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I first heard about the rambunctious and ribald Bobby Joe Owens through guitar maestro Zach Sweeny—Wayne “The Train” Hancock’s lead guitarist that has also played with folks like Lucky Tubb, Danny Kay & The Nightlifers, and many others. Sweeny appeared on Bobby Joe’s first two albums, including 2010′s Watermelon Tea that prominently featured the Squirrel Nut Zipper’s Jimbo Mathus. Bobby Joe always seemed like an interesting character, but his recent release Liquor, Love & Laughter was my first chance to get a face full of his full tilt sidesplitting musical antics.
Recorded at the famous Cash Cabin—the cabin formerly owned by Johnny Cash in Hendersonville, TN that has been converted into a studio—Liquor, Love & Laughter is not a particularly slick album, with little flubs and hiccups here and there, and some mixing issues. But damn if this album isn’t a real good time and a wild ride from beginning to end.
Bobby Joe Owens is a guy who didn’t even start doing anything in music until 2006 when he started writing songs under the name “Robert J. Thompson.” He doesn’t play an instrument, is probably not going to win any singing competitions, but his songs will jerk tears from you, whether you’re laughing out loud, or relenting to a truly heartfelt ballad. The former Marine Corps veteran names off his occupations as inventor, entrepreneur, philanthropist, and despite all the signs that he comes to the music realm from the outside looking in, his songwriting will kick the ass of many who claim music as their full-time gig.
Liquor, Love & Laughter starts off with with a straight up rockabilly tune called “Hopeless Romantic,” and though the song captures a fun vibe, you start to worry, especially with a backing band by the name of “Retro Deluxe” that getting into this man’s music will require either a quaffed pompadour or Betty Page bangs. But one of the best parts about Bobby Joe Owens and this album is that it is all over the place as far as influence, touching on just about every texture of the American roots world, from straight up country and honky tonk, to singer-songwriter type Americana-feeling tunes, to no holds barred off-color comedy songs.
After the rockabilly intro, Owens careens straight into country music with the cunning and crafty “From Beer To There.” The drinking theme is carried over through most of the first half of the album, including the salty “Long Time Until Next Time” and “Drinkin’ My Heartbreak Away.” And then Bobby Joe takes you completely by surprise with an exquisitely-written, somber and sober ballad evoking the feeling of sincere heartbreak called “Don’t Forget To Forget.” Even if you think this dude is a complete goof, “Don’t Forget To Forget” is one diamond in the rough worth digging for. So is the spatial and mood-drenched “Tennessee Tar” that could come from your favorite songwriting-focused Americana band.
As the album progresses, the comedy songs start coming quick and often. No, “My Dickel” is not about Bobby Joe’s favorite uncle named Richard, but it will leave you in stitches like a head first dive off a couch into the side of the coffee table. “Friends Don’t Le Friends Face Book Drunk” (yes two words for “Face Book”) is the funny song whose off-color wit is what forced Bobby Joe Owens to include a Parental Advisory sticker on this album, and the jokes keep coming (no pun intended) in “Text Me You Love Me.”
Though I spoke about the little recording flubs here and there on this album, it is nothing short of expansive in how it was fleshed out by Retro Deluxe and a cast of mercenary musicians. Every song gets expansive treatment with quality and tasteful musicianship, backing vocals, and those extra treatments like mandolin, or the piano on “Don’t Forget To Forget” that fits the song perfectly instead of using what was easily available.
Not for everyone, but like a Roger Miller-style approach to country, Bobby Joe Owens and Retro Deluxe leave you quite entertained with a combination of wit and substance that speaks to a sincere appreciation for the joy of music.
1 1/2 of 2 guns up.
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In the last few years, the amount of re-releases, rare recordings, and other such reconstituted music material we’ve been bestowed by the Johnny Cash and Hank Williams camps and others has made the announcement and release of archival material somewhat of a mundane event. It’s not that there isn’t material on these albums that is worthy of ears, but they’re usually only good for maybe a few individual tracks that you must find by sifting through outtakes and alternative versions to get to. Sometimes these releases are padded with material that has been previously released, or has been put out in bootleg form before. And with so many of these releases, the mystique of hearing something new from a deceased artist has ironically become commonplace. Sometimes the release dates for these projects come and go and you don’t even notice despite your loyal fandom.
That will not, and should not be the case for the upcoming Johnny Cash album Out Among The Stars set to be released on March 25th, 2014. Instead of a hodgepodge of live or radio recordings or other such discarded studio fodder, Out Among The Stars is a complete album that was recorded between 1981 and 1984 by Cash, with songs that were meant to be together, but never saw the light of day. A true “lost album” if there ever was one. It was produced by Country Music Hall of Famer Billy Sherrill, renown as one of the architects of the countrypolitan, or Nashville Sound. But this wasn’t 1965, and Johnny Cash wasn’t just some artist looking to soften his sound with strings and choruses. Sherrill was also the president of CBS Records at the time, and the pairing was meant to create something special; something that could re-ignite Johnny Cash’s career.
It was the early 1980′s and Cash’s label Columbia was not sure what to do with him. Like so many other golden-era, aging country artists at the time, Cash was seen as cold product, and eventually Columbia dropped Cash in 1986, shelving Out Among The Stars, even though they released some other recordings and albums that were made after the album. It is pretty obvious that Columbia executives didn’t think much of the project, but as we’ve come to find out over the years, from back then and today, just because Music Row doesn’t approve, doesn’t mean it is bad.
Apparently when Cash was cut from Columbia, June Carter stashed the masters for Out Among The Stars amongst other archival recordings. The masters weren’t even found until last year when the family was going through the material looking for potential archival releases.
“They never threw anything away,” Cash’s son John Carter Cash tells The Tennessean. “They kept everything in their lives. They had an archive that had everything in it from the original audio tapes from ‘The Johnny Cash Show’ to random things like a camel saddle, a gift from the prince of Saudi Arabia….We were so excited when we discovered this. We were like, my goodness this is a beautiful record that nobody has ever heard. Johnny Cash is in the very prime of his voice for his lifetime. He’s pitch perfect. It’s seldom where there’s more than one vocal take. They’re a live take and they’re perfect.”
Out Among The Stars features 12 tracks, including a duet with Waylon Jennings, and two duets with Cash’s wife, June Carter Cash. The recordings feature Country Hall of Fame keys player Hargus “Pig” Robbins, and a young Marty Stuart. And for better or worse, Legacy Recordings had Marty Stuart, Buddy Miller, and Jerry Douglas “fortify” the recordings for this release. No, this is not the dusting off of some old demos to have fans who will buy anything Cash dig into their pockets yet again. Great care was taken with this project from beginning to end, and the result may mean the continuance of the surprising and sustainable interest Johnny Cash enjoys well after his passing.
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Below is a clip of the song “She Used To Love Me A Lot,” written by Dennis Morgan, Charles Quillen, and Kye Fleming, and originally recorded by David Allan Coe with producer Billy Sherrill in 1985.
The modern-day music video is a really strange enterprise. Lots of money is spent by artists, and sometimes labels to produce something special; something that really represents the spirit of a song well. But when you look at what people watch, especially when it comes to independent musicians, many times it’s the fan video captured on a consumer-grade piece of technology that draws the most interest. Meanwhile mainstream music videos, especially from male stars, are the epicenter of country music’s decline.
It was just announced that CMT has picked up a whopping 7 new reality shows for their upcoming season. It looks like the era of quality music videos continues to be in decline. But there are still a few artists, and film/video makers out there committed to the art of music videos, and to doing it right.
10. Kacey Musgraves – “Follow Your Arrow”
Okay I’ll admit it, I wouldn’t like this video half as much if Kacey Musgraves didn’t look so good in blue hot pants.
9. Kenny Chesney Concert PSA
In the aftermath of the massive mess and 73 arrests at the Kenny Chesney / Eric Church concert June 22nd at Pittsburgh’s Heinz Field, resulting in shocking photos at the amount of litter left by fans, benstonium.com posted this hilarious parody of the crying Indian PSA. Don’t ask what a “Yinzer” is.
8. Caitlin Rose – “Only A Clown”
Caitlin Rose is one of the few artists that has a nose for the offbeat, engaging video. Last year’s “Piledriver Waltz” video was a standout as well.
“The video for ‘Only a Clown’ is executed with great vision by Michael Carter, resurrecting the VHS format for texture and capturing the thin line between fun and forlornness that accompanies the freedom of the 20-something existence.” (read full review)
7. Sturgill Simpson - “Sturgill Simpson – “You Can Have The Crown / Some Days” (Live at Sun King Brewery)
What scripted videos usually lack is that ability to capture a magical moment in time where it all “clicks” and you get the shivers that only a live experience can afford. This two-song video from the Sun King Brewery has a few of them.
6. Sturgill Simpson – “Railroad of Sin”
“Sturgill 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.’” (read full review)
5. Jason Isbell – “Elephant” Live at SiriusXM Outlaw Country
Capturing the true emotion and inspiration behind a song is what we all want from a video. Yet it so often becomes elusive by the superfluous additions in the production of a full-blown music video. Sometimes all you need is just the man and a guitar.
4. Fred Eaglesmith – “Johnny Cash”
This video stimulated a little controversy when it was released in March. Is Eaglesmith being too harsh, too judgmental? Maybe, but it’s hard to argue that he made one hell of a video.
“When the prevailing image of Johnny Cash in culture is one of him flipping the bird, the argument can be made that it’s the wholesale reduction of a man of such towering accomplishments and time-tested faith. At some point the imagery and cult-of-celebrity of Johnny Cash trumped the man himself, and society lost sight of his greatest contribution: his noble and charitable spirit.” (read full review)
3. Lindi Ortega – “Tin Star”
This video of Lindi’s Song of the Year Nominee “Tin Star” captures the spirit and theme of her emotionally-drenched foray into the realities that many independent-minded musicians face so well.
