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Have you ever heard of Justin Guarini? How about Diana DeGarmo? Blake Lewis, anybody? Or how about Lee DeWyze? Does Dia Frampton ring a bell with anyone? Anyone?
Dia Frampton was a contestant on the inaugural season of NBC’s reality singing contest The Voice. Frampton, like all of the other names listed above, was either a runner up, or a winner of either The Voice or American Idol. And there’s an infinite list of other indistinguishable names from where these names came from: singers that reached the very heights of reality show competition, only to fade back into the unknown masses once the next season kicked off. Reality singing show nerds might be laughing at me right now, knowing all of these names, and the styles and stats of each artist. And so maybe to them, I’m the one who needs to fade back into the unknown masses. But even those people should hang with me for just a second more.
Not to pick on poor Dia Frampton, but let’s just take a look back at what happened to her after she made it onto The Voice finale, and almost won. In December of 2011, Dia released an album called Red through Universal Republic Records. How did the album do? It reached a peak of #106 on the Billboard charts. The album’s lone single “The Broken Ones” didn’t chart at all. But in reality, that’s not bad compared to the actual Season 1 winner of The Voice, Javier Colon. His album peaked at #134 on the Billboard charts. In fact Javier, who had his own successful music career before The Voice, released an album way back in 2003 that made it to #91 on Billboard—43 spots better than the album contracted to him after his big reality show win.
Of course for all these types of anecdotal stories about reality show winners, there are success stories such as Kelly Clarkson and Carrie Underwood, Jennifer Hudson, and to a lesser extent, artists like Kellie Pickler and Scotty McCreery. But many of these big stars came from the first few seasons of American Idol, while many other finalists and winners have completely dropped off the map or have taken to starring in other reality show competitions, or reprising B-level acting roles to attempt to keep the momentum of their big reality show win rolling.
And this brings us to the matter of the young, fresh-faced finalist on The Voice, Jake Worthington. Jake finished 2nd and has captured the hearts and imaginations of many traditional country fans by wearing a big cowboy hat, and singing Keith Whitley songs on the show every chance he got, along with songs from Waylon Jennings, Hank Williams Jr., and others throughout the competition. Hey, that’s great. Great for this kid, and great that good, real country music is being exposed to the masses through him. But how many times have we been through this exercise with one of these reality show contestants, wondering if they are the ones that will rise out of the unclean masses to save country music with big reality show exposure?
I’m not saying it couldn’t happen. Jake Worthington seems like a really good kid, and good on Blake Shelton for shepherding him to the top level of the competition, and doing so while letting him keep his voice and style instead of swaying him in a more pop direction. But the reason that The ‘X’ Factor was canceled, the reason that American Idol has seen dramatically-declining ratings, and The Voice has remained stagnant, is because these competitions cannot consistently deliver winners that truly are American Idols, or that truly define “The Voice” of a generation.
Producers try to shake up the production, they shove more star power into these shows than the viewer can compute. ABC, despite the writing on the wall that with so many of these singing shows, they’re cannibalizing each other, is still starting their own competition come next season. But these shows are not delivering on their promise to the American public of delivering stars that they will then see selling out arenas, and performing on the Grammy Awards. That is why the singing reality show model is losing steam.
Opportunity is only what you make of it, and regardless of what the marketeers of these shows try to sell you on, the simple fact is nobody has the power to anoint a star. The winners themselves must still rise to find themselves, must still figure out a way to connect with the public at large. Some stars have done this like Carrie Underwood. Many haven’t like Javier Colon.
Let’s not overlook that it says a lot about the appeal of traditional country music that an artist like Jake Worthington even made it as far as the finals of The Voice. Everywhere you turn there’s people preaching to you that nobody wants to hear traditional country anymore, and it can be argued that Jake Worthington’s coach, Blake Shelton, has been one of the loudest champions of this sentiment. But whether it is Shelton changing course by seeing the blossoming of Jake Worthington right before his eyes, or the American public letting their voice be known by voting for Worthington, George Strait winning Entertainer of the Year at both the CMA and ACM Awards this last year, or even the recent announcement that Big Machine Records is partnering with Cumulus to reintegrate classic country artists into the fold, everywhere where traditional country is given a chance, it proves that it’s appeal and resonance with the American people is not on the wane as many would have you believe.
And don’t discount Mr. Worthington just because his path led through a reality show. At this point, with artists like Dan+Shay being nominated for awards before they’ve even released an album, and previous reality show contestants like Kellie Pickler putting out albums like 100 Proof that end up becoming the best country music has to offer in a given year, the most important question to ask is not where the artist came from, but what they accomplish with the opportunity they’ve been given.
Jake Worthington’s success, and the renewed interest in traditional country that might bestow, has much less to do with The Voice and where he placed, and much more to do with Jake Worthington, and if he has the stuff to speak to people’s hearts, and the guts to stick to who he is as an artist.
Our job is to help him.
Country music isn’t just a genre of music, it is a musical religion, a way of life, a cultural lineage passed down from generation to generation and preserved through the blood and bond of its performers and fans. That’s why it seems country music performers so very often tend to turn out to be the parents of country music performers themselves.
Let’s take a look at some of country music’s greatest sons and daughters.
Justin Townes Earle
Son of alt-country pioneer Steve Earle, and middle namesake of the man who was good friends with his father and considered one of the greatest songwriters ever, Justin Townes Earle has spent the last seven or so years trying to live up to the lofty expectations of both names, and has done so valiantly. Releasing a startling debut EP in 2007 called Yuma, Earle and his obsession with the craft of songwriting have led to critical success for the five albums he’s released through Bloodshot Records. Considered by many as one of the biggest names in the new generation of alt-country/Americana performers, Justin has done it not by being a chip off the old block, but by forging his own path.
Justin’s relationship with his father has been rocky over the years. Steve Earle left Justin and his mother when Justin was just 2-year-old, and the younger Earle had a tumultuous, troubled, and at times, drug-fueled childhood. But he has soldiered on to carry a name all his own.
The son of Willie Nelson’s long-time guitarist Jody Payne and Grammy Award-winning country music singer Sammi Smith, Waylon is named after his Godfather, Waylon Jennings. Raised by his aunt and uncle due to his parents’ heavy touring schedules, Payne attended seminary after high school and was on track to become a minister before catching the music bug. For a while Payne was part of the popular Eastbound and Down country night at the King King Club in Hollywood where performers would swap classic country songs. Payne later released the album The Drifter in 2004 through Republic Universal.
Music isn’t Waylon Payne’s only creative calling though. He may be known more as an actor than a musician. In the award-winning Johnny Cash film I Walk The Line, Payne played Jerry Lee Lewis. He also played country great Hank Garland in a small film called Crazy, along with making numerous television appearances, including on CSI: Crime Scene Investigation.
Hank Williams III (or Hank3)Â
The grandson of Hank Williams and the son of Hank Jr., if there was ever a spitting image of country music’s first superstar, it would be him. He not only carries the visage and build of Hank Sr., but also the voice and writing style when he wants to go in that direction. The youngest Hank though has a hankering to delve into the wild side of music as well, and has released multiple punk albums during his career that has now stretched into two decades.
Hank3 started out playing drums and guitar in underground punk bands, with no real drive to be a part of the country music machine. But when a paternity suit put him in court, he decided to sign with Curb Records, and entered into a tumultuous period with the label that at the least resulted in multiple landmark records, including the neo-traditional country stalwart Lovesick, Broke, & Driftin’, and his double album opus Straight to Hell. Hank3 is now an independent artist, and carries on the family tradition of doing the music he wants and defying expectation.
The granddaughter of Hank Williams, daughter of Hank Jr., and half sister of Hank Williams III has had a somewhat strange musical journey, but one that has seen her bloom recently to become one of the leading females in country/Americana, keeping the music true to its roots while moving it forward.
Holly’s early career saw her sign to major labels like Universal South and Mercury Nashville, trying to break into the big time, but always seemingly with one foot in, and one foot out of that mainstream approach to music. She was also seriously injured in a near fatal crash in 2006 along with her sister Hilary who also is a performer. Then in February of 2013, Holly released The Highway independently, and since then has become a critical darling and a live performer not to miss. Though there were some that at times wondered if Holly was just a famous name, she’s proven recently that she’s so much more.
The son of Merle Haggard and an official member of Merle’s legendary backing band The Strangers, Ben is a chip off the old block when it comes to slinging Telecasters and perfecting the West Coast, twangy Bakersfield tradition of loud and electric country music. Patterned in the mold of the pioneer of the craft, the under-appreciated Roy Nichols, Ben can be seen plying his craft and staring at the back of his father on any given night out on the road. This isn’t just your usual slot filled by a family member on stage. Ben’s skills are regarded by his musician peers as being standalone from any famous name.
The only child of Waylon Jennings and Jessi Coulter, Shooter started his musical journey in the rock band Stargunn before signing with Universal South in 2005 and releasing his first country record, Put The ‘O’ Back In Country. He subsequently released two more country records infused with some Southern rock & roll before putting out his rock opus, the experimental album Black Ribbons. Shooter re-established his country roots with the 2012 album Family Man, followed up by 2013′s The Other Life.
Like many of country music’s famous sons and daughters, Shooter Jennings marches to his own drum, but always seems to come back to the country music fold.
Jubal Lee Young
Son of legendary Outlaw country songwriter and performer Steve Young (Lonesome, Onry & Mean, Seven Bridges Road), and songwriter Terrye Newkirk, Jubal Lee Young from Muskogee, Oklahoma put out an album in 2011 called Take It Home that included the song “There Ain’t No Outlaws Any More” that loudly proclaims, “Here comes another badass sellinâ Nashville rock and roll, long hair, denim and tattoos, lookinâ onâry and mean. Singinâ songs about that lonesome road, some of âem might even be true. But there ainât no outlaws anymoreâŚ”
Hank Williams Jr.
The most obvious and most successful of country music’s greatest sons, Hank Williams Jr. is very likely a future country music Hall of Famer, and has won multiple CMA Entertainer of the Year Awards and sold millions of albums. He started out his career as a virtual impersonator of his famous father, but rebelled against this preordained future to become so much more. Hank Jr. took a precipitous fall off of Ajax Mountain in Montana in 1975, landing on his face, and having to go through multiple surgeries before he could return to performing. And when he did, he quickly became known as “Rockin’” Randall Hank as he emerged with a sound that was just as much Southern rock as country.
In the mid 80′s, Hank Williams Jr. was one of country’s biggest stars, and now sits as a legend in the genre. He also is responsible for two other famous country offspring: Hank Williams III and Holly Williams, and a 2nd daughter Hilary Williams has also been a performer.
The only daughter of the country music super pairing of George Jones and Tammy Wynette, Georgette was said to have a recording contract on the day she was born. She recorded her first song at the ripe age of ten with her dad called “Daddy Come Home.” From there Georgette began singing backup for her mom, and she has gone on to become an accomplished songwriter and solo performer herself. Georgette has released numerous albums, including three for Heart of Texas Records. Her latest album Til I Can Make It On My Own is a tribute to her mother.
Georgette also appeared in the TV Series Sordid Lives and recorded numerous songs for the soundtrack, including Tammy Wynette tunes. She also recently released a memoir called The Three of Us: Growing Up with Tammy and George, Georgette Jones.
Daughter of David Allan Coe, Shelli was born in Nashville and raised in Austin, and appeared at the tender age of 3-years-old on her father’s Family Album project. She later worked as a backup singer for her father before landing in Branson, MO for a while where she performed in clubs, collaborated with other songwriters and appeared on the album Branson Songwriters Out in the Streets. Shelli subsequently returned to Austin where she is known to perform off and on. Her first full-length CD A Girl Like Me was released in 2010, and is worth a listen for folks that like traditional country music.
Surrounded by a bevy of musical siblings and one awfully famous father, the argument can be made that Lukas was the Willie offspring that received the most potent douse of Willie’s musical genes, and has a powerful voice to match his father’s. A dynamic, top-flight performer with a sound that trends much closer to rock than country, but still has an earthy, rootsy feel nonetheless, Lukas is on a fast track to becoming a superstar all his own.
From his towering leg kicks, to playing the guitar with his teeth, at only 23-years-old, Lukas could already be crowned as a guitar god. Leading his band The Promise of the Real, they’ve made waves in the music world on big tours. About the only thing holding the young star back is that rock music is in a weird spot right now, and guitar blazers are not what the masses are particularly looking for. But like his father, Lukas is not worried about anything but following his heart, and he promises to have a very bright future ahead of him with a tower of talent to draw from.
