Tragic news out of Nashville where where prolific and beloved bass player Henry Strzelecki has passed away after being struck by a vehicle while out for a walk Monday, December 22nd. Strzelecki experienced severe injuries including major head trauma in the accident, and was in a coma over the holidays. He eventually passed away from the injuries on December 30th.
“Needless to say, this Christmas has brought a new perspective for our family,” said Henry’s niece Heather Barnes, speaking for the family. “At the end of the day it doesn’t matter what present you got, or how the turkey tastes, it matters who you’re with. Look around at your loved ones and appreciate them for who they are. They are the best presents you’ll ever get.”
Henry Strzelecki was an elite bass player in country music, playing in Hee Haw’s “Million Dollar Band,” the “Nashville Superpickers,” and over his storied career, playing bass for Willie Nelson, Waylon Jennings, Johnny Cash, Chet Atkins, Loretta Lynn, Ray Charles, Roy Orbison, Jim Reeves, Boxcar Willie, George Strait, Elvis, Charlie Rich, and many more. Some noted studio sessions that involved Henry Strzelecki include Bob Dylan’s Blonde on Blonde, and Roy Orbison’s iconic song “Pretty Woman.” Strzelecki also played on the very last recording session with Louis Armstrong in Nashville produced by “Cowboy” Jack Clement.
Strzelecki was originally from Birmingham, Alabama, graduated from Jones Valley High School in 1958, and began playing country music in his teen years, recording with Baker Knight on Decca Records and playing in a group called The Four Flickers with his brother Larry. He also had a publishing and production company in Nashville and was nominated for Bassman of the Year at the 23rd Academy of Country Music Awards.
But the most identifiable contribution by Henry Strzelecki might have not involved his bass playing, but his songwriting. Strzelecki was the songwriter for the novelty song “Long Tall Texan,” first performed by The Four Flickers in 1959, and later recorded and released by artists such as The Beach Boys, Lyle Lovett, and many more. The catchy comedy tune has been tickling funny bones for over 50 years, and promises to continue to do so for years to come.
A “Celebration of Life” will be held for Henry on January 17th at 2 PM at the Pennington United Methodist Church in Nashville.
RIP Henry Strzelecki
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Singing with Jim Reeves
Henry Strzelecki’s “Long Tall Texan”
Loretta Lynn’s last album, 2004′s Van Lear Rose wasn’t just one of the most important albums of Loretta’s storied career, it was one of the most important country albums in the entirety of the oughts. Produced by Jack White, it was the comeback album of comeback albums, and received wide critical acclaim, including two Grammy Awards. It holds a resounding 97 rating on Metacritic.
But since the success of Van Lear Rose, Loretta has entered in the largest absent period for albums in her career. Perhaps not wanting to test fate and instead ride out the success of Van Lear Rose as long as she could, ten years have passed since she released the storied album. But all of that is about to change.
It has just been announced that Loretta has inked a five album deal with Sony’s catalog album imprint Legacy Recordings, with a new album expected to be released some time next year. Legacy is the same Sony imprint that has been finding great success releasing albums from Willie Nelson during the silver era of his career.
Ten years may have passed, but for seven of them Loretta has been at work in the famous Johnny Cash Cabin Studios in Hendersonville, TN on new music that “travels back and explores Loretta’s musical history, from the Appalachian folk songs and gospel music she learned as a child, to new interpretations of her classic hits and country standards, to songs newly-written for the project.” Helping Loretta with the project has been Loretta’s daughter, Patsy L. Russell, and John Carter Cash, son of Johnny Cash and June Carter, and the operator/caretaker of the Cash Cabin Studios.
Loretta’s new collection of music is said to include “intimate new performances, the way they might’ve sounded growing up in the 1930s and Forties in Butcher Hollow [Holler].” She’s said to have over 90 songs recorded.
“Me and Shawn Camp have been writing some songs together,” Lynn told The Nashville Scene in September. “He’s a good little writer, and I’ve been busy recording. I cut 90-some songs. I did all my biggest ones over again, and I cut some old-timey story songs like Mommy taught me when I was in Kentucky. Like this guy that got mad at his girlfriend because she got in a bad way with him — you know, pregnant. Well, he killed her and threw her in the bottom of the Ohio River. Tied a railroad steel around her neck! When somebody would do something like that, people would write about it.”
Loretta has been enjoying a resurgence of interest lately, making the Legacy Recordings signing and new music somewhat timely. In September, Loretta received a Lifetime Achievement Award in Songwriting from the Americana Music Awards. Then at the 2014 CMA Awards, she performed with Kacey Musgraves on a duet of Loretta’s song “You’re Looking At Country.”
Loretta will join a list of country music legacy acts like Willie Nelson, Dolly Parton, Johnny Cash, and Billy Joe Shaver who’ve released successful albums landing in the top of the country music charts as country fans continue to search for the classic sound of country.
Here’s a remake of the Conway Twitty/Loretta Lynn duet “After The Fire Is Gone” Loretta worked on recently with Jeff Bates.
The looming question heading into Wednesday’s CMA festivities was who would be the “surprise country legend” being touted by producers as the night’s big unannounced performer. “There’s going to be a surprise guest in one of our performances from one of the biggest legends of country music of all time,” said CMA Executive Producer Robert Deaton. “I’ll just leave it at that. It’s going to be a great moment when people are going to want to get out their phones.”
Lo and behold, when it was Kacey Musgraves’ turn to take the stage, the backdrop was in the form of the WSM Grand Ole Opry barn, and she wasn’t signing one of her award-winning singles like “Merry Go ‘Round” or “Follow Your Arrow,” she was singing Loretta Lynn’s “You’re Looking At Country,” with surprise guest Loretta joining her from stage left during the second verse.
But apparently Loretta’s appearance wasn’t the only surprising storyline of the performance. As the bouffant-haired Musgraves revealed afterwards, her panties “fell off” right before she was scheduled to go on stage.
“Right before I sang, my panties totally came off,” Musgraves told reporters during a backstage press conference. “They were the stick-on kind. Look at this dress, there’s not much to work with. So they were stuck on. And then they weren’t stuck on, and the curtain was about to come up, so literally I had to rip them off and throw them to the side. In case you see ‘em, they’re mine.”
But the show must go on, and did to the tune of Musgraves and Loretta receiving a standing ovation from the CMA crowd.
“Do you know what this means for country music?” Kacey Musgraves said while accepting her Song of the Year trophy for “Follow Your Arrow.” It didn’t just mean something because of the progressive slant of Kacey’s “Follow Your Arrow” song with both its accepting nature of gays and marijuana. It meant something because it was also—and maybe ironically—coming from one of the most traditional country artists in mainstream music today. Kacey Musgraves has crafted a way to make traditional country seem cool and hip again, and it’s sticking, even if her adhesive undies aren’t.
Kacey Speaking on Wardrobe Malfunction:
Kacey Musgraves & Loretta Lynn:
No matter where you stand on it, the enigma that is Maddie & Tae’s “Girl In A Country Song” has made for grand country music theater in 2014, marking one of the most talked about musical offerings since Kacey Musgraves’ “Merry Go ‘Round.” The song takes a swipe at the same sort of Bro-Country that has completely permeated country music’s airwaves, while still remaining playful enough where egos can’t be bruised (mostly) or turf wars can’t break out between the country music sexes.
But similar to Kacey Musgraves, we didn’t really know what to make of Maddie & Tae beyond this one song because we didn’t really have any other offerings to balance it with aside from a few acoustic performances at radio stations. Was this simply another Scott Borchetta pop country Frankenstein brought forth to be an alternative to Bro-Country to where the country music industrial machine gets you coming and going no matter what side of the debate you stand on? Cute little 18-year-old girls releasing a song that starts of with a hip-hop beat seemed so easy to refute, even if the sentiments of the song struck a favorable chord.
Make no mistake, the emergence of Maddie & Tae is the result of tactical gaming of country music’s notoriously malleable masses by label types, but that doesn’t mean that the music can’t be any good. “Girl In A Country Song” really didn’t help answer the question of, “Who are Maddie & Tae?” It exacerbated it. Were the hip-hop elements simply there for irony? Were these girls really influenced heavily by classic country as they said?
So now the young duo has released a four-song EP, and all of a sudden a brand new set of parameters emerge. You do hear those classic country leanings in the songwriting. You hear fiddle solos and steel guitar by god. You hear two girls singing in close harmony with heavy twang about similar themes once championed by Tammy Wynette and Loretta Lynn. And you begin to realize that whether Maddie & Tae are a machination of Big Machine Records or not, their music truly is living up to the more traditional and tasteful approach they were touted as embodying when they first emerged.
Granted, we only have four songs to draw from. But from what I’m hearing, the Maddie & Tae EP might just be the best offering of mainstream country so far in 2014, and I’m not kidding. Moreover, listening to “Girl In A Country Song” in the context of additional music refutes many of the concerns it initially posed, and emphasizes the song’s strengths. Maddie & Tae really are traditionally-leaning country girls who love to instill wit and a strong sense of feminine values into music that is both smart and fun, and fairly well suited for the listening enjoyment of both sexes and a general audience.
The other song floating out there in acoustic form before the release of this EP was “Sierra.” Already a witty and smart tune in its raw form, when fleshed out in the studio, we really see the potential of the Maddie & Tae project come to life. Up tempo and twangy, with fiddle and steel guitar right out front and a story fit for Dolly or Tammy with a few modernizations, this song announces Maddie & Tae as that potential act that can bridge strong country roots with present-day relevancy. Even the slight presence of electronic accoutrements doesn’t feel like a detriment here, but a tasteful way to bring the roots of country forward to a new audience.
This is followed by “Fly”— the sentimental offering in the group that revitalizes the inspiring style of female country indicative of the early careers of Lee Ann Womack and Martina McBride. It may be a little too adult contemporary for some, but “Fly” is a solid offering that illustrates a deeper side to these girls’ otherwise silly and smart approach. And again the song endears itself to discerning country ears by relying on fiddles to fill the solo allotment instead of Stratocasters.
“Your Side of Town” is where the electric guitars show up in force, and this is the song that sounds more similar to what we’re used to from country music’s leading ladies of today like Miranda Lambert, with attitude dripping from the lines and the fiddle fighting for attention. But the song still fits into the interesting space the duo has carved out for itself with this EP. Maddie & Tae are great singers as well, though I suspect their twang is so pronounced, it will be polarizing for some listeners.