2. Matt Woods – “Deadman’s Blues”
The point of any video is to get you to pay attention to an artist and their song. One of the problems with many videos is they take an artist’s song and try to interpret too literally, eroding the mystery from the song, robbing it of its ability to mean different things to different people. The video for “Deadman’s Blues” is quite literal, but done so well and with such heart, it bucks this trend. Though I put “I’ll Sing About Mine” a step ahead, it really is #1 and #1A with these two videos. They represent really listening to the songs and then interpreting their messages in the visual format.
1. Josh Abbott Band – “I’ll Sing About Mine”
“The best part about Josh Abbott’s “I’ll Sing About Mine” video is the faces of the people. I’ll guaran-damn-tee you all of these people are real folks from real places. What’s even better is these scenes they’re in are the same scenes you see in pop country videos–the back of pickup trucks, out on the farm, on a tractor or 4-wheeler, at a football game. But the scenes are 100% real. These people are so ragingly authentic and their faces tell such gripping stories, you want to take every single one of them and put them in your pocket so you can feel the honest, simple goodness in their souls all day long. If a picture is worth 1,000 words, then a face is worth a million.” (read full review)
So Eric Church, you think that genres are dead? Well then why don’t you turn in your Country Music Association Album of the Year trophy, your Academy of Country Music Album of the Year trophy, your Academy of Country Music award for Best New Solo Vocalist from 2011, and your Academy of Country Music award for Vocal Event of the Year that you won with your country-rapping douche buddies Jason Aldean and Luke Bryan as you march your aviators-wearing ass straight out of the non-existent country genre that has made you millions upon millions of fucking dollars and see if the rock world will embrace your “Outsiders” Bon Jovi rehash and bestow awards, coast to coast radio play, and industry support to your ungrateful, arrogant ass.
You’re right Eric, genres are dead, and it’s because assholes like you have killed them by making murky, soulless, rootless pap to appeal to the wide masses while the roots of music wither, and there’s no better evidence of that than your latest rock opera being rammed down the throats of what are supposed to be country consumers, throwing the homogenization of the American culture into hyper drive so that you can hold on to your mainstream relevancy and make even more money stained with the blood of what country music once was.
If you want to play rock music because you think that country is too restrictive, then by all means Eric, do your worst. Play the music you want. But then stay the hell off of country radio, don’t perform at the country awards shows, and forfeit your trophies to the runners up if the country genre is meaningless to you or meaningless in general. Who do you think laid the groundwork for people like you to have untold success? Did you not notice the names as you were trouncing on the way to the top? You can’t use the legacy of country music to make it to the top of the hill, and then disregard it once you’re there.
Eric Church is a hypocrite ladies and gentlemen. From saying he’d never call himself an Outlaw while simultaneously selling Outlaw merch, to now saying genres are dead while shamelessly reaping the rewards of one. Remember the Eric Church song “Lotta Boot Left To Fill”? Remember the lines “I don’t think Waylon done it that way. And if he was here he’d say Hoss, neither did Hank,” and “You sing about Johnny Cash. The man in black would’ve whipped your ass”? What would Hank, Hoss, and Cash have to say to someone claiming the genre they worked their entire lives in and shed their blood for didn’t matter? I know what they’d say. “Eric who?”
And the sad part is yes, when talking about the very top of mainstream country males, Eric Church outpaces his peers as far as quality and innovation, his latest “The Outsiders” single rocketing up the charts notwithstanding. But that may say just as much about the lack of quality in his peers as it says about Eric. It’s his damn attitude, the arrogance bordering on downright hubris, and the uncaring if he completely tears down the country genre, or really anything on his way to the top as long as he gets his.
The death of genres in mainstream music means the death of contrast, and this is something that shouldn’t be regarded flippantly, something that shouldn’t be celebrated just because it secures the financial success of mono-genre artists like Eric Church for the future. It means that music will have that much less color and diversity moving forward and be much more about commercial success than making an artistic mark.
And that’s a sad commentary.
The inaugural inductees to the Outlaw Music Hall of Fame set to open in the Spring of 2014 in Lynchburg, TN have been unveiled. In an event carried live during a 3-day concert in Altamont, TN, the 17 initial inductees were announced in two different categories: Pioneers/Innovators (Pre-1970), and Highwaymen (1970-1990).
Along with the official inductees, the Outlaw Music Hall of Fame also announced Guardian Award winners. The Guardian Award is not a Hall of Fame induction, but a one-year award meant to honor an artist’s hard work and unwavering commitment to their music and their fans and best exemplify the tradition of those who came before them. The Hall of Fame also announced that fans will be able to vote on Guardian Award winners in the upcoming years.
OUTLAW HALL OF FAME INDUCTEES
- Hank Williams Sr.
- Loretta Lynn
- The Carter Family
- Bobby Bare
- Chris Gantry
- Willie Nelson
- Waylon Jennings
- David Allan Coe
- Kris Kristofferson
- Merle Haggard
- Johnny Cash
- Johnny Paycheck
- Sammi Smith
- Steve Young
- Jessi Colter
- Hank Williams Jr.
- Billy Joe Shaver
- Dallas Moore
- Wayne Mills
- Hank Williams III
- Jamey Johnson
- Whitey Morgan
The Hall of Fame is dedicated to those artists, both musicians and songwriters, whose work best exemplifies the qualities of the Outlaw movement that first began in the 1970′s and has gained renewed momentum as an alternative to the current Nashville pop country scene. In doing so it will place the spotlight on music firmly attached to the roots of country. Moreover, the Hall of Fame will educate the public about Outlaw country, memorialize founders of the genre—such as Waylon Jennings, Willie Nelson, and Jessi Colter—recognize current Outlaw artists, and provide a platform for them and for the independent record labels who currently have little if any voice in the industry.
The facility, due to open in spring of 2014, will encompass more than 5,000 square feet and feature a state-of-the-art layout, including interactive displays. There will also be a studio to allow for live broadcasts to be streamed over the Internet. Located on the town square in Lynchburg, the Outlaw Music Hall of Fame will sponsor a concert series each April to November to showcase independent roots country artists.
For years the top tier of country music coverage was simply a cloistered and closed-minded exercise in recycling the same already-established names in puff pieces proselytizing the virtues of pop country and very little else. As independent music as a whole continues to gain market share from the mainstream, it’s becoming more and more pertinent for big news outlets to pay attention to the rising tide of independent music, and the renewed interest in legends of the genre. CMT created CMT Edge to cover Americana, bluegrass, legacy artists and other independent acts, and other outlets have stepped up their independent coverage in one capacity or another. But that one mainstream outlet that really gives equal footing to artists regardless if they have the big money of a major label behind them has remained elusive…at least in country music’s traditional stomping ground of the United States.
Once again the Europeans out class their cross Atlantic counterparts with the newly-launched Country Music Magazine from Team Rock—the same people who’ve brought the UK the long-running and widely-distributed Classic Rock Magazine. Despite the generic name, this magazine is anything but, with 132 extra wide (8 ½” x 12″) glossy full-color photo-showcasing pages, accompanied by a free, 15-track CD with music from the likes of Sturgill Simpson and Guy Clark.
Amongst its content is a full 60 pages of in-depth features on folks like Johnny Cash, Tony Joe White, Kacey Musgraves, Sturgill Simpson, steel guitar player Buddy Emmons, Kris Kristofferson, Guy Clark, LeAnn Rimes, Steve Martin, Wanda Jackson, and many more. There’s also a rundown of “69 Must-Have Classics of Modern Country” and smaller features on Fifth on the Floor, Austin Lucas, Jack Clement, and others. The last 30 pages of the mag are dedicated to dozens of album reviews and a buyers guide of releases and re-issues complete with ratings from a wide swath of the country music world. Even the few, unobtrusive ads in the mag are for cool country folks like Daniel Romano and Laura Cantrell. Both the current and archival photos for the respective artists are astounding in their full page context.
When I first heard about this magazine and saw the lineup of who they were planning to feature, I was interested to see how it would all play out once it went to print. It sounded almost too good to be true, but Country Music Magazine seems to be determined to do right by the country music name.
And to be fair, the mag doesn’t ignore bigger, mainstream artists. There’s album reviews for Florida-Georgia Line, Blake Shelton, and Brad Paisley because they’re part of the country music community too. But the reviews for these big names are right beside reviews for people like Bill Kirchen and Patty Griffin. And it can’t be stressed enough how much content is here. It’s a magazine you can’t put down, but seems to take forever to get through because past every page turn is something you want to read, and read again.
About the only base that maybe wasn’t thoroughly touched was the Texas/Red Dirt side of country, but from mainstream to Americana and independent country, they have it all covered. Another concern would be that they set the bar so high with this inaugural issue, it will be interesting to see if they can match it at quarterly intervals. Nonetheless, this is the country music magazine we’ve all be waiting for.
Two guns up!
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Country Music Magazine is edited by Ed Mitchell, with contributions by Grant Moon, Emma Wicks, and Max Bell. Comes shipped in an outer protective cover that includes the magazine and free CD. The magazine costs £7.99 in the UK, £9.99, which is roughly $15.00 US to have it shipped to the States.
Yes, Miley Cyrus. That sledge hammer-licking slut. Did you see her on the VMA’s with that foam finger? And then riding that big wrecking ball wearing nothing? Let’s all wag our fingers, shield the children from all the spectacle, position ourselves as self-righteous and above it all….and then watch her latest video 4 times in a row once the kiddos go to bed.
Is it shocking and disappointing that the girl who once was America’s biggest teen star and role model turned out so? Of course it is. Is it also painfully predictable? Most definitely. But Miley is almost so shocking and disappointing, our outrage goes without saying.
It may be just as disappointing that Miley forever ruined the cool factor of drug references in songs with her recent single “We Can’t Stop.” And though we all may want to act shocked at what little Hannah Montana has turned into, putting drug references in your songs is just about the most conformist thing an artist can possibly do in 2013—country music included.
Though Sinead O’Connor had some brilliant points in her primary open letter to Miley Cyrus, as we saw later with subsequent Sinead letters, brilliant points or not, Sinead could nearly match Miley blow for shave-headed blow when it came to the crazy department.