Son of Outlaw country legend Billy Joe Shaver, Eddie Shaver was one of the best country music guitar shredders to ever take the stage. Aside from being his fatherâs right hand man for many years, Eddie Shaver studied under Dickey Betts of The Allman Brothers, played with Willie Nelson, Waylon Jennings, Kris Kristofferson, Guy Clark, The Eagles, and was Dwight Yoakamâs guitar player for the first two years of Dwight’s career.
Itâs only because of Eddieâs untimely death that heâs not better known. He was scheduled to release his first solo album in 2001 when he died of a heroin overdose on New Years Eve of 2000. Though Billy Joe Shaver is known most for his songwriting, and Eddie as a guitar slinger, it only takes a glimpse at either to see that the musical talent runs very deep with the Shaver clan.
Though one might first think of June Carter as more of a mother of famous country artists instead of a daughter of them, June Carter is arguably the first daughter of country music. Her mother is “Mother” Maybelle Carter, given her nickname for being the mother of her performing daughters, and arguably the mother of country music. June began performing at the age of ten in 1939 as part of the landmark country outfit The Carter Family. It was through their mutual love of country music that she would eventually meet and fall in love with Johnny Cash, and the two went on to be one of country music’s powerhouse couples. June Carter was a muti-instrumentalist with a classic voice, and defines the nexus between country music’s primitive, classic, and modern eras.
It can be easy to overlook just what kind of impact Rosanne Cash has had on American music over the years. She seems to always be overshadowed by her father, by other famous sons and daughters of country legends, measured against them, and dogged by preceding labels that donât always allow her to be judged on her own merit, while her musical accomplishments veer towards being somewhat misunderstood because sheâs not always been nestled smack dab in the country realm as people want, expect, or anticipate.
But Rosanneâs critical and commercial accomplishments are far more than complimentary, they define a very successful career: Eleven #1 country singles, twenty-one Top 40 singles, and thirteen Grammy nominations is nothing to sniff at, and ultimately might at least get her mentions as a potential Hall of Fame inductee.
The only offspring between the country music super marriage of Johnny Cash and June Carter, John Carter Cash has spent his time as a singer and performer, but many of his important contributions to country music have come behind-the-scenes as a producer, songwriter, author, and general champion of the Cash estate and all things country music. It’s remarkable how many places you see John Carter’s name attached to projects as his puts effort out to make music happen in whatever capacity he can help in. Like his father, he has that selfless streak of service that surfaces in some of the most generous and cool ways.
Bobby Bare Jr.
Born in Nashville, TN to the original Outlaw Bobby Bare, Bobby Bare Jr. grew up next door to Tammy Wynette and George Jones in Hendersonville, and was nominated for a Grammy next to his father for the Shel Silverstein-written song “Daddy What If” from his father’s tribute album to Silverstein. Fronting roots rock bands like “Bare Jr.” and “Young Criminals Starvation League”, Bare’s career has been the result of avoiding “working a real job at any cost,” despite earning a psychology degree from the University of Tenessee, and not really getting deep into his own music until later in life. His high energy on stage and dark sarcasm in his songs have won him fans worldwide.
Other Famous Sons & Daughters:
Pam Tillis – 1994 CMA Female Vocalist of the Year, and daughter of country great Mel Tillis
The Carter Family Daughters – Carlene Carter, Helen Carter, Anita Carter, Rosie Nix Adams.
Jett Williams – Daughter of Hank Williams that found out about her famous father later in life. Jett has been a performer and plays an important role as one of the executors of the Hank Williams estate.
Jesse Keith Whitley – Son of Lorrie Morgan and Keith Whitley
Marty Haggard, Noel Haggard, and Scott Haggard- More performing sons of Merle.
Dean Miller – Son of Roger Miller
Lilly Hiatt – Daughter of John Hiatt
Chelsea Crowell – Daughter of Rosanne Cash and Rodney Crowell
Paula Nelson – Leader of The Paul Nelson Band.
Tyler Mahan Coe – Guitar player and writer who spent years touring in his father’s band.
Folk Uke – Made up Willie Nelson’s daughter Amy, and Arlo Guthrie’s daughter Cathy.
Whey Jennings – The son of Terry Jennings, and grandson of Waylon Jennings.
Lucas Hubbard – Son of Ray Wylie Hubbard who often plays lead guitar with his father.
Lucky Tubb – Not technically a son or daughter, but a great nephew of Ernest.
Bluegrass – There are many performing sons and daughters of famous bluegrass musicians, but for fear of forgetting some and getting yelled at for it, this sentence is in dedication to them all. You rock! Or pick, or strum, or pluck! Go YOU!
Tuesday was the release of Jerrod Niemann’s dumb new album High Noon, and before we’ve even had a chance to really delve into just how much of a mockery it makes of country music, Niemann’s already out there on the defensive, preaching to us how country “purists” really don’t know what the hell country music is all about, and how he’s just carrying on the traditions of Willie and Waylon by pushing the boundaries of the genre.
High Noon‘s first single “Drink To That All Night” drove country more in the direction of EDM than ever before, to the point where I’m not sure what’s country about it aside from the stupid, formulaic, country stereotyping lyrics. The second single from the album called “Donkey” promises to take this trend to a place many shades worse, and very well might go down as the worst song in the history of country music in this bear’s opinion—but that’s another story. A further perusing of High Noon‘s wares shows a lackluster effort of EDM and hip hop pandering veering towards a pop wasteland with little redeeming value afforded to distressed ears searching for any single reason why it shouldn’t be considered any more than some EDM/country mashup side project instead of a premier solo effort from an established country artist.
But that hasn’t stooped Jerrod Niemann from naming himself amidst country music’s Outlaw pioneers.
“When people think about country music, and they use the term ‘Traditional Country,’ they’re talking about something that has happened in the past,” Niemann tells Billboard. “But, when those songs were out currently, they were the freshest thing on the radio. Nobody was saying ‘Let’s go record traditional country.’ They just wanted to record music that meant something to them. Willie and Waylon were getting flack for being progressive at the time because they were mixing it with rock and the outlaw thing.”
Sorry Niemann, but that’s bullshit. Were there some voices saying that Willie and Waylon were pushing the boundaries of country music too far back in the day? Sure there were, and Saving Country Music has pointed this out before as well. But…
1) This had just as much to do with the fear people had of Willie and Waylon because they were shaking up the established Music Row system as it had anything to do with their music.
2) Willie & Waylon’s new take on country music was nowhere near outside the boundaries of country compared to what some artists are doing today. The musical equivalent to High Noon if Willie and Waylon would have done it would have been to cut straight up Disco records with country lyricism and called it country—and then thrown it back into the faces of critics before they even had a chance to raise a peep because Hank Williams was criticized too.
3) Oh an sorry Jerrod, but yes, Waylon and Willie did say, “Let’s go record traditional country.”
For example: What was Willie Nelson’s breakout album during the mid 70′s Outlaw era? Red Headed Stranger—the consensus pick by critics as the greatest country album of all time. What was the biggest single off of Red Headed Stranger, and really the only single of note from the album? It was a song called “Blue Eyes Crying in the Rain.”
“Blue Eyes Crying in the Rain” was a traditional country standard when Willie cut it. The song was written by Fred Rose, originally recorded by Roy Acuff in 1945—30 years before the release of Red Headed Stranger. It was also cut by Hank Williams in 1951, Ferlin Husky and Slim Whitman in 1959, and Bill Anderson in 1962 among others. Red Headed Stranger also had other classic country songs such as Eddy Arnold’s “I Couldn’t Believe It Was True” and a hymn called “Just As I Am” that get this Jerrod Niemann, was written in 1835, making it over 140 years old when Willie cut it. So saying that Willie didn’t say, “‘Let’s go record traditional country,” is completely bogus. One can make the argument that’s exactly what Willie said, and it resulted in arguably country music’s greatest contemporary work.
Meanwhile Waylon may have had a touch more rock in his sound compared to Willie or his other country artists of the time, but the backbone of his music was the steel guitar of country veteran Ralph Mooney, and Waylon was cutting songs like “Are You Sure Hank Done It This Way?” and “Bob Wills Is Still The King” that paid homage to traditional country greats. Then take a look at the lineup of The Dripping Springs Reunion—the gathering that arguably put the power of Willie and Waylon on the map. It included Bill Monroe, Buck Owens, Loretta Lynn, and other aging country greats that at the time were being forgotten by Music Row. Even as Willie and Waylon were rising in prominence, they were paying homage to the ones that came before them.
“I’ve always tried to respectfully add a few elements here and there,” Niemann tells Billboard. Are you kidding me? “Drink To That All Night,” Donkey,” and other offerings from Niemann’s High Noon aren’t respectful to anything but his label’s bottom line. Take a look at this video and tell me the non-country elements are just “here and there”:
The problem with Jerrod Niemann, the reason he’s even worse than many of his current pop country cohorts is because he knows better. I have no doubt Florida Georgia Line grew up listening to mixtapes with Hank Williams Jr. on one side, and Drake on the other. To Taylor Swift, Tim McGraw and Shania Twain are classic country. But Jerrod Niemann is 34-years-old. He’s not trying to push limits, this is last ditch effort to get attention from the industry in a no hold’s barred, sellout move to secure his share of the fortune being made off the destruction of country music. And no matter how much he wants to be in front of this issue, how much he preaches falsehoods about how country music once was, he’s simply a sellout in a woman’s Ross Dress For Less discount bin hat—and certainly no progeny of Willie or Waylon.
Jett Williams, the daughter of country legend Hank Williams Sr. and the half-sister of Hank Williams Jr., was arrested early Tuesday morning for DUI in Lebanon, Tennessee. The 61-year-old Jett Williams Adkinson was observed by Lebanon police swerving in between lanes in a 1998 Jaguar when police pulled her over at 2:30 AM. According to police, Jett smelled of alcohol, and had slurred speech and admitted to drinking two beers. She failed a field sobriety test, and was arrested.
Williams was also cited for not wearing a seat belt and for no proof of insurance. She was later released from the Wilson County Jail on $1,000 bond. According to police, her current address is Hartsville, TN, just north and east of Lebanon.
Jett is a country music performer and the co-executor of the Hank Williams estate. She is the daughter of Hank Williams Sr. and Bobby Jett, who Hank had a brief relationship with between his two marriages. She was born five days after Hank’s death, and was adopted by Hank’s mother, Lillian Stone after her birth. When Lillian passed away in 1955, Jett became a ward of the state before being adopted, and lost touch with her Hank Williams lineage. In 1985, she was found by the Alabama State Court to be the daughter of Hank Williams, and was awarded a half-share of the estate. Jett’s husband, lawyer Keith Adkinson, died in June of 2013.
George Jones. The Possum. Possibly the man whose life and story embody the themes of a country song better than anyone. From rags to riches, back to rags, and eventually onto rehabilitation and redemption, George Jones was a man that faced demons more fierce than any of us can imagine, and eventually came out on top. Was he a badass? You bet, and here’s 10 reasons why.
- 10 Badass Willie Nelson Moments
- 10 Badass Waylon Jennings Moments
- 10 Badass Johnny Cash Moments
- 10 Badass Hank3 Moments
- 10 Badass Merle Haggard Moments
- 10 Badass Marty Stuart Moments
1. Flipping the Dinner Table at Tammy Wynette’s House
Before George and Tammy were married, George went over to Tammy’s house one night to have dinner with her and her then husband, songwriter Don Chapel. George knew Tammy through their mutual booking agent. While fixing dinner, Tammy and Don Chapel got in a heated argument, resulting on Don calling Tammy a “son of a bitch” in front of George. George, secretly hiding his admiration with Tammy, lost it.
“I felt rage fly all over me,” Jones said in his autobiography. “I jumped from my chair, put my hands under the dinner table, and flipped it over. Dishes, utensils, and glasses flew in all directions. Don’s and Tammy’s eyes got about as big as the flying dinner plates.”
George professed his love for Tammy right then and there, and the country music couple were soon married.
2. Helping To Found ACE — The Association of Country Entertainers
George Jones was never considered an Outlaw, but he participated in one of the most significant precursors to country music’s Outlaw revolution in the mid 70′s. Some know the story of Charlie Rich burning the envelope announcing John Denver as Entertainer of the Year at the CMA’s in 1975, but it was the year prior when the stink had begun about performers outside of the country genre walking away with the industry’s accolades. Olivia Newton-John’s win in 1974 for Female Vocalist of the Year caused such a stir that traditional and even pop-leaning country performers at the time organized behind the acronym “ACE” that stood for “Association of Country Entertainers”.
