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Wayne Mills was like that warrior that refuses to come off of the mountain. With defeat eminent and inevitable, he would rather raise his fists in the air and rage against the dying of the light then let it overtake him sitting down or sulking. He was like that old honky tonk that refuses to sell as strip malls, condo complexes, and highrises get built up all around it; the one lone holdout swearing off the money that selling out would impart on the principle that everything real, everything worth cherishing is disappearing, and with it, the ties to who we are as people, and the culture that we come from.
In the culture war, Wayne was that painted up, passionate warrior that rallies the troops with his sword held high, stern faced and stubborn as the waves of change sweep over and ultimately destroy all of what once was; victims of progress and the cult of priority.I’ll be there when they burn the last honky tonk down In body, mind, and spirit, under the table, or under the ground The fading echos of a barroom band might be the only sound I’ll be there when they burn the last honky tonk down
These are the words that form the chorus of the title track, and the theme of Wayne’s 2010 album with The Wayne Mills Band called The Last Honky Tonk. Both thematically and sonically, the album and Wayne are like a big stick in the mud and a finger in the eye of the forces severing country’s roots, drawing heavy from the Waylon Jennings-inspired half beat and electric sound, then floating towards the Willie Nelson waltz and acoustic rhythms, and by the end of the album, touching on and paying homage to most of the country music textures that are seen today by Music Row’s money-driven perspective as outmoded.
The second song on the album,”One Of These Days,” is about losing friends too early, reminiscing back on their lives, and using it as a reflection on his own. “My friends lost their lives, but I remember their dreams,” is what Wayne says leading into the the first chorus that talks about the promises we rarely keep to ourselves.
The infectious hook and groove of “Same Old Blues” makes it one of the most fun tracks on the album, while “It’s Just Not My Style” speaks to the personality of Wayne to just do things his way, and lead by example. “Old Willie Nelson Song” and “Friendly Companion” pay homage to Wayne’s musical heroes, but not in the pandering, name-dropping manner of many modern day country songs, but in the context of a heartfelt story. Then “The Truce” duet with Presley Tucker draws inspiration from the famously tumultuous relationship between Tammy Wynette and George Jones.
“Don’t Bring It Around” speaks to the sobriety many Outlaws attempt to embrace later in life, that is regularly hindered by the insistence of the culture and people that surround them, while the epic “Homeward Bound” is about coming come, and coming to peace, putting a period on an album that when listening to in the midst of the recent news of Wayne’s passing feels hauntingly foreboding and poignant.
True country music artists always seem to hold on to life much more precariously than the rest of us, and that vulnerability, and the perspective afforded by walking that line between the dead and the living is what gives them the insight to speak about such things the rest of us struggle to put into words. Wayne Mills was not the most well-known, nor the most prolific of artists. But he was one of the most pure and honest of the breed, unwavering in his country music principles, evidenced by The Last Honky Tonk, and his music that will live on well beyond his passing.
1 3/4 of 2 guns up.
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This story has been updated (see below).
One of Willie Nelson’s band buses—not Willie’s famed Honeysuckle Rose—was involved in a bad accident late last night (11-22) in Texas on Interstate 30 in icy, Winter conditions. The accident occurred at roughly 3:30 AM Central time near Sulphur Springs. Multiple injuries have been reported, with multiple band members and/or crew injured, including Willie Nelson’s long-time drummer Paul English who reportedly broke his ankle. Willie Nelson has canceled all immediate upcoming shows for the moment, but his New Years Eve show at the Moody Theater in Austin is still on.
A strong, Winter cold front gripped the lower Midwestern plains and north Texas on Thursday and Friday, causing treacherous driving conditions throughout the region. Nelson was scheduled to play Horseshoe Tunica tonight in Robinsonville, Mississippi, along with other shows in the South through the end of November before heading out to Nevada and California in December.
Please stay tuned for more information as it becomes available.
UPDATE (11-23-13 12:06 PM CST): Other injuries from the accident include drummer Paul English’s brother, multi-instrumentalist Billy English, and Nelson’s guitar tech Tom Hawkins. None of the injuries are considered serious, and they have all been released from the hospital, or will be shortly according to Nelson’s publicist Elaine Schock. Paul English broke his ankle, not his foot as earlier reported. The tour has postponed their remaining November tour dates, but plan to resume the tour on December 10th in Las Vegas.