Like every good EP should set out to accomplish, this collection of songs introduces you to what Maddie & Tae are all about without exposing too much, and wets your whistle for what else might be in store. With “Girl In A Country Song” cracking the Top 10 of the Country Airplay and Hot Songs charts on Billboard, we might expect a fairly quick turnaround to a full-fledged album. But for now, this EP offers a fun experience, and good insight into what this much debated and ballyhooed duo have in store.
Color me impressed.
1 3/4 of 2 Guns Up.
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Hank William III, or Hank3 as he goes by, has been causing quite a stir over the last few weeks from his vocal concern about his grandfather being portrayed by British actor Tom Hiddleston in the upcoming biopic I Saw The Light. The 3rd generation performer has been posting his thoughts on Facebook, been quoted by TMZ, and has been leaving comments right here on Saving Country Music saying that an American, or a Southerner, or someone else besides Hiddleston would be a better fit for the role of Hank Williams. Coupled with Hank3′s hard-edged style, he’s come off as abrasive to some, while many Hank Williams fans agree with his sentiment and are concerned about the direction the biopic is taking.
When I spoke to Hank3 today for an extended period, I didn’t find a cocky, closed-minded individual suspicious of a foreign actor and who secretly wishes he would have been considered for the role (Hank3 does have some acting experience, and even his hardest detractors must admit he looks and sounds the part). What I found was a man seriously conflicted, being eaten up not just by the idea of Hiddleston playing his grandfather, but that the entire biopic project was commencing on an unsturdy foundation. He also feels bad for the position his criticism is putting Hiddleston and his vocal coach Rodney Crowell in. “For some reason it is deeply embedding in my skull and I can’t get it out,” he says. “Just the fact of why the hell is this bothering me right now because I’ve got a hell of a lot of other stuff on my plate right now.”
Hank3 is currently prepping to embark on a West Coast tour where he’ll be playing shows that could stretch to three or four hours, and as his own tour manager, he is busy rounding up crew and gear, and finalizing all preparations. Worrying about Tom Hiddleston’s Hank Williams role should be the last thing from his mind. But here he is amidst a public skirmish involving huge press outlets and international players.
For the first time since the issues with I Saw The Light arose, I talk to Hank3 in depth about the movie and his concerns, as well as about what fans can expect from his upcoming tour and if any new music is on the way.
You’ve been a vocal opponent of the choice of Tom Hiddleston to play your grandfather Hank Williams in the upcoming biopic I Saw The Light. You’ve already spoken a lot on the subject publicly, but what did seeing the first videos of Tom Hiddleston perform your grandfather’s music tell you about Hiddleston’s ability to pull off the role genuinely?
Unfortunately the way they’re approaching it is doing it in the public eye, so that in itself doesn’t seem very smart. If he’s supposed to be working on his craft to really dial in this role, doing it in front of folks is probably not the best way to do it. And then, if you’re going to put it publicity out there and have him singing and then put a link to Hank Williams singing next to it? Yeah, that’s really bad. Unfortunately, they’re acting like he’s going to be singing a lot in the movie, and that in itself is a letdown. Almost everyone that I talk to hears no resemblance, and it’s alright if there’s no resemblance. Hopefully the acting will make up for it. But the main point that I will still stand by no matter what happens in the future, I still think for an Americana icon, an American needs to play that role. To have a good foundation, and to make the best of a movie, and to take it to the next level and make it feel as real as possible, yeah… My example is the Coal Miner’s Daughter movie. It’s a very well-made movie that people could identify with on many levels.
For some reason, this is really bothering me. I don’t know why. I don’t have anything to lose or gain from it. But for the approach that is happening with this movie is just not sitting right with me. And it’s not just me. There’s a lot of people I talk to out there that just don’t understand it. And this isn’t about Tom [Hiddleston]. This is about the choice. I’m not out to diss his acting or anything like that. I’m just going to shoot from the hip. I don’t think it’s a good pick, especially hearing what I did. Anyone can sing in a low register like that. I don’t hear any nasal twang to it. I honestly just want to see the best movie that can be made, because it’s been a while since they’ve made one that’s been good. Your Cheatin’ Heart had some moments, but honestly, Audrey [Hank's wife] killed that script, and took out most of the real things about it. I guess I’m so vocal about it because I care, and I want to see the best movie made. I try to let it get out of my head, and God only knows why this one is rubbing me raw, but it is.
Well this is supposed to be the definitive biopic, or at least that’s how they’re portraying it, based off of Colin Escott’s biography which is the definitive biography of Hank Williams. So this is the big one.
Yeah, I may have a shady reputation here and there and might say some things, but all in all I’m pretty humble about what I do, and I’m not out to put anybody down. But when it comes to something as important as this, I have to say some things. It goes from the street, all the way up to the corporate level in Nashville. There’s already a lot of people shaking their heads. And I know it just puts Tom [Hiddleston] in a bad situation.
To get into those areas that are really deep, you need to getting into the areas around here. Here in Tennessee, in Alabama, in Louisiana, to live it, eat it and breathe it. When Johnny Depp did Hunter S. Thompson, where was he? He was living in Hunter’s basement. No disrespect to Rodney Crowell, but there’s two Hank Williams walking this earth right now.
I know you have no direct say so in the Hank Williams estate; that’s handled by Jr. and Jett. But it doesn’t sound like they reached out to you at all to get consultation, or even to vet the populous to try and find the best person to play Hank Williams. You have may not wanted the role even if it was offered to you, but the resemblance is there both with your voice and your likeness. Why wouldn’t they reach out for a screen test? You’ve done some acting in the past. Did they even reach out just to say, “Hey, we know your passion for your grandfather, why don’t you come in and at least give us your advice or consultation?” None of that happen with you or your father [Hank Jr.]?
Yeah, there’s been nothing. And that could be because of politics, and because I don’t have that big time mover and shaker manager in my corner. But no one has approach me, and I’m a very easy to get to guy.
And unfortunately, the BBC, the Europeans, they all have a huge appreciation for Hank Williams. That’s not a question in my mind. There is a true love there. But for the role, and for the movie, it’s just doesn’t feel right. It’s going to be hard to look at for someone like me, or someone who is a die hard Hank Williams fan. It’s going to be a very big hurdle to overcome. I know Tom [Hiddleston] has fire in some of his roles, but if you really do your homework on Hank Williams, he was a very cocky individual who would stare you down almost like you were going to be getting into a fight. It’s an intensity that’s kind of different. There’s a lot of things in the nose structure and the jawline, just basic stuff. I’m not trying to gain the press, I’m just giving an opinion. And unfortunately, my opinion isn’t what they’re wanting to hear.
Hypothetically, let’s just say the filmmakers did reach out to you, either in the future or in the past to get your opinions, or to try out for the role. Would you have been receptive to those things, and would you be receptive to those things now?
I tell every director my weakness of what they have to work with, and what they have to pull out of me. I’ve been on a movie set, I’ve done it. People like Earl Brown have said to me, “Well, you can do it, you’ve got it.” It doesn’t matter if people are pitching TV shows at me or documentaries, or anything, I always tell them what I’m like as a person, and what to expect. And then as far as your job as a director, you’re going to have to heighten it to the next level to really get what you need out of me. I’m open, and I tell folks the pluses and the minuses, and I’m the first one to say I’m no super great actor, and I’m no super great singer. I always shoot straight. I do the best that I can, and some folks get it, and some folks don’t. But a lot of people have the potential for this role. It’s just getting the right foundation up under it.
The director is Marc Abraham, and he hasn’t done much directing. He’s mostly a producer; a behind-the-scenes type guy, and he’s done a lot of horror and action films. He’s a guy that definitely has a name in Hollywood, has made a lot of movies, and people know him. But this is only the second film that he’s directed.
As Jeff Bridges would say, a young director, sometimes they don’t know the rules to break. Every movie you make you learn something and it takes time to hone in on your craft. It doesn’t sound like a very seasoned guy for that role. I hate to look at anything just on paper, but if you’re looking at who the lead guy is, who the director is, yeah man, it’s kind of so so, for all that Hank Williams has done.
Some people are saying, “Well, you’re criticizing something that hasn’t even been made yet.” Any movie is going to necessitate the audience to suspend disbelief. But I guess the counterpoint to that would be to speak now or forever hold your peace, because as soon as this movie production begins, people can chirp all they want, but it’s not necessarily going to change anything. What would you say to people who say you’re not even giving it a chance?
I just know that there’s some things there that you can’t teach, no matter how hard you try to polish it or morph it into something you want. And unfortunately, this movie is going in that direction. With this, it’s like, I already know. No matter how much you polish it, it’s not going to hit the potential that it could, just because of what they’re sticking with, or where they could take it. Just like a guitar player that might know a million and one notes and he’s a guitar whiz and all that. But he has no feel. And this is falling under that category. It’s just not going to have much feel, because Tom is already going to be worried about this role, he’s already getting flack over it. Many many people are just not impressed as far as the whole situation around it.
And it definitely puts Rodney Crowell in a strange position. I’m definitely not wanting to be hard on him. But if if Rodney Crowell is the voice coach, it says a lot right there too.
And for some reason it is deeply embedding in my skull and I can’t get it out. Just the fact of why the hell is this bothering me right now because I’ve got a hell of a lot of other stuff on my plate right now.
Well, it’s your grandfather. You’ve been doing this Reinstate Hank campaign for years. You’re one of the biggest champions in trying to preserve his legacy and pay it forward to a new generation. And this movie symbolizes such an amazing opportunity to do that. That’s the promise of the movie if they do it right, is it could have a huge impact on revitalizing the understanding of who Hank Williams was to the American culture and to the music culture of the world.
But I will say, with or without this movie, Hank Williams’ music is still going to do that. I had to bring that up earlier today. No matter, his music is going to be timeless, and movies come and go. At the end of the day, his music and what he did is going to outlast the movie, and be passed on for generations. That is why he is as special as he is.
You’re 41 years old now, which is hard to contemplate for your fans, but probably even harder for you because you’re still doing your punk and metal music, you’re still stretching out shows to four and five hours. Where do you find that energy? It must take a big toll.