Spearheading ACE was George Jones and then wife Tammy Wynette, and the inaugural meeting of ACE was held at their Tennessee residence. Other participants in ACE included Dolly Parton, Bill Anderson, Porter Wagoner, Faron Young, Conway Twitty, Hank Snow, Mel Tillis, Barbara Mandrell and more than a dozen others. ACE demanded more representation of traditional artists on the CMA’s Board of Directors, and more balance on country radio playlists (does any of this sound familiar?).
Just how successful ACE was can be argued, but it was the precursor to future organizations looking to restore balance and better representation from the CMA, and helped usher in country music’s Outlaw movement and the return to a more traditional sound that the mid 70′s saw in country.
3. Riding a Lawnmower to the Liquor Store
The first and most well-documented lawnmower incident was the late 60â˛s. George Jones was living 8 miles outside of Beaumont, TX with his then wife Shirley Ann Corley. Jones had experienced a few #1 hits by that time, and his success fueled his wayward ways with alcohol. He was drinking so bad, his wife Shirley resorted to hiding all the keys to the vehicles before she would leave the house so George wouldnât drive to the nearest liquor store in Beaumont.
But that didnât stop him. After tearing the house apart looking for a set of keys one time, George looked out the window to see a riding lawnmower sitting on the property under the glow of a security light. âThere, gleaming in the glow, was that ten-horsepower rotary engine under a seat. A key glistening in the ignition,â George recalled in his autobiography. âI imagine the top speed for that old mower was five miles per hour. It might have taken an hour and a half or more for me to get to the liquor store, but get there I did.â
The second, lesser-known incident of George Jones’s escapades on a riding lawnmower happened when he was married to Tammy Wynette. Taking a cue from Georgeâs previous wife Shirley, Tammy hid all the keys from George, but George had been down that road before. Wynette woke up one night at 1 AM to find George missing. âI got into the car and drove to the nearest bar 10 miles away,â Tammy recounted in 1979. âWhen I pulled into the parking lot there sat our rider-mower right by the entrance. Heâd driven that mower right down a main highway. He looked up and saw me and said, `Well, fellas, here she is now. My little wife, I told you sheâd come after me.â”
The George Jones lawnmower incidents later went on to be memorialized in many country videos, including Hank Williams Jr.âs âAll My Rowdy Friends Are Coming Over Tonight,” Vince Gillâs 1993 hit âOne More Last ChanceâÂ that includes the line, âShe might have took my car keys, but she forgot about my old John Deere,” and John Richâs âCountry Done Come to Town,” and George’s own “Honky Tonk Song.”
4. Recording “He Stopped Loving Her Today”
Yes, it could be easy to highlight George’s signature song and say it was awesome for him to cut it, but the story behind “He Stopped Loving Her Today” goes much deeper. The song not only saved George’s career, it potentially saved his life, and all of this is from a song that at first he didn’t want to record because he thought it was too depressing, too long, and nobody would play it. It eventually became his first #1 in six years, salvaged his career, introduced him to a new generation of fans, and solidified his place as one of country music’s biggest ever superstars. Jones himself says about it, “A four-decade career had been salvaged by a three-minute song.”
Written by Country Music Hall of Famer Bobby Braddock (who you can argue would not be a Hall of Famer if it weren’t for the song), along with Curly Putnam, “He Stopped Loving Her Today” went on to spend 18 weeks at #1, won the Grammy for Best Male Country Performance in 1980, both the ACM for Single and Song of the Year, and was the Song of the Year from the CMA’s for 1980 and 1981. After George’s death, the song re-entered the charts at #21. “He Stopped Loving Her Today” deserves to be in that elite class of songs that can be argued are the greatest country music songs of all time.
5. Being The Best Male Duet Partner in the History of Country Music
When you have the best voice in country music, your services as a duet partner are going to be called on early and often. And despite George’s body of solo work being worthy of a Hall of Fame career, his work as a duet partner is unparallelled itself. Country music stars young and old, male and female lined up to take advantage of his voice over many decades, and duets accounted for five of the fourteen #1 hits George had over his storied career. Here’s a rundown of just some of the people George performed duets with over the years:
â˘Tammy Wynette â˘Loretta Lynn â˘Buck Owens â˘Waylon Jennings â˘Willie Nelson â˘Johnny Cash â˘Dolly Parton â˘David Allan Coe â˘Jerry Lee Lewis â˘Hank Williams Jr. â˘Patty Loveless â˘Lynn Anderson â˘Emmylou Harris â˘Ricky Skaggs â˘Garth Brooks â˘Tracy Lawrence â˘Charlie Daniels â˘Marty Stuart â˘Merle Haggard â˘Ralph Stanley â˘Randy Travis â˘Vince Gill â˘Alan Jackson â˘Sammy Kershaw â˘Shelby Lynn â˘Mark Chesnutt â˘Travis Tritt â˘Barbara Mandrell â˘Brenda Lee â˘Shooter Jennings â˘The Staple Singers â˘Keith Richards â˘B.B. King
6. Walking out of the CMA Awards
Ahead of the 1999 CMA Awards, George Jones was enjoying yet another resurgence in his career. Jones was slated to perform the song “Choices” on the CMA’s, but when producers insisted he must sing an abbreviated version, he walked out of the ceremonies and boycotted the show.
In a super act of class and solidarity, Alan Jackson halfway through his performance of “Pop A Top,” stopped down and shifted gears to perform “Choices” in protest. The event has gone on to be considered one of the biggest moments of country protest in the history of the genre.
7. Recording “Who’s Gonna Fill Their Shoes?”
Throughout his career, George Jones held fast to the ideals of traditional country music, and wasn’t afraid to fight for them, or speak out about what was happening in the genre. And as one of the few artists who registered hits in multiple decades (according to Billboard, Jones had more “hits” than any other country artist), when George Jones spoke, people listened.
George’s song “Who’s Gonna Fill Their Shoes” comes from the 1985 album of the same name, and was written by Troy Seals and Max D. Barnes. It’s a poignant tribute to the history of country music and its previous greats, while calling attention to the abandonment of country’s roots. The song was so potent, the phrase “Who’s Gonna Fill Their Shoes?” has become one of the most popular go-to colloquialisms concerning the state of country. The song was also a hit, rising to #3 on the Billboard country chart in 1985.
8. Overcoming His Personal Demons
Some people assume that becoming a rich celebrity solves many of your problems, when for many artists it exposes and fuels their problems. Such was the case for George Jones, who had major issues with alcohol, and later in his career, drugs. At one point in 1979, despite being one of the best-selling artists in the history of country music, he was bankrupt and destitute, living in his car, weighing around 100 pounds and living off of junk food. George spent time in mental institutions tied to his drinking multiple times and had to be straighjacketed on numerous occasions. He became known as “No Show Jones” because he missed so many engagements over his career.
But in many ways George Jone’s bad behavior only helped his reputation. His fans didn’t turn on him, they loved him more because they could relate to him and their own personal struggles, and because he was such a great artist and performer when he would show. Alan Jackson once said about Jones, “…what I like most about George is that when you meet him, he is like some ole guy that works down at the gas station…even though he’s a legend!”
Waylon Jennings and others first helped get George Jones sober in the early 80′s, and the result was a resurgence in his career. However later in life George Jones would fall back into his old habits. George gave up drinking and drugs for good in 1999 after wrecking his car and spending two weeks in the hospital. After the crash he pleaded guilty to drunk driving charges. Jones told Billboard later, “…when I had that wreck I made up my mind, it put the fear of God in me. No more smoking, no more drinking. I didn’t have to have no help, I made up my mind to quit. I don’t crave it.”
9. Wanting to Die Performing
Some artists perform because they want to, others perform because they have to. In March of 2012, George Jones was hospitalized with an upper respiratory infection. The 80-year-old performer was having trouble breathing, and it was thought that he didn’t have much more time before his lungs would fail him. Instead of heading home to recuperate and potentially prolong his life, George set to planning a 60-date farewell tour, culminating in a star-studded event set to transpire at Nashville’s Bridgestone Arena in November of 2013 with over 50 special performers.
According to George’s wife, before he even left on the tour, he knew he would not make it to the finale. Doctors said he was in no condition to perform or tour, but he did anyway. On April 18th, 2013 George Jones was hospitalized in Nashville, missing tour dates in Alabama and Salem. He eventually passed away on April 26th, 2013 at the age of 81.
10. Having The Greatest Male Voice in the History of Country Music
- “When people ask me who my favorite country singer is, I say, ‘You mean besides George Jones?’” — Johnny Cash
- âThe greatest voice to ever sing country music.â â Garth Brooks
- âThe second best singer in Americaâ â Frank Sinatra
- âIf we all could sound like we wanted to, weâd all sound like George Jones,â â Waylon Jennings
- âAnyone who knows or cares anything about real country music will agree that George Jones is the voice of it.â â Dolly Parton
It’s that time of year again when we’re on the verge of hearing who the next class of inductees to the Country Music Hall of Fame will be. Though the date seems to be getting later and later each year (last year it stretched all the way to April 10th—2012 was announced on March 6th), as soon as spring starts to break, you can be assured an announcement is coming soon.
It must be said whenever broaching the subject of the Country Music Hall of Fame that it has been The Hall’s desire over the years to have it be an exclusive institutions when it comes to inductees. Where the Rock and Roll Hall of Fame and certain sports seem to throw the barn doors wide and accept all comers, the Country Music Hall of Fame would rather take gruff for who is not in the The Hall as opposed to who shouldn’t be, but is. You can always induct someone in the future, but it’s nearly impossible to throw someone out.
The Country Music Hall of Fame inductees are selected through a committee process appointed by the Country Music Association, or CMA. Since 2010, the selection process has been split up into three categories. 1) Modern Era (eligible for induction 20 years after they first achieve ânational prominenceâ). 2) Veterans Era (eligible for induction 45 years after they first achieve ânational prominenceâ). 3) Non-Performer, Songwriter, and Recording and/or Touring Musician active prior to 1980 (rotates every 3 years). With a musician, Hargus âPigâ Robbins selected in 2012, and a non-performer in “Cowboy” Jack Clement selected last year (though he was a performer and songwriter, it was more for his producer role), it would a songwriter’s turn up to bat this year.
Since 2001, anywhere from 2 to 4 names have been added to the Hall of Fame each year. Usually one name from the above mentioned categories makes it per year, but if no name gets enough of a majority vote, a category may not be represented in a given year. Or, if two names get enough votes from a category, then both may come from that category.
Potential Modern Era Inductees
Last year’s inductee – Kenny Rogers
Ricky Skaggs â Ricky Skaggs is the artist that has felt like he’s been right on the bubble of being inducted over the last couple of years. Skaggs has bookened his career as a mandolin maestro, studied under Bill Monroe, and is now firmly ensconcing himself as a country music elder. In between then, he had tremendous commercial success in the 80â˛s when country was searching for its next superstar. Few could argue with this pick and Skaggs is very well liked across country music. He was also announced recently as the Country Music Hall of Fame’s “Artist in Residence.” Though there is no official correlation between being named an Artist in Residence and being inducted the next year, that coincidence has happened numerous times, including for last year’s modern era inductee, Kenny Rogers. Skaggs has to be considered a frontrunner.
Ronnie Milsap - Milsap is a name that has probably been on final ballots for the Hall of Fame for going on two decades, and in a couple of years will cycle over to a veteran’s era candidate, if he hasn’t already depending on where you want to start the clock on him. Though his commercial success is unquestionable, the fact that he started outside the genre and found a lot of his success as a crossover star might make him a hard name for voters to pull the trigger on. Having said that, seeing another name who started outside of country and had a lot of his success in the crossover world get inducted last year in Kenny Rogers, might move Milsap one step closer.
Alan Jackson â 2013 was Jackson’s first year of eligibility, and there was a sense he just missed out on being a first year Modern Era inductee like Garth Brooks and Reba McEntire. A huge commercial success in his day who always payed homage to the roots of the genre and the artists who came before him, Jackson is a shoe-in for The Hall eventually, and should be a very strong candidate this year. He’s well-liked, with little to no baggage (there was that whole George Jones “Choices” thing back in 1999 at the CMA Awards, but hey, that was a long time ago). Alan Jackson is a strong contender.
Randy Travis – At this time last year, despite Randy’s fresh eligibility and unquestionable credentials for the Hall, he was facing a string of drunk driving charges, and spinning the unsavory story of trying to bum a cigarette at a gas station naked. In such a crowded field, it was easy to give Travis a pass. But this year the story is much different. After suffering from a heart condition and stroke while in the midst of a strong recovery from his personal issues, Randy Travis has to be considered the sympathy favorite for the distinction. Will it be enough? Maybe not, but Randy will be a frontrunner in the Modern Era until he’s inducted.
