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On November 23rd, 2013, country artist Wayne Mills was shot and killed in Nashville at the Pit & Barrel Bar by the bar’s owner, Chris Ferrell. Mr. Ferrell claimed self-defense, and is currently facing 2nd Degree Murder charges brought down by a Grand Jury on December 6th, 2013. Ferrel was released on bail on December 16th, 2014.
Chris Ferrell was in court Thursday (1-16) for a “discussion date” and to take care of some minor procedural defense motions. The company holding Chris Ferrell’s bond had agreed to take less than the usual 10% to secure his release, but needed to get court approval, and this was granted. Ferrell also filed a change of address under the conditions of his bond. His next appearance in court will be February 6th.
The Autopsy Report
The autopsy report was also made available for the first time through the Medical Examiners Office. According to the Medical Examiner, Wayne Mills was killed by a gunshot wound to the back of the head, and the death was ruled a homicide. There was also no evidence that the gunshot wound was caused by a discharge at close range because of the lack of soot or gunpowder surrounding the wound, meaning the shot came from distance.
Though some reports had Wayne Mills being shot multiple times, Wayne only suffered one gunshot wound. However, multiple other injuries were found on his body. Wayne’s 4th and 5th ribs were broken, and he had abrasions on his forehead, temple, scalp (unassociated with the gunshot), and contusions on his chest, arms, forearms, left thigh, and right knee.
The summary of the autopsy states,
Autopsy findings are significant for an entrance gunshot wound on the posterior parietal scalp with fragment exit and injury to scalp, skull, and brain. A bullet is recovered in association with this gunshot wound. Associated injuries include scalp, subdural, and subarachnoid hemorrhage, fractures to the right frontal and parietal bones, cortical and white matter contusions of the brain, and hemorrhage throughout the wound path. Other injuries include abrasions of the left side of the forehead, left temple, posterior occipital scalp, and abdomen, left-sided rib fractures, and contusions of the lateral chest, arms, forearms, left thigh, and right knee. Evidence of therapy and tissue procurement is noted.
The cause of death is a gunshot wound of the head, and the manner of death is homicide.
The ’tissue procurement” noted in the autopsy summary and throughout the autopsy report is for the organs that were removed from Wayne as an organ donor.
The autopsy report also included a postmortem toxicology workup testing for a wide spectrum of substances in Wayne’s body. The report concluded that Wayne’s blood alcohol level was 0.221. Mills also tested positive for amphetamine, at 23 ng/ml. No other substances came back positive. Saving Country Music has tried to confirm or deny if a similar toxicology report was ordered on Chris Ferrell after the incident, but has been unable to obtain that information.
Shooter Jennings Cooperating with Investigators
Questions have arose about the proximity of musician Shooter Jennings and his manager Jon Hensley on the night of the shooting, especially after his name was brought up in court during Chris Ferrell’s bond hearing, as reported by The Tennessean. Writer Neil Hamilton whose book Outlaws Still At Large includes an introduction by Shooter, at one point posted a blog that included many questions about Shooter’s involvement the night of the shooting. After feeling public pressure, Hamilton removed the blog post. Jennings says he left 5 minutes before the shooting happened, and Shooter was not named in the original indictment as a direct witness to the killing. Shooter subsequently posted a comment on a previous Saving Country Music story on the Wayne Mills case, saying,
I assure everyone that I have spoken in detail to the investigators about the events of the night Wayne died. But I also personally believe that speaking publicly about it, at this point, candidly and in detail could hurt the process underway. From what I can tell from the detectives I’ve spoken to, they’re working hard to piece together what happened. I, nor my friends, were there when the actual incident occurred and cannot truly have any answers as to what happened in the moments leading up to it. Just please respect the process — and I’m doing everything personally to understand why such a horrible thing would happen and want to know myself more than anyone. Wayne’s family were terrible victims here and his fans feel that pain because of their love of his music and their loss of his talent. Until this case building is over, I just don’t feel it wise to make a public record. Hope you all can understand…
Wayne Mills Benefit in Nashville
On March 2nd, The Outlaw Music Association will be holding a Wayne Mills Benefit at The Limelight. Announced performers so far include Dallas Moore, Rowdy Johnson Band, Whitey Morgan, Kara Clark, Jesse Keith Whitley, Whey Jennings, Chris Gantry, Tom Ghent, James Austin, Billie Gant, JB Beverley, Buck Thrailkill, Joshua Morningstar, Pete Berwick, Pure Grain, Mike Owens, Brigitte London, Rory Kelley and the Triple Threat, and Larry Fleet, with more to be added.