I approach every tour like it is my last tour. I am the strongest / weakest person you’ll ever meet. It’s a weird Jekyll and Hyde relationship. It’s just like art—you create, and then you destroy. And when I go out on the road, I’m putting it on the line, I’m taking it to the next level, I put 100% into my shows. Some nights, the voice just feels too good and the audience wants more, and it will end up being a five hour show. But no matter what, I do two hours of country. It’s like I have to go the extra mile to be able to rock out, and to pay respects to my fans and to make sure everyone got their money’s worth, I always do two hours of country, and then I go off into the Hellbilly and all of the other sounds.
It’s pretty intense for right now. And one day it might not be as hard, but where I get that energy and that drive from is playing every show like it’s my last show, and putting it on the line while I can. Because if I make it to my 50′s then yeah maybe I’ll get back into the country fairs and not be as intense. It’s hard to say where I’ll be. You look at Lemmy and you look at Willie. Who knows what the future holds. Right now I’m very proud to have the diverse audience that I have. A lot of people have preconceived notions of about how fame was just handed to me when it’s not been like that. It’s hard to carve out your own niche when you’re standing in the shadows of Hank Sr. and Hank Jr. But I feel comfortable that people have accepted me for Hank3. Not everybody gets it, and not everybody is supposed to. It’s a long show, and it’s a hard one. I’m trying to put on the biggest little show in a bar out there, and know that there’s no one else in the world doing what we’re were doing as far as at the level that we’re at.
Where is your band sitting these days? There’s been a lot of interest if Andy Gibson (steel guitar player) will be returning.
Some of the guys just need a break every now and then. I’m sure when I’m recording another record, I’ll check in and see what’s going on with Andy. Dwayne [Dennison] is not going to be out on this next tour. And just for the record, this last tour was barely able to get off the ground. I got double booked. I got confirmed on a show I didn’t give the go ahead on, and just as of yesterday I got a crew together, so this one has been down to the wire. So were having to work extra hard on this gig.
And word generally on when we could expect a new album or albums, or what we could expect from them once they’re released?
I can’t go off full bore into a whole other project just yet until I break even off of the two records that I released. So once I break even from Brothers of the 4X4 and A Fiendish Threat, then I can start putting my efforts off into either a new country record, or whatever it is. So right now I’ve just been doing a good bit of side work, and playing to keep playing. But there’s nothing officially set at this point. I’m basically in road mode still. And as soon as I hear that I have broken even, I’ll move on to the next one.
That’s right ladies and gentlemen, the Nelson clan can now field three generations of performers on the stage, and the new generation is about as defiant and ass kicking as you might expect. Rearing out of the gates comes the rambunctious and ribald Raelyn Nelson and the Raelyn Nelson Band: a full throttle country rock experience, just as much Loretta Lynn as it is The Ramones, with Willie’s little granddaughter out there in skimpy miniskirts and a flirty midriff while making one hell of a racket and breaking hearts.
As you can imagine, Raelyn was raised with country music poured right into her bottle, and along with her obvious influences, (including one that goes by the name of “Willie”), she’s a huge Loretta Lynn fan, and will put her dukes up to anyone who has anything cross to say about the country queen. But when it came to putting out her debut EP, the music took a different direction, with more of a rock and punk attitude as can be inferred heavily by the block letters, and even Raelyn’s exposed midriff that mimics almost exactly the cover of The Ramones’ 1976 debut cover.
Raelyn has been playing in Nashville and performing for a while now mostly in the vein of her family tradition. But when she partnered up with underground rock producer Jonathan Bright to try something a little different, what they came up with is self-referred to as “Country/Garage Rock”. Wild-eyed with a lot of girl power and melodic sensibility, The Raelyn Nelson Band EP may not exactly wow the traditional country crowd, but it certainly gets your attention and has you singing along, even if it’s filed as a guilty pleasure.
The lead off track to the EP “Do You” and the later track “Careless” finds Raelyn waxing unapologetically self-destructive yet ultimately resilient in a similar vein to Lydia Loveless. “Moon Song” takes a lighter approach, with Raelyn appropriating the ukelele like her aunt Amy Nelson of Folk Uke, and dueting with her famous grandfather himself in a song that is simple and sappy, but still refers to the family’s natural inclination to songcraft. “He’s All Mine” is where Raelyn exposes her country roots and love for Loretta in a track that is twangy without interrupting the winning streak of infectious groove and melody this EP sports. The final song “Getta Room” about inappropriately mugging down in a booth may be a little bit too long, but exhumes the early 80′s punk rock approach of girls with the guts to tell it all.
With this EP, Raelyn isn’t looking to make your eyes water, but for what it is, it shows a lot of promise from the young Nelson as a singer, front person, and songwriter. And as she likes to point out, “I don’t really have any desire to be a ‘solo-artist’. Everyone in my family who plays music has always placed a lot of importance on band chemistry, on stage, off stage and in the studio. Our band can almost read each other’s minds. Why would I mess with that?”
Reading Raelyn’s mind along with Jonathan Bright are Paulie Simmons and Preach Rutherford from the band Defense Wins Championships.
Raelyn is the daughter of Willie’s son Billy Nelson from Willie’s very first marriage. In a somewhat strange circumstance, Raelyn is actually slightly older than her uncle, fellow country rock performer Lukas Nelson. But no matter, Lukas Nelson, Raelyn’s aunt Amy Nelson from Folk Uke, and everyone else from the Nelson clan has welcomed Raelyn into the performing family. “I’ve been told by more than one person in the ‘biz’ that I’m stubborn like my grandpa. I kind of like that.”
There’s a lot still to be determined about where Raelyn’s musical nose will point, and if she can make music a full-time, non-stop endeavor. This certainly should be approached as a rock album first with a little bit of country mixed in, but classifications aside, Raelyn Nelson shows a lot of spunk on this very enjoyable EP.
1 1/2 of 2 guns up.
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Jake Owen, my man. You know I love you for calling out country that’s all about “fuckin’ cups and Bacardi and stuff like that” and giving my man Tony Martinez a big break on your “Days of Gold” tour. But “Beachin’”? Really?
What’s going on here folks is now that Kenny Chesney has been put out to pasture by the country music powers that be, somebody has to step up and fill the void for swaying, stupid, sand between the toes sonnets of suburban escapism for 40-something women with skin Cancer on their shoulders to hold their Corona Lights high in the air to and scream “Whoooo!” while breathing in the smoke of their Home Depot citronella tiki torches. Kenny Chesney ruled this territory for years after kissing the rings of the Godfather Jimmy Buffett who then bestowed to Chesney the scepter of shitty beach songs which Chesney presided over for a good ten years. Now Jake Owen and others are stepping up to fill this void of what apparently is a must-have staple of the American country music radio dial.
As much as hearing even the opening stanza of a corporate country beach song can make a distinguishing music listener pucker harder than trying to down a cheap Mexican beer without lime or salt, Jake Owen and “Beachin’” makes this exercise even more excruciating by featuring him rapping, yes, rapping the verses … yo yo. And to this end, Owen delivers what has to be the worst white boy rap performance that has ever been proffered to human beings for public consumption that isn’t meant to be taken as ironic. I guess his voice is supposed to be all low and sexy, but the ultra-monotone and lifeless pitch makes Charlie Brown’s teacher sound like Loretta Lynn.
And of course as one could anticipate, this song doesn’t really go anywhere. Is the term “Beachin’” supposed to be a lyrical hook that delivers some sort of payoff? Because it’s about as unfulfilling as Daytona Beach when you’re dreaming of Cancún. How did this thing crack the Top 5 on the country charts? About the only redeeming feature of “Beachin’” is the butt of the leading lady in the video. And guess who’s the producing mastermind behind “Beachin’”? Joey Moi, the architect of Nickelback and Florida Georgia Line.
I still don’t know what happened to Jake Owen’s other single “Days Of Gold”. It was pretty much terrible too, but at least it moved, had a rhythm, and was written by The Cadillac Three. There was something redeemable there beyond it being obvious bro-country pap, but somehow that one stalled at #19 on Billboard and was abandoned by his label, and this drivel is the one to become Jake’s big hit.
Come on Jake, leave the rapping to Kanye, the beach to The Beach Boys, and practice what you preach about delivering more substance to radio.
Two guns down.
Possible conclusions of the above video:
1) All a wet dream.
2) Girl gets mangled in a horrible car accident, resulting in an ultra-sappy love song.
3) Jake’s label doesn’t pony up to produce the next video because of budget cuts from the parent company.
In an era when nothing in music is universal, and music has become one of the primary battlefronts in the culture war, the likeability of Jack White was one of the few things that passed for a consensus builder. Like former Nirvana drummer and current Foo Fighter Dave Grohl, Jack White was hard to hate, even if you weren’t particularly fond of his music, past or present. His accidental superstardom, his respect and proficiency with music from many different genres, his forward-thinking, quirky style at promotion, and his independent spirit made him a champion of almost every conscious music lover. He was the rock star that wasn’t one: the prototype of the new-school, likeable guy that just happened to become famous, and that we could relate to and appreciate as one of us, no matter how “us” was defined.
And then something changed. I’m not exactly sure where or when specifically, but it changed. At some point it seemed like Jack White has started to buy into his own image and marketing, while his image began to reveal itself as marketing. He kept getting older, yet refused to lose the whiteface or black hair. And then the gimmicks started rolling in, and now the feuds.
August of last year is when the first major cracks in the Jack White facade began to appear. Amidst the divorce proceedings from his wife Karen Elson, it came out that she was alleging Jack was both verbally and physically abusive toward her, that she had asked for a restraining order and a psychiatric evaluation, and then she released emails to the public where White was portrayed as spiteful toward The Black Keys guitarist (and another one of music’s few universally-likeable guys, Dan Auerbach), speaking on the circumstance of the two’s kids being in the same school, “You aren’t thinking ahead. That’s a possible twelve fucking years I’m going to have to be sitting in kids chairs next to that asshole with other people trying to lump us in together. He gets yet another free reign to follow me around and copy me and push himself into my world.”
If you were anything like me, at the time this information came out, you put yourself in both Jack White and his ex-wife’s shoes, and felt it was a shame that the information had been made public. And of course there were counter-suits by Jack, claiming it was all lies and smear. Who is right or wrong in affairs of the heart is usually anyone’s best guess, and it’s usually better for the whole business to be kept under wraps and out of the public consumption feed before speculation and misnomers are allowed to thrive. But still, there it was; a chink in the armor. If this info was coming out about Axl Rose or Jason Aldean, whether you were a fan of their music or not, you’d be likely to shrug your shoulders and say, “Yeah, sounds about right.” But this was our likeable, champion of independent music Jack White; the guy that wasn’t a bastard, on stage or off.