Brooks & Dunn â A commercial powerhouse whose career was somewhat overshadowed by the success of Garth and their strange place as a non-familial country duo, their first album Brand New Man sold 6 million copies, and they won the CMA for Vocal Duo of the Year every year but one between 1992 and 2006. Their success is not debatable, but did they have the type of influence it takes to be Hall of Famers this early in their eligibility window, and with this crowded of a field? And does the fact that they’re no longer a functioning act hurt them, or is Kix with his radio work and Dunn with his brewing country revolution still visible enough? A few more names may have to tick off the list before their turn, but they have to be considered contenders.
Other Possible Modern Era Inductees:
- The Oak Ridge Boys – Another Strong Contender
- The Judds
- Dwight Yoakam – You’d think with 25 million records sold, his name would be more associated with this distinction. Maybe in the coming years.
- Keith Whitley – Garth Brooks a couple of years ago said he deserved induction before him.
- Clint Black – If it wasn’t for his career’s disappearing act, his name would be right up there with Travis, Jackson, and Brooks & Dunn
- Toby Keith – Officially eligible because he had his first success in 1993, but probably on the outside-looking-in for the next few years
- Charlie Daniels
- Tayna Tucker
- Crystal Gayle
- Gene Watson
- Mickey Gilley
Potential Veterans Era Inductees
Last year’s inductee – Bobby Bare
Predicting the Veterans Era nominees is notoriously foolhardy because they pull from such a wide field of potential inductees. It’s made one measure harder by a general lack of chatter out there surrounding potential nominees compared to previous years. But here’s a few educated guesses.
Jerry Lee Lewis – He’s a definite possibility for induction, and with the lack of a clear front runner, this might be his year. He may be held back some since he came from rock & roll, and his antics on The Grand Ole Opry and other places over the years. But his contributions as one of country musicâs preeminent piano players cannot be denied. If Elvis is in the Country Hall (and he is), his old Sun Studios buddy canât be counted out.
Jerry Reed – Such a great ambassador over the years for country music from his work with Smokey & The Bandit to Scooby-Doo, but Jerry Reed should be inducted for his stellar and influential work as both a performer, songwriter, and a musician. There werenât many better guitar pickers back in the day than Jerry Reed. And his work as a session musician with so many of country music’s big names made him a well-known and likable character throughout the genre.
Hank Williams Jr. – It’s somewhat hard to know if Hank Jr. should be considered a Veteran or Modern Era candidate because of the double-era aspect of his career, but he’s a contender either way. However despite his two CMA Entertainer of the Year awards and millions of albums sold, you don’t get the sense it’s his time just yet. Only playing around 18 shows a year these days, and generally being once removed from the moving and shaking of the country genre while he pursues a quasi political career, Hank Jr. could be passed over this year others pushing harder for the distinction.
Lynn Anderson & Dottie West â Lynn and Dottie are the two ladies that likely lead the field for female veteran inductees. Both of these ladies are right on the bubble, as they have probably been for many years. Since there wasn’t a woman inductee last year and there’s no strong female contenders in the Modern Era category, the pressure to include a woman from the veteran field in 2014 might be greater.
The Maddox Brothers & Rose â The Maddox Brothers & Rose was a name that probably wasn’t on many people’s radar until the last couple of years. With their prominent place at the very beginning of the Hall of Fameâs current Bakersfield Sound exhibit, it is hard not to see how important their influence was on country, especially West Coast country, and the flashy dress of country performers that still influences the genre today. It may be a long shot, but if groups like The Jordanaires and The Sons of the Pioneers are in The Hall, certainly The Maddox Brothers & Rose should be. And it would be great to see happen while the final member, the 91-year-old Don Maddox, is still around.
Gram Parsons – Gram’s inclusion here is always a topic of great discussion. In 2013 there was a greater push than ever to induct him, with influential Country Music writer Chet Flippo personally making the case for him, and other chatter that 2013 might be his year. But it wasn’t, and it may be years before it is, but his name is always in the field for this accolade, and looking at the influence Gram had showing millions of rock and roll fans the beauty of country music, it should be.
John Hartford â This is a long shot pick, but he deserves induction. As I said in my prognostications from a couple of year ago, âThe Country Music Hall of Fame works like a timeline as you walk through the displays that weave around the massive archive in the center of the building. As you start from the beginning, each artist and their impact is displayed on a plaque that includes their Hall of Fame induction date. When I came to the John Hartford display on my last visit to The Hall this summer, he was the first to have a display, but no Hall of Fame induction date.â
Tompall Glaser & The Glaser Brothers – Probably another long shot, but one that has to be considered a more legitimate contender in 2014 with the passing of Tompall last year. It probably helps that his brothers-in-Outlaw-country-arms Bobby Bare and “Cowboy” Jack Clement were inducted last year, moving folks like Tompall and other Outlaw-esque country music personalities one step closer in the process.
Johnny Paycheck and David Allan Coe â These names come up every year from hard country fans, and are names regularly held up as evidence of the Hall of Fameâs illegitimacy. The simple truth is that with these two performerâs shady pasts, Hall of Fame induction is going to be difficult. Johnny Paycheck has a more distinct possibility than David Allan Coe, because Coe could create a public relations nightmare for the Hall of Fame from people (correct or not) who label Coe a racist, sexist, etc. etc. Patience mixed with persistence is what Coe and Paycheck fans need to see their heroes inducted, as time heals all wounds. One positive sign for them is the induction of Bobby Bare and “Cowboy” Jack Clement last year. This means the CMA committee is willing to pick Outlaw artists and personalities for the Hall, and those two inductions move Paycheck and Coe two steps closer.
Randomly, I also think there’s a strong chance that the next major rotating exhibit at The Hall could be a feature on the Outlaw era of country, which might also give people like Paycheck, Coe, Tompall, and others a chance to be featured at the Hall of Fame beyond induction.
Other Possible Veterans Era Inductees:
- Jimmy Martin
- Vern Gosdin
- Ralph Stanley
- Johnny Horton
- The Browns
- June Carter Cash
- Wynn Stewart
- Jim Ed Brown
Potential Songwriter Inductees
Last songwriter inducted – Bobby Braddock in 2011
The 3rd category rotates between a musician, a non-performer (executive, producer, journalist, etc.), or songwriter on different years. 2014 would be a songwriter year.
Though there may be some artists that would technically qualify for induction under this category like Keith Whitley, Townes Van Zandt, Billy Joe Shaver, or any number of other artists that have extensive songwriting credits, this category is meant for behind-the-scenes songwriters who would never be inducted if not for this category. Though the award might go to someone with a little more modern success as a songwriter to go along with their storied history, here’s two interesting names that deserve strong consideration.
Hank CochranÂ – Hank would be a worthy inductee, and it just might happen for him as a songwriter of both critical acclaim and commercial success. It can’t hurt that Jamey Johnson also recently release a tribute to Cochran, making him front-of-mind when voters are thinking of songwriters who deserve this distinction. Cochran should be considered a front runner.
John D. Loudermilk – A cousin to The Louvin Brothers that had great commercial success as a songwriter in the 60′s and 70′s, he was inducted into the Nashville Songwriters Hall of Fame in 1976, and certainly deserves consideration for this distinction. Nonetheless, it’s probably a long shot.
Shel Silverstein would be another interesting name.
Picks and Predictions
Who I Think Will Be Inducted
- Ricky Skaggs or Alan Jackson – Modern Era
- Jerry Lee Lewis, Vern Gosdin, or Jerry Reed – Veterans Era
- Hank Cochran – Songwriter
Who I Think Should Be Inducted
- Ricky Skaggs – Modern Era
- Maddox Brothers & Rose / Tompall & The Glaser Brothers – Veterans Era
- Hank Cochran – Songwriter
After releasing a total of seven Greatest Hits releases in an attempt to keep Tim McGraw under contract indefinitely, after refusing to release his last album on the label Emotional Traffic, after insisting McGraw owed them yet another album and losing virtually every court case and decision while in a protracted legal battle with both McGraw and his new label Big Machine Records, finally releasing Emotional Traffic after they had found out they had lost, and releasing a duets album in an attempt to counteract Big Machine’s first Tim McGraw release, Curb Records is releasing yet another album from Tim McGraw; an artist that hasn’t called Curb Records home officially for over 2 years.
The album will be called Love Story and will feature Tim McGraw’s “12 biggest love songs,” two previously-unreleased recordings, and will be released exclusively through Wal-Mart on February 2nd, 2014.
Mike Curb and Curb Records have a long list of transgressions against their artists, refusing to release music in a timely manner to keep artists under contract, repackaging music to mislead consumers, and releasing music against the wishes of their artists. Along with Tim McGraw, Frank Zappa, The Beat Farmers, LeAnn Rimes, Hank Williams Jr., Hank Williams III, Jo Dee Messina, Clay Walker, Lyle Lovett, and others help comprise a long list of Mike Curb’s transgressions against artists.
- It’s You Love – Featuring Faith Hill
- Just To See You Smile
- My Best Friend
- When The Stars Go Blue
- She’s My Kind Of Rain
- Not A Moment Too Soon
- Watch The Wind Blow By
- My Little Girl
- Tiny Dancer
- I Just Love You (Previously Unreleased)
- What About You (Previously Unreleased)
You won’t see Reno, Nevada’s Hellbound Glory at the top of anyone’s ‘Best Of’ lists this year, unless it relates to touring or live performances. Leroy Virgil & the boys didn’t leave much time for recording and releasing albums in 2013; they were too busy ripping off one of the toughest, busiest, and arguably the most notable touring schedules in 2013 from an independent country act. It started in February as an opening band on Kid Rock’s “Rebel Soul” arena tour of which a retooled Hellbound Glory did two legs of, all the while playing smaller shows here and there when possible, and then revisiting many of the same areas afterwards on their own bills in the proceeding weeks and months.
Then most recently Hellbound went on a breakneck, two month tour with The Supersuckers, covering 40-something dates spanning the US. When Leroy Virgil rolled into Austin, TX on Friday Dec. 6th to play a quick set at the Empire Control Room downtown, he’d been rode hard and put away wet, and Hellbound Glory had not a familiar face from the members who had started out with him at the beginning of the year. However he’d recruited the very capable guitarist ‘Metal’ Marty Chandler, and drummer Chris VonStreicher from the Supersuckers, and Adam Kowalski from North Carolina on bass and band manager duties.
Aside from the music, the night was weird all around. They started at 9 PM, which is very early for a weekend show in Austin, and a few straggling fans missed some of the set. Hellbound was supposed to play outside, but 20-degree weather and a stiff north wind scrapped those plans. The Empire Control Room was more ambient for a rave than a real country show, with pacifier-sucking, glowstick-twirling visuals projecting onto the walls, and a mandate on Hellbound to stop after an hour so a DJ could spin house music to an entirely empty room. This was all quite in contrast to Leroy’s prominent “Hank” suspenders strapped over his shoulders, and his beer chugging honky tonk tunes.
But when Leroy Virgil and Hellbound Glory 4.0 hit the stage, none of that mattered. Leroy started with a blistering, amplified version of Hank Williams’ “My Buckets Got A Hole In It” that reinvented and revitalized that tune originally learned by Hank Williams from Rufus Payne in the mid-30′s, and made it feel like an iconic 70′s-era Southern rock anthem. Not 30 seconds into the first song, and you could tell that Leroy had played so many shows in front of so many big crowds in 2013, that being on stage was second nature, and a downright showman had emerged from a man who is known as a songwriter first. Not that Leroy was a stiff before, but now he had a swagger about him—a sway and arm motions—engaging the crowd and carrying songs to another level with his ability to be completely uninhibited with the music.
Leroy’s electric guitar sounded horrible. It was a black and white Squier Stratocaster that had “$100″ written on the pick guard in permanent marker like he’d just bought it off the side of the road. It’s the kind of guitar you buy your 14-year-old son when you know he’s only going to ignore it, with stock pickups that sound like the smell of ass. But Leory was just holding down the rhythm anyway, and then getting out of the way for ‘Metal’ Marty to rip into some of the juiciest solos Hellbound’s music has ever been graced with. Despite the ‘Metal” addendum to his name, Marty referred to a heavily influenced and versed knowledge of country guitar modes and licks that he displayed with confidence and abandon. It was a high volume, electric country show, and more than a stone’s throw from the days of Leory sitting on a bass drum, playing it with the back of his heel while strumming an acoustic guitar.