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For more information on the Wayne Mills case, please read The Death of Wayne Mills 6 Weeks After (Update & Analysis). Saving Country Music will continue to try and keep people updated on the progress of the case.
On August 15th, the plans for the upcoming Outlaw Country Music Hall of Fame and an accompanying Outlaw Music Association were made public. 5,000 sq. ft. of space has been allocated for the new Hall of Fame in Lynchburg, TN, and a Board of Directors has been formed that includes Jeremy Tepper of SiriusXM, Terry Jennings of Korban Music Group, author of Outlaws Still At Large Neil Hamilton, Joe Swank at Bloodshot Records, mayor of Lynchburg Sloane Stewart, Professor of Entertainment Law David Spangenburg, architect Thomas Bartoo, and CEO of Sol Records Brian DeBruler.
The announcement stimulated a lot of speculation about what direction the upcoming Hall of Fame would take, but not many serious answers. So Saving Country Music reached out to Gary “Sarge” Sargeant, the spearhead of the Outlaw Country Hall of Fame, to try and clear up many questions about what folks can expect from the upcoming institution.
Sarge is also putting on a charity event coming up October 25-27 for Troy Rector who suffered a debilitating medical accident. The event will be at Chopper Hill in Altamont, TN (More information). The inaugural class of inductees to the Outlaw Hall of Fame will be announced during the event.
You can listen to the entire interview below. For those who prefer a written form, the meat of the interview is transcribed below as well.
Gary Sargeant: I’m a lifelong fan, 55 years old, of Outlaw music, independent artists and labels, and just firmly believe in people who stay true to themselves and their music, and don’t compromise. It all started at a David Allan Coe benefit that I attended back in June. He was in an accident and wasn’t able to tour. I was kind of upset that David Allan Coe required a benefit. That at 73, he had to tour just to pay his bills because back in the day, things happened and he doesn’t own his catalog. And I was trying to think of a way we could support legends, and recognize people like David, or any number of people that have contributed so much to this music, and have never compromised. I wanted to make sure we had a place to recognize those folks who will never get recognized by anybody else, and then also be able to support today’s Outlaws—the Pete Berwick’s, the Gurf Morlix’s. Its time has come, and we’re going to do this.
When you announced the Outlaw Country Music Hall of Fame, you included a Board of Directors. Why have a Board of Directors?
Well, again it goes back to me being just a fan. I’m a fan with an idea. But I knew if we were going to do this and be taken seriously, and if it was going to be successful, I needed to put together a group of industry professionals.
The term “Outlaw” has already been taken by Music Row and used for marketing purposes. It’s safe to say that there’s music consumers out there that think Outlaw means Justin Moore, Eric Church, and others. How do you distinguish yourself from Music Row’s version of Outlaws when Music Row’s reach is so vast?
Nashville can tell somebody to dress in black jeans, grow a five day stubble, put on these boots, act all bad boy. That doesn’t make you Outlaw. Outlaw to me is not a genre of music. Outlaw is an attitude. Outlaw is a refusal to compromise your music or your beliefs in order to make a dollar. It is traveling up and down the roads, thousands of miles a year, traveling 500 miles to play a $150 show. True Outlaws are doing it for the love of the music only. I believe there’s going to be a lot of defections from Nashville music once the Outlaw Music Association and Hall of Fame are established and up and running. The definition of Outlaw should be made by those that are truly Outlaw, not some publicist sitting in an ivory tower in Nashville thinking that this will sell records.