It was the the Tiger Woods effect. Nobody was surprised, and nobody cared when it was found out that Michael Jordan, or Shaquille O’Neil cheated on their wives. Of course they did. But Tiger Woods had been sold to us for years as this upstanding, product-endorsing family man. Jack White was supposed to be the champion of all independent music; the sage leader who wouldn’t lose his temper, and was blessed with the ability to see everything both ways.
But really the erosion of Jack White looming large over the musical landscape started years before. I remember when it was first announced that he would be partnering with Wanda Jackson to make a revival album in the same vein of his award-winning and critically-acclaimed work with Loretta Lynn on 2004′s Van Lear Rose. My country music head just about exploded from excitement at this news (and here too is where you see why Jack White has an important and worthy country music connection). 2011′s The Party Ain’t Over from Wanda Jackson was one of the most anticipated records of 2011 in rock, rockabilly, and country. And what happened when it was released? No much. Nowhere near the zeal and accolades piled up as they did for Van Lear Rose.
The Jack White-produced The Party Ain’t Over felt flat. It seems to be about Jack first, and Wanda second. Her signature growl wasn’t present, her voice was buried in the mix. Jack White’s guitar wankery ruined songs in places, and seemed to be the predominant feature of the project. And Jack’s insistence on cutting directly to tape gave the entire recording a filmy, ever-present hiss, despite whatever “warmth” it captured. The album wasn’t terrible, don’t get me wrong. But it was one of those records you listen to once or twice, return to its sleeve, and then never think about again—Wanda’s cover of Amy Winehouse’s “You Know I’m No Good” notwithstanding.
So maybe Jack White wasn’t flawless, says the 2011 me to myself. Then I began to think what the last Jack White project was that really spoke to me. Of course, I’m a country guy, so maybe I’m not the best test specimen, but the one I came up with was The Raconteurs first album Broken Boy Soldiers, and that was from way back in 2006. But I’d tasted pretty much everything he’d done subsequently, and hey, Jack had won himself a good bit of latitude to stretch his wings if he wanted, or even turn in some missed targets and snoozers because he was Jack White. Music aside, I liked the guy, and he never put out anything that seemed downright ill-advised or bad.
And then the bits started: the all-girl band, the record booth, the tying of records on balloons and releasing them in downtown Nashville, and this with records, and that with records. Yes, we all love vinyl. It sounds so much better! But at some point it all was starting to feel like one big gimmick. This year during Record Store Day when Jack White pulled another bit by making the “World’s Fastest Record,” it seemed to symbolize the whole silliness and extreme of the new vinyl revolution, where we’re putting out records without any quality control or thought, stuff like Ron Jeremy playing classical piano just to get people to pay to collect something nobody would ever want if it wasn’t being pushed by hype and being sold as an exercise in independent values. Everybody was trying to look cool for each other, and somewhere the focus on the music itself got lost in the shuffle.
And then here comes Jack White late last week talking shit on Adele, his ex White Stripes partner, The Black Keys, and pretty much everyone else in modern music to Rolling Stone. But wait a second, I thought White’s hatred for The Keys was all hyped in the mudslinging of his divorce? And almost making it worse, he comes out 48 hours later to apologize. White seemed like he wanted to have his cake and eat it too: get the idea out there that The Black Keys and pretty much all popular guitar-based music is a ripoff of him and The White Stripes, and then turn around and apologize as everyone is lobbing grenades back at you so you look like the bigger person. Justin Townes Earle, the artist that produced Wanda Jackson’s subsequent album Unfinished Business, let rip on Twitter yesterday, “Jack White is such a pussy,” illustrating that one of independent music’s untouchables had now become a whipping boy.
The simple fact is though, Jack White is right, at least to some extent. Last weekend I was attending redneck comedian Jeff Foxworthy’s inaugural Red Fest on the outskirts of Austin, TX. While hanging out with one of the performing artists, they elucidated to me unsolicited and out-of-context, “You know, everything these days just sounds like bad White Stripes to me.” And they’re pretty much right. This two-piece, new rock, blues and roots-referencing scream fest has pretty much permeated American popular music, and with it, the misguided notion that everything must be cut directly to tape and pressed on vinyl to where we’re now making a bunch of great music that purposely sounds bad. This is Jack White’s contribution to planet Earth at the moment, and maybe he has a reason to be pissed off, and wanting to piss off others because of it.
But of course, Jack White has his influences as well. Ever heard of the Flat Duo Jets, or Dex Romweber? In fact Romweber just put out a new album through Bloodshot Records called Images 13. He plays in a duo with a girl drummer. Even Jack will admit, Dex was a big origination point for The White Stripes and his later incarnations. Dex recorded a live album at White’s 3rd Man Records in 2010. “It was obvious when you watched Dexter perform, he didn’t care what people though about him, he just wanted to express these songs that were coming out of him,” says White on Dex. Is Dex Romweber pissed off that everyone’s running around, copying him by playing cheap Harmony guitars in two-piece bands, including Jack White? We may never know until he gets divorced.
So lo and behold, the whole time we were holding Jack White up on a pedestal for being just like the rest of us, in private he was juggling family bullshit, and hiding resentment … just like the rest of us. And now you know the importance behind the saying, “It’s all about the music.”
Country is the only genre of music on planet Earth where the midlife crises of its artists play out on the airwaves and populate the very top of the charts, effecting the sonic path of the entire format for all the world to unbearably behold. And right now, Jerrod Niemann is doing the country music equivalent of blowing his retirement kitty on a red Lamborghini, and showing an unhealthy, creepy interest in his daughter’s hot best friend’s after school extra-curricular activities.
To call Jerrod Niemann an “ass” isn’t even hyperbole at this point. He isn’t spreading his arms wide in a submissive pose and pandering to Music Row to do their worst with him—be damned whatever destruction it might do to his legacy or long-term perception—Niemann’s precarious position at the moment much more resembles the compromising and unsavory posture of the poor bastard that graced the original cover of Pantera’s album Far Beyond Driven. Jerrod Niemann in 2014 might as well be like that fictional, computer-generated pop star in Japan: soulless, inhuman, and completely void of free will, relegated to a malleable piece of pop country EDM silly putty for marketing pricks to digitally program and have do their bidding without any fear of human will hindering the money making process or harboring any resentment or conscience. Jerrod Niemann is nothing more than a puppet, and the iron hands of the recording industry are confidently ensconced in his orifice whose colloquial name is an alternative to the title of his new single, “Donkey”.
Don’t fall for the ruse that just because Jerrod Niemann admits that this song is stupid that it somehow absolves it of all of the inexcusable, heinous sins it commits. Forgo all of the superfluous banjo on this track, Niemann’s cadence on “Donkey” evokes hellish nightmares of a cross between a castrated Right Said Fred and whoever the fuck sang that omnipresent mid 90′s ear worm “How Bizzare”. The line “They all walk funny when they’re done riding you know who,” singularly sets back country music 50 years, and would turn Loretta Lynn into stone like Medusa’s gaze if it ever graced her sainted ears. Our Lord Jesus Christ should resurrect Waylon for the exclusive purpose of shoving one of his Flying “W”‘s straight up old Niemann’s keister to see what kind of gait his pathetic ass would sport afterwards.
The jargon and inspiration for “Donkey” comes directly from the uncultured mouths of mid-pubescent 14-year-old boys with hard on’s, and any man who ever utters the term “honkey tonkey” in his entire existence should be banished from ever feeling the touch of another woman till the end of eternity, or certainly from mentioning the immaculate George Jones or his riding lawnmover in their stupid songs. And Niemann shows just how “country” his designer drug, upper crust dance beats are when he reveals that he thinks the term “donkey” and “mule” are interchangeable.
“Donkey” is an uprovocated ass raping of the ears, and if any Niemannites come here preaching to me the virtues of this song because “country music must evolve,” I will personally take a pair of donkey balls and use them to tea bag each and every one of their bedroom pillows when they’re not looking. “Donkey” isn’t just bad, it defines the catastrophic trainwrecking of the entire human evolutionary timeline. 800,000 years of homo sapien progress brought to a screeching halt because one pudgy douchebag wants an arena-sized “country” career before his pubes turn gray. “Donkey” is a harbinger for a dark age for arts, entertainment, and intelligence that humankind is on the precipice of plummeting headlong into.
The worst song ever? I’m tired to doling out this distinction only to have to offer a revision every six weeks when some other pop country asshole finds a new gradient for rock bottom, but Jerrod Niemann’s EDM-encrusted, braying ass certainly deserves to be in the discussion for that most disgraceful of honors.
Two guns way down!
Tuesday was the release of Jerrod Niemann’s dumb new album High Noon, and before we’ve even had a chance to really delve into just how much of a mockery it makes of country music, Niemann’s already out there on the defensive, preaching to us how country “purists” really don’t know what the hell country music is all about, and how he’s just carrying on the traditions of Willie and Waylon by pushing the boundaries of the genre.
High Noon‘s first single “Drink To That All Night” drove country more in the direction of EDM than ever before, to the point where I’m not sure what’s country about it aside from the stupid, formulaic, country stereotyping lyrics. The second single from the album called “Donkey” promises to take this trend to a place many shades worse, and very well might go down as the worst song in the history of country music in this bear’s opinion—but that’s another story. A further perusing of High Noon‘s wares shows a lackluster effort of EDM and hip hop pandering veering towards a pop wasteland with little redeeming value afforded to distressed ears searching for any single reason why it shouldn’t be considered any more than some EDM/country mashup side project instead of a premier solo effort from an established country artist.
But that hasn’t stooped Jerrod Niemann from naming himself amidst country music’s Outlaw pioneers.
“When people think about country music, and they use the term ‘Traditional Country,’ they’re talking about something that has happened in the past,” Niemann tells Billboard. “But, when those songs were out currently, they were the freshest thing on the radio. Nobody was saying ‘Let’s go record traditional country.’ They just wanted to record music that meant something to them. Willie and Waylon were getting flack for being progressive at the time because they were mixing it with rock and the outlaw thing.”