Leroy played a lot of his more well-known Hellbound Glory songs, a few more covers like his rendition of Hank Jr.’s “Women I’ve Never Had” and Springsteen’s “I’m On Fire.” He was also featuring a ferocious growl that punctuated parts of songs and overall became one of the highlights and takeaways of the set. Leroy’s voice has become tattered around the edges like a cheap blue tarpaulin pulled over an apartment’s worth of shit made susceptible to the wind on a cross-country move, and then marinated by a thousand shots of whiskey lined up all across the front of the stage by well-meaning fans. But like an old tinker, Leroy has taken what he’s been given, and made it into one of his finest tools: a road-worn and weathered bellow with which he can unfurl and blow a crowd away with.
Forget how many new players make up the Hellbound Glory cast, when Leroy gave a subtle hint to whatever song he wanted to play next, his band was right there behind him, hitting every change, and holding every sustain as good or better as any Hellbound Glory lineup. Leroy has never been good at keeping new material a secret, and the set featured a few new songs, and so did the half hour or so after the set when he pulled out his acoustic guitar and gave a personal concert to all who stuck around on the side of the stage.
Whenever Hellbound Glory’s name is mentioned these days, the next question you hear is, “When’s the new album coming out?” Though I wasn’t able to glean that specific intel from Leroy, I can tell you he’s recently been doing some recording in Aberdeen, WA. I wouldn’t hold your breath on hearing the results of that anytime soon, but if the new songs Leroy’s been playing are any indication, when new music does emerge, it promises to be worth the wait.
Until then, you can use the below Leroy Virgil recap of the last year or so to tide you over.
Two guns up.
Yeah, I remember the first time I heard marijuana referenced in a song and thought it was cool. It was a song by the New Riders of the Purple Sage called “Henry” from their 1971 self-titled album. More of a smuggling song than a drug song, the story and the suspense of the song is what made it intriguing, with the marijuana more of just a backdrop. This inspired me to try and discover similar songs which led me to the Arlo Guthrie smuggler’s song “Coming Into Los Angeles.”
Gram Parsons somewhat challenged the stuffiness of the country establishment when he sported a Nudie suit with marijuana leaves embroidered on it in the late 60′s, but at the time he was considered more of a product of the rock world. And then of course there’s Kris Kristofferson’s iconic “Sunday Morning Coming Down” whose somewhat veiled reference to marijuana is given credit for stretching lyrical boundaries in country music on its way to being named Song of the Year by the CMA in 1970.
But 2013 very well may go down as the year when referencing marijuana and other drugs in your songs is no longer cool as much as it is conformist—a lyrical hook, a well-recognized buzz word made for marketing an artist or song just as much as anything else. When a former Disney star like Miley Cyrus is out there talking about “Dancing with ‘Molly’” and “Trying to get a line in the bathroom,” and the 80-year-old Willie Nelson is singing a duet with the 42-year-old Snoop Dogg called “Roll Me Up And Smoke Me When I Die,” there ceases to be either the generational gap, or the exclusivity of drug references in music to make them “cool.”
Where the current trend of mentioning cannabis in your country song seems to be cropping up is in the unlikely place of country music’s songwriting females. This dynamic and inspiring group of women who are regularly referenced as the last bastion of substance in country music’s mainstream seems to be the epicenter of country music’s marijuana bloom: Kacey Musgraves with the songs “Merry Go ‘Round,” “Blowin’ Smoke,” and “Follow Your Arrow.” Ashley Monroe with the song “Weed Instead of Roses.” Brandy Clark and the song “Get High.” And The Pistol Annies with songs like “Takin’ Pills” and “Hush Hush.”
The differences between these song’s marijuana and drug references and the trends on the male side of country music to reference pickups, tailgates, ice cold beer, and dirt roads, are very subtle. Sure, many of the pot references come within the context of a more in-depth story. But just like pickup truck references, they’re used to grab the attention of demographics and sell music to listeners.
Just look at the graphics below taken from Amazon’s MP3 popularity ratings. For a marijuana song like Ashley Monroe’s “Weed Instead of Roses,” it positively dominates the popularity contest compared to her other songs. Same goes with Kacey Musgraves’ three most popular songs (though in fairness, “Blowin’ Smoke doesn’t reference pot directly). One might argue though that these songs are more popular because they are also the artist’s radio singles. But this speaks even deeper to the current marijuana trend. If you want to be a mainstream female songwriter and have the A&R folks pay attention to your music, you may want to include a song with marijuana references.
Ashley Monroe’s Tracks from the album Like A Rose:
Kacey Musgraves Tracks from the album Same Trailer, Different Park:
Just like with the country rap trend or the pickup truck trend, when a lyrical theme works, it almost becomes a requirement for mainstream artists. And just like the male tailgate songs that sound so cliche to distinguishing music listeners, marijuana references appeal to bored suburban types who listen to country music as a form of escapism.
Back in the 90′s marijuana references and imagery became popularized by big music acts like Cypress Hill, Pantera, Snoop Dogg, and Green Day. But then the trend became sort of passĂŠ amongst bands on the fringes of the mainstream when marijuana references began to work themselves into the content of Top 40 pop songs. It was no longer cool.
Country music was a late bloomer to the marijuana marketing trend because it’s traditionally conservative-leaning audience. Artists like Hank Williams Jr. and Charlie Daniels referenced pot in the 70′s and 80′s, but this was far from the mainstream. Waylon Jennings’ “Don’t You Think This Outlaw Bit’s Done Got Out of Hand,” Hank Jr’s, “O.D’d in Denver,” take it a step further into the cocaine realm. But as modern mainstream country artists step into the marijuana and drug realm, independent and cutting-edge artists seem to step away. For example Hank Williams III started his career in country music with heavy marijuana imagery and references, but has veered away from it in recent years.
Women are not the only ones referencing marijuana in the current mainstream country market. Eric Church sells T-shirts with pot leaves on them and had a hit song in “Smoke A Little Smoke.” Luke Bryan’s mega-hit “That’s My Kind Of Night” says “I got that real good feel good stuff up under the seat of my big black jacked up truck.” Â
The political environment surrounding marijuana also plays into the pot music debate. The stigma around the drug has been significantly diluted by the passing of laws decriminalizing the plant, making it legal for medicinal purposes, or legalizing it in full which has happened in some states. Marijuana is a very commonly-used substance throughout American society, and as the stigma around the plant subsides, so does the potency of the references to it in popular culture.
There’s nothing naughty or cutting edge about a pot reference in a song anymore. It’s conformist. It’s marketing. It’s mainstream. Not all the time of course; sometimes it comes up naturally in the context of a song. But just like many so many other musical elements, marijuana and drug references have been co-oped by the mainstream, spoiled, and exploited.
The inaugural inductees to the Outlaw Music Hall of Fame set to open inÂ the Spring of 2014 in Lynchburg, TN have been unveiled. In an eventÂ carried live during a 3-day concert in Altamont, TN, the 17 initial inductees were announcedÂ 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’sÂ 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 FamilyÂ
- Bobby Bare
- Chris GantryÂ
- Willie Nelson
- Waylon Jennings
- David Allan Coe
- Kris Kristofferson
- Merle Haggard
- Johnny Cash
- Johnny Paycheck
- Sammi SmithÂ
- Steve Young
- Jessi Colter
- Hank Williams Jr.Â
- Billy Joe Shaver
- Dallas Moore
- Wayne Mills
- Hank Williams III
- Jamey Johnson
- Whitey MorganÂ
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 1970â˛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 genreâsuch as Waylon Jennings, Willie Nelson, and Jessi Colterârecognize 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 ofÂ Fame will sponsor a concert series each April to November to showcase independent roots country artists.
Authenticity and dysfunction are regularly celebrated in country music, and what better way to celebrate that than to look back in time a some of the most notable mugshots and arrests of country music’s most notable stars.
Cash was arrested twice. The first was after a trip to Mexico when he tried to hide 1,163 Dexedrine and Equanil tablets in his guitar case while crossing the border near El Paso, TX in 1965. Since the drugs were prescription instead of illegal narcotics, Cash received a suspended sentence. He was arrested again in 1966 in Starkville, Miss. for … get this … picking flowers late at night. The property owner pressed trespassing charges, and Johnny spent time in the Starkville County Jail, resulting in the song of the same name.
Though Cash was famous for his concerts at Folsom Prison and San Quentin, he never served time in anything bigger than a city jail (the bottom mug was just for show).
The trouble started for Willie Nelson way back in 1960 when he was arrested for speeding in Pasadena, TX (near Houston). And then came the pot busts:
- 1974 – For possession in Dallas, TX.
- 1994 – For possession in Hewitt (near Waco) when Willie pulled his Mercedes off the side of the highway for a siesta and an officer found a joint in the ashtray and eventually a bag of marijuana. The judge ruled the evidence inadmissible and the charges were dropped.
- 2006 – For possession in St. Martin Parish, Louisiana for one-and-a-half pounds of marijuana and 3 oz. of hallucinogenic mushrooms. Willie, his sister Bobbi, and Willie’s manager were all arrested, eventually receiving 6 months probation.
- 2010 – For possession of 6 ounces of marijuana at the Sierra Blanca, Texas border checkpoint. Willie eventually only had to pay a fine.
Jerry Lee Lewis
In the dead of night in November of 1976, a drunken and armed Jerry Lee Lewis showed up to the gates of Graceland demanding to see his fellow Sun Studios alum Elvis right then and there. The guard rang Elvis who refused “The Killer’s” request, and then rang Memphis police when Lewis began waving a gun around.
Hank Williams Jr.
You may think because Hank Jr. was the last of his rowdy friends to settle down that at some point he would wind up in the pokey, but it turns out his mugshot was for a bunk charge from a 19-year-old in March of 2006 that said Jr. put her in a choke hold after she refused to kiss him. Jr. turned himself in, and after finding out the girl was looking to cash in big on the accusation and that there was no real evidence of the altercation, the charges were dropped.
In November of 2003, Glen Campbell was arrested at his home near Phoenix, AZ after hitting and running while drunk in his BMW. Then while Campbell was being processed, he kneed an officer in the leg, which added an aggravated assault of a police officer charge. Campbell pleaded down some of the counts, and eventually spent 10 days in jail.
Domestic abuse charges landed Rodney Atkins in front of the police camera in February of 2012, but the news about the charges didn’t come out until his wife filed for divorce a few weeks later. The news also came on the heels of Rodney re-signing with Curb Records. The charges were later dropped as part of the divorce settlement.
An indelible image of country music’s first superstar in this midst of his downfall in 1952, leaving the jailhouse in Alexander City, Alabama.
Billy Joe Shaver
Notable country music songwriter Billy Joe Shaver sits on the witness stand stemming from an altercation behind Papa Joe’s bar near Waco, TX in 2007 when Shaver shot a man non lethally in the face with a .22 pistol. The incident became a piece of country music lore when Dale Watson wrote a song titled “Where Do You Want It?” allegedly for the question Shaver asked his victim before he pulled the trigger. The high-profile trial incuded Willie Nelson showing up as a Shaver character witness, and eventually all charges were dropped against when it was ruled Shaver was acting in self defense.
In 2003, daughter Judd was pulled over for speeding and subsequently blew a .175, lading her in jail before she posted a $500 bail. It all happened right down the street from Music Row, so maybe it’s true what they say about the country music industry driving artists to drink.
Just like the “Wet Cigarette of Country Music” to get arrested at a Waffle House. In October of 2007, Kid Rock and his crew stopped into the DeKalb County, Georgia eatery where they proceeded to brawl with gawking patrons. Other members of Kid Rocks posse were also arrested. Rock was found guilty of simple battery. It was his 4th chance to strike the perp pose over the years for various charges.
David Allan Coe
You better believe DAC would be here, but unfortunately this is the biggest photo we can drum up of David from his time in the Ohio State Penal System.
Coe was also arrested in 2008 after an altercation in a casino when a misunderstanding about a jackpot resulted in security officers and police wrestling Coe to the ground. Coe countersued in 2010 for false arrest and assault. The entire altercation was caught on tape.
Yes, we know that some of the younger generation of country performers don’t want to pander to the “old farts and jackasses,” but maybe Billy Currington took it a little too far when he threatened a 70-year-old boat captain for coming too close to his waterfront property in Tybee Island, Ga. Currington was cited in April of 2013 for making “terroristic threats” and “abuse of an elder.” Case is still pending.
Johnny Paycheck spent 4 years battling an aggravated assault charge after shooting a man in a Hillsboro, OH bar during a brawl. Though multiple appeals kept Paycheck out of prison for a while, he was finally sentenced to the Chillicothe Correctional Institute in 1989 where he served two years before being paroled.
In May of 2008, Louisiana country star Chris Cagle got in a tussle with his girlfriend Jennifer Tant at the Player’s Bar in Nashville before the couple took the bout home. Cagle wielded Jennifer’s purse. Jennifer weilded an umbrella, and they both ended up in the big house. Police said they were both too drunk and disorderly to press any serious charges.