Some may say the term Outlaw is outmoded because Nashville is taking it and using it with very prominent artists like Justin Moore—that the term doesn’t hold the same sway or meaning it once did. Are you saying that term needs to be fought for?
I’m saying it needs to be clearly defined. Of course Nashville is going to try and take anything successful and try to co-opt it. But them jumping on the bandwagon doesn’t make them independent artists. They’re playing to a formula. But the formula doesn’t work. Listen to the stuff coming out of Nashville.
How do you feel about Dale Watson’s Ameripolitan movement, and how does it fit in your plans for the Outlaw Music Association? Will there be overlap? Could there be potential conflict? Is it splitting the independent-minded or Outlaw populous of country music into two segments?
I wouldn’t think so. My hope would be that people going in that direction, because that’s very narrowly focused right now, I hope they would go, “Hold on a second, here’s something that has come along, that is exactly what we’re trying to do, but encompasses even more people, and hopefully is a very inviting and open Association.” Because I believe if we start putting restrictions on who is going to be in it, then we’re no better than the CMA or anybody else. Great music is great music, whether it be Texas Swing, or Southern rock country, or traditional country. If you’re an artist and you believe in what you’re doing, and you’re good at what you do, we’re going to give you all the support in the world, whether it be Dale Watson, or Shooter Jennings who can go off in different tangents and experiment with different music, or Hank3 who is so excellent. There’s so many artist out there that don’t have a place to call home, and that’s what the Outlaw Music Association is gonna be. It’s gonna be a place where independent labels and artists can receive support, promotion, and have a place they can call home and feel welcomed for who they are instead of something somebody else wants them to be.
We’ve seen in the past, for example with Shooter Jennings’ “XXX” movement and Dale Watson’s Ameripolitan movement, there’s been a lot of conflict and dissension with these attempts to unify the music behind a common purpose. I think that may be what is at the root of some fear and concern of what the Outlaw Music Association and Outlaw Country Music Hall of Fame will become. There’s a history of trying to find a uniting element apart from the CMA in the history of country music. Back in the 70′s there was “ACE” that was set up after Olivia Newton-John and John Denver had won CMA Awards. Traditional country artists met at the house of George Jones and Tammy Wynette and tried to form a new thing. The Academy of Country Music was set up because West Coast entertainers felt like the CMA was bias against California country artists. ACE never really took off, and the ACM just became a doppelganger of the CMA….
…and you forgot to mention the AMA, the Americana Music Association.
Sure, which I personally have said in the past is very narrow in focus, even though a lot of the artists they help promote are great artists.
I couldn’t agree with you more. To me, there is an extreme hunger and thirst out there to have an alternative to what’s being pushed down everybody’s throats by Nashville, the record labels, and the conglomerate of radio stations that are out there. Our focus is not narrow. I don’t care if it’s Dale Watson, or Hellbound Glory, or Jamey Johnson, it doesn’t matter. There’s a whole group of artists out there that deserve to be supported. We are not going to impose conditions. If you’re talented, and your music speaks for itself, and your music speaks to fans, our goal is to make sure that we support you. We’re not guaranteeing success for anybody. But we’re not going to say, “You’re not worthy.” Everybody’s worthy if they’re a musician, and they work hard, they write their own music and stay true to it, and they have some fans and are successful, we’re going to make sure they have an opportunity to be even more successful. We are a non-profit. Our proceeds go to supporting the legends, and also supporting the independent artists of today.
The narrowing of perspective seems to be a really big challenge of independent music right now, whether it is with the Americana Music Association, or just these little scenes that have popped up in independent music. How do you insulate yourself from that trend?