Sorry Niemann, but that’s bullshit. Were there some voices saying that Willie and Waylon were pushing the boundaries of country music too far back in the day? Sure there were, and Saving Country Music has pointed this out before as well. But…
1) This had just as much to do with the fear people had of Willie and Waylon because they were shaking up the established Music Row system as it had anything to do with their music.
2) Willie & Waylon’s new take on country music was nowhere near outside the boundaries of country compared to what some artists are doing today. The musical equivalent to High Noon if Willie and Waylon would have done it would have been to cut straight up Disco records with country lyricism and called it country—and then thrown it back into the faces of critics before they even had a chance to raise a peep because Hank Williams was criticized too.
3) Oh an sorry Jerrod, but yes, Waylon and Willie did say, “Let’s go record traditional country.”
For example: What was Willie Nelson’s breakout album during the mid 70′s Outlaw era? Red Headed Stranger—the consensus pick by critics as the greatest country album of all time. What was the biggest single off of Red Headed Stranger, and really the only single of note from the album? It was a song called “Blue Eyes Crying in the Rain.”
“Blue Eyes Crying in the Rain” was a traditional country standard when Willie cut it. The song was written by Fred Rose, originally recorded by Roy Acuff in 1945—30 years before the release of Red Headed Stranger. It was also cut by Hank Williams in 1951, Ferlin Husky and Slim Whitman in 1959, and Bill Anderson in 1962 among others. Red Headed Stranger also had other classic country songs such as Eddy Arnold’s “I Couldn’t Believe It Was True” and a hymn called “Just As I Am” that get this Jerrod Niemann, was written in 1835, making it over 140 years old when Willie cut it. So saying that Willie didn’t say, “‘Let’s go record traditional country,” is completely bogus. One can make the argument that’s exactly what Willie said, and it resulted in arguably country music’s greatest contemporary work.
Meanwhile Waylon may have had a touch more rock in his sound compared to Willie or his other country artists of the time, but the backbone of his music was the steel guitar of country veteran Ralph Mooney, and Waylon was cutting songs like “Are You Sure Hank Done It This Way?” and “Bob Wills Is Still The King” that paid homage to traditional country greats. Then take a look at the lineup of The Dripping Springs Reunion—the gathering that arguably put the power of Willie and Waylon on the map. It included Bill Monroe, Buck Owens, Loretta Lynn, and other aging country greats that at the time were being forgotten by Music Row. Even as Willie and Waylon were rising in prominence, they were paying homage to the ones that came before them.
“I’ve always tried to respectfully add a few elements here and there,” Niemann tells Billboard. Are you kidding me? “Drink To That All Night,” Donkey,” and other offerings from Niemann’s High Noon aren’t respectful to anything but his label’s bottom line. Take a look at this video and tell me the non-country elements are just “here and there”:
The problem with Jerrod Niemann, the reason he’s even worse than many of his current pop country cohorts is because he knows better. I have no doubt Florida Georgia Line grew up listening to mixtapes with Hank Williams Jr. on one side, and Drake on the other. To Taylor Swift, Tim McGraw and Shania Twain are classic country. But Jerrod Niemann is 34-years-old. He’s not trying to push limits, this is last ditch effort to get attention from the industry in a no hold’s barred, sellout move to secure his share of the fortune being made off the destruction of country music. And no matter how much he wants to be in front of this issue, how much he preaches falsehoods about how country music once was, he’s simply a sellout in a woman’s Ross Dress For Less discount bin hat—and certainly no progeny of Willie or Waylon.
Up until this point Saving Country Music’s “10 Badass Moments” series has only featured men. But can women be badasses as well? Well if you look at the life and times of one Wanda Jackson, the answer would most certainly be “yes”. Whether it’s from a country or a rock & roll perspective, Wanda Jackson had a significant impact on both, and certainly deserves to be considered a badass right beside her male counterparts. Here’s 10 reasons why….
- 10 Badass Willie Nelson Moments
- 10 Badass Waylon Jennings Moments
- 10 Badass Johnny Cash Moments
- 10 Badass Hank3 Moments
- 10 Badass Merle Haggard Moments
- 10 Badass Marty Stuart Moments
- 10 Badass George Jones Moments
- 10 Badass Billy Joe Shaver Moments
1. Paying Dues in Hank Thompson’s Brazos Valley Boys
Wanda wasn’t a boy, but while she was still attending Capitol Hill High School in Oklahoma City, Hank Thompson heard Wanda performing on her own radio show she had on KLPR-AM. She was awarded the show for winning a talent contest. Hank Thompson was so impressed, he recruited her to sing in his Brazos Valley Boys band. Eventually she went on to record a duet with Billy Gray—the bandleader of the Brazos Valley Boys—called “You Can’t Have My Love”. The song was released in 1954, and went to #8 on the country chart. Wanda Jackson was well on her way to making a wide impact on the music world.
2. Proving The Boys At Capitol Records Wrong
After the success of her duet with Brazos Valley Boys’ bandleader Billy Gray on the song “You Can’t Handle My Love” on Decca Records, Wanda asked Capitol Records if she could sign with them as a solo artist. That’s when Capitol producer Ken Nelson uttered the immortal words, “Girls don’t sell records,” emboldening Wanda Jackson even more to make a career in music. Rival label Decca Records was happy to have Wanda, and she went on to prove old Ken Nelson wrong many times over. After Wanda started having success, Capitol eventually did sign her.
Fighting the male establishment became a theme of both Wanda’s music and career, and her feistiness and tenacity finally won her much respect from many of her male counterparts, including a very big one . . .
3. Breaking Up with Elvis
After signing with Decca Records, Wanda Jackson went on tour opening for Elvis Presley. This is when Wanda became the female nexus between the country and rock & roll worlds. Elvis encouraged Wanda to develop a rockabilly sound and to push herself creatively, and she did. Wanda began writing her own songs and putting her own personal stamp on the music world. And then their professional relationship went further. “It wasn’t traditional dating,” Wanda explains. “My dad liked Elvis a lot, and it was okay with him that I could hang out a little bit with Elvis after a show.” Eventually Elvis asked Wanda Jackson to “be his girl” in early 1956, but Wanda, always the strong, spirited, independent woman, said no. When asked if Elvis was a good kisser, Wanda once said, “No, I was the good kisser.”
4. Being The First Woman To Record Rock & Roll
Wanda Jackson, despite being known as the “Queen of Rockabilly”, openly criticizes them term “rockabilly” herself. Her website to this day proclaims her more simply the “Queen of Rock.” What’s for sure is that Wanda was one of the very first, if not the first females to knowingly record rock & roll songs. Though other females like Rose Maddox certainly can claim an early stake in the rock game, Wanda, working right beside “The King” Elvis Presley, was knowingly mixing the emerging styles of country and rock & roll, many times on the same record, and sometimes in the same song.
Nowhere is this better illustrated than in the song “I Gotta Know.” The song starts off sounding like a syrupy, slow country ballad, and then shockingly launches into a boogie woogie beat, and then reverts back. “I Gotta Know” is Wanda proving her prowess with both styles. The song also shows off Wanda’s strong womanhood with which she approached many of her songs.
5. The Growl
According to Wanda, her father and manager Tom Jackson told her during an early studio session, “Wanda, rear back and sing that thing like it should be done!” As soon as Wanda did this “the growl was just there.” It has gone on to become Wanda’s signature, and just as significant and influential of a contribution to both country and rock & roll music as anything else Wanda is known for.
6. Having A #1 Hit …. in JAPAN!
Wanda Jackson recorded “Fujiyama Mama” on September 17th, 1957, and released it to the public to some concerns about the insensitivity of the lyrical content. A mere 10 years removed from the controversial nuclear bombings of Japan by the United States, and here Wanda was using the incident as hyperbole about an angry woman, with sexual undertones nonetheless. So what happened with the single? It blew up … in Japan! Jackson became an international superstar from the song, and briefly toured Japan in 1959.
“Fujiyama Mama” wasn’t Wanda’s only dalliance in international success. She also released a handful of singles in Germany between 1965 and 1970, including songs like “Komm Heim, Mein Wandersmann” and “Wer an Das Meer Sein Herz Verliert”. Her courting of international markets would prove to be savvy, as later in her career and even today Wanda Jackson enjoys great international recognition and acclaim.
7. Growing Old Gracefully
So many female music performers and actors feel the pressure to stay forever young, succumbing to procedure after procedure until their visage is almost a caricature of their former selves. But not Wanda. She’s grown old with gracefulness and dignity, never trying to be younger than she is, or trying to be anything she’s not.
8. Recording Albums with Jack White and Justin Townes Earle
When Wanda wanted to make a comeback record, she took a play out of Loretta Lynn’s playbook and recruited rocker and world-class record producer Jack White to work with. The result was 2011′s The Party Ain’t Over which presented Wanda Jackson to a brand new generation of fans and revived her career domestically and abroad.
When Wanda wanted to keep the party going, she worked with another young, rising star in Justin Townes Earle in 2012′s Unfinished Business. Where Jack White went in a more flashy direction, Justin Townes Earle took a more songwriter, tasteful approach. Both albums were critical successes, and stand right beside all of Wanda’s other works as career accomplishments.
9. Recording Amy Winehouse’s “You Know I’m No Good”
When Jack White was producing Wanda Jackson’s comeback album The Party Ain’t Over, he needed a bullet, and decided that Amy Winehouse’s “You Know I’m No Good” would be a good fit. Wanda initially refused to record the song because of some questionable content in the lyrics, so Jack White rewrote some parts, and wala, The Queen of Rock was covering Amy Winehouse, adding her custom growl to the popular composition.
The Party Ain’t Over was released in January of 2011. Less than six months later, Amy Winehouse died of a drug overdose. Wanda continued to perform the song in tribute to the troubled British songwriter.
10. Being Herself, Always
As a pretty young woman with a unique voice, surrounded by all the temptations of the music world and many different directions she could go, Wanda Jackson simply followed her heart, and stayed true to herself throughout her career, and does up to today. She loved country music and rock & roll equally, and shared her time with both, approaching both genres with respect, appreciation, and knowledge for their roots, knowing where to keep the line between the two. Though she was always sexy, she never sexualized herself simply as image to make up for musical shortcomings. And though she did her time in L.A. and Nashville, Wanda never truly left her roots in good old Oklahoma, and still lives there today.