Somewhere within the numerous and ever-present melees that have surrounded what is right now the most popular and influential artist in American music is that Miley Cyrus is a woman, and artist, and a daughter. No, I have no desire to leave my take on the multiple threads of whether Miley is exploiting or empowering herself as a woman with her recent antics. Even broaching the subject just lends to Miley and her marketing team’s underlying goal, which is to keep her name in the headlines and her singles high on the charts.
What I found interesting is when her father Billy Ray Cyrus recently opened up to Arsenio Hall about his daughters recent antics, he said, “Miley is very smart. She’s thought this thing out in advance of where she was going and, again, going back to her heart and her roots of the music and doing it because that’s who she is. She grew up around the greats. Waylon Jennings, Carl Perkins, Johnny Cash.“
Really? Miley Cyrus grew up on Waylon and Cash? Even regular CMT pop country pom pom waver Alison Bonaguro called foul on such a crazy assertion. After all, Johnny Cash and Waylon Jennings would never reference cocaine in their songs, would they? In Miley’s song “We Can’t Stop,” she says things like, “We run things, things don’t run we. We don’t take nothing from nobody,” and “It’s my mouth I can say what I want to.” Sure, the times change, and so does the nomenclature and context. But maybe there was a little more Waylon and Cash in there than we were willing to believe.
Miley hosted Saturday Night Live over the weekend, and while half the earth was waiting to see if the foam finger would re-appear, and the other half was manning the Miley Cyrus rehab watch, she tripped everyone up by coming out and performing two distinctly live, stripped down, heartfelt performances with no electronic accoutrements. Yes, Miley Cyrus can actually sing quite well; singing is supposed to be the point of all of this. Right at the apex of when the world was rooting against her to fail as washed up at 20-years-old with nothing but shock to create attention for herself and no substance or talent behind her music, she proved that somewhere deep inside her was a nugget of forte that was dramatically underestimated. Check mate.
At the end of the second song Miley performed on SNL—the drug-laced and defiant “We Can’t Stop,” accompanied only by acoustic guitars—Miley showed one brief moment of sincerity when the crowd erupted with applause. She was truly shocked and grateful, showing a wide, unguarded, bright-eyed smile that harkened back to her innocent Hannah Montana days—a character she ironically ceremoniously killed off during the same SNL episode. It still amazes me why stars don’t go to the stripped-down performance more often. It certainly gives them the ability to deliver a more memorable moment than some of the big stage productions.
Another performer who regularly calls on shock to draw attention is Marlyn Manson. In his take on Patti Smith’s 1978 song “Rock ‘n Roll Nigger,” he adds the line, “Cause I am the all-American antichrist. I was raised in America, and America hates me for what I am. I am your shit.”
As much as we may like to shame Miley Cyrus, or Billy Ray Cyrus for raising such a monster, or Disney for manufacturing such a pop monstrosity, the simple fact is Miley Cyrus is a product of who we are. She is a child of the American culture. For better or for worse. From her embarrassments to her virtues. She was raised on Waylon and Cash, by the guy who sang “Achy Breaky Heart,” starring in a show from Disney. It’s never smart to underestimate anyone—financially or artistically. At the time that Miley seemed to be unraveling right before our very eyes, she was the most in control. I wonder if Waylon Jennings and Johnny Cash had similar moments in their careers?
Sometimes you can find wisdom and beauty in the strangest places.
If you need any more proof that corporate country music has become so milktoast that the backlash against its homogenized format and fashion plate stars has become an indelible and easily-identifiable element of American culture, then look no further than the recent blockbuster video game Grand Theft Auto 5 from Rockstar Games. Featured in the third-person, open world game that shattered industry sales records by earning $800 million in the first 24 hours and $1 billion in the first three days is a radio station called “Rebel Radio” that is described as playing classic Outlaw country that “reminds listeners that corporate country sucks.” The station’s tagline is “Because country has gone sissy.”
Rebel Radio is hosted by The Dancing Outlaw Jesco White, made famous from the Dancing Outlaw movie first shown on PBS, and his subsequent appearances in various documentaries, including most recently The Wild & Wonderful Whites of West Virginia. The soundtrack for Rebel Radio includes Johnny Paycheck, Waylon Jennings, Hank Thompson, Johnny Cash, Willie Nelson, and Hasil Adkins among others (see full playlist below).
Illustrating the great care for detail game makers go through these days, Rebel Radio has its own logo, and even has its own location in the game in the Grand Senora Desert in Blaine County on a hill near the Redwoods Lights Motorcross Track. 13 total minutes of Jesco White commentary are mixed in with the 11-song soundtrack to give players the feel of listening to a real radio station, and Jesco even makes an appearance in the game as a “hidden Easter Egg” doing his famous Outlaw tap dancing routine.
Grand Theft Auto 5′s use of radio stations speaks to the opening of new outlets for music as traditional radio continues to narrow formats in the face of consolidation at the hands of big corporations like Clear Channel and Cumulus. Big companies have been buying up stations all across the country, implementing and institutionalizing nationalized programming. Grand Theft Auto 5 boasts a total of 15 different radio stations players can tune into, with over 240 officially licensed songs making up the game’s entire soundtrack. The game is also the first in the series to solicit an original score.
Ivan Pavlovich, the Soundtrack Supervisor for Grand Theft Auto 5, points out that the music licensing for the game is the equivalent to 20 movie soundtracks—a tremendous investment for a video game. Other celebrity DJ’s for the game’s various channels include Bootsy Collins for an 80s funk station, Pam Grier hosting a soul station, and Kenny Loggins for the classic rock station. The soundtrack is also available for sale in multiple volumes.
Grand Theft Auto 5′s Rebel Radio Playlist:
- Ozark Mountain Daredevils – If You Wanna Get To Heaven (1973)
- Hank Thompson – I Don’t Hurt Anymore (1954)
- Johnny Paycheck – It Won’t Be Long (And I’ll Be Hating You) (1968)
- Johnny Cash – General Lee (1982)
- Willie Nelson – Whiskey River (1973)
- Jerry Reed – You Took All The Ramblin’ Out Of Me (1972)
- Charlie Feathers – Can’t Hardly Stand It (1956)
- Waylon Jennings – I Ain’t Living Long Like This (1979)
- Waylon Jennings – Are You Sure Hank Done It This Way (1975)
- C.W. McCall – Convoy (1975)
- Hasil Adkins – Get Out of My Car (1966)
The last few weeks might go down in history as one of country music’s most feud-laden moments. From Gary Allan going off about country music and indirectly accusing Taylor Swift and Carrie Underwood of not being country, to Zac Brown calling out Luke Bryan’s song “That’s My Kind of Night,” and Jason Aldean calling out Zac Brown in Luke’s defense.
Though country music feuding may be on a sharp rise here recently, it is not an uncommon or recent occurrence in country music by any stretch. Many artists have had a beef with the Grand Ole Opry over the years, including Johnny Cash and Stonewall Jackson. Curb Records has been in the middle of many feuds, most notably with Leann Rimes, Hank Williams III, and a big one with Tim McGraw that pitted cross-town heavyweights Mike Curb and Scott Borchetta against each other. But nothing gets folks talking like a good old artist on artist donnybrook. Here are some of the most infamous over the years.
Dolly Parton and Porter Wagoner were one of country music’s most legendary pairings, but when Dolly wanted to leave the Porter Wagoner camp in 1974, things turned heated. Parton did the best she could to leave Porter’s side in an amicable way, even penning and performing her legendary song “I Will Always Love You” for her long-time singing partner. But Porter turned around and sued her for $3 million in a breach of contract suit in 1979.
However, the two made up eventually, and Porter performed with Dolly on her TV variety show in 1988. Dolly Parton was also by Porter Wagoner’s side when he passed away in 2007.
In the midst of Billy Ray Cyrus’s “Achy Breaky Heart” success, Travis Tritt was asked what he though about it, and always willing to be a lightning rod, Travis Tritt responded, “I haven’t seen his show so I can’t say anything about that. I haven’t seen the man personally, so I can’t say anything about him personally. I haven’t listened to his albums, so I can’t make a statement about that. But I have seen the video and I have heard “Achy Breaky Heart”, and I don’t care for either one of them. It just seems kind of frivolous. The video doesn’t appeal to me because it shows him stepping out of a limousine in front of thousands and thousands of fans, and nobody’s even heard of this guy.. Garth Brooks didn’t even do that. It doesn’t seem very realistic to me.”
Travis Tritt recalled in his autobiography Ten Feet Tall and Bulletproof, “I apologized to Billy Ray, told him I hoped he sold ten million copies of the record. Went home. I sent Billy Ray a peace lily and a get well card because I heard he’d been feeling bad enough to cancel his Fan Fair appearance. Headline in the local paper the next day. ‘Travis Tritt Trashes Billy Ray Cyrus.’ The more I said about it, trying to rectify the situation, the worse it got.”
Waylon Jennings really didn’t like Garth Brooks, and wasn’t very good at hiding it. Though in the portions about Garth in Waylon’s autobiography he was careful not to use Garth’s name, during interviews in the 90′s Waylon would regularly let his anti-Garth anger slip. For example in an interview with The Inquirer form September, 1994, Waylon said about Garth, “I think he’s the luckiest s.o.b in the world. He’s gotten more out of nothing than anybody I can think of. I’ve always accused him of sounding like Mr. Haney on Green Acres.”
There’s another Waylon quote about Garth that goes something along the lines of “Garth Brooks did for country music what panty hose did for finger fucking.” But there has yet to be a verifiable attribution of the quote.
Still to this day, not much is known about the exact details of the feud between these two men, but in the mid-70′s you couldn’t find two artists more tied to the hip than Waylon and Tompall. Tompall was the proprietor of Hillbilly Central in Nashville—a renegade studio where Waylon mixed and mastered his album Honky Tonk Heroes, and recorded his album This Time. Waylon and Tompall appear together on Wanted: The Outlaws—country music’s first million-selling album. The two became close friends and were kindred spirits from their hated of Music Row’s business practices. They would spin long hours battling each other on pinball machines or picking out tunes or playing pranks on each other. But when the friendship went south in the late 70′s, it went south hard, and the two men never resolved their differences before their respective deaths, despite both men still insisting on their deep love and appreciation for each other.
