the same stunts with San Diego’s offbeat country rock outfit The Beat Farmers. Signing a 7 album deal with Curb in 1986, the band first got sideways with the label when they found out Mike Curb authorized the release of a live album Loud and Plowed…And Live!! without the bands knowledge or consent. Then in 1993, after the band signed to Sector 2 Records in Austin, TX, Curb released Best of the Beat Farmers without the band’s knowledge or consent. The release nearly coincided with the band’s release of the album Manifold on their new label.
Mike Curb vs. MCA over “How Do I Live” Single
No, Big Machine was not the first label to be in a competing radio war with Mike Curb. That distinction falls to MCA. In 1997, MCA wanted to record the song “How Do I Live” for the soundtrack of the movie Con Air. LeAnn Rimes and Trisha Yearwood were the two artists tapped to contribute versions of the song, with Yearwood’s version eventually winning out because LeAnn Rimes’ voice was considered “too young” and her version “too pop.” When MCA released the Yearwood version on May 27th, 1997, Mike Curb in retaliation released Rimes’ version on the same exact day–a total contradiction of one of Music Row’s most hard and fast unwritten rules. Rimes was a Curb artist, and Mike Curb had a long-standing beef with MCA. The result? Neither version ended up making it on the soundtrack. Yearwood’s version did well on the country chart while LeAnne’s version stalled. So Mike Curb released LeAnne’s version to pop radio, where it set a record 69 weeks on the Billboard Hot 100.
Mike Curb Releases Ill-Conceived LeAnn Rimes Album I Need You
LeAnn Rimes was also in the middle of Mike Curb’s first major record dispute. In 2001, Rimes was working heavily on the movie Coyote Ugly, both playing herself in the film and contributing to the soundtrack. Instead of the current Curb practice of delaying the release of albums to keep artists under contract indefinitely, Curb had a stipulation that LeAnn Rimes had to release at least one album per year. Since LeAnn hadn’t recorded an album yet in 2001, Curb cobbled together various B sides and alternate versions to songs and released it as an album called I Need You. Curb then booked LeAnn on a nationwide tour to promote an album neither LeAnn nor her management being asked for permission to make or even notified about until right before the release. So LeAnn decided to fight fire with fire, using the nationwide tour to instead let the public know she did not support the release, including a very public admonishment of I Need You on The Tonight Show with Jay Leno.
Hank Williams III’s This Ain’t Country & Thrown Out of the Bar
Hank3′s entire 14-year career with Curb Records was filled with tumoil. The first major conflict arose over an album called This Ain’t Country. Hank3 turned it into Curb, just to have Mike Curb deem it was not fit for release. Curb shelved the album, and then released it after Shelton left the label and after he’d fulfilled his contractual obligation for the number of releases. It was a way for Curb to squeeze another album out of Hank3′s contract, the same move Mike Curb attempted with Tim McGraw’s Emotional Traffic.
Hank3′s 3rd album Thrown Out of the Bar was slated to be released in late 2004, but Curb refused to issue it. This prompted Hank3 to start a “Fuck Curb” campaign that included T-Shirts, stickers, and the words “Fuck Curb” written prominently on Hank3′s guitar. Hank3 also took Curb to court, and like so many other artists with Mike Curb grievances, the court found in favor of Hank3 and made Curb issue the album that was later reworked into the album Straight to Hell. Curb also delayed the release of Hank3′s 4th album Damn Right, Rebel Proud for undetermined reasons, and since Hank had signed a non-defamation clause to his contract to get Straight to Hell released, he couldn’t even speak out against Curb’s actions.
Mike Curb Loses Long-Time Friend Hank Jr.
When Hank Williams III was born, there were two men in the hospital: Hank Williams Jr. and Mike Curb. For years Mike and Hank Jr. were very good friends and close confidants, until once again Mike’s oppressive business practices got in the way. In July of 2009, Hank Jr. announced his album 127 Rose Ave. would be his last with Curb after a 25 year partnership, and he did so with some choice words. ““You want to know the bottom line? This is my last album, and he’s (Mike Curb) history. . . We will move onward and upward, You just wait. We’ll have a lot to talk about. I’ve had some recording ideas that they didn’t care for. Well, there’s a lot of other labels that do care about it. We’re going to get off this old, dead sinking ship.”
By losing both Hank Jr. and Hank3, Mike Curb had officially squandered the Williams family legacy.
Mike Curb Jobs Jo Dee Messina
Jo Dee Messina signed with Curb as a teenager and released 3 albums in the first 4 years of her contract. But then Mike Curb, like he’s done with so many of his artists, put the brakes on Messina’s output. Her last full-length release was 8 years ago, 2005′s Delicious Surprise. In the fall of 2006 she recorded the album Unmistakable that was originally scheduled to be released on November 6th, 2007. But Curb shelved the album, slowly releasing a number of singles from it in 2008 and 2009, but waiting 3 years after the album’s original release date to make it public, and then it was released it as an “EP Trilogy” with two of the extended plays only made available in MP3 format. ““For me, my fans just want to hear the music,” Jo Dee says. “They just want to be able to get it. And it’s been such a struggle for the last… eighteen years. I signed when I got out of high school. So for eighteen years I’ve been just kind of struggling with the label and having them release stuff or not release stuff.”
In December 2012 Messina became the latest artist to finally be released from her Curb contract.