UPDATE (11-23-13 1:14 PM CST): The accident occurred when the bus struck a bridge pillar during rainy and windy conditions. Though it was cold, snow and ice are not thought to be involved, just slick pavement and high winds. According to Texas Department of Public Safety Trooper Sylvia Jennings there were seven people on board the bus, including the driver. Billy English’s injury is described as a bruised hip, and guitar tech Tom Hawkins injury is thought to be broken or bruised ribs.
Below picture is from radio station KOKE FM in Austin, TX
Billy Joe Shaver is getting ready to record and release his first studio album in 7 years, according to the 74-year-old Outlaw country songwriter and performer. Shaver released a couple of live albums last year, Live At Billy Bob’s Texas and the Live from Austin, TX: Austin City Limits – August 14, 1984, but this will be the first album of new material since his 2007 predominantly Christian album, Everybody’s Brother.
“I’m doing my first studio album in seven or eight years and I’ll be doing that I think December first, second or something like that,” Shaver told the Fort Stockton Pioneer ahead of a show in Alpine, TX. “Hopefully getting it out in a couple of months. It’s all new too and different…There are some political things. The songs are so different then what’s on the radio now. It’s either going to change things around or get kicked out. One or the other. I’m hoping that this here will, as a matter of fact I know it will, it’ll kick ass…it’s going to be a good one.”
Shaver, who got his big break in country music when Waylon Jennings’ breakout album Honky Tonk Heroes included all but one Shaver-written song, also couldn’t pass up the opportunity to do a little sabre rattling about the current state of country music.
“I feel like that I’m still doing the same thing I always did, it just got lost in the shuffle because all this new stuff came in. There’s a lot of money behind these people…It’s just people trying to make money, that’s all it is and I can’t begrudge anybody for trying to make money. We’re all trying to make a living and do the best we can. I feel that the art part of it just went out the window…but every once in awhile you will hear a good song. I can’t say that it’s all bad, it’s not. It’s just most of it’s bad…It’s kind of gotten way out of hand right now I think, but the solid foundation is still there.”
Billy Joe Shaver has had a tumultuous last 7 years. After coming out of a period where his wife, his son and guitar player Eddy, and his mother all passed away in a span of 2 years, Shaver battled a bad shoulder injury, and charges stemming from a shooting at the Papa Joe’s bar near Waco in 2007 that resulted in an assault trial against the songwriter, and a song chronicling the event by Dale Watson called “Where Do You Want It?” Shaver was eventually acquitted when it was found he acted in self-defense, with help from character witnesses Willie Nelson and Robert Duvall.
Unless you’re one of those people who finds themselves so overwhelmed every year with the Christmas spirit that it’s a tough choice what Christmas sweater to wear, the annual dirge of Christmas movie releases is enough to turn your stomach like a glass of expired eggnog. But there is one movie out this year that may be worth your time, if for no other reason than the cast is built around country music royalty. Willie Nelson, Kris Kristofferson, Lyle Lovett, Harry Connick Jr, and Connie Britton from ABC’s TV drama Nashville make up the primary cast of When Angels Sing, based off a novel of the same name released in 1999 by Turk Pipkin.
The film stars Harry Connick, Jr. as a history professor who as a child loved Christmas, but after a tragic accident, grew to hate the holiday. As a grown up, he still can’t find the joy of Christmas, but as his son faces a tragedy, he rekindles his holiday spirit again. He gets a push in the right direction after the lease comes due on his current home and he meets a man named Nick (Willie Nelson) who sells him a house at half price, but only if he will keep up the traditions of the house and neighborhood, including maintaining the house as the centerpiece of the neighborhood’s Christmas celebration.
Kris Kristofferson plays Harry Connick Jr.’s father, Connie Britton plays Connick’s wife, and Lyle Lovett plays one of the neighbors. The film also includes cameos from female Texas country 4-piece The Trishas, Texas swing legend Ray Benson, Dale Watson, Sarah Hickman, Marcia Ball, Guy Forsyth, Joel Guzman, Kat Edmonson, Miss Lavelle , Eloise DeJoria, and others.