When the underground country band from Austin, TX went to release their first album, they chose their mutual mugshots from the same Williamson County roundup to make up the CD art.
No mugshots of George Jones’s numerous run ins with the law during his drinking days have ever surfaced, but video did a few years ago from a George Jones documentary.
Get well Randy! …. but we couldn’t make this list without you. Travis was forced to pose for police camera twice in 2012; once after a drunken fight at a church, and the other after driving drunk….and naked.
Country music savior and critically-acclaimed songsmith Sturgill Simpson has been making waves all over the country with his new breakout album High Top Mountain released on June 11th, and now he threatens to take the high-flying act international by boarding a puddle jumper and puttering over to the Land of the Rising Sun to record the video for his heart-pounding, hot plate, house on fire, country as hell, soon to be hit single “Railroad of Sin.” ‘Godzillabilly’ is what’s he’s patterning the theme, as the Kentucky native and Nashville resident takes a high arching swan dive deep into culture shock.
Johnny Cash may have not been born in Nagasaki, and bullet trains may not be equipped with lonesome whistles, but the Orient is where Hank Jr. picked up his official nickname for Waylon Jennings: “Watashin!” which means, “old #1″ and you’d be hard pressed to find a more modern resemblance to Waymore than one Sturgill Simpson. So keep clear of the closing doors, strap in tight, and get ready to speed away on Sturgill Simpson’s “Railroad of Sin.”
So this weekend we were reading the June edition of Playboy Magazine. You know, for the articles. And lo and behold, Saving Country Music is cited in a feature on Eric Church entitled “The Badass” that proclaims the performer from North Carolina the “new face of country music.”
You know, I could almost like Eric Church if he would quit so doggedly pursuing his persona as product, and Playboy helps perpetuate this persona by writing a puff piece that portrays Church as the edifice of badassery, and plays to the well-worn and indolent stereotype about how country music’s “traditionalists” don’t want country music to change.
“I don’t believe country singers should make the same fucking music over and over.” Eric Church is quoted as saying in the piece.
Well who in the hell is proposing or promoting that? Is Saving Country Music? You can comb through the 2,500+ article archive of this site and not find a single place where this theory is forwarded or implied. There may be a few traditional country fans who feel that way, but I don’t see this “make the same music over and over” theory commonly cited in “traditional” country circles or anywhere else. So why are “traditionalists” perpetually having to fight this assumption every time they say they don’t prefer a certain artist, song, or sonic direction?
Saying that people don’t want country music to evolve is a preconceived argument to a position that doesnât exist to attempt to couch “traditionalists” as hard-headed, out-of-touch, non-evolving old farts and jackasses. Yes, this is the same argument Blake Shelton has made; Church’s mainstream nemesis after Eric called Shelton out for his involvement in reality TV shows. Saving Country Music has gone out of its way over the years to champion the causes of artists who are specifically attempting to evolve country music in a way that respects the roots of the genre, many of which who are regularly ignored by the mainstream country music industry.
But what exactly is Eric Church doing that is so new? “We’re further into rock and roll than anyone else, and that’s why a lot of traditionalists have a major problem with me…. [It's] not even close.” Oh Jesus Eric, you only wish. Hell, I’ve said many times myself that Eric Church is the last male in the mainstream country music hierarchy that has any sort of creativity to his sound. The problem is he keeps letting his persona get in the way of allowing intelligent listeners enjoy his music, like when he swore off calling himself an “Outlaw,” while at the same time selling Outlaw-branded merch online. But is there some appreciable rock difference between Eric Church, and other country rock acts like Keith Urban or Florida Georgia Line?
And what is so new about mixing country and rock and roll anyway? The Maddox Brothers & Rose were doing it in 1940′s, half a century before Eric Church was even born. Country and rock and roll evolved parallel to each other, and were bred out of the same sound. Ever heard of rockabilly? Elvis was playing it before he was playing rock.Â Lynyrd Skynyrd and The Allman Brothers were mixing country and rock back in the 70′s. Hank Williams Jr., Travis Tritt, and Marty Stuart were doing it in the 80′s and 90′s with just as much of an edge as anything Eric Church is doing right now. That’s not a knock on Church’s music, but to act like mixing rock and country is something Eric Church innovated, and that he’s the only artist taking it to the edge is just another example of his self-aggrandizing pap that tarnishes the appeal of his material.
But if Church is so enamored with rock and so dismissive of country, why is he even be pushed on country radio and winning country awards? “I didn’t grow up listening to Hank Williams Sr. or Earnest Tubb,” Church told Playboy. “I grew up with rock and roll.” If this is the case and his sound is so rock, why is he surprised when country fans come out and say he doesn’t belong?
Something else interesting in the Playboy article is how it references the rampant outbreak of fights at Eric Church concerts in a positive light. Performer Kip Moore cites a show in Battle Creek, MI where he opened for Church and says that “half of the crowd was fighting.” I’ve been to some of the craziest punk and heavy metal shows, and never seen anything like this. Despite entire venues descending into mosh pits, if someone crosses the line and starts fighting, they tend to be ostracized from the crowd immediately. A concert where half the crowd is fighting is the outcome of this type of shallow, surface machismo that the current new Outlaw country artists attempt to brand into their music.
And make no mistake, this Playboy article and the Eric Church persona are not at odds with the country music establishment as they would like you to believe. It is a purposeful marketing campaign to attempt to re-integrate disenfranchised country fans who left the genre when the likes of Taylor Swift became the country norm.
The Playboy article goes on to specifically cite Saving Country Music (but without using our name), saying:
In the old days, the photo of the 10 top country singers would look like a convict lineup. These days it might look like an Ambercrombie & Fitch catalog shot. Among hardcore traditionalists, this change hasn’t been popular. One highly trafficked country website routinely erupts in insults aimed at handsome singer Luke Bryan who’s apparently perceived as too feminine. The blogger who runs the site referred to Bryan as a woman, claimed the singer has a vagina and alluded to Bryan as gay.
Oh man, I don’t know whether to laugh or cry. The above quote is citing a year-old article clearly marked as “fake news,” both in the tags, and in the sarcastic tone of the content. Hopefully Playboy understood this, and was simply using it as an example in the stylistic change country has endured over the last dozen years, and the vehement opposition it has stimulated from certain sects of fans. But Saving Country Music would never accuse someone of being gay or transgender if it wasn’t in a clearly sarcastic light, and wouldn’t in any way characterize the frequency of our off-color commentary on Luke Bryan “routine.”
But as for Eric Church, if he wants to be considered a badass in the same breath of true country badasses like Waylon Jennings, Johnny Paycheck, and David Allan Coe, then he should take a que from them and not participate in self-aggrandizing cult-of-personality building in glossy magazines. Instead, he should do like they did—let the music speak for itself.
Radio station 93.5 KOOK and 1230 KERV in Kerrville, TX, managed by legendary DJ Big ‘G’ Gordon Ames has a radio promo done by Kinky Friedman that simply says, “We play Hank. All of them.” Yes, we all know about country music’s most famous family, and the lineage passed down from Hank Williams, to Hank Williams Jr., to Hank Williams III. But here are the other 5 Hank’s that helped establish the sound of country music (and just like all three generations of Hank Williams, didn’t actually have “Hank” as their legal first names).
Clarence Eugene Snow, aka “The Singing Ranger” is a Country Music Hall of Famer and one of the few old-school country artists originally from Canada. In 1962 Snow was the first performer to take the country classic “I’ve Been Everywhere” to #1—just one of the over 85 singles Snow would have chart over a 3-decade period reaching all the way to 1980. Hank made his first record for RCA Victor in 1936 while still living in Canada. He moved to Nashville in 1945 and became one of the most influential singers of the time, as well as an accomplished songwriter. Snow was one of the primary people responsible for the rise of Elvis, helping to get him on the Grand Ole Opry stage in 1954 and introducing him to Colonel Tom Parker (who later dumped Snow to focus on Elvis’s career). Along with “I’ve Been Everywhere,” some other notable Hank Snow songs are “I’m Moving On”, “The Golden Rocket,” and “Hello Love.”
Lawrence Hankins Locklin from McLellan Florida was one of country music’s first honky tonk-style singer songwriters. Maybe not as well-known as Hank Williams, but he sold an estimated 15 million records worldwide and was a member of the Grand Ole Opry for nearly 50 years. Locklin songs have been recorded by Willie Nelson, Dolly Parton, Dwight Yoakam, and Dean Martin to name a few. His heyday was in the early 60′s with his most well-recognized song “Please Help Me, I’m Falling” hitting #1 in 1960. His first #1 was in 1953 with “Let Me Be The One” and he released his first charting single in 1949 called “The Same Sweet Girl.” Hank Locklin was an excellent singer, and released a series of tribute albums showcasing songs by Hank Williams, Roy Acuff, and Eddy Arnold. Hank released over 70 singles and 27 albums, including a gospel album as late as 2006. Though he had a hit in 1968 with the song “Country Hall of Fame,” Locklin has yet to be inducted to the prestigious institution.
Henry William Thompson born in Waco, TX was one of country’s most popular stars of Western swing and honky tonk all the way from the late 40′s to the mid 70′s. With his excellent backing band The Brazos Valley Boys, they were responsible for over 80 charting singles, including the iconic country classic “Wild Side of Life,” and the humorous “Rub A Dub,” both hitting #1. The 1987 novel Crazy Heart by Thomas Cobb that was later turned into the 2009 movie starring Jeff Bridges is rumored to have been inspired by many different country music artists. But according to Cobb, Hank Thompson is the true culprit, most notably from using local bands to back him up later in his career after The Brazos Valley Boys disbanded. Hank Thompson also had his own television show for a short period.
Garland Perry Cochran is one of the greatest, most prolific songwriters in the history of country music, who also had his own career as a recording artist. Patsy Cline’s “I Fall to Pieces” and “She’s Got You” were penned by Cochran. So was Ray Price’s super hit “Make The World Go Away.” Cochran was active and relevant in country music all the way up to his death, later writing hits for Merle Haggard, Ronnie Milsap, and George Strait. As a performer, Cochran scored 7 singles on the country charts. In 2012, Jamey Johnson released a tribute album called Living For A Song: Tribute to Hank Cochran to critical acclaim and commercial success. Few songwriters are held in as high regard in Nashville as Hank Cochran.
Walter Louis Garland was a country and rock & roll guitar God of the 1950′s and 60′s and beyond. Part of the “Nashville A Team” of studio musicians, Hank’s guitar handiwork appears on recordings from Marty Robbins, Mel Tillis, Patsy Cline, Roy Orbison, Conway Twitty, and many more. But he might be most famous for playing on many of Elvis’s big hits from the late 50′s and early 60′s, including “Little Sister,” and “I Need Your Love Tonight.” Hank Garland is one of those musicians who helped define the sound of an era. In 1961, Garland was in a car accident that left him in a coma, and he later had to re-learn how to talk and play guitar. Though Garland once again became an accomplished musician, he never regain his place as one of Nashville most sought-after guitar players. Despite being known mostly as a side musician, he had a million-selling record with his song “Sugarfoot Rag.”
Pop rocker Sheryl Crow has been spending her 2013 getting poised for a move to country music, taking a nationwide bus tour of country radio stations and showing up at country events ahead of the release of her “country influenced” album Feels Like Home on September 10th.
A move to country is common for aging rockers as their careers begin to diminish. Country music is perceived as a genre that can offer strength and support to artists as they age. But trying to bolster a career in decline apparently is not the only motive behind Sheryl’s country move.
Sources close to the Sheryl Crow camp have confided in Saving Country Music that part of Sheryl’s country move is politically motivated. Sheryl is a staunch environmentalist, and has championed specific issues over the years, most notably in 2007 when she advocated the use of only one square of toilet paper during restroom visits to conserve trees and increase global oxygen levels, saying:
I propose a limitation be put on how many squares of toilet paper can be used in any one sitting. Now, I don’t want to rob any law-abiding American of his or her God-given rights, but I think we are an industrious enough people that we can make it work with only one square per restroom visit, except, of course, on those pesky occasions where 2 to 3 could be required.
Crow later clarified her statements, saying they were somewhat of a joke, but according to our Sheryl Crow source, she still takes the toilet paper issue very seriously, and plans to use her move to country music as a Trojan Horse to unleash her opinions about toilet paper conservation on what she believes to be one of the biggest consumers of Angel Soft and Charmin in the US: country music fans.
