If you’re into country music and the history of it, you’re probably used to hearing about the “King” of this, or the “Father” of that. Since the history of country music is so important to keeping the lineage of the music alive, country pays special homage to the people who helped form or popularize the genre.
What is so striking about the album listening back to it after nearly 35 years of perspective is not just the big hits, the #1’s, and the now country standards that it contains. It’s the variety in Strait From The Heart that makes it the perfect study of where country music had been, where it was in the present tense, and where it would be going.
Roy Acuff may have been the model of good clean family fun and old-fashioned entertainment for the majority of his country music career, but at the beginning of his legendary, Hall of Fame-caliber run was an era of music that was quite the opposite of the accepted Acuff character, or the wholesome nature of his performance home of the family-friendly Grand Ole Opry.
Believe it or not, there’s even a deep history for more lewd comedy that would happen in country music under the covers. Roy Acuff, the “King of Country Music” cut dirty songs when nobody was looking, and so did other early country legends, some under assumed names. These recordings were like the peep shows of music in the early days, passed around at beer parlors or in the back rooms of studios.
Ben Hoffman, Dave Cobb, David Allan Coe, Florida Georgia Line, Folk Uke, Grand Ole Opry, Roy Acuff, Shel Silverstein, Steven Tyler, Sturgill Simpson, The Beaumonts, Vince Gill, Ween, Wheller Walker Jr.
Consolidation of record labels and music catalogs continues in the independent roots realm with more big moves being made in the last week. Concord Bicycle Music, which has been on a big buying streak lately, has acquired the George Jones label imprint Bandit Records. In another deal, Concord Bicycle has acquired the library of Americana label HighTone Records.
With the passing of the 94-year-old “Little” Jimmy Dickens at the beginning of 2015, it’s a reminder for us to cherish the final living links to country music’s most legendary past who can still tell stories of how country music once was. The amount of performers who were important in forming the very foundation of country music are quickly fading away.
Bill Monroe, Billie Jean Horton, Bobby Osborne, Buck Owens, Buck White, Carter Stanley, Don Maddox, Eddie Arnold, Elvis, George Jones, Hank Snow, Hank Williams, Harold Bradley, Jan Howard, Jean Shepard, Jesse McReynolds, Jim and Jesse, Jim Ed Brown, Joe Pennington, Keith Whitley, Larry Sparks, Lee Ann Womack, Lefty Frizell, Little Jimmy Dickens, Maddox Brothers & Rose, Marty Stuart, Mel Tillis, Owen Bradley, Pee Wee King, Ralph Stanley, Ray Price, Red Simpson, Ricky Skaggs, Rose Maddox, Roy Acuff, Roy Orbison, Stonewall Jackson, Studio 'A', The Clinch Mountain Boys, The Grand Ole Opry, The Quonset Hut, The Stanley Brothers, The Whites, Tompall Glaser, Waylon Jennings, Willie Nelson
Two of the last remaining important pieces in the cast of the upcoming biopic on the life of Hank Williams entitled “I Saw The Light” have been revealed. “I Saw The Light” is being produced and directed by Marc Abraham, who also adapted the screenplay from Colin Escott’s Hank Williams biography. The movie is currently shooting in Shreveport, Louisiana, and is set to be released in 2015.
It’s that penultimate moment—that tipping point—when a town or neighborhood known for it’s cool, rich, and creatively-vibrant culture becomes so awash with interlopers, gentrifying hipsters, and retiring baby boomers that the critical mass point is reached in redevelopment, rising rents, and real estate prices and the entire thing implodes.
Amy Lashley, Caitlin Rose, Chuck Mead, Cory Branan, East Nashville, Guy Clark, Jason Isbell, Joe McMahan, Justin Townes Earle, Kevin Gordon, Lindi Ortega, Liz Rose, Marty Robbins, Mike Grimes, Nashville, Otis Gibbs, Roy Acuff, Sergio Webb, Skip Litz, Steve Earle, Sturgill Simpson, Susanna Clark, Todd Snider, Townes Van Zandt, Tristen, Waylon Jennings
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.
Bill Anderson, Bill Monroe, Donkey, Eddy Arnold, Ferlin Husky, Florida Georgia Line, Fred Rose, Hank Williams, Hank Williams Jr., High Noon, I Can Drink To That All NIght, Jerrod Niemann, Loretta Lynn, Ralph Mooney, Red Headed Stranger, Roy Acuff, Taylor Swift, Tim McGraw Shania Twain, Waylon Jennings, Willie and Waylon, Willie Nelson
Unlike Elvis, The Beatles, and other such acts that withstood the test of time to become commercial success stories in multiple decades, The Everly Brothers seemed to hit a wall in the early 60â€²s, and never really rekindled their popular magic later in life. Why did this happen? How could an act that was so popular, and seemed to resonate so deeply with the American public get lost in the shuffle?
When you look at the Arab Spring going on right now in the Middle East, it’s hard not to trivialize problems such as the current financial state of the American music industry or the creative freedom of its artists. However it’s not hard to draw parallels between the two as well: repressive regimes unwilling to contemporize continue or escalate the same heavy-handed oligarchical systems…
A few days ago I was thinking, what is country music when you strip it all down? When you remove the business, the show? For example, maybe when you stripped down Rock n’ Roll it would be a group of guys in a basement or a garage jamming out, or a juke box blaring in […]