BONUS 11. Never Losing Her Cool
Willie Nelson is in many ways a microcosm of the American experience. He grew up during The Depression, had a rough and tumble youth, battled through familial and financial problems for years, struck it rich, and reformed himself from his violent past to become one of the world’s most well-known and greatest pacifists and advocates for the poor and social justice. Lots of wisdom can be gleaned about life from simply studying the life of Willie Nelson . And ultimately, he is undoubtedly one hell of a badass.
More in this series:
- 10 Badass Waylon Jennings Moments
- 10 Badass Johnny Cash Moments
- 10 Badass Merle Haggard Moments
- 10 Badass Wanda Jackson Moments
- 10 Badass Marty Stuart Moments
- 10 Badass George Jones Moments
- 10 Badass Hank3 Moments
- 10 Badass Billy Joe Shaver Moments
- 10 Badass Kris Kristofferson Moments
1. Surviving a Plane Crash
As told by Willie Nelson’s friend, professional golfer Larry Trader:
“Willie was flying in to the landing strip near Happy Shahan’s Western town that they used for the Alamo movie set. Happy is watching the plane coming in, knowing Willie is on it. The plane hits a big chughole in the strip and flips over on its side and crashes. Happy likes news and publicity, you know, so first thing he does is pick up the phone and call the radio stations, the TV, the newspapers. Happy says, ‘Willie Nelson’s plane just crashed. Y’all better hurry.’
“He jumped in a Jeep and drove out to the crash to pick up the remains. And here comes Willie and his pilot, limping up the road. The media people were arriving by then. They started firing questions at Willie. How did he survive? Was he dying? Was he even hurt? Willie smiles and says, ‘Why, this was a perfect landing. I walked away from it, didn’t I?’”
2. Recording Red Headed Stranger for $4,000
That’s right. Arguably the greatest, most influential album in the history of country music was recorded on a shoestring budget at the renegade and recently-opened Autumn Sound Studios in the Dallas suburb of Garland in January 1975. Autumn Sound engineer Phil York was trying to promote the new studio, knew Willie through harmonica player Mickey Raphael, and offered Willie a free day of recording. With complete creative control over the album as part of his new contract with Columbia Records, Willie set out to record a stripped-down conceptualized record that was like nothing the overproducing bean counters on Music Row had ever heard. Willie’s version of “Blue Eyes Crying In The Rain” became Willie’s first #1, and the album remains many critic’s pick for the best country record ever. Eat that Music Row.
3. Gun Battle at the Birmingham Coliseum
After playing a concert in Birmingham, Alabama in the late 70′s, Willie and the band found themselves in the middle of a gun battle in a six-story parking garage as they were unloading gear from the stage. Though the story involves Willie getting involved in the fracas with his own weaponry, it also illustrates Willie’s unique disposition as a peacemaker.
“All of a sudden we hear ‘Kaboom! Kaboom!’” Willie’s long-time stage manager “Poodie” Locke recalls. “It’s the sound of a .357 magnum going off in the parking garage. The echoes sound like howitzer shells exploding. It’s kind of semi-dark, and this guy comes blowing through this parking deck…now here comes this bitch with a fucking pistol. ‘Kaboom!’ She’s chasing this motherfucker. It sounds like a fucking war.”
At the time, Willie Nelson and most of his band and road crew carried pistols as a matter of habit. The scene became chaotic as the shooting happened right as the crowd from the show was filing out into the parking garage.
“People are piling out of the show and they start scattering,” Poodie continues. “Here come the cops from every direction. They’re flying out of their cars, hitting the parking deck, spread-eagling the whole crowd–’On the deck, motherfuckers!’–because the cops don’t know who is shooting at who…All these cops are squatting down in the doorjambs, turning people over, frisking them, aiming guns at everybody, just waiting for the next shot to be fired.”
“And here comes Willie. He walks off the bus wearing cutoffs and tennis shoes, and he’s got two huge Colt .45 revolvers stuck in his waist. The barrels are so long they stick out the bottom of his cutoffs. Two shining motherfucking pistols in plain sight of a bunch of cops nervous as shit. Willie just walks over and says, ‘What’s the trouble?’ Well he’s got some kind of aura to him that just cools everything out. The cops put up their guns, the people climb off the concrete, and pretty soon Willie is signing autographs.”
Along with Neil Young and John Mellencamp, Willie Nelson founded the annual benefit concert in 1985 to help raise money for struggling farmers that has since become an American institution. Before a crowd of 80,000, 52 performers at the original Farm Aid raised $9 million for American farmers. Then Willie went to Capitol Hill with a group of struggling farmers to petition the government for aid. The end result was the Agricultural Credit Act of 1987 that helped many American farmers avoid foreclosure.
5. Bailing Dennis Hopper Out Of Jail in Taos, NM
Dennis was a part-time resident of the small northern New Mexico town of Taos. Back in the mid 70′s it was a hangout for country music types and Hollywood misfits like Hopper. It was also the scene of one of the most crazy country music stories involving Willie, Hopper, and of all people, golf pro Larry Trader.
“In Taos I had gotten real drunk and proceeded to win a lot of acid in a poker game, so I swallowed the acid and saw weird dangerous shit going on, and I pulled my pistol out of my boot and shot up the plaza. I was ranting and raving in the jail, people were out to get me, man, and here came the sheriff saying Willie Nelson had come and paid my bill and was waiting outside. I was free to go with him.
“I freaked fucking out. Willie Nelson? Come on, man, who do you think you’re kidding? You’re gonna lure me out and yell jailbreak and blow my ass away! But I thought, hey, be cool, you are after all hallucinating all this. So I walked out of jail and got into Willie’s Mercedes with him and his wife Connie and his golf pro Larry Trader. We drove across the desert towards Las Vegas. Willie and Trader and I nearly drove Connie crazy with our laughing and shouting.”
6. Taking the Rap for Pot Bust in Texas
When Willie Nelson’s Honeysuckle Rose III was searched at the border patrol checkpoint in Sierra Blanca, Texas in November of 2010 and agents found 6 ounces of marijuana, anyone could have copped to the stash, or Willie could have pulled a “Do you know who I am ?!?” moment. But instead he offered his wrists to authorities, knowing that his arrest would prove the futility of the criminalization of marijuana that he’d been advocating against for many years.
Willie was booked into custody, a mug shot was taken, and he was later released on $2,500 bond. Eventually a plea deal was reached with prosecutors, and Willie paid a fine and spent 30 days on probation.
7. Dripping Springs Reunion and the 4th of July Picnics
Even though the events have many times been an annual financial bloodbath, Willie’s commitment to them has been steadfast, and they have become a Texas and American institution. It started with the Dripping Springs reunion in 1973, with the idea of putting on a “hillbilly Woodstock.” The Dripping Springs reunion featured Bill Monroe, Buck Owens, Charlie Rich, Dottie West, Roger Miller, Loretta Lynn, right beside Willie, Waylon Jennings, and Kris Kristofferson. Over the years the picnics have gone on to feature artists forgotten by Nashville and up-and-comers right beside big name talent. And because more times than not they have been losing propositions financially, it’s been Willie’s commitment that has kept them going.
8. Getting Lost in Baton Rouge
As told by Willie’s manager Mark Rothbaum
“Willie and I were at a hotel in Baton Rouge on the evening of a concert. We were on the twenty-third floor, and we could see the coliseum in a straight line from our windows. Looked like it was just right over there. So we decided we would run to the concert. Willie and I took off running through Baton Rouge after dark. We ran and kept on running through the neighborhoods, and we still weren’t arriving at the concert. After we had run ten miles, we decided we were totally lost. The gig was starting, and we had no idea where we were.
“Willie said, ‘I’ll just go up to that house and knock on the door and ask for help.’ I said, ‘You can’t knock on some stranger’s door.’
“He said, ‘I ain’t a stranger. I’m Willie Nelson.’”
9. “Shotgun Willie” & The Great Ridgetop Shootout
It was in the aftermath of an incident that would later be remembered as the “Great Ridgetop Shootout” that Willie Nelson got the nickname “Shotgun Willie.” Ridgetop was the house Willie lived in just outside of Nashville in the late 60′s. When it burned down in 1970, it stimulated Willie’s move back to Texas. In 1969, Willie and his first wife Martha separated, and his second wife Shirley moved into Ridgetop. Willie and Martha had three children, and right before Christmas in 1969, Willie’s youngest daughter Susie told Willie that his oldest daughter Lana was being physically assaulted by her husband Steve Warren.
“I ran for my truck and drove to the place where Steve and Lana lived and slapped Steve around,” Willie recalls. “He really pissed me off. I told him if he ever laid a hand on Lana again, I would come back and drown his ass. No sooner did I get back to Ridgetop than here came Steve in his car, shooting at the house with a .22 rifle. I was standing in the door of the barn and a bullet tore up the wood two feet from my head. I grabbed an M-1 rifle and shot at Steve’s car. Steve made one pass and took off.”
But this wasn’t where the incident ended. Willie drove back to Steve and Lana’s to confront Steve again, but he was gone and had kidnapped their young son Nelson Ray. Lana also told Willie that Steve was looking to “get rid of him (Willie) as his top priority.” So what did Willie do? He drove back to Ridgetop and waited for him.
“Thinking Steve would come to Ridgetop to pick me off about dusk, I hid in the truck so he couldn’t tell if I was home. We laid a trap for him. I had my M-1 and a shotgun. He drove by the house, and I ran out the garage door. Steve saw me and took off. That’s when I shot his car and shot out his tire. Steve called the cops on me. Instead of explaining the whole damn mess, the beatings and the semi-kidnapping and shooting and all, I told the officers he must have run over the bullet. The police didn’t want to get involved in hillbilly family fights. They wrote down what I told them on their report and took off.”
10. Building His Own Town
It’s called Luck, TX, and it was originally constructed as part of the set of the movie The Red Headed Stranger released in 1986 as a companion to Willie’s album of the same name. The town was originally called Willieville, and was constructed to be a replica of Driscoll, Montana. It sits across the street from Willie’s golf course about 30 miles outside of Austin. The remarkable thing about Luck is it’s not just a Hollywood facade, but a collection of mostly real buildings that despite their purposefully rustic condition, are generally solid structures that could constitute a real old-time town, with a church, opera house, and various other buildings. And the town is still used upon occasion for movies, video shoots, and special events including an annual music showcase around South by Southwest.