The crux of the beef between two of country music’s most famous sons is that Hank3 felt Shooter Jennings stole his persona. Hank3 had a song called “Dick In Dixie” that included the line, “I’m here to put the Dick in Dixie, and the cunt back in country.” Shooter, who previously had been in a rock band called Stargunn, came out with his first country record entitled Put The ‘O’ Back In Country in 2005, and Hank3 perceived the title was a little too close for comfort.
If you wanna go down that road and rip us off, mutherfucker, I’ll see you in ten years and five thousand shows down the road.” Hank3 said. We’ll see where the fuck you’re at. You know, I called him out and just flat out said, “fuck you if you’re gonna rip us off like that on your first release.”
Shooter for his part seemed unwilling to reciprocate the feud, saying “You know what, I don’t even comment on these things, really. I don’t even know him. I met him once, I think, for a second. And somehow all this stuff started about how he hates me. I don’t know. It’s, like, stupid.”
In fairness to Shooter, Carlene Carter had used the line “If that doesn’t put the cunt back in country, I don’t know what will” at a show in New York in 1979 when her mother June Carter and father-in-law Johnny Cash were in attendance. Eventually Shooter and Hank3 reportedly buried the hatchet.
Hank3 is the legitimate son of Hank Williams Jr., but Hank Jr. was not Hank3′s everyday father. Hank3 was raised by his mother, and usually only saw Hank Jr. once a year when growing up. In 2001, Hank Jr. began collaborating with Kid Rock in songs like “The ‘F’ Word” and others, and Hank Jr. often referred to Kid Rock as his “rebel son.” This stimulated a rumor that Kid Rock was in fact Hank Jr.’s biological offspring. Though both men denied it, the urban myth grew legs, and Hank Williams III began to be asked by people if Kid Rock was his brother, which didn’t sit too well.
Then the situation escalated when Kid Rock accosted Hank3 at a show in Detroit, trying to patch up the strained relationship between Hank3 and his father. “He kept trying to come on the bus, you know, him and Pam Anderson, and all that shit,” Hank3 recalls. “And I said, ‘Tell that motherfucker I got nothing to say to him,’ and then he finally get his way back in there and tells me how I need to be treating my father, and I’m like, ‘All right, you crossed the line motherfucker.’ And I don’t know how many times I have to say it: No, he’s not my fucking brother . . .”
The altercation eventually led to the line in Hank3′s song “Not Everybody Likes Us,” “Just so you know, so it’s set in stone, Kid Rock don’t come from where I come from. Yeah it’s true he’s a Yank, he ain’t no son of Hank, and if you though so god damn you’re fucking dumb.”
It is considered one of country music’s most legendary moments—when Charlie Rich took out his lighter at the 1975 CMA Awards and burned the envelope announcing John Denver as Entertainer of the Year while Denver watched via satellite. Rich had clearly been drinking, and his antics were taken as an act of defiance against the intrusion of pop influences into country music, and have since become a rallying cry for country music purists.
Recently when video surfaced of the incident, people began to question what Charlie Rich’s true intentions were because Rich didn’t appear to look as malicious as the moment had been materialized in many people’s minds without the aid of the archived footage. Though historians and the Country Music Hall of Fame clearly spell it out as being considered a conflict at the time, Charlie’s son Charlie Rich Jr. says that his father was simply trying to be funny. So maybe there was a Charlie Rich vs. John Denver, or maybe there wasn’t, but the moment still makes for great country music lore.
Probably not much more than the names of these two needs to be said to to infer that they wouldn’t get along. Maines started the scuffle in response to Toby Keith’s song “Courtesy of the Red, White, & Blue” saying, “I hate it. It’s ignorant, and it makes country music sound ignorant. It targets an entire culture—and not just the bad people who did bad things. You’ve got to have some tact. Anybody can write, ‘We’ll put a boot in your ass’ … ”
Toby Keith’s response? “I’ll bury her. She has never written anything that has been a hit…” Maines kept up the heat, wearing a shirt with the letters F.U.T.K. on the 2003 ACM Awards. And of course, all of this was exacerbated when Maines criticized President George Bush at a concert in London a month before.
Keith was the one to publicly bury the hatchet, saying in August of 2003, “You know, a best friend of mine lost a two-year-old daughter to cancer. I saw a picture of me and Natalie and it said, ‘Fight to the Death’ or something. It seemed so insignificant. I said, ‘Enough is enough’ People try to make everything black and white. I didn’t start this battle. They started it with me; they came out and just tore me up. One thing I’ve never, ever done, out of jealousy or anything else, is to bash another artist and their artistic license.”
Toby Keith vs. Kris Kristofferson
It sure made for a juicy story at the time, but according to both of the named belligerents, it was a feud that never was. In April of 2009, actor Ethan Hawke published a story in Rolling Stone that without naming his name, accused Toby Keith of saying to Kris Kristofferson at Willie Nelson’s 70th birthday in 2003, ““None of that lefty shit out there tonight, Kris.” According to Hawke, a rolling argument ensued that ended with Kris Kristofferson saying, ““They’re doin’ to country music what pantyhose did to finger-fuckin’” (see Waylon Jennings vs. Garth Brooks above.)
However, according to both Toby Keith and Kris Kristofferson, the incident never happened. Even more damming to Ethan Hawke and Rolling Stone, though Toby Keith became famous from his flag-waving songs, he’s a registered Democrat, making the likelihood Kieth saying to Kristofferson “lefty shit” very unlikely. Ethan Hawke and Rolling Stone stood by their story, but the press who perpetuated it got an earful from Toby about it at the 2009 ACM Awards.
Feuds that involve accusations of songs getting ripped off can get especially nasty, and this was the case when Jason Isbell took to Twitter to accuse Dierks Bentley of ripping off his song “In A Razor Town.” “‘Dierks’ has officially ripped off my song ‘In A Razor Town.’” Isbell fired off. “Dierks is a douchebag. The song of Dierks is called ‘Home.’” Isbell continued to pummel Dierks through Twitter, even getting political because of the flag waving nature of “Home.” Dierks in his defense referred to an interview one of the song’s co-writers Dan Wilson did with ASCAP that explained how the song came together.
The result? Though Isbell went silent after he said he was told to do so by his lawyer, if there was ever litigation over the song, the results were never made public. Isbell has since in interviews blamed his heavy drinking at the time for his Twitter tone. Though the two songs do sound similar, whether it was truly a ripoff or not seems to remain inconclusive.
Robert Earl Keen put Toby Keith in his crosshairs when he believed Keith lifted the melody from his song “The Road Goes On Forever” for his 2010 song “Bullets In The Gun.” Keen recalls, “I got all these calls from my friends. They were saying, ‘This is ridiculous. What are you gonna do? I felt like this individual had been picking on me for a long time, and I was sick of it. So instead of getting really ugly about things—I don’t really believe in lawsuits or threats—I took the Alexander Pope road and answered this guy in song.”
Keen recorded “The Road Goes On And On” as a shot at Toby Keith (though he never mentions his name), with lines that included:
You’re a regular jack in the box
In your clown suit and your goldilocks
The original liar’s paradox
Your horse is drunk and your friends got tired
Your aim grew weak and uninspired . . .
Toby Keith has never formally responded to the accusations.
This battle of heavyweights ensued when Eric Church was quoted in Rolling Stone in late April of 2012 saying, “Honestly, if Blake Shelton and Cee Lo Green turn around in a red chair, you got a deal? That’s crazy. I don’t know what would make an artist do that. You’re not an artist. Once your career becomes about something other than the music, then that’s what it is. I’ll never make that mistake. I don’t care if I starve.”
Miranda Lambert, who is married to Blake Shelton and also has a reality show past, came out swinging, saying through Twitter, “I wish I misunderstood this . . .Thanks Eric Church for saying I’m not a real artist. You’re welcome for the tour in 2010,” referencing Church’s opening spot on one of her tours.
Eventually Eric Church apologized, saying, “The comment I made to Rolling Stone was part of a larger commentary on these types of reality television shows and the perception they create, not the artists involved with the shows themselves. The shows make it appear that artists can shortcut their way to success… I have a problem with those perceived shortcuts, not just in the music industry…I have a lot of respect for what artists like Carrie Underwood, Kelly Clarkson, and my friend Miranda Lambert have gone on to accomplish. This piece was never intended to tear down any individual and I apologize to anybody I offended in trying to shed light on this issue.”
As some have pointed out since, Eric Church apologized to Miranda, but never apologized to Blake.
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Eric Church also created a firestorm with Rascal Flatts in 2006. While playing in an opening slot, he purposely played too loud and for too long after numerous requests to respect the tour’s wishes, resulting in him being kicked off the tour. It also resulted in a young starlet named Taylor Swift getting a chance to open on the big tour, which many experts give credit for helping Taylor’s meteoric rise.
Blake Shelton vs. Ray Price
When Blake Shelton’s comments about how he considered country music’s traditional fans “Old Farts and Jackasses” came out, Country Music Hall of Famer Ray Price shot back, saying, “Every now and then some young artist will record a rock and roll type song , have a hit first time out with kids only. This is why you see stars come with a few hits only and then just fade away believing they are God’s answer to the world. This guy sounds like in his own mind that his head is so large no hat ever made will fit him. Stupidity Reigns Supreme!!!!!!! Ray Price (CHIEF “OLD FART” & JACKASS”) ” P.S. YOU SHOULD BE SO LUCKY AS US OLD-TIMERS. CHECK BACK IN 63 YEARS (THE YEAR 2075) AND LET US KNOW HOW YOUR NAME AND YOUR MUSIC WILL BE REMEMBERED.”
Blake Shelton later apologized, saying, “Whoa!!! I heard I offended one of my all time favorite artists Ray Price by my statement “Nobody wants to listen to their grandpas music”..And probably some other things from that same interview on GAC Backstory.. I hate that I upset him.. The truth is my statement was and STILL Is about how we as the new generation of country artists have to keep re-inventing country music to keep it popular. Just EXACTLY… The way Mr. Price did along hid journey as a main stream country artist.. Pushing the boundaries with his records. “For The Goodtimes” Perfect example with the introduction of a bigger orchestrated sound in country music.. It was new and awesome!!! I absolutely have no doubt I could have worded it better(as always ha!) and I apologize to Mr. Price and any other heroes of mine that it may offended.”