Technology is changing by leaps and bounds every month, let alone every year. The money to be made in today’s world is through touring…touring and merchandise. So we are going to support tours. As a non-profit—it’s kind of being dubbed the Outlaw iTunes—where independent artists can upload their music, and we will turn around and allow it to be downloaded for 99 cents a download, and we give all of it back to the artists while not taking 63 cents. We will be asking for a small donation that will go back to the legends. Technology is changing so quickly, and we have some very good people who are up to speed on today’s technology and the future of music distribution. Those are the areas we want to educate independent artists and labels on, and assist them in giving them an outlet to distribute their music, and use the Hall of Fame to support tours, and get [artists] out in front of the people. Are we going to be the savior? Hell no. But are we going to do everything that we can to help these folks who are working so hard and believe in what they’re doing? Yes, we’re going to do everything we can. Is it guaranteeing success? No. Is it guaranteeing effort? Yes.
There’s a lot of people out there touring and writing their own songs, but that doesn’t necessarily mean that their music is valuable enough to be heard by the masses. What’s to keep people who may not embody the Outlaw spirit from just becoming part of this if there’s no governor to keep anybody and everybody from applying?
The fans of Outlaw music are by far the most discerning fans in the world. Otherwise, these artists wouldn’t have any success. An artist will make it if his fans want him to make it. The fans are going to decide if you make it or not, not the Association.
The assertion about Music Row is that they choose who is going to be the stars, and then they push that to the fans. What you’re saying with the Outlaw Music Association is the fans would choose the stars, and the OMA just gives them the platform and the support so that the fans can make that choice.
Eloquently put. And shouldn’t that be the way it is? Shouldn’t the fans be able to say what they like and don’t like? They shouldn’t be told what’s good and not good. With the focus being so narrow and money dictating who is going to be the next star, we’re all robbed. The fans are robbed, the artists are robbed, everybody is robbed of the next potential star. It’s not my job to decide who is good and who’s not good.
Tompall Glaser recently passed away. Right after he died, I posted a quote that came from him back in the 70′s that goes, “Damn it, the fight isn’t in Austin and it isn’t in Los Angeles. It’s right here in Nashville, right here two blocks from Music Row, and if we win–and if our winning is ever going to amount to anything in the long run–we’ve got to beat them on their own turf.” And I’ve heard some similar criticisms about Dale Watson’s Ameripolitan genre where it seems like, “Okay, were going to give up on Nashville and country music, and we’re just going to call it what we want to call it.” What would be your rebuttal to that as far as setting up something that’s apart from Nashville and Music Row?
Lynchburg, TN is not but 55 miles south of Nashville. It’s close enough to pull resources from the Nashville area, but still far enough away and separated enough to say, “Hey, this is separate. This is an alternative.” The people, the demographics that are visiting Lynchburg on a daily basis are the same people that are going to visit our Hall of Fame. It’s all about inclusion. This country is based on freedom, and I believe artists ought to have the freedom to practice their music the way they want without the almighty dollar driving their product.
In closing, I would just like to say to all the fans of Outlaw country music, thank you, and if you really want to make a difference, you have an opportunity. But you have to express your voice. You can’t just sit in your truck or in your house and say, “This sucks,” and expect it to change. If you want change, this is your opportunity. This is a grass roots movement. This is your Hall of Fame. This is your Association. If you want to support artists that made the music what it is today, and those that are continuing in that same vein, support the Hall of Fame, support the Association. Let your artists know that you support us, that you support them by supporting us. This is only going to work if the average fan stands up and says, “I’ve had enough. I want a hand in what I listen to.”
Following is my list for the essential albums for 2010, broken down into a few of categories.This is meant to compliment the Album of the Year candidates in this super-packed year for stellar music.
Some have criticized that I do not give enough coverage to mainstream traditional country acts. I don’t talk about Miranda Lambert or Jamey Johnson, or even someone like Robert Earl Keen because so many other outlets already do. My charter is to find the more obscure bands that are being forgotten by the mainstream, and shine a light on them. Even then, this year I wrote album reviews for Jamey Johnson and Taylor Swift, and I have more mainstream reviews coming, when I have time. Hopefully next year, Saving Country Music can branch out a bit and cover the more traditional mainstream acts, but it will always be on top of the smaller acts trying to get their music out there, not instead of them.