When Angels Sing, which is based in the Austin area, first debuted as part of the South By Southwest (SXSW) Film Festival in Austin on March 10th. “We already had a great start with Harry and Willie and Kris, so I told our casting director ‘let’s put everybody who’s a musician in the movie’,” director Tim McCanlies told Billboard.
Music wasn’t a part of the original script, but McCanlies saw a unique opportunity with so much music talent on the set to make it a seminal part of the movie. Some of the musical performances include Kris Kristofferson singing Willie Nelson’s “Pretty Paper,” and an original duet written by Willie and Harry Connick Jr. that plays over the ending credits. Each song in the movie was filmed with full performances, so a soundtrack for the movie is also a possibility.
Information on the distribution of When Angels Sing remains sketchy, but it received a very limited release to select theaters on Novemeber 1st, and is reportedly available on demand through Direc TV. Check back as more information on distribution becomes available.
You can watch more clips and behind-the-scenes interviews from the film on Fandango.
Back in March, country music Outlaw David Allan Coe was in a horrific accident where his black Suburban was broadsided by a semi truck in Ocala, Fl. Coe suffered cracked ribs and bruised kidneys in the accident, but was able to recover to perform again.
In the aftermath of the accident, there was a shakeup in David Allan Coe’s band and inner circle. As Saving Country Music reported after attending David Allan Coe’s first show back as part of Willie Nelson’s 40th Annual 4th of July picnic, David was quoted as saying, “…everybody quit me, except my wife. She’s the only one that didn’t quit. My road manager of 35 years, he quit me. My band quit me. This is a brand new band, this is a brand new me.”
On November 8th, David Allan Coe’s son, Tyler Mahan Coe, who played guitar for his father, posted an in-depth letter describing his side of the story, saying in part, “The implication is that every person in his life, except his wife, abandoned him after his recent auto accident. Certainly, it doesn’t make sense to me that every person in someone’s life would take a hike because that person had a little accident. Must be something else going on there.” In short, Tyler blames David Allan Coe’s wife Kimberly for manipulating his father, leading to him and others being forced out of his father’s music business. Tyler also spelled out and addressed numerous concerns and grievances he and many David Allan Coe fans have had about his father’s live performances in recent years.
David Allan Coe’s accident, the subsequent fallout, and Tyler Coe’s letter have stimulated a discussion about David Allan Coe, his ethics and character, his contributions to the music world, and have many fans finally speaking out about a lackluster live show that they we’re unwilling to speak about previously out of respect for the performer.
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Look, this is the deal with David Allan Coe. David Allan Coe is a piece of garbage human being. As Al Goldstein once said straight to David’s face enlisting a cackle from David, “You’re a fucking degenerate.” He’s a sexist, racist, scary, weird, train wreck of a man; one of these people we all knew growing up in school or in the neighborhood that was always in someone’s face and that could twist off at any moment.
As Waylon Jennings once pointed out, David Allan Coe will stab you in the back and then ride off your name like he’s your best friend. He wears a stupid, waist-length golden-haired wig on stage as if he’s fooling anyone. He bashes anybody and everybody for getting in his way, abandoning him, or otherwise keeping him down, when he is clearly an arrogant, disrespectful, down-talking asshole who has little regard for anybody but himself, has bashed his Outlaw contemporaries while praising people like Kid Rock and Toby Keith, and once bragged about standing on top of the desk of a record executive, dropping his pants, and ordering him to perform oral sex on him.
At the same time, and for some of the same reasons, David Allan Coe is an American treasure, and a country music legend. Hank Williams Jr. may have sung about being a “Dinosaur,” but David Allan Coe truly is one. In a world where we’re all so whipped and so trained to not speak our minds, or to say what we think, and respect authority that is many times much more immoral, unfair, and corrupt than we could ever be, an individual like David Allan Coe is a breath of fresh air, and in a strange way, an inspiration in the way he is blatantly obvious about who he is, what he wants, and what he believes.