Mike Curb Ticks Off Tim McGraw
Of all of Mike Curb’s transgressions over the years, his treatment of Tim McGraw must be the most comical, unless you’re Tim McGraw and his fans. Mike Curb released no less than 7 “Greatest Hits” compilations as a filibustering tactic to keep McGraw on the label indefinitely. This was followed by a protracted legal battle over his album Emotional Traffic that the courts finally ruled was McGraw’s final album on Curb, even though Mike Curb insisted Tim owed him yet another. And then when Tim went to release his first post-Curb album, Mike reared his ugly head again by licensing material from other labels and releasing a duets album two weeks before Tim’s Big Machine Records debut.
And this doesn’t take into account the countless other grievances artist and music entities have had with Mike Curb and Curb Records over the years. Lyle Lovett, a 20-year Curb prisoner, entitled his final album with the label Release Me with an image of himself tied up on the cover, symbolizing the binds of his Curb stint. Clay Walker also had public issues with Curb and how the label releases music, or doesen’t. His album She Won’t Be Lonely Long was released both as a full length, and an EP, both with two completely different track lists. “There can only be one boss,” Clay said, “and we know who that is.”
The last artist to leave Curb Records, please turn the lights out.
Marty Stuart is the man. More so than any other modern country music artist, Marty does everything right, from preserving the roots of country and helping to keep the traditions alive, to putting out fresh, fun, and relevant music, to taking up the cause of the oldtimers and the up-and-comers alike to keep the country music community both honorable and vibrant. You name it, Marty has done it, and done it many times away from the cameras and country writers, simply from a passion for country music, and from the kindness of his heart.
Marty Stuart breathes country music, and helps preserve it and pay it forward almost as if it was an involuntary action. He doesn’t know how to do anything different. The man is tireless, touring many months out of the year, and spending the majority of his time when home in Nashville on his Marty Stuart Show or playing the Grand Ole Opry, or other endeavors that many times seem to be about promotion someone other than himself. The amount of talent he has churning through the Marty Stuart Show set alone is boggling, and it is about the only place left in American popular media where you can see what real country entertainment once was.
You know, I’ve heard some folks say that Marty is “hokey,” probably partly in response to his RFD-TV Show. I’ve heard others remark that he’s just plain weird, maybe from his flamboyant hairdo or dress. What’s funny though is when it comes to Marty Stuart’s music, all of that stuff seems so superfluous. His recent output is responsible for some of the hardest-charging guitar music that exists in country right now, walking right up near the line of rock & roll, but cleverly knowing where not to cross it. The magic Marty is making with “Cousin” Kenny Vaughan and the double-barreled Telecaster twang-out sound is something that will go down in the annals of country music as one of its coolest eras.
Marty Stuart also has excellent ballads and beautiful instrumentals and traditionals that include some of the tightest musicianship and harmonies you will find, mostly the fault of his excellent band The Fabulous Superlatives. From gospel to Outlaw, Marty Stuart can work within all of country music’s colors, and practice the art of playing and living authentic country music that he preaches. As Marty says, “The most Outlaw thing you can do in Nashville right now is play country music.”
One thing that many folks don’t know about Marty Stuart is that he owns a vast archive of country music memorabilia, and not from a personal desire to horde expensive valuables, but a sincere desire to preserve these artifacts for future generations of country fandom.
I’ve heard many stories about Marty’s generosity from other artists over the years, but the one that sticks with me most was from 90-year-old Don Maddox, the last surviving member of the Maddox Brothers & Rose. When Don flew out from the West Coast to be a part of the opening of the Bakersfield Sound exhibit at the Country Music Hall of Fame, Marty acted as Don Maddox’s personal tour guide in Nashville, taking him to see the Maddox Brothers costumes Marty gobbled up years ago for safe keeping (some of which were given to the Hall of Fame for the Bakersfield exhibit), inviting Don to play with him on The Grand Ole Opry, and putting him on The Marty Stuart Show.
Marty’s generosity stretches out to all sectors of real country music, to up-and-coming acts like The Quebe Sisters and Justin Townes Earle that he’s invited on his TV show, to Hank Williams III who appears on a duet on Marty’s latest album Nashville Vol. 1 – Tear The Woodpile Down.
And in the end, Marty Stuart’s music is the reason he deserves this honor the most. The reason Marty is in a position to do all the great things that he does is because he is so revered by his peers, by country music’s historic institutions, and by the overall country music community.
Simply put, Marty Stuart is saving country music.
The King of Juke Joint Swing, The Viper of Melody, one Wayne “The Train” Hancock will be releasing his first album in nearly 3 years on February 26th called Ride through Bloodshot Records.
“Well folks just wanted to let ya know I’m now a Double A Daddy (means I’m clean and sober),” Hancock announced on Saturday (1-4), referencing one of the signature songs from his first album Thunderstorms & Neon Signs. “Starting the New Year off with a new attitude! We got the new album coming out in Feb. and tours to follow. See ya all down the road.”
UPDATE: The title track and first single from ride has just been released! Listen below.
And that’s not the only new Wayne Hancock album out. On the day after Christmas, Bloodshot Records released Choice Cuts: Best of Wayne Hancock as part of the label’s digital-only series meant to give new fans an easy way to catch up on an artist, or old fans the ability to find an artist’s best songs in one place. Wayne’s Best Of also includes a rare duet track of his hit “Juke Joint Jumping” featuring Hank Williams III. Previously the track was only available on Bloodshot’s For A Decade of Sin compilation released in 2005.
Hancock has had substance and alcohol issues in the past. In June of 2011, Wayne entered rehab to help with his “long-term fight with addiction.” But hopefully Wayne is on the right track now, and as the saying goes, THE TRAIN WILL ROLL ON.
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