BONUS 11. Receiving a 5th Degree Black Belt
You may not see Willie step into the octagon anytime soon, but apparently he’s been training for 20 years in the art of Gong Kwon Yu Sul—a modern Korean martial arts system similar to Tae Kwon Do that “emphasizes the application of striking, locking and throwing techniques in practical, free-flowing fighting situations, rather than static situations.” Willie has been training in the art so long he was awarded his 5th degree black belt in the discipline on April 28th in Austin—the day before his 81st birthday. Grand Master Sam Um of Austin did the honors at his Master Martial Arts studio as part of a promotional event.
Willie Nelson has been studying martial arts most of his life, starting in Nashville when he was a burgeoning songwriter. “I got into some martial arts and kung fu,” Willie told Men’s Health Magazine last year. “I liked it. We used to offer kung fu lessons to the kids in town. It’s good for you.” Apparently Willie trains on his famous tour bus The Honeysuckle Rose while on tour to pass the time and to stay healthy.
And then of course, there was that time he smoked pot on top of The White House…but that’s another story.
Quotes taken from the autobiography Willie, by Willie Nelson with Bud Shrake.
More in this series:
Today it was announced that Austin, TX would be the site for iHeartRadio’s first ever dedicated country music festival, transpiring at Austin’s Frank Erwin Center on March 29th, with a list of top tier headliner talent including Eric Church, Luke Bryan, Jason Aldean, Florida Georgia Line, Lady Antebellum, Carrie Underwood, Jake Owen, Hunter Hayes, and others to be announced. iHeart is the online radio streaming arm of American radio monolith Clear Channel, and rising Clear Channel “country” personality Bobby Bones, who got his Clear Channel start on Austin’s pop station, will serve as host.
There is so much that is ill-conceived about this, I’m not sure where to start. iHeart has been throwing “festivals” for a while now, but their traditional home has been Las Vegas. Clearly iHeart wanted to find an alternative to the obvious selection of Nashville, where they would have to compete with much more well-established country events clogging the civic calendar. But throwing a corporate country event in Austin, especially at that time of the year will be about as popular in Austin as running over a bicyclist in your Hummer.
About all this festival will be good for when it comes to the Austin populous will be as a curiosity for hipsters to oogle at through their Sally Jessy Raphael glasses as they ride their fixie bikes past the spectacle, sipping on raw food smoothies on their way to brainstorming sessions devising ways to defund Monsanto by setting up micro loans to African women and targeted eco-terrorism strikes.
The general Austin, TX population has so little interest in this iHeartRadio lineup, it’s laughable that iHeart can’t even be perceptive enough to add even one or two local names to help dull the pain of such an obviously imported corporate country bill. Kudos to whoever in the local Austin government conned iHeart into thinking that Austin’s east downtown corridor is a destination spot for people who are willing to travel hundreds of miles to hear Jason Aldean sing “1994.” Instead of the garish finery of the Las Vegas strip, Luke Bryan and Florida Georgia Line fans can look forward to legions of homeless peddlers clogging their walking path, an army of construction cranes piercing the skyline in their headlong effort to erect an empire of prefabricated McCondo monstrosities, the 3rd worst traffic snarl in the United States of America, and crumbling fair trade coffee shops oozing with unbathed, deadlocked career students preaching that 9/11 was a conspiracy.
The worst part about iHeartRadio’s country festival might be the timing. Despite whatever best efforts they implement in regards to promotion, locally the event will be dwarfed by South by Southwest the week before, boasting thousands of free concerts, showcasing both local and independent talent, and big national names. South by Southwest is arguably one of the biggest music festivals in the entire world in regards to breadth and the amount of performances that transpire all across Austin over a 5 day period.
And don’t forget that Rodeo Austin also happens the week before, and is featuring its own lineup of big names, including Loretta Lynn, Dustin Lynch, Thompson Square, Chris Young, Josh Turner, Willie Nelson, Eli Young Band, Lee Brice, Scotty McCreery, and Dwight Yoakam. There’s already legions of Austinites that provision up when March comes and never leave the homes because of the nightmare South by Southwest and Rodeo Austin bring to their fair city. The idea that they’ll peek their head out and head downtown just because Hunter Hayes is finally making his way to Austin is quite ripe.
So will the iHeartRadio Country Festival be a colossal failure? Of course not, because they have the backing of the biggest corporate country network in the world to help promote it. Pliable corporate country music fans from all across the country will be more than happy to burn vacation time to see their favorite Budweiser and designer jeans sponsors in one place, edifying them with the finest of Music Row’s formulaic pap filtered through Auto-tuners.
Stock up on cans of Axe Body Spray and rape kits Austin, you’ll need ‘em.
Black Friday of 2013 finds Garth Brooks commanding the country music consciousness with the release of a massive 8-disc Blame It All On My Roots box set that includes four new studio albums of cover songs, a re-release of his 2007 two-disc Ultimate Hits collection, a DVD of his two-hour acoustic show, and another DVD with a collection of his music videos. All of this is exclusively being sold at Wal-Mart, and being promoted with a two-hour acoustic special airing on CBS celebrating the end of his performance residency at the Wynn Casino in Las Vegas.
But all of this is simply a holiday cash grab for Garth. It’s not the album or albums of new, original music that many Garth fans have been waiting the better part of 13 years for. Garth continues to hint that new music may be on the horizon, but has yet to give any certainty to anything aside from his hope that if he does make a comeback, it will be very big, and could involve his wife Trisha Yearwood.
When talking to the Associated Press on November 27th, Garth said, “Me and Miss Yearwood are free to do whatever it is we want to do. And I’ve got to tell you: Anything I do with that woman, I’m fine with. Any place that I am with that woman is home to me. But if I have my wishes, it’s going to be filled with music, and it’s going to be filled with music at a level I’ve never seen before.“
How Garth could achieve a level higher than the already world-beating status of being one of the top 3 highest earning music entertainers in history is an interesting proposal, especially since Garth has renewed his commitment to not release his music digitally either through iTunes, Spotify, or anywhere else “…until they change or I change, or some other company comes and gives them some competition, then I don’t think you’re ever going to see us on iTunes,” says Garth. Or maybe the definition of what Garth means by “level” has changed.
Garth Brooks who “retired” in 2001 to spend more time with his family is about to celebrate the graduation of his youngest daughter from High School in the spring of 2014, potentially stimulating a rebirth of his career. The move could come at a critical time in country music where the vestiges of country music’s traditional past are fading away with the retirement of George Strait and the loss of radio play for others. Garth has released four songs from his box set to radio, including a remake of the Loretta Lynn / Conway Twitty duet “After The Fire Is Gone.” You can LISTEN HERE.
***NOTE: This story has been updated.
Garth Brooks, who’s been making overtures recently about a country music comeback and new releases, will reportedly be releasing a box set called Blame It All On My Roots: Five Decades of Influences through Wal-Mart on November 28th. The initial announcement about the release was made briefly during Garth’s television special also entitled Blame It All On My Roots that aired Saturday night (11-9) on GAC. The box set will include 6 CD’s and two DVD’s, with 10 songs on each disc covering the various influences that went into Garth’s country career.
The project appears to be mirroring the theme of Garth’s recent shows in Las Vegas of exploring his roots through cover songs. Four discs will be entitled Country Classics, Classic Rock, Blue-Eyed Soul, and Melting Pot for their respective influences. Some of the songs that will be covered in the release include the classic Conway Twitty and Loretta Lynn duet “After The Fire Is Gone” with wife Trisha Yearwood, Marvin Gaye’s “I Heard It Through The Grapevine,” Jerry Lee Lewis’ “Great Balls Of Fire,” Cat Stevens’ “Wild World,” and Simon & Garfunkel’s “Mrs. Robinson.”
Garth’s final show at Wynn Casino’s Encore Theater in Las Vegas is set to air as a CBS Special on November 28th.
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.
Gone are the days of the legendary duet pairings in country music like George and Tammy, Loretta and Conway, right? Well they may not boast beehive doos or lamb chops, or grace the stage of the CMA Awards or come beaming into your home or buggy via the miracle of Clear Channel radio, but the Austin country scene’s power couple of Brennen Leigh and Noel McKay have revitalized the country duet concept album in a smart, brilliant, hilarious, and sweet offering called Before The World Was Made.
You’ll be sorely disappointed if you’re in the mood for sappy sonnets serenading the human love quotient. This is a love album for lovers who hate each other, and love each other all the same. It’s not that sentimentality doesn’t show its face here, but just like the real world, Before The World Was Made is not afraid to delve into the turbulence of love, to tickle the funny bone, and to tell it like it is.
This album is the perfect soundtrack to an “it’s complicated” relationship status, with ingenious songs like “Breaking Up Is Easy,” “Breaking Up and Making Up Again,” “Be My Ball and Chain,” and “Let’s Don’t Get Married.” Yes, it sounds like a gloomy outlook, but underlying every song of this “on again, off again” album is a sweet love story that you can’t help believing mirrors Brennen Leigh’s and Noel McKay’s real-life narrative.
You can relate to their silly little squabbles and how they plot to resolve them with a positive ending. The way these songs work is both classic and fresh. Even walking in to Before The World Was Made with a deep appreciation for the songwriting chops of both parties, you are still perplexed at how Brennen and Noel wrote this entire album themselves, simply from the strength and the “instant classic” caliber of these songs.
Even the more straightforward love songs like “The Only Person In The Room” and “Salty Kisses In The Sand” are so fresh and clever, they fit right in to the cunning style of this record. “Let’s Go To Lubbock on Vacation” is downright side-splitting (sorry Lubbock readers), while still at its core being a nectarous little love story.
Before The World Was Made doesn’t let up for one moment, and it’s not just all about the words. The album is bolstered by tasteful, classic country arrangements, edified by producer extraordinaire Gurf Morlix. This is a neo-traditional country album at its heart, and the music offers tasty accompaniment to these high-caliber compositions.
Can’t say enough about Brennen, Noel, and Before The World Was Made. They may not be willing to commit to each other, but the music they make together is definitely a keeper.
Two guns up.
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Listen to album below.
I remember back in the early 90′s, someone told me they had done a complete archival scan of Arnold Schwarzenegger’s body using lasers, so that even in the future he could star in action movies. I’m not sure if that was an urban myth or not, and certainly the technology to pull off something like that would be in much better order today than when Arnold was starring in Terminator 2. But whatever the technology was then, and whatever it is now, they really should employ it and in full measure towards making sure the sound of Willie Nelson’s voice, and that earthy tone of his guitar Trigger never disappear from the face of the earth. Because few things can make that warm feeling roll over you from head to toe like Willie.