Ray also later apologized to Blake Shelton for being so harsh, and along with wife Miranda Lambert, they attended a Ray Price show in Oklahoma to patch things up in person.
If you’ve been wishing for a print magazine that would cover cool up-and-coming country artists right beside the big names, and not just focus on the here and now but take the time to look back on the past greats of the genre, well you may just have received your wish. From the same people that have been publishing England’s high quality and highly-circulated Classic Rock Magazine since 1998 comes Country Music Magazine presented by Classic Rock, with the inaugural issue being released September 11th.
The first issue features a cover story on Johnny Cash and how he fought back from depression and drug addiction to release his two greatest albums At Folsom Prison and At San Quentin. The issues also includes features on Leann Rimes and her new album Spitfire, Kacey Musgraves, Guy Clark, Steve Martin and Edie Brickell, Wanda Jackson, Tony Joe White, and an exclusive interview with pedal steel guitar legend Buddy Emmons.
And best of all, right beside these big names are features on Sturgill Simpson, Austin Lucas, Fifth on the Floor, UK’s My Darling Clementine, Case Hardin, Carrie Rodriguez, and more. UK-based or not, its hard to look at this first issue and accuse them of not knowing their way around country music. The 132-page magazine will also feature a free 15-song CD of the artists it included in each issue.
“The magazine will feature the best writers, photographers, and will document Americana and roots music at its coolest,” says Country Music Magazine Editor, Ed Mitchell. “If it twangs, whines or breaks your heart, it’ll be in the pages of Country Music Magazine”.
There will also be a two hour, weekly radio show that will launch on Sunday September 8th on TeamRock Digital One radio. Hosted by Rob Hughes, who has a wealth of experience presenting country on 6Music as well as contributing to the magazine’s Johnny Cash cover story. The shows content will largely reflect the content of the magazine, playing the songs by the artists interviewed each quarter.
Once again, leave it to European-based organization to take up the slack where the American market has lapsed in covering its own indigenous art forms. As Country Music Magazine is proving, the appeal for true country music from the past and present is international, and deserves more attention. And who knows, you may see some contributions from some of your favorite country music writers you’re already familiar with .
Country Music Magazine can be pre-ordered now for £9.99 (roughly $15 US). Stay tuned for more info about US availability and distribution.
If one sets out to make a documentary about the recently passed “Cowboy” Jack Clement, it certainly can’t be straightforward. As long-time Jack Clement friend Walter Forbes observes, “Cowboy gets the most nervous I think when a parade is going all in a straight line. He just can’t stand it…There’s got to be something he can do to change the rhythm and mess that sucker up.”
It was with that spirit that Shakespeare Was A Big George Jones Fan: Cowboy Jack Clement’s Home Movies was made in 2005 to document Jack’s life, and the wild environment swirling around his legendary home studio, the “Cowboy Arms Hotel and Recording Spa.”
Like any good documentary film does, even if you don’t care who Jack Clement is, you do by the end, and take away from it the important information about the accomplishments in Jack’s life. But since Jack Clement was there during so many important and historic events in the chronology of country music and early rock and roll, and because he claims to have spent over a million dollars making home movies, Shakespeare Was A Big George Jones Fan delivers you so much more; particularly an astounding array of archived footage capturing candid and important moments with some of country music’s biggest stars and most important people.
Some examples are Dolly Parton and Porter Wagoner singing together for the first time in 20 years, Johnny Cash, Waylon Jennings, and Townes Van Zandt all hanging out in the same room, and Johnny Cash having a smoke with the Father of Country Music, A.P Carter. And this is all interwoven with other archived and never-seen-before footage like moments from 2 never-released and never-finished Jack Clement TV specials (one with special guests Waylon Jennings and Jessi Coulter), or Charley Pride playing the Astrodome in Houston. And for a little extra character, there are little snippets of Jack Clement talking to a sketch of William Shakespeare (who among other attributes, has the voice of Johnny Cash), that give even more insight into Jack Clement’s creative mettle.
The celebrities appearing in the film in various contexts include but are not limited to:
- Johnny Cash
- Waylon Jennings
- Charley Pride
- Porter Wagoner
- Dolly Parton
- John Prine
- Kris Kristofferson
- George Jones
- Del McCoury
- Jim Lauderdale
- Jerry Lee Lewis
- Sam Phillips
- Marty Stuart
- June Carter
- Townes Van Zandt
- Jessi Coulter
But there’s really not one complete, uninterrupted musical performance in the entire hour-long movie. That’s not what this is about. And it’s not even about conveying all the big details of of Jack Clement’s life—his work with Sam Phillips at Sun Studios helping to launch the careers of Jerry Lee Lewis and Johnny Cash, or his launching of Charley Pride and John Prine, or his work with Johnny Cash and Waylon Jennings. It is about capturing the spirit of the man—the whimsy that he approached the creative process with, and how it was his spirit that coaxed out some of the most memorable recordings in country music history from some of its most memorable performers.
And though this film was released 8 years ago, it still does a poignant job at the end touching on the mortality that surrounded “Cowboy” Jack in later years, all the way up to his own passing. All his best friends—Sam Phillips, Waylon Jennings, and especially Johnny Cash—had all passed away, leaving Jack behind as the last of the breed.
Directed and produced by Robert Gordon and Morgan Neville, Shakespeare Was A Big George Jones Fan is one of the most entertaining, informing, and well-made documentaries on country music you can find, and rose to the challenge of chronicling a character who future generations will unfortunately only be able to know through music and film.
Two guns way up!
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Country Music Hall of Famer, legendary producer, songwriter, musician, and cosmic music man “Cowboy” Jack Clement has died according to the Nashville newspaper The Tennessean. Jack Clement was just inducted into the Country Music Hall of Fame this year. He was 82.
Jack Clement got his start working at Sun Studios in Memphis under Sam Phillips while playing steel guitar in college. He would later use this important position to become a seminal figure in the formation of both country and rock and roll music in the mid 50′s. Sam Phillips hired Jack on as an engineer, and Jack would arrange such hits as Johnny Cash’s “Ring of Fire,” and write Cash’s “Ballad of a Teenage Queen.” Jack discovered Jerry Lee Lewis when Sam Phillips was away on vacation one time, and many of those early Sun Studios recordings have Jack Clement’s fingerprints on them.
Clement would later go on to operate a renowned studio out of his home called the “Cowboy Arms Hotel and Recording Spa.” Similar to Tompall Glaser’s “Hillbilly Central” studio, Jack Clement’s house became a symbol of country music’s Outlaw revolution, facilitating a relaxed environment where creativity and free expression were encouraged and cultivated with country music’s progressive artists—a sharp contrast to the authoritarian studios of Nashville’s Music Row. At Clement’s home studio, Waylon Jennings’ Dreaming My Dreams was produced and recorded, as well as albums by Johnny Cash, Townes Van Zandt, Charley Pride, John Prine, Bobby Bare, Dolly Parton, and many more. The studio was destroyed in a fire in late June of 2011, taking with it many priceless recordings and photographs.
Jack Clement’s mystique only grew over time. In 1987 he was asked by U2 to produce tracks at Sun Studios. Though Jack had no idea who U2 was at the time, he accepted. He also hosted a radio program on Sirius XM’s “Outlaw Country” station all they way up to his death. A 2005 documentary Shakespeare Was a Big George Jones Fan chronicled the environment of Clement’s Cowboy Arms Hotel and Recording Spa, and captured his cosmic approach to music that facilitated so many heirloom recordings from music masters.
Jack Clement was also an inductee to the Songwriters Hall of Fame, The Music City Walk of Fame, and the Rockabilly Hall of Fame. He was considered a close friend and spiritual confidant to many country music performers.
He passed away in the remnants of the Cowboy Arms Hotel and Recording Spa this morning. Cowboy Jack was suffering from liver Cancer, and is survived by two children, a daughter, Alison, also a singer and writer, and a son, Niles, an engineer and photographer.
During Johnny Cash’s legendary concert at San Quentin Prison in 1969, photographer Jim Marshall said to Johnny backstage, “John, let’s do a shot for the warden.” The result was the photograph above that mostly remained under wraps until 1998. That is when producer Rick Rubin decided to use the iconic photo in an ad in Billboard magazine decrying country radio’s lack of love for Johnny’s second album on Rubin’s American label called Unchained. Despite no industry support, Unchained went on to win the 1998 Grammy for “Best Country Album.”
Since then the image of the angry face and the raised middle finger has become an iconic symbol of defiance against the direction of country music. As indecent as a raised middle finger happens to be in the first place (and the propensity for some seedy country fans and artists to over-saturate its use in every single photo of them), it has come to mean much more than its vulgar connotation in the fight to save country music.
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Willie Nelson’s middle finger photo was shot by a photographer named Sean Moorman on Willie Nelson’s tour bus on July 26, 2002. The title of image is “Willie Nelson Sending Jim Marshall Regards.” Both the Jim Marshall photo of Johnny Cash and the Sean Moorman photo of Willie stimulated litigation when Urban Outfitters printed up Johnny Cash middle finger T-shirts without permission, and Spencer Gifts did the same with Willie.
Dale Watson doing his best Johnny Cash impression:
Hank Williams III and David Allan Coe in younger days:
Jonny (Corndawg) Fritz telling a fan they’re #1 (Kayley Luftig – Photographer):
Bob Wayne, adding the stink eye for extra emphasis:
Jeff Austin of the Yonder Mountain String Band doing the double bird (Chad Smith Photography):
Keith Richards’ middle finger is insured for $1.6 million. Yes, that one he’s point at you. And no, I’m not kidding.
The wet cigarette of country music, Kid Rock. And Saving Country Music friend “Pointer” from a downtown Nashville excursion in 2011 getting his picture with Kid Rock on the front of Tootsie’s Orchid Lounge.