Oh and since Joe Buck’s new album may not be available to the masses for weeks, we will include it as a 2011 album.
So here is this year’s excellent list of essential albums, most of which you won’t see mentioned anywhere else.
Outlaw Radio – Outlaw Radio Compilation Vol. 1 – (review) – Don’t think of this as your regular ho-hum comp. With original music and some Song of the Year candidates, this album’s guts are as good as any’s this year.
Jayke Orvis – It’s All Been Said – (review) – Perfect example of an album that on any other year might claim the top spot, but got crowded this year by so many great albums. Farmageddon’s maiden voyage is an excellent one, and may contain a Song of the Year candidate itself.
Hank III – The Rebel Within – (review) – Alright, I mentioned Hank III’s name. So half of you tell me how everything he touches turns to gold and I don’t give him enough credit, while the other half tell me he is a washed up hack. T minus 30 days till he is free of Curb and we can actually get a fair assessement of where Hank III stands.
Lucky Tubb & The Modern Day Troubadours - Hillbilly Fever – (review) – Lucky Tubb continues to emerge as a top-shelf talent, and with two duets with Wayne “The Train” Hancock, you can’t go wrong with this one.
.357 String Band – Lightning From The North – (review) – Solid album with excellent songs. Don’t believe all the talk that the talent left with Jayke Orvis. You can like Jayke and .357 at the same time. I promise. It’s OK.
Trampled by Turtles – Palomino – (review) – An easy one to look over, but another excellent one that may have battled for the year’s best in other calendar cycles. Super fast bluegrass is like a sugar rush though, and can lack staying power.
Th’ Legendary Shack Shakers – Agridustrial – (review) – Absolutely brutal music from the dirty South by the best frontman in music and an All-Star backing band. The Shakers haven’t lost anything over the years.
Marty Stuart – Ghost Train – Still don’t have a review for this (need someone to get me a full copy), but without question this is a must have. Marty is really beginning to emerge as an elder statesman of country that still has the chops and taste to be relevant. And leads by example, instead of miring himself in bitching about Nashville or country’s direction.
Dale Watson – Carryin’ On – (review) – Surprised I don’t see more talk about this one. Dale’s voice is sublime. The straighforward Nashville production held it back a little bit, but it’s still pure country gold.
Reverend Deadeye – Trials & Tribulations – (review) – If you like the dirty stompy blues and people preaching fire and brimstone, accept no substitutes. Deadeye is gonna make Jesus hip again, or he’s gonna pass out trying.
Whitey Morgan & The 78′s -Whitey Morgan & The 78′s – (review) – Solid album, just lacked a grand vision in my opinion. Still essential though, and you won’t get any argument out of me if you name it one of your favorites of the year.
Other Real Gooduns:
Brigitte London - Bare Bones – (review) – Another that might be easily overlooked but with excellent singing and songwriting. I think of this album alongside Roger Alan Wade’s Deguello Motel, only acoustic guitar and singing, but songs that really speak to you with deep meaning.
Peewee Moore & The Awful Dreadful Snakes – The Leaving Side of Gone – (review) – I put this album in the same category as Whitey Morgan, a real solid country album that I can’t argue against, but one that lacks a grand vision. There’s some excellent songs here.
Quentin & Uriah Benefit Compilation – Y’all Motherfuckers Need Justice – For reasons that are too complicated to go into here, I never wrote a review for this, but this is a great compilation and a great way to sample some of the excellent bands in and around the Farmageddon Records family while helping out a worthy cause. Folks were wronged, and this is a small way you can help make it right while exposing yourself to some great music.