Anyone who wants to diminish David Allan Coe’s importance to country music, whether it’s because he’s put out some bad songs, bad albums, has a bad live show, or because he’s is a bad person, isn’t paying attention to the full breadth of his contributions, including some of the most indelible, important, and influential works of the country music canon. Forget “Longhaired Redneck,” go listen to “Jody Like A Melody” or “River” and then tell me David Allan Coe has nothing to offer.
And to simply call him “sexist” or “racist” really doesn’t do justice to the complex and tragic history of David Allan Coe’s life and upbringing, or the true nature of his opinions. David Allan Coe is one of the truest products and examples of the American experience because there is no bullshit from him, however ugly it is to behold. His attitudes and actions are a reflection our own sins and flaws as an American society, personified in a man who has zero respect for phony custom, or plastic courtesy. At the same time, it’s embarrassing that some choose to use him as their phony idol or icon for racist or sexist platitudes or principles, only reveling in the bad parts about David Allan Coe, and missing the complete panorama of his message and musical contributions.
I do not know Tyler Mahan Coe personally, though I have seen him perform with his father before. Having read many things he’s written over the years, including his latest letter clearing the air about what happen with his father, Tyler comes across as an intelligent and thoughtful individual, and I tend to take what he says as being the truth, and find his honesty and candor refreshing. Tyler Coe is right. Seeing David Allan Coe on any given night can be an exercise in disappointment, from his poor stage presence to his stupid vocal effects. But there is nothing that I read in Tyler’s letter, or anything else that gives me reason to respect David Allan Coe any less. The grim reality with any performer is that as time goes on, they will lose grip with their talent and abilities, especially when they live the type of self-destructive life fans expect, if not demand from certain artists.
When I saw David Allan Coe perform this summer at Willie Nelson’s 40th Annual 4th of July picnic, it was the most God awful performance of “country” music I had ever seen in my life. His band setup included two keyboards flanking him on the left and right, some weird percussionist guy, and struck the vibe of an underfunded and unrehearsed amateur church band that had set up in the food court of a mini mall in some forgotten region of scary, small-town USA preaching to inbreeds and introverts circa 1987. At the same time, I was super glad to be there to catch it, and to be able to see David Allan Coe still alive and performing after his accident.
Why? Because when David Allan Coe is gone forever, what he symbolizes and embodies will be gone forever too. And country music, and the rest of the world, will be a lot less of a colorful place. Because whether you like him, respect him, or hate him, there will never be another person or performer in country music or the American culture like David Allan Coe.
When speaking about pure, raw musical talent, there may not be a better specimen in the entire music world than violin player, and singer-songwriter Ruby Jane from Austin, TX. To know the girl is to know this to be true, and when she was tested on the road as part of Willie Nelson’s Family Band and Ray Benson’s Texas Swing outfit Asleep At The Wheel at the ripe age 14, Ruby proved herself to packed audiences night after night.
But raw talent can be hard to tame, hard to take from stage right to stage center, and hard to shape into a transferable commodity in 2013. Talent is no longer enough. There’s no collective will to put the best and brightest of society on a pedestal. And as the years tick towards an 18th birthday, the wonder a prodigy can evoke begins to diminish and originality must rise up to fill the void.
The most difficult time for a child music prodigy is that transition into musical adulthood. Ruby Jane, who’s now 19-years-old and graduated from High School, had big promises and bigger hopes of being backed by one big industry outfit or another that seemed to show up and fade throughout her career. You’d be a fool not to recognize the talent, but what to do with it? Where does it fit in the music world?
Then the mother of all bad luck scenarios played out on December 8th, 2011 in Houston, TX when Ruby and her mother were carjacked, held at gunpoint, had everything taken from them including all of Ruby’s music gear and merch and their phones and ID’s, and left on the side of the road in the middle of the night to fend for themselves.
But the world must keep turning, and in the aftermath of the tragedy, Ruby recorded an album called Celebrity (Empire of Emptiness). Though the theme and moral was spot on, and there were certainly shimmers of the superlative Ruby Jane talent we all knew was there, the album seemed to showcase a violin maestro trying to find her voice, both figuratively and literally, and the album had a foggy aspect to the final mixes, like it was hindered by a lack of good process. For some, the album spoke to them. But it seemed to fall short of the promise of what the world-class talent of Ruby Jane could achieve.