Townes Van Zandt, from the back cover of his 1972 album The Late Great Townes Van Zandt.
Kellie Pickler telling Kanye West “Fuck You!” for not liking country music (see video).
Lenny Kravitz giving the crowd at the 2013 CMA Fan Fest the double bird because they “couldn’t get with love” during his elongated set that left the crowd underwhelmed.
A sign hanging up in the Johnny Cash themed bar and music venue in Austin, TX called the Mean Eyed Cat.
The ad Rick Rubin placed in Billboard Magazine after Johnny Cash won the 1998 Grammy for Best Country Album:
You’ve all heard about the “Million Dollar Quartet”—the recording session at Memphis’s legendary Sun Studios on December 4th, 1956 that compiled the talent of Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash. Well if there was an equivalent to the Million Dollar Quartet in the songwriting world, it would be the one night in January of 1969 when Kris Kristofferson, Bob Dylan, Joni Mitchell, Graham Nash, and Shel Silverstein all spent an evening at Johnny Cash’s home in Hendersonville, TN on the banks of Old Hickory Lake, swapping songs and stories from their respective spheres of the music world. The music that was showcased for the first time ever at the intimate songwriter circle became the soundtrack for a generation, and the gathering would go down in history as one of the most potent assemblages of songs showcased for the first time in one place.
The Who and Why
Johnny Cash was in the midst of recording his famous The Johnny Cash Show at the Ryman Auditorium in Nashville, and Bob Dylan was in the studio in Nashville recording his landmark country album Nashville Skyline (that Johnny Cash appears on). Bob was staying at Johnny’s Hendersonville house at the time. Meanwhile Joni Mitchell was in town recording an appearance on The Johnny Cash Show (she appears on the 1st & 6th episodes of the 1st season in 1969) and was currently dating Graham Nash who tagged along for the adventure. Kris Kristofferson and Shel Silverstein were in the habit of showing up anywhere where their songs might be heard by big name performers, and together they all formed one star studded songwriting circle.
Johnny Cash was the glue of the whole thing, bridging the differences between the dispirit music realms the 6 participants came from with The Johnny Cash Show being the catalyst. Performers on the show regulary stayed at Johnny’s Hendersonville home. “Music is for everybody,” Johnny Cash explained when telling the story of the legendary night to David Letterman in 1985. “And although I’m known as a country artist, [The Johnny Cash Show] was a network show, and I wanted to see some people on it that I knew the people wanted to see.”
“That night in my house [was] the first time these songs were heard…” Johnny Cash went on. “Joni Mitchell sang ‘Both Sides Now,’ Graham Nash sang ‘Marrakesh Express,’ Shel Silverstein sang ‘A Boy Named Sue,’ Bob Dylan sang ‘Lay Lady Lay,’ and Kristofferson sang ‘Me & Bobby McGee.’ That was the first time any of those songs were heard.”
David Letterman’s poignant reaction to Cash’s run down of talent and songs was, “Did you have snacks?”
All five songs became very successful charting singles. “Me & Bobby McGee” went on to become a #1 hit for Janis Joplin (awarded posthumously), and “A Boy Named Sue” a #1 hit for Johnny Cash. “Both Sides, Now” has now been recorded by over 70 artists, including Frank Sinatra, Willie Nelson, Bing Crosby, and Jimmie Rodgers. Dylan’s “Lay Lady Lay” is considered a country standard, and has been recorded by artists as varied as The Byrds, to Duran Duran, to Ministry.
There is one minor correction to Johnny Cash’s recollection. Even though Joni Mitchell most likely sang “Both Sides, Now” that night, the song was first recorded by Judy Collins in 1967, meaning the first time it was heard would not be that night at Johnny’s house in Hendersonville. And though “Marrakesh Express” wasn’t released until May of 1969, some reports have the song being recorded in 1968 for Crosby, Stills, & Nash’s self-titled album.
Nonetheless, the music showcased that night all in one place by the original songwriters is something to behold, and certainly was one of the most diverse, most star-packed, and most hit-packed songwriter circles in the history of popular music.
It was later memorialized by The Highwaymen in “Songs That Make A Difference” from their 1990 album Highwaymen II.
Shel Silverstein – “A Boy Named Sue”
Joni Mitchell – “Both Sides, Now”
Kris Kristofferson – “Me & Bobby McGee”
Bob Dylan – “Lay Lady Lay”
Graham Nash – “Marrakesh Express”
Like a great sage that only speaks his wisdom once every few years, when Guy Clark releases an album, you stop down, and you listen.
Like the tone of Willie Nelson’s guitar or Johnny Cash’s voice, a Guy Clark song has become an ineffaceable institution of American music. Even if you’re only familiar with his songs though the performances of others, or songs he’s influenced by others, Guy Clark’s handiwork is embedded in the very ethos of what we know as songwriting in American music, even if that influence is imperceptible to the average listener. If you need any more evidence of the influence of Guy Clark, just appreciate he’s the only one that has the legitimate ability to claim himself the honorary fifth Highwayman, and that he was a primary influence on one of his best friends, Townes Van Zandt.
Guy Clark paid off his penances to the world through his song contributions many years ago. But like a wily old tinkerer who can’t stop tooling on those cars out in the yard, and finding new motivation to express himself from the recent passing of his wife and fellow songwriter Susanna, Guy Clark has released a very personal album called My Favorite Picture Of You, filled with reflection and forlornness, without forsaking the stories of rough characters and other country interludes that make a Guy Clark album very personal to his devout listeners.
A Guy Clark album, and a Guy Clark song doesn’t need much. Once he’s written the words down and sketched the shape with an acoustic guitar (that Guy Clark the luthier likely built himself), his job is pretty much done. Maybe bring in a few instrumental accompaniments and some harmony contributions from the bevy of famous female voices always willing to lend a harmony line to one of Clark’s empirical offerings, and you’re done. Don’t bother with drums or any of that nonsense, Guy Clark’s words and acoustic tones are clothing enough. This lends to his compositions doing what they do best: going out into the world, influencing other songs and songwriters, melding to the personal narratives of his listeners, and being graced with enough ambiguity where other performers can take Guy’s spark of inspiration and make the songs their own.
When you boil it all down, Guy Clark’s greatest gift is his ability to use words to describe feelings and memories that most humans are confounded in being able to express. Take the dichotomy of the hero for example, how they seem to lift us up as much as they disappoint us. “Heroes” from this latest album is not just another troop tribute, it is a testament to how the frailty of the human condition grips even the best among us. “The High Price of Inspiration” deals with another dichotomy; how many times we must suffer to find our muse. “Hell Bent On A Heartache” is one of those songs begging to be picked up and recorded by someone else with a full band, while a song like “Conrmeal Waltz” is just plain fun.
If you’re looking to get your face melted off, then you’ve come to the wrong place. But when you’re looking for world class songwriting, you can never go wrong with Guy Clark.
1 3/4 of 2 guns up.
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For many up-and-coming country artists, simply getting to meet their country heroes is thrill enough. Getting the honor of portraying them in a big theatrical production? That is the thrill of a lifetime.
Adam Lee of Kansas City’s Adam Lee & The Dead Horse Sound Company is getting that very chance by apprising the role of Johnny Cash in the Chicago-based production of the critically-acclaimed and Tony-nominated Million Dollar Quartet—a musical based around the legendary Sun Studios recording session that transpired on December 4th, 1956 and included the star power of Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash.
Adam Lee, who has one of the most pure and natural country bass voices you will find—as low as Cash’s legendary pipes—joined the stage show live last Wednesday (7-3-13) after weeks of preparations and rehearsal.
“It kind of came out of the blue,” Adam Lee explains. “Back in Spring I was on tour—me and my buddy Matt Woods were out at South by Southwest—and I got an email from the people at the show. I knew one of the fellas from the show, a guy named Lance Lipensky who plays Jerry Lee Lewis. We met during another tour I was on up in Chicago. They said they were looking for somebody to maybe take over Johnny Cash, and asked if I wanted to audition. It’s certainly a different kind of thing. It’s something I never expected. But I figured what the hell, I’ll come up and see about it.”
The Million Dollar Quartet musical has been running now for 5 years. It was co-written by renown American music biographer and historian Colin Escott, and the musical arrangements were handled by Chuck Mead of BR549 fame.
“I thought if anything I go up there and get a chance to meet these guys and sing in front of them. So I came up the first week of April and did an audition. They seemed happy with it. I’d never acted or anything, and they told me that day they weren’t going to have anybody act, they were just looking for people to sing. So I went into the audition and Colin, Chuck, and some of the producers were there, and I sang. Then they asked me, ‘Well can you act?’ So I read some lines and I left. I didn’t really hear much back. And then they called me 3 months later and asked me if I wanted to come up here [to Chicago]. This past Wednesday was my first show. I’ve got 8 shows under my belt now, and I’m feeling pretty good. 5 days a week, 8 shows a week. It’s a lot of fun.”
Adam Lee has been a touring musician on and off since 2008 when he released his first album with the Dead Horse Sound Company called Ghostly Fires. That album and 2010′s When The Spirits Move Me are favorites amongst traditional country fans familiar with Adam Lee. Playing the role of Johnny Cash, especially since Lee had never acted before was intimidating. But as Adam explains, they weren’t looking for an impersonator.
“It’s obviously quite an undertaking. One thing I really like about their attitude with their show is that it’s not like a legends show. It’s not a tribute artist act where they want you to impersonate this person and fake it. It’s more about trying to take the person’s attitude and persona, and filter it through yourself. You’re definitely encouraged to be yourself, and bring yourself to the table.”
And Adam says his training as a musician helped, especially because the focus of the Million Dollar Quartet is not just the stage show, but the music, and his knowledge and appreciation for Johnny Cash came in handy.
“All the music in the show is live. All the actors play all the instruments and sing. It’s an interesting mix of a live rock show, and theater. It’s a very different show in that regard. Normally you have musicians, and then you have actors. But for this show they have to find people who can do both. Chuck Mead’s arrangements are fantastic. I had to learn some of the breaks, and some things that they do that were not necessarily the way I had learned the songs. But it was a lot of fun. I definitely felt like I was getting to exercise some muscles I don’t usually use. We do a couple gospel songs. There’s four and five part harmony gospel singing, so I get to do some bass harmony singing, which is a lot of fun. I’m definitely learning a lot. The whole acting thing is new to me, but I’m having fun with it.”