Albums Worth Mentioning, but have not had time to review or listen to yet:
Slim Cessna’s Auto Club – Buried Behind The Barn
Tom VandenAvond – You Oughta Know Me By Now
And Pete Berwick & The Shivering Denizens have new ones I need to listen to. I’m sure I’m missing some others. This has been an amazing year for music, I’ve done my best to keep up. My hand hurts from typing and link making so I have to draw the line somewhere, and that is right here.
I hate to admit it, but before Pete Berwick contacted me and asked me if I could review his latest album, Just Another Day In Hell, I had never heard the name. But luckily my embarrassment can be drowned out by that somewhat ecstatic feeling you get when you discover a new artist whose music really gets your heart pumping, and you realize that they’ve been around long enough to have a whole music career to go back and discover.
In one word, Just Another Day in Hell is great. You might take by the title and the tracks (such as “While I Die” and “I Fought with Angles”) that this might be yet another album full of cliches about “Fighting with the Devil” and such, and yes, that element is there, but this album is so much more. Pete Berwick cannot be pigeon holed, not in musical style, or in his songwriting.
This album takes you on a range of emotions and settings as diverse as the seasons. It starts off by kicking your teeth in with the screaming slide blues and growling lyrics of the country rocker “Vacancy in my Heart.” But Pete isn’t afraid to cry and croon as well. Like he says in “Too Soon to Quit,” “I’m gonna wear my heart right on my sleeve. I’m gonna kick down every door that’s in front of me.”
What Pete Berwick does in this album is expose himself completely and truthfully through his songs. He cries his heart out, he openly admits his faults and frailties. His machismo rants are chased with battered reflections and broken dreams. He sings what he lives, and lives what he sings. He lays it all out there, be damned what anybody thinks. This isn’t vicarious grandstanding badassedry done to formulaic country themes, this is real life, and by unabashedly spilling his guts out, Pete Berwick makes one of the most true and soulful collections of songs you will find out there.
At times Berwick crosses that line from songwriting to sheer poetry. In one of my favorite songs “While I Die,” he does an amazing job tying together a child afraid of the dark and wanting to leave a light on, with the darkness inside a full grown man riddled with indecision, demons, and the burden of a broken heart. The songwriting is pure genius, and an excellent example of Berwick’s songwriting prowess:
Pete can use his way with words to make you laugh as well, like in “Hello Hand,” which is about, well, a hand, and um, something one might do with a hand during lady troubles. But again, this song like most of them is based in biting truth, and with the soul and grit of Berwick’s voice you take this song as much more than just mirth making, but a harsh reality of a man’s life that shoots empathy into the listener’s heart, and memories into their head.
Musically Pete Berwick and his band also deserve praise. They may not start a music revolution, but the guitar work is superb, the arrangements are tight and smart, and the music shows surprising range that for the most part fits the mood that the lyrics create. It’s high energy, with a country heart. There’s a lot of punk attitude in there too, in style and approach. I was really glad that Berwick was not afraid to slow it down and make it sweet as well, and that he was not afraid to do this multiple times. Sometimes the arrangements were maybe even a little too sweet, but they never felt out of place for what direction the song was going.
One criticism I could give is that at 18 songs Just Another Day in Hell could be a little shorter. Some of the songs just didn’t work for me like “Roadkill Blues,” and by trimming a little of the fat, Pete could have had top-notch songs from cover to cover. Having said that, you can tell that Pete and his band pulled out all of the stops for this album and got it right and spared no expense. If the song called for tightly arranged background harmonies and keyboards, it got it.
This might be the first time I’ve written about Pete Berwick, but it won’t be the last. He has more music for me to explore, and possibly more importantly, a story to tell. Berwick is not a newcomer. Here he is on Sound Stage 18 years ago, giving you a good live example of his style:
If you consider yourself a fan of hard edged country with a punk rock twist that isn’t afraid to weep, then you need Pete Berwick in your rotation.
Pete Berwick: Just Another Day In Hell
Other Pete Berwick Albums:
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