To All The Girls is Willie Nelson’s third album to come from his recent partnership with Sony’s Legacy Recordings, and the second to come out this year. The record features an ample 18 tracks, each constituting a duet with a female counterpart drawing from a wide swath of talent that includes both legacy names like Loretta Lynn and Emmylou Harris, and some new names like The Secret Sisters and Brandi Carlile. The pairings alone are enough to make the country music listener salivate, while the variety of names passively bridges tastes and segments residing under country music’s big tent.
Though Willie Nelson doesn’t make the easiest duet partner because of the unusual phrasings he uses—a trait that over the years has become his signature (and continuously more pronounced)—Willie, each of his dance partners, and producer Buddy Cannon do a good job arranging the singing parts to where Willie could still call on his avant-garde phrasings, yet the duet could come across seamless. The vocal performances are superb, and the 18 ladies on To All The Girls illustrate just how much female talent country music boasts, regardless of how rarely their names may show up on the top of the country charts these days.
But despite the names and the commendable performances, To All The Girls is a somewhat sleepy as a whole. This may seem unconscionable to say with so much star power, but out of the 18 songs, only 2 could be characterized as residing in the mid tempo, and only two as up tempo. The rest are slow to very slow, and sparse, and though no one song could be singled out as being a snoozer, taken all together they can become the sonic equivalent of Unisom. Even the most up tempo track, the re-cut of Willie’s “Bloody Mary Morning” with Wynonna Judd features some amazingly hot guitar, steel, and piano solos, but they get somewhat buried in the mix almost as to not be an interruption.
There isn’t really a lot of texture or spice between the tracks, except for maybe the Spanish feel of “No Mas Amor” with Alison Krauss, or the Motown feel of the duet with Mavis Staples, “Grandma’s Hands.” Maybe this album was built more for the digital age to be cherry picked by respective fans of the guest artists instead of trying to take it as a whole, but by the end you wish this album could have been condensed into fewer tracks so it would result in some more memorable moments.
Did we really need 18 songs? Any time you can pair Willie Nelson with Dolly Parton, magic will happen. The songs are not the problem, though there are quite a few recognizable covers. It’s that the instrumentation that varies very little. I know, the music varies very little on Red Headed Stranger as well, but this album isn’t trying to take a conceptualized approach.
Willie Nelson started off his new deal with Sony utilizing producer Buddy Cannon on the album Heroes, which really showed a lot of vitality from the Willie camp, and was arguably one of his best albums in years. But one small thing that saddled the album as I explained in my review was the excessive collaborations that made the album feel a little too busy. Another Buddy Cannon-produced album, Jamey Johnson’s Living For A Song, A Tribute to Hank Cochran, drew a similar observation, and I even linked back to Willie’s Heroes review for context.
It ["Living For A Song"] makes the same mistake Willie Nelson’s last album Heroes does of having too many guests. And may I point out that both albums were produced by Buddy Cannon. Like I said about “Heroes”:
Where the album may come across as too busy or unfocused is the amount of contributors to each composition, and to the album as a whole…Sure, many of these names we love, but there’s too many of them, diverting focus from any one pairing or performance.
And once again here is a Buddy Cannon-produced album that leans very heavily on collaborations and cover songs. Willie Nelson can still write and select good, original songs, and we saw that with Heroes. What I’m worried is we’re seeing an approach to sell albums creep into the album making process, loading albums up on celebrity names that can later be used in promotional copy, or maybe trying to make up for what is perceived as a lack of appeal for Willie alone. Somewhere the music may have gotten lost as the most important thing.
But that’s not to take away from any single To All The Girls song. Maybe it’s because “Always On My Mind” is such a timeless tune, but this duet with Carrie Underwood kills it. “Grandma’s Hands” with Mavis Staples carries a lot of depth and meaning, maybe because Willie was himself raised by his grandmother. The Western swinging “Till The End of the World” with Shelby Lynne was a real standout, and so was Willie’s duet with his daughter Paula Nelson singing the CCR song “Have You Ever Seen The Rain.” And though Willie may have played “Bloody Mary Morning” 10,000 times by now, this might be the recorded version that is the best.
To All The Girls is a brilliant concept. I just wish a little more care would have been taken with the type of names and star power it assembled to really try to make a new generation of Willie classics and introduce him to a new generation of listeners through the names that lent their time to the project. But as well have all learned over the nearly 60-something years of his career, when it comes to Willie, the sound of his voice and that earthy tone from Trigger is enough to raise goosebumps all on their own.
1 ½ of 2 guns up. 3 of 5 stars.
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That’s right. A scandalous accusation I know, but one I stand behind with puffed chest and other such countenance to covey, “Yeah, I said it. You got a problem with that ?!?!”, and one that holds up when taking the most basic look at our little genre known as country music, and simply asking, “Where in the hell are the women?” Especially on country radio.
No, I don’t have any hidden camera footage of country music scheming with his fraternity brother that runs HR to systemically keep the women of country music at a lower pay scale. But if country music in 2013 were the equivalent of an office worker, it would be a douche-tastic, handsy, shallow, down-looking chauvinist with triple sec on his breath after lunch that specializes in subtle pelvic thrusts during elongated, unnecessary hugs, and pubic hair jokes.
Currently on Billboard’s Hot Country Songs Chart, there is not one single female artist in the Top 20. Not even one. Not even a Taylor Swift, Miranda Lambert, or Carrie Underwood. Not even a song from a country music group like The Band Perry or Lady Antebellum that has a female member. And this isn’t the first time in recent memory that this has happened. In fact aside from the occasional errant single from one of the aforementioned girls, a country music sausage fest is the default setting for country music’s Top 20 in 2013.
A deeper look into Billboard’s other charts and Neilsen’s radio ratings reveals similar discrepancies when it comes to the female gender and country music. But it doesn’t just stop there. The term “sexism” has two definitions:
That’s right. It’s not just that the women of country music are getting locked out of the process, being ignored by radio programmers who are predominantly male, and are being under-developed by the male-dominated industry. It’s also that the songs, artists, and albums that are dominating the charts and that are being pushed first and foremost by the industry are portraying women in a very objectified, stereotypical manner, both in the lyrics of the songs and in the accompanying videos.
Hey, I’m a red blooded male with fully-functioning male plumbing and a propensity to want to look at T&A just as much as the next guy. All males were instilled with the stupid gene to drool at cleavage through evolution. But there is a time and a place for everything, and when I’m walking through the grocery store with my young, impressionable niece to buy her a freeze pop, I don’t want to be accosted by a Luke Bryan song that works like the soundtrack to a date rape terrorizing our ears. Do these assholes not have women in their lives that they hope will be respected by other men? There’s a time for all adults to get raunchy, but country radio is supposed to be that one place of respite on the FM dial. Here in 2013, Top 40 country music is just as much of a den of iniquity as anything.
Artists like Luke Bryan, Tyler Farr, and Florida Georgia Line have no respect for women, and they have no respect for country music. Or if they do, there’s no evidence of it in their songs and videos. It’s just stereotypical fashion-plate models in bikini’s in objectified roles with the sole purpose of being oogled at just like their shiny new jacked up pickup trucks.
But even worse, when I watch concert footage of these country music cocks of the walk up on stage strutting it like Chippendale’s dancers, I’m not seeing a bunch of men of the front row pumping their fists. No, this female-less country phenomenon is not just about males using their physical superiority and good ole boy system to keep women down. The women of mainstream country are taking the role of willing accomplices, inviting this cultural degradation and humiliation with their hands raised in their air submissively and screaming for Luke Bryan to shake his butt. The problem isn’t just that male record executives and male program managers at radio stations aren’t giving women their proper due. It’s that the women are the ones that are demanding this drivel and driving the market.
And no, I’m not just calling for an equal playing field for women. If you have to, you gerrymander the damn system to makes sure you have at least one song on the charts that showcases female talent. Are you telling me there’s nothing out there from a female fit for the Billboard Top 20? There are many women who could immediately make country music better right now—professional, proven, beautiful, appealing, relevant, and ready to take their music big time and represent women in a positive light in a genre that has always been about showcasing strong women like Loretta Lynn, Dolly Parton, Emmylou Harris, and Alison Krauss.
Come on country music, let’s do this. I’m tired of telling folks I’m a fan of country music, and then having to put a paper bag over my head in shame, or load it down with qualifying points. We have an obligation to discover, nurture, and showcase female talent. If country music was a board room of 20 members and not one female, some uptight women’s league would be suing their asses from hell to breakfast. So why should country music be held to a different standard?
The dirty little reason that women are not being showcased on country radio is because they’re not willing to sell out like the men. The women of country music respect themselves just fine. It’s the male performers of country music, their industry counterparts, and the women who fawn on them that are driving this trend.
And I’m mad as hell about it.
The Coal Miners Daughter and Country Music Hall of Famer Loretta Lynn has been forced to cancel a couple of weekend shows after cracking two ribs last weekend right before a big concert at her ranch in Hurricane Mills, TN. The 78-year-old was trying to get her guitar out of a closet when it apparently fell on her, forcing her into a dresser and breaking two of her ribs. She persevered through the pain for her big Labor Day show, not appreciating the severity of her injury, but has decided the pain is too unbearable to play two separate shows at Choctaw Casino Resorts in Oklahoma this weekend. Both shows have been rescheduled for December 29th and 30th.
“I’ve had to cancel my shows in Oklahoma this weekend. I hate more than anything to miss shows, but sometimes you just have to,” Loretta explained to her fans. “I’m like an accident waiting to happen these days. I was trying to get my guitar down out of my closest and the dang thing fell on top of me causing me to fall into my dresser. All this happened right before my big Labor Day Concert at my Ranch in Hurricane Mills. I didn’t know how bad I hurt myself until the next day. Come to find out I had broken two of my ribs. We are rescheduling the shows now.”
Loretta’s next set of shows, staring in Daytona Beach, FL on September 13th are still scheduled.
Even at 78, Loretta has been staying busy, telling Billboard Magazine recently that she wishes to collaborate with Jack White again. The pairing was responsible for Loretta’s landmark album Van Lear Rose in 2004. She also said she has three separate projects on the way—a Christmas album, a gospel album, and a collaboration with singer songwriter Shawn Camp on an album of mountain songs.
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