“The country music demographic consumes about 8 million squares of toilet paper a day,” the Sheryl Crow source explained. “That’s 22% more than hip hop fans, and 18% more than rock fans. Sheryl feels if she can reduce the amount of toilet paper used by country consumers, it would make a difference of about 1 1/2-degrees in temperature of the oceanic sea levels.”
And just how exactly is Sheryl Crow expecting country fans to listen to her one square mantra? “In a country single,” the Sheryl Crow source says. “And this will not be some small PSA. This song was put together by top notch Music Row songwriters to be a big hit, and is being produced by T Bone Burnett.”
That’s right, once Sheryl Crow has established herself in country music, she’s planning to release a single, purportedly a duet with Julia Louis-Dreyfus, aka “Elaine” from the 90′s sitcom Seinfeld, called “Can You Spare a Square?”
Not to be outdone, apparently Hank Williams Jr. has caught wind of Sheryl Crow’s plan, and plans a counter-single called “Wipe You Ass With A Spotted Owl.”
Ironically, both Sheryl Crow and Hank Jr. have previously released songs with Kid Rock, who completely swore off cleaning himself after bowel movements in 2003. Some people are already dubbing the impending conflict the “Great Toilet Paper War of 2013.”
It’s about to get nasty out there folks. Real nasty.
(Elaine Benis could not be reached for comment.)
Before this album, I’d been mostly opinion neutral on Holly Williams. Being the granddaughter of Hank Williams, the daughter of Hank Jr., and the sister of Hank3 appointed her music the respect of more than a cursory look. The pedigree runs too deep in that family to handle her otherwise. But Holly only seemed to have only one foot in the music business, unsure if it was the way she wanted to spend her life, though aware that her family’s lineage was probably her quickest way to success.
Her first two albums The Ones We Never Knew in 2004 and Here With Me in 2009, both released on major labels, left one wondering about Holly’s true music identity. Neither were particularly commercially successful–she’s yet to have a single hit the Top 50 threshold–but she really didn’t seem to align with the independent world of music either. She was neither here nor there, and with a lack of scene support her career sort of drifted.Â The Highway, released on her own Georgiana label, changes all of that.
Produced by Holly and Charlie Peacock, and written mostly by Williams herself, The Highway puts Holly Williams smack dab in the middle of this revolutionary crop of young women that threatens to completely shake up the country music world and mindset. Along with Kacey Musgraves, Caitlin Rose, and Ashley Monroe, Holly Williams now has a career-caliber album that exemplifies the leadership and creativity coming from country’s young women.
The Highway takes a more Americana route than a country one, with sparse arrangements and a focus on deep lyricism. The music stays soft while the words are cutting. There’s a few exceptions like the twangy, steel-guitar soaked “Railroads,” but mostly The Highway takes advantage of the emerging commercial viability of Americana by bringing a refined ear to the compositional process and focusing the listener on the art of the song.
There’s still a lot of meat here though for the country music fan. The music might be refined, but the words come from the downtrodden life, with a lot of depression, addiction, and sorrow in the stories. “Drinkin’” is the track that other songwriters will listen to and beat themselves up for not writing. Its unconventional structure reels you in while Holly’s voice strikes that healthy balance of conveying country inflections without felling like a “put-on” act.
The biggest takeaway from The Highway might Be Holly’s voice. Not really known as a notable singer heretofore, Williams embarks on a discovery of her vocal strengths on this album, learning to accentuate the unique aspects of her tone, and even to take her vocal weaknesses and turn them into strengths such as great singers like Emmylou Harris have done in the past. There are a few Emmylou-like moments on this release, with Holly’s earthy tones and strain in her voice emphasizing the emotion of the story. “Gone Away From Me” is where this is exhibited best, while a song like “A Good Man” featuring a trailing vibrato has enough soul to be found on an R&B chart if it weren’t for the fiddle.
About the only hiccup on The Highway may be Holly’s propensity to write in a 3rd-person male voice that sort of confuses the perspective of some of the songs, most notably the anthemic final track, “Waiting on June.” This issue is short lived though, as you understand that when listening to the story it is more honest and true because it is being told from the male perspective instead of Holly attempting to augment the inspiration for the song to fit a female voice.
Where Holly Williams’ career and releases left her neither here nor there before, now she has found her voice, has found her place, and that place is amongst the talented women doing what they can to return the greater country music world to a place of substance.
1 3/4 of 2 guns up.
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2012 was a high profile year for Halls of Fame. From the kilted screecher Axl Rose pulling like a Sex Pistol and telling the Rock & Roll Hall of Fame to kiss off, to the Baseball Hall of Fame not inducting a single member as the steroid era falls like a shadow on the eligibility timeline. Similarly to baseball’s Hall of Fame, and in polar opposite of its rock & roll counterpart, the Country Music Hall of Fame has kept its legitimacy and honor over the years by being an exclusive get.
The Country Music Hall of Fame inductees are selected through a committee process appointed by the CMA. Since 2010, the selection process has been split up into three categories. 1) Modern Era (eligible for induction 20 years after they first achieve “national prominence”). 2) Veterans Era (eligible for induction 45 years after they first achieve “national prominence”). 3) Non-Performer, Songwriter, and Recording and/or Touring Musician active prior to 1980 (rotates every 3 years). With a musician, Hargus “Pig” Robbins selected in 2012, and songwriter Bobby Braddock selected in 2011, it will be a non performer (ie producer, record executive, journalist, etc.) that will be eligible for induction in 2013.
Since 2001 when there was a whopping 12 inductees, anywhere from 2 to 4 names have been added to country music’s most prestigious list each year. Usually one name from the above mentioned categories makes it per year, but if no name gets enough of a majority vote, a category may not be represented in a given year. Or, if two names get enough votes for a single category, then both may come from that category.
Modern Era Possibilities
Modern era inductees are usually big, high-profile names in the first few years of their eligibility. In 2012 it was Garth Brooks. In 2011 it was Reba McEntire. These are performers who would have risen to prominence between 1968 and 1993.
Alan Jackson – This is the big name this year that could be inducted in his first year of eligibility like Reba and Garth. Jackson would be a solid pick as a pretty strict traditionalist who experienced lots of commercial success and still remains relevant in country today.
Ricky Skaggs – Along with Kenny Rogers, Ricky Skaggs was one of the names that felt right on the bubble of being inducted last year. Skaggs has bookened his career as a mandolin maestro, studying under Bill Monroe and now firmly ensconcing himself as a country music elder. In between then, he had tremendous commercial success in the 80′s when country was searching for its next superstar. This would be another pick that few could argue with.
Kenny Rogers – He must have been only a few votes from induction last year, and it only seems like a matter of time before The Gambler gets in. The month after the 2012 inductees were named, Rogers was named the Hall of Fame’s “Artist in Residence,” possibly signaling that Kenny was close, but not quite there. Some purists may complain that Kenny started in rock and also helped usher in a more pop-influenced era in country, but you will find few who can argue that eventually Rogers doesn’t belong in The Hall.
Hank Williams Jr. – Could also be considered a veteran candidate depending on where you start your timeline, and another man who will be a hall of famer at some point (with 2 CMA Entertainer of the Year awards under his belt). The question is, is this the year? Last year Jr. seemed like a strong possibility, and then a political brushup that cost him his long-standing gig as the singer for Monday Night Football seemed to sour Hank Jr. sentiment with some. With so many eligible names and so few slots, if there’s any little reason to leave a name out until next year, it’s likely to be passed over. Hank Jr. has become a polarizing figure, and the selection committee may look for someone who can build more consensus.
Brooks & Dunn – Brooks & Dunn was a commercial powerhouse whose career is somewhat shadowed by the success of Garth and their strange place as a non-familial country duo. Their first album Brand New Man sold 6 million copies, and they won the CMA for Vocal Duo of the Year every year between 1992 and 2006, except 2000. They’ll be in eventually, but is the list of names in their field still too strong for this to be the year? Their success is not debatable, but did they have the type of influence it takes to be Hall of Famers this early in their eligibility window?
Toby Keith – Officially eligible because his “Should’ve Been A Cowboy” was released in 1993, but it wasn’t until the 2000′s when Keith really became a dominant force in country music, both commercially and influentially. He’s a long shot, but a possibility.
Other possibilities: Ronnie Milsap (saddled by his “crossover” status), The Judds, Randy Travis (bad news year for him), Clint Black (and his disappearing act for the last few years), Tanya Tucker, The Oak Ridge Boys, Crystal Gayle, and Mickey Gilley.
Veterans Era Possibilities
It is much harder to compile a field of candidates in this category because the time period is so wide, and the possibilities are so endless. So instead of trying to name off every possibility, here are some serious contenders, and some interesting names.
Gram Parsons – The push to put Gram into the Hall of Fame has been going on for years, but with a wet finger sticking up in the air, I think this year may be the one that if he’s not fully inducted, there will at least be enough votes for him through the induction process that he will really have to be looked at in coming years as a serious candidate. Influential country writer Chet Flippo featured Gram’s influence in August. What once looked like a ridiculous notion, now seems like a real possibility, and that is a victory for the Gram Parson camp in itself.
Jerry Lee Lewis – Jerry Lee has received a big push this year, and is a definite possibility for induction. He may be held back some since he came from rock & roll, and his antics on The Grand Ole Opry and other places over the years. But his contributions as one of country music’s preeminent piano players cannot be denied. If Elvis is in the Country Hall (and he is), his old Sun Studio’s buddy can’t be that far behind.
Jerry Reed – Such a great ambassador over the years for country music from his work with Smokey & The Bandit to Scooby-Doo, but Jerry Reed should be inducted for his stellar and influential work as both a performer and a musician. There weren’t many better guitar pickers back in the day than Jerry Reed.
Lynn Anderson & Dottie West – Lynn and Dottie are the two ladies that probably lead the field for female veteran inductees. The question with Dottie is if she’s known more as a duet performer. The question with Lynn Anderson is a few DUI arrests over the years. Still, both of these ladies are right on the bubble, and would not be surprising as the 2013 veteran pick.
John Hartford – I admit this is a long shot pick, but I believe he deserves induction. As I said in last year’s prognostications, “The Country Music Hall of Fame works like a timeline as you walk through the displays that weave around the massive archive in the center of the building. As you start from the beginning, each artist and their impact is displayed on a plaque that includes their Hall of Fame induction date. When I came to the John Hartford display on my last visit to The Hall this summer, he was the first to have a display, but no Hall of Fame induction date.”
The Maddox Brothers & Rose – The Maddox Brothers & Rose was a name I’m sure was not on anybody’s radar, until this year. With their prominent place at the very beginning of the Hall of Fame’s current Bakersfield Sound exhibit, it is hard not to see how important their influence was on country music, especially West Coast country, and the flashy dress of country performers that still influences the genre today. I agree it is a long shot, but if groups like The Jordanaires and The Sons of the Pioneers are in The Hall, certainly The Maddox Brothers & Rose should be.
Johnny Paycheck and David Allan Coe – These names come up every year from hard country fans, and are names regularly held up as evidence of the Hall of Fame’s illegitimacy. The simple truth is that with these two performer’s shady pasts, Hall of Fame induction is going to be difficult. Johnny Paycheck has a more distinct possibility than David Allan Coe, because Coe could create a public relations nightmare for the Hall of Fame from people (correct or not) who label Coe a racist, sexist, etc. etc. Patience mixed with persistence is what Coe and Paycheck fans need to see their heroes inducted, as time heals all wounds. Eventually I think both men should be in, but they may have to wait for a year with a weaker field. Seeing Hank Jr. go in may be the sign the Paycheck and Coe’s time is coming.
Other possibilities: Johnny Horton, Bobby Bare, Jimmy Martin, Ralph Stanley, June Carter Cash, Tompall & The Glaser Brothers, and an endless list of other possibilities.
Non Performer Possibilities
Possibly the hardest category to prognosticate, I would put Fred Foster as a producer candidate, music publisher Bob Beckham as another candidate, and Chet Flippo as a candidate for a music writer. Chet Flippo wrote the introduction to Willie Nelson’s Red Headed Stranger and Wanted: The Outlaws, and was seminal in spreading the influence of country in the 70′s with his writing in The Rolling Stone.
Really, Mike Curb‘s name should be in the discussion. He is the namesake of the conservatory that greets you when you walk into the Hall of Fame. But with his shenanigans the last few years battling both artists and other labels in the courts, Mike Curb may be waiting a lot longer for Hall of Fame induction, if not forever.
Saving Country Music’s Picks
If I had a vote…
Modern Era: Ricky Skaggs
Veterans Era: Gram Parsons, Jerry Reed, John Hartford, Maddox Brothers & Rose, Johnny Paycheck. If I had only one? Give me Gram and we’ll worry about the others next year.