The Million Dollar Quartet runs shows at Chicago’s Apollo Theater Tuesday through Sunday, with two shows on Saturday and Sunday. There is another production of the play currently running in Las Vegas, and another that tours the country.
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.
Recently Brad Arnold from the rock band 3 Doors Down told Billboard he’s planning to “Go Country” on his first solo album. In 2013, stories of entertainers that “go country” are routine occurrences instead of reasons for surprise, intrigue, or outrage, because country music has officially become the default repository for talent fleeing the collapse of mainstream rock or the place to find strength in the twilight of a dying entertainment career.
Here are some of the most notorious “gone country” moments over the years.
Even the traditionally pliable, easily-wooed pop country fan saw through this one. When Jessica Simpson told the world she wanted to go back to her roots, she unfortunately didn’t mean skipping her weekly peroxide treatments. Though curiosity factor and a catchy single in “Come On Over” garnered her some minor attention, her first (and only) country album, 2008′s Do You Know only sold a grand total of 173,000 copies, and Simpson quickly scrapped her “gone country” charade. Simpson’s low point was reached when fans at the Country Thunder Festival in Wisconsin notoriously booed Simpson virtually off the stage.
When the pop world got tired of her teen icon bit, her boobs were no longer buxom enough for Playboy, and after she was the very first contestant to get booted from, get this, “Hulk Hogan’s Celebrity Championship Wresting,” 80′s flash-in-the-pan Tiffany turned to country music to try and stop the circling of the drain known as her entertainment career. Remember her 2011 country debut Rose Tattoo and its lead single “Feel The Music”? Yeah, me neither. How did Tiffany promote her first country release? By going on tour with another 80′s teen idol, Debbie Gibson, in a retrospective dubbed “Journey Through The 80′s” that featured the two rehashing 80′s pop songs as well as performing Broadway show tunes. Now if that ain’t country…
Alright, so the punchline here is that the bald-headed goofball who regularly runs himself out of breath during highlight reel on Fox’s NFL broadcast actually did have a career in country music. But you know what, the 4-time Super Bowl winner and Football Hall of Famer wasn’t half bad when he belted out his version of Hank Williams’ “I’m So Lonesome I Could Cry.” Believe it or not, the song peaked at #17 on the country charts in 1976. Two Bradshaw country albums in 1980 had not nearly the success though, and Bradshaw eventually dropped back 20 yards and punted on his dream of being a big time country star.
Worst “gone country” story ever? Lionel is in strong contention for not even offering up original material, but simply taking the track list from his “Greatest Hits” album and rehashing it into pseudo-country songs with the help of a cavalcade of pop country puppets…and Willie Nelson. Country music rolled out the red carpet for Lionel like no other pop gone country performer before, with the ACM’s giving Lionel his own prime time special. The result? Richie’s “gone country” album Tuskegee was the best selling album in all of country for the first half of 2012, despite not one song on the album being anything the public hadn’t heard before, and without the album producing even one single with any significant radio play. And for this, yes, we did use the most unflattering picture of Lionel we could find.
Can you get any more pompus than superimposing yourself on the set of The Johnny Cash Show, sharing the stage with the Man In Black? Well that’s what Everlast, the front man for the 90′s rap group House of Pain did back in 2008 when he remixed Johnny’s “Folsom Prison Blues” with House of Pain’s only hit “Jump Around.” This wasn’t Everlast’s first run at country rap. In 2004 he released an album called White Trash Beautiful that had a country-rap feel; his first on the rap label Def Jam. The album was panned by critics, was a commercial flop, and Def Jam dropped him.
When the whole late 90′s angst “children of divorce” bit had run its course, singer Aaron Lewis of the depresso rock band Staind shed the eyebrow ring and started playing solo acoustic shows and calling them country after his rock radio support dried up, and despite the songs sounding no different from his acoustic rock solo work. His lead country single “Country Boy” was laughable at best, with self-aggrandizing lyrics and a silly self-righteous video. His second single, the formulaic “Endless Summer” had the dubious distinction of being the first song to name drop Jason Aldean.
Things did improve slightly on Lewis’s first LP, The Road.
Sheryl Crow is like a bad rash that spreads everywhere and won’t go away. It was only a matter of time before she brought her bland mix of genero pop and lame rock to the country airwaves, despite there being little to no difference sonically between her pre and post “gone country” material. It’s not that Sheryl Crow’s music is terrible. It’s the everywhere nature of her persona always being shoehorned into every televised music event, album compilation, awards show, etc. etc., regardless of genre or context. We get it. It’s Sheryl Crow. Enough already.
Kid Rock has been accused of “going country” many times from incorporating country elements into his songs, including with Sheryl Crow on their successful 2002 duet “Picture.” But Kid Rock has always flatly denied wanting to be part of the genre itself.
Darius Rucker, aka Hootie from Hootie & The Blowfish blew the rock scene for greener country pastures in 2008. However bland Hootie’s country music might be, he’s done a fair job over the years keeping his nose clean and not releasing anything too offensive. Some folks were up in arms when he was inducted to the Grand Ole Opry, but that is more on the Opry than Rucker.
Bing Crosby was actually the first pop star to go country. In 1944 he released a version of Al Dexter’s “Pistol Packin’ Mama,” and because Billboard had just launched a dedicated country chart, it became country music’s very first #1.
Bon Jovi became the first rock band to top the country charts with their song “Who Says You Can’t Go Home,” featuring Jennifer Nettles of Sugarland. That enticed the hair-era band to cut the album Lost Highway in Nashville. It included guest appearances by Big & Rich and Leann Rimes.
Metallica‘s song “Mama Said” off their 1996 album Load featured steel guitar and a cowboy-hatted James Hetfield in the song’s video. Hefield also covered Waylon Jennings’ “Don’t Y’all Think This Outlaw Bit’s Done Got Out of Hand” for the 2003 tribute album I’ve Always Been Crazy.
Mike D of the Beastie Boys, under the persona “Country Mike” released a country record in 2000 called Country Mike’s Greatest Hits, but he only made it available to friends and family. Bootlegs of the album are available, and copies of the record on vinyl bring top dollar on eBay.
Kevin Bacon, along with his brother Michael Bacon, have a band called The Bacon Brothers that play country rock. Since the brothers have been playing music with each other since they were kids, it’s hard to characterize them as “going country” even though Kevin is primarily known as an actor. The brothers also work together for music on TV shows and soundtracks.
Lady Gaga released “Born This Way (The Country Road Version)” in March of 2011, making tabloid writers run to their laptops to declare The Fame Monster was “going country,” but it was more a ploy to continue to drive sales for that one particular song.
Jewel, Kelly Clarkson, Smash Mouth’s Steve Harwell, Kevin Costner, Olivia Newton-John and Michelle Branch are some other non-country stars that have “gone country.”
“In America, one of the great things to do is listen to Mickey Newbury sing.” –Waylon Jennings
It always seems like the most creative among us are never fit for the masses. Their gifts are too blinding, too rich for the wide palette, and so it takes an interpretation of their genius through others to find the broader audience their artistic expression deserves. These creative originators may not be fit for everyone, but for those tragic musical junkies who have built up such a tolerance to the interpretations and derivatives peddled on repeat radio for these very many years, seeking out and discovering the musical headwaters of a movement is like the discovery of untold wealth; a second chance to enjoy music like you’re listening to it for the very first time.
Mickey Newbury would certainly qualify as one of these musical specimens, if not the ideal case study. Mickey was nothing short of a legend amongst his songwriting brethren, but was an artist whose own performance career was never graced with significant attention like many of the artists he lent his song material and inspiration to. A somewhat reclusive character who lived on a houseboat just outside of Nashville before moving away to Oregon to purposely get as far away from the music industry as possible, the case could be made that Mickey Newbury was one of the very first, if not the first true American country music “Outlaw.” Mickey was the first to be released from his contract with the intrusive RCA label and win the stipulation to be able to produce his own albums or choose his own producer—years before Willie Nelson and Waylon Jennings would accomplish the same from the Nashville recording establishment, partly inspired by Newbury’s story.
Just like Willie, Waylon, and Kris Kristofferson, Mickey Newbury was originally from Texas. Famous country DJ Ralph Emery calls Mickey the first “hippie cowboy.” And though Willie Nelson’s Phases and Stages from 1974 is usually given the credit of being one of country music’s very first concept albums, Newbury’s 1969 Looks Like Rain might be the more worthy candidate.
Looks Like Rain was the first installment in what would become an album trilogy from the gifted songwriter between 1969 and 1973, later to be christened An American Trilogy after arguably Newbury’s most memorable song of the same name. Though Newbury was best known as an original songwriter, “An American Trilogy” was a medley that included parts of the Confederate Anthem “Dixie,” the Bahamian lullaby “All My Trials,” and the Union army’s “Battle Hymn of the Republic.” It became Newbury’s signature performance piece, showcasing his incredibly powerful voice, and ability to conjure moments in music that haunt you well after the last refrain.
In 2011, the three albums of Looks Like Rain, ‘Frisco Mabel Joy, and Heaven Help The Child, along with 15 demo songs, rarities, and unreleased recordings were assembled together in hopes of presenting Newbury’s music to a new generation, and reminding an older generation of Newbury’s contributions. When you think of “Outlaw” songwriters, you think of rough and tumble characters like Billy Joe Shaver or David Allan Coe, but Newbury and his American Trilogy has a sparse, almost genteel approach, leaning more on organ and strings than steel guitar, giving it a reverence and a lifting action like nothing else heard in country music, then or now.
The first album Looks Like Rain works like one continuous track, spelling out a very personal narrative, with wind chimes seamlessly creating a bed in between songs, pulling you into the album’s depths; into the little proprietary world Mickey creates, and enhancing the entire experience beyond the allure of the individual songs themselves.
‘Frisco Mabel Joy may be the most complete and accessible album of the collection, with the “An American Trilogy” opening song setting the mood. It loosely follows a young Southern man on a journey to find a lost love that traverses the American continent, and seems to tell the country’s story along the way. “An American Trilogy” captures such an inspired performance, it deserves to be considered right beside the greatest American compositions of all time like “Ode To The Common Man” and “This Land Is Your Land.” The album ends with the plaintive, but very enjoyable “How I Love Them Old Songs,” marking one of the trilogy’s most country compositions.
Heaven Help The Child illustrates the ever-present evolution, transformation, and insistence on growth and understanding that Mickey Newbury’s life was an exemplar of, while once again highlighting his propensity to create a seamless album experience and memorable moments. All three albums were recorded at Cinderella Sound in Madison, Tennessee, so the albums all work seamlessly between each other as well. You don’t skip around to select tracks on An American Trilogy. You push play and allow yourself to get lost in the music.
The American Trilogy era from Mickey Newbury’s body of work has become an absolute wellspring of musical material for other artists, and one that helped lay the groundwork for country music’s Outlaw era. Penning First Edition’s (Kenny Rogers’ first band) “Just Dropped In” is what made the world aware of Newbury, but after he released the first trilogy album Looks Like Rain, both David Allan Coe and Waylon Jennings covered the songs “San Francisco Maybel Joy” and “The 33rd of August.” Johnny Cash and Bobby Bare both covered “I Don’t Think Much About Her No More,” from the trilogy’s 2nd installment, and all of a sudden a who’s who of performers in Nashville were listening to Newbury and trying to figure out how they could give their own unique take on his landmark recordings.
Tompall Glaser, and the venerable Bill Monroe would go on to cover Mickey’s “How I Love Them Old Songs,” Elvis Presley did his own version of “An American Trilogy,” and the seemingly never-ending list of songwriting accolades for Newbury continues from there, including 8 cover and tribute albums released to him over the years.
Songwriters like to say that their songs are like children. If that is the case, Mickey Newbury is a father, grandfather, and great-grandfather many times over. His An American Trilogy is an indelible, essential work of the American songbook, from which many branches of American music sprout from.
Two guns up.
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Mickey Newbury’s An American Trilogy is available in a 4 CD box set, a 4 CD fold out with 24-page companion booklet, or in MP3 form. All tracks have been remastered from their original tapes. It includes a total of 41 songs.
“If there is one thing I can respect more than anything, it’s individuality in music. And I think back in the early era of country music that was so apparent. Like you could really tell your Johnny Cash from your Waylons from your Merles. They all had a distinct thing happening. And they were all really great at what they did. It was really important for me to etch out my own thing as a student of that.” — Lindi Ortega
Exquisitely antiqued and strikingly original, old school country singer and native Canadian Lindi Ortega is the northern emissary for country music’s current female revolution. A class act all around that is regarded just as highly for her self-penned songs as her heavenly (or devilish) voice, Lindi is a creative maelstrom that sends the room spinning from her ability to expose the most blinding beauty from life’s inherent darkness.
Now living in Nashville, and benefiting from some song placements in the new ABC drama series named after her new home, Lindi is starting to pack venues across the country, leaving a trail of broken hearts and positive buzz. After a rousing show at Austin’s most legendary listening room The Cactus Cafe on Monday (7-1), the gracious and arresting songwriter was kind enough to sit down and explain the inspiration behind her music.
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Trigger: There’s sort of two burgeoning movements in country music right now, and you’re part of both of them. Last year and this year we keep getting great albums from Canadians. How is it being a Canadian playing country music, as a perspective?
Lindi Ortega: I never really think about that when I do what I do. I just know what I listen to and what I’m inspired by. I don’t think about the fact that I wasn’t born in the southern United States and raised on a farm. I feel like maybe in a past life I might have been. That’s why it speaks to me. My mom was really into country music when I was growing up. She sort of planted the seed in my mind; a seed that grew into a great love and appreciation for especially old school country; you know Johnny Cash and Loretta Lynn, Waylon and all of them. So I don’t really think about the fact that I’m from Canada when I’m writing songs, or paying tribute or homage to that music. I just happen to be.
Trigger: You’re also part of this revolution of young, beautiful, talented women that are giving country a shot of substance and showing respect to the music’s roots. There’s a lot of people talking about 2013 as the “Year of the Woman” in country music. Names like Caitlin Rose and Kacey Musgraves are brought up, and so is Lindi Ortega as an example. Why do you think the women are outpacing the men right now as far as substance in country music?
Lindi Ortega: I don’t know, but I’m glad that it’s happening. It’s so great because when I started doing country-inspired music in Toronto, I didn’t know anybody who was doing it. I didn’t even hear it around me. Then the more I was doing it, the more I would hear about it. And then of course I moved to Nashville and it’s all around me. It’s so great that people are appreciating the old school way. It’s nice to know that that art of live off-the-floor recordings, and not a shitload of Auto-tune and fancy stuff is going on. I’m glad that’s not a dying art. And I’m glad that females are doing it.
Trigger: So back in Toronto, you’re playing music and you had the nickname “Indie Lindi.”
Lindi Ortega: I still do!
Trigger: So you’re playing this music, and you weren’t in a scene in Toronto of rootsy musicians?
Lindi Ortega: Yeah I was a little bit autonomous. I was kind of anti-social to a fault I guess. I just stayed in my room and wrote songs. I wasn’t really part of any scene. There was a scene. When I was doing music there was much more of an indie rock scene. Now it’s a bit different, there’s a little more variety there. But there’s wasn’t a whole lot of alt-country back then. Now it’s everywhere.
Trigger: Is that what you consider yourself? Because you said “country-inspired” before and you’re saying “alt-country” now.
Lindi Ortega: Well there’s so many labels for it and I don’t know I guess. Some people don’t think I’m country at all. And I guess if you’re listening to the radio, I don’t sound country. I like to say I’m very much inspired by old-school country. And what kind of country that is in this day and age in the modern era, I don’t know. Hey, you can call it whatever you want. As long as people are listening to it is all that’s important to me.
Trigger: Did Cigarettes and Truckstops feel like your breakout album?
Lindi Ortega: In a way, yeah. I feel like there were a lot of things that led to having successful shows. One would be the Social Distortion tour that I did; the crazy pairing with me and Social D and I did two tours with them and it exposed me to a wide audience. Amazingly they were very accepting of me and the music I’ve done. And of course the Nashville TV show, and having a few song placements on there helped.
Trigger: Have you physically seen a bump from the Nashville TV exposure?
Lindi Ortega: Yeah. People tell me at shows, “I heard your song on Nashville and I checked you out.” I think it’s amazing that it was able to resonate that way. It actually led to people coming out to shows which is great.
Trigger: Attractive women are not supposed to be as talented as you are. Usually if someone is strong in one suit, they’re not strong in another. You just don’t see a lot of beautiful women that are creative dynamos. (READ if this part of the question offends you.) Where does your motivation to make music that may not appeal to everyone come from?
Lindi Ortega: You’re too kind to me. I spent my whole day going, “I’m getting old!” But my motivation comes from my influences, and people that have stuck to their guns. I read a lot of biographies. If there is one thing I can respect more than anything, it’s individuality in music. And I think back in the early era of country music that was so apparent. Like you could really tell your Johnny Cash from your Waylons from your Merles. They all had a distinct thing happening. And they were all really great at what they did. It was really important for me to etch out my own thing as a student of that.
I don’t care about money. I honestly don’t. I don’t give a shit. I could stay at a shitty motel, I think it’s more fun. And I like riding in little vans and I love doing it that way. I think there’s a story in that, and I write songs that are stories and that tell stories. My influences inspire me to have integrity and to do what I love and be passionate about it. I don’t care about making millions or any of that. Of course if it happens, like everyone says it’s icing on the cake. But I’m happy doing what I do. I love what I do, and this is a beautiful existence for me. I get to tour. I get to go to different cities and see the world. I can’t imagine a better existence than this.
Trigger: Are you a road dog?
Lindi Ortega: I love it. I get antsy when I’m not on the road. I start to miss it and I can’t wait to get back out. It gets to a point where hotel rooms feel more like home.
Trigger: How do birds inspire your music and image?
Lindi Ortega: Yeah, I’m a bird lover. And recently I guess ravens have been my thing. But I love all birds. I have a tattoo that says, “Bird On A Wire.” It’s a Leonard Cohen song. The image of a bird on a wire and that whole song just speaks to me. Something about flying in the sky and that type of free existence resonates with me. I always think my style’s a little bit of Frida Kahlo meets Wonder Woman meets Johnny Cash. The Johnny Cash thing is of course the black thing. I always think of that movie and the line and the manager saying to him, “Johnny, why are you wearing black? You look like you’re going to a funeral.” And he’d say, “Well maybe I am.” And I was like, “Oh, that’s brilliant! I want to go to that funeral too!” I’m half Mexican, so that whole Dia de los Muertos thing, and dying and death and the whole fleeting of our existence is always running through my mind. And I don’t always think of it in a morbid way. I guess I think of it in the more Mexican way, the colorful aspect.
Trigger: You mentioned Frida Kahlo and I saw a picture of your guitar case and Frida Kahlo is all over it. How did she influence your music?
Lindi Ortega: Well I saw the movie a long time ago. That was the first thing that inspired me because she was such a character. And then I learned more about her life and read biographies about her. And I thought in the midst of all her emotional pain she was so full of life, and it was so interesting to me. And her art was so incredible. Her self-portraits I found most fascinating because the expression on her face I felt was very familiar to one I’ve seen in the mirror a couple of times; moments of loneliness and it spoke to me. I love her. I think she’s an incredible artist and a strong woman, an inspiration and I’m slightly obsessed, and I have a song about her on my next record.
Trigger: Speaking of that, is there any hints of new stuff that you can tell us? Do you have a new album coming out?
Lindi Ortega: I do. I have a new one coming out hopefully in the fall. I’m really excited about it. Dave Cobb was the producer. He did Secret Sisters and Jason Isbell. We had a blast, it was a lot of fun. Everyone that played on it was awesome.
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