Non Performer: Chet Flippo
Curb Records’ talent roster continues to contract. The latest defector is Jo Dee Messina, whose charted 9 #1 hits and sold more than 5 million records worldwide during her 18-year career. The reason? Just like Tim McGraw, Hank Williams Jr., Hank Williams III, Clay Walker, Lyle Lovett, and LeAnn Rimes to name a few, Jo Dee Messina is fed up with Curb refusing to release her music.
After releasing 3 records in the first 4 years of her contract, the big Nashville-based music label put on the brakes on releasing new music like they’ve done to so many of their artists. Messina’s 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 told Chicago Now. “Do you know what I mean?Â They just want to be able to get it.Â And itâs been such a struggle for the last… eighteen years.Â I signed when I got out of high school.Â So for eighteen years Iâve been just kind of struggling with the label and having them release stuff or not release stuff.Â Now, weâre pretty much just free to do whatever we want with this new project so Iâm veryÂ excited.”
Both Hank Williams III and Tim McGraw went through high profile fights with Curb near the end of their respective contracts. Curb’s modus operandi for the last few years seems to be to refuse to release artists’ last contractually obligated album to keep the artist signed to the label virtually indefinitely. Though Curb has lost most all of the court battles they’ve fought with artists trying to leave the label, their “catch and not release” program seems to still be in practice.
Many believe the character Marshall Evans, the controlling and manipulative record executive from the new ABC drama “Nashville” is based on Mike Curb. Marshall Evans continuously threatens actor Connie Britton’s character Rayna Jaymes with releasing a “Greatest Hits” album. Mike Curb famously released no less than 7 Greatest Hits albums for Tim McGraw while he was trying to keep McGraw under Curb contract.
Jo Dee Messina will be releasing a new album in 2013 on a new label.
Because Dwight is just so damn cool, and because it’s been quite a while since his heyday, it’s easy to forget that at one point he was one of the biggest things going in mainstream country music; selling out arenas, and shaking up the sound with his neotraditional, Bakersfield-fueled tunes. Yoakam has sold over 25 million records and charted 30 singles, but you don’t think of him as a mainstream success, he’s the man you shake your fist at, but love all the same because he will always be cooler than you.
7 years is a long time to be absent from an original release, though Yoakam has plenty of excuses and been plenty busy with numerous movie appearances. He says the long lapse was not planned, but after coming off the joyride that was the mid 80′s through the early 2000′s for Dwight, crowds and sales were beginning to dwindle. Where he once played arenas, he was now headlining county fairs and releasing albums on smaller labels like Koch and New West.
Now he’s back on Warner where his career started in earnest after coming up playing mostly in rock and punk circles and being branded too “out there” by Nashville. You probably won’t see Yoakam’s name on your local arena’s marquee (he plays a lot of concert-catering casinos these days), but it feels like the Yoakam hiatus allowed his career to baste and simmer until now he’s re-emerged as a younger, but bona fide country music legend; a much more appetizing alternative to grasping to hold on to your youth and mainstream relevancy (see Hank Jr.). 3 Pears debuted at #3 on Billboard’s country chart, and was helped along by a top-notch media push by a big label.
It would have been impossible to screw up 3 Pears. With Dwight’s molasses voice, all you have to do is cut open a live mic in a studio and magic will happen. What’s the old saying about singing the phone book? When Johnny Cash has cited you as his favorite country singer, you know the talent is natural. All it needs is an outlet.
After giving 3 Pears an extended listen, I was curious of why even though I liked all of the songs, only a few of them seemed to grow on me to the point of where I craved them. I think this is a product of the production. Though none of the approaches to the songs are necessarily wrong, some feel like they are stretching, like they are trying to make sure the songs sound hip and fresh instead of letting them breathe and find their own path.
For example, the very first song, “Take Hold of My Hand” starts off with a very hip bass line. This is a song that Yoakam had been sitting on for 20 years and reached out to Kid Rock to help finish. No offense to bass guitar (or Kid Rock), but when I hear a Yoakam song, I don’t want to notice the bass. I want to be grabbed by the collar by Yoakam’s voice and have everything else compliment it. Similar bass action starts of the song “Trying”, an otherwise excellent song and one of the best on the album. But despite whatever production miscues, the strength of the material rallies.
Beck also helped out on 3 Pears, collaborating and recording two songs at his Malibu studio, “Missing Heart”, and in my opinion the gem of the project, “A Heart Like Mine”. This song is where everything comes together. Where some of the tracks on 3 Pears come across as a little too polished, here the guitar is dirty, the words a hard to make out, and that’s the way I want my Dwight. If I can’t understand the words because Yoakam’s voice is in that sweet spot for his drawl and inflections, that’s perfect, because that means I can feel them.
One of the hardest things for an excellent singer to do is to write to their vocal strengths. That’s one of the reasons Dwight has released 4 cover albums, and why some of his biggest hits were version of recognizable songs, (ex: “Crazy Little Thing Called Love” and “Streets of Bakersfield”). Yoakam finds that magical combination of originality and his singing sweet spot a few times on 3 Pears. He also let’s fly a great cover of the oft-covered “Dim Lights, Thick Smoke” that has its roots in the original Bakersfield Sound that Dwight helps carry on and that is being showcased right now (and that song specifically) at the Country Music Hall of Fame’s Bakersfield Sound exhibit.
Dwight Yoakam is an important figure in the quest to save country music. He’s authentic, real, and original. Yet he’s also successful, accepted, proven, palatable to the mainstream, and perfect for outreach with his acting career. He’s country’s king of cool (despite what he looks like without a hat), and 3 Pears is a solid contribution that will hopefully re-ignite interest in this iconic, one-of-a-kind country music talent that generations deserve to hear.
1 3/4 of 2 guns up.
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These days you can’t go a few minutes listening to modern mainstream country radio without hearing a “Laundry List” song in the rotation. Usually with little or no plot or story, they simply spew out easily-identifyable elements of country culture (ice cold beer, pickup trucks, dirt roads, etc.) in an attempt to appeal to mostly non-country demographics that can live the country life vicariously through the shallow lyrics.
Another common thread through country checklist songs is how they are used to convey country pride, and help their listeners identify with their side of the urban vs. rural, liberal vs. conservative, religious vs. non-religious culture war. Nostalgia is also a big player.
Like most of the overused song formulas employed by Music Row songwriters, the laundry list likely started with some good, creative, innovative tunes. But once something works, it is called upon again and again by Music Row until all creativity is spent and it becomes cliche. Such is the evolution (or devolution) of the country checklist song.
What is the “first” country music laundry list song?
Though there were others before it, David Allan Coe’s “If That Ain’t Country” comes in as a strong candidate from the way Coe lists out the things from his past that make him “country” and the continued popularity of the song today.
What is the first MODERN country music laundry list song?
Though Rebel Son, Lynyrd Skynyrd, and some other artists may have something to say about it, Rhett Akins “Kiss My Country Ass” is a solid contender for where songs about country pride went from conveying stories to simply being vapid lists of country artifacts and behaviors.
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Below is a list of songs that likely contributed or played an important role in the formation of the modern country checklist song from the legacy era, and a list of songs in the modern era that could be called the “first” laundry list song. I don’t pretend for this list to be complete, so if you feel there is an omission, please add your 2 cents in the comments.
THE LEGACY ERA
Merle Haggard – “Okie From Muskogee” – 1969
Leather boots are still in style for manly footwear. Beads and Roman sandals won’t be seen. Football’s still the roughest thing on campus. And the kids here still respect the college dean.
Unlike the modern laundry list song, Merle spends most of the time in “Okie From Muskogee” spelling out what people from the country (or Muskogee) don’t do, but the idea of country people using a song to delineate themselves from the other side of society in the culture war through lists of artifacts and behaviors was born. And so was the “Proud to be” lyric that is so prevalent in laundry list songs today.
Bob Seger – “Night Moves” – 1977
Out past the cornfields where the woods got heavy. Out in the backseat of my ’60 Chevy.
Bob’s first breakout song, and Rolling Stone Magazine’s “Best Single of 1977″ (it was released in December of ’76), it has had huge reverberations in modern country despite being released in rock. The laundry list lyrics are clear, and so is the nostalgia that is an essential element to many modern laundry list compositions. I’ve said before that the majority of modern country songs can be traced back to “Night Moves”. Listen to the best-selling country song from 2011, the Brantley Gilbert/Colt Ford-penned “Dirt Road Anthem” and you will spy the nostalgia of “Night Moves” all throughout it.
David Allan Coe – “If That Ain’t Country” – 1977
With 13 kids and a bunch of dogs, a house full of chickens and a yard full of hogs. Spent the summertime cutting up logs for the winter.
If you’re looking for the first true laundry list country song that started the whole trend, this might be the most solid candidate. But unlike the modern laundry list song, this one actually has a story and theme to convey, and is truly autobiographical. “If That Ain’t Country” was Coe attempting to prove his country cred to critics who said his music wasn’t, which is what many modern male pop country stars must do because they aren’t. It also features the lyric “Kiss my ass” that becomes a big player in the laundry list song’s evolution.
Hank Williams Jr. “Country Boy Can Survive” – 1982
“I live back in the woods you see, the woman and the kids and the dogs and me. I got a shotgun, a rifle, and a 4 wheel drive, and a country boy can survive.”
One of Hank Jr.’s seminal songs and all self-penned, it spells out the pride and resilience of people from the country like few others. But many elements of “Country Boy Can Survive” are misunderstood, misinterpreted, and misappropriated in the modern checklist song. Resilience is replaced by fear, self-reliance by materialism. Country and Southern pride are at the heart of many Hank Jr. compositions, but few resonate like this one still does today. “Country Boy Can Survive” and Hank Jr. are referenced specifically in many modern laundry list songs.
THE MODERN ERA
Marcus Hummon “God’s Country USA” – 1995
Looking back at my one cop town, skinny dipping drinking Royal Crown. And thinking about year long days, and rowdy ways, and best friends lost and found. Remembering my half back moves, night games and backseat blues.
This song may be somewhat obscure, but may be the missing link between the old-school and modern-day laundry list country songs. Marcus Hummon is a big, behind-the-scenes songwriter in Nashville that has written #1 hits for Tim McGraw, Rascal Flatts, The Dixie Chicks, Sara Evans, and has numerous Top 40 hits to his name. Hummon was 14 years ahead of his time with this song that sounds just like the checklist songs of today.
Lynyrd Skynyrd – “That’s How I Like It” – 2003
Like my women hot and my beer ice cold. A real fast car and my whiskey old. Like a slow drive down and old dirt road. That’s how I like it.
Even more surprising than how similar the lyrics to “That’s How I Like It” are to today’s laundry list songs is how similar the sonic structure is. Lynyrd Skynyrd is a Southern rock band, meaning they could get away with rock beats and overdriven guitars in 2003 when this would have been crossing a line in country. Of course today in country, anything goes. From the unplugged intro, to the rhythmic power chords, to the almost rapping style of lyrics in the chorus, “That’s How I Like It” is the sonic template many present-day laundry list songs are derived from.
Rebel Son – “Redneck Piece of White Trash”Â – May 2005
I like to dip, I like to spit. I like talking on the phone when I’m taking a shit. I’m proud to be a redneck piece of white trash. If you don’t like that pucker up motherfucker you can kiss my ass.
This song from a relatively-obscure, but well-loved band with a very loyal fan base virtually writes, trumps, exposes, and lampoons all modern pop country laundry list songs all at once, even though it was written way before most of them. Aside from the “kiss my ass” lyric from David Allan Coe, if you want to find the truly “first” original modern checklist country song, look no further. Rebel Son relies on humor, while at the same time portraying cold-faced reality in songs meant to be hysterical and completely serious at the same time.
Rhett Akins – “Kiss My Country Ass” – October 2005
Tearing down a dirt road, Rebel flag flying, coon dog in the back. Truck bed loaded down with beer and a cold one in my lap.
Probably the more obvious and more-accepted advent of the modern laundry list country song (as opposed to Rebel Son), “Kiss My Country Ass” appeared on Rhett’s 2007 album People Like Me, but was released as a single in October of 2005. The song mentions Hank Jr.’s “Country Boy Can Survive” directly, and was re-recorded by Blake Shelton for his 2010 Hillbilly Bone EP. If you’re looking for the smoking gun, the primary culprit for the modern laundry list song’s popularity and its move from telling stories to simply conveying lists of countryisms, “Kiss My Country Ass” is the probably strongest candidate.
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Thanks to frequent SCM commenter “tontoisdrunk” for asking about the evolution of the laundry list song.
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