Celebrity (Empire of Emptiness) also solidified Ruby Jane’s departure from anything “country.” And who could blame her? With all that talent, why would you she want to be lumped in with the Florida Georgia Line’s of the world? Ruby’s talent is too great to be confined to one genre, but the departure meant the diminishing of the skins she had assembled during touring with Willie, being the youngest invited fiddler to ever play the Grand Ole Opry stage, and her other country accolades. It wasn’t that these accomplishments didn’t mean anything anymore, it’s that they just didn’t mean as much to the new music spheres she was now entering.
Meanwhile Austin did what Austin does, which is offer the safest of havens for any artist who can show promise and talent, while generally failing to develop or nurture that talent beyond the city limits, especially in days that have seen the epicenter of independent music shift demonstrably toward Nashville, while Austin seems to be precariously hanging onto its musical lineage as condominium complexes and hipsters encroach on Austin’s heart, and it’s traditional musical infrastructure focuses less on developing talent, and more on serving a wealthy elite.
But no matter how the deck is stacked, you would be a fool to bet against the talent of Ruby Jane. Despite all the hardships, the violin and the spirit preservers, and being a Ruby Jane follower, you inherently hold on to a sense that it is simply a matter of time before all the stars align and Ruby Jane’s ship comes in.
Not attached to an announcement of a new album or any other notable news, Ruby Jane has released a new single and a new video called “Ticket Out.” Written by Ruby, and produced by Mario Marchetti who’s worked with The Lumineers and some other notable names from the the pop world in the past, “Ticket Out” evokes a Lumineers-esque vibe with a heavy, woody bass beat and hand claps, but is centered mostly around the chorus hook “I’ll be your ticket it out of town” that grips the listener and sets a fun, positive mood in a song that has great energy and momentum.
Some may feel like the song is a little too simple, but Ruby’s violin is given its moments to shine and offer substance to the song, and Ruby’s songs have always been a tale of two approaches: Mind-blowing, composition-based, deftly-constructed instrumental pieces, and lighthearted singer-songwriter material.
The video, directed by Nyle Emerson, captures a day in the life of Austin’s young, hip culture, with a curly-mustached protagonist trying to shake his angst by courting a flame-haired food trailer chef on a trek to a swimming hole. With its still-shot animation, the “Ticket Out” video matches the mood and motion of the song and story, and illustrates great depth, attention, and heart.
Blame Willie Nelson, blame her Texas blood and her Mississippi spirit, but Ruby has always been an outlaw of sorts, wanting to do things her own way and carve her own path. But where good art can turn great is when an artist can see when their expressions can bloom and reach their full potential by getting other people involved, and people that have their best interests first. The Mario Marchetti collaboration on “Ticket Out” may not be the final solution to Ruby finding her place, or it might. We’ll just have to see. But it certainly is a step in the right direction.
I like it.
1 ¾ of 2 guns up. 4 of 5 stars.
Yes, it was still 2013, and it was still a modern country music awards show, and so traditional and independent-minded country music fans still had plenty to look sideways at if they were brave enough to watch. But that doesn’t mean that the 47th Annual Country Music Association Awards wasn’t a retrenching of the roots and substance in the genre’s most important institution, and a sign of hope for country fans who’ve simply been asking for years for balance to be reinstated into the mainstream country format.
Luke Bryan, who was the big winner at the ACM Awards in April, was completely shut out. So was Jason Aldean. Florida Georgia Line wasn’t, but this was understandable because of the historic success of their song “Cruise,” but they were bested by Kacey Musgraves in the New Artist of the Year category. And in the end, George Strait, King George, bested everyone by taking home the most coveted trophy in country music, the CMA for Entertainer of the Year.
Was it a parting gift for Strait after announcing his final tour? Of course it was. But it doesn’t mean it wasn’t deserved, and it doesn’t mean it isn’t sweet, both for George, and for traditional country fans, even the ones who may not mark themselves as big George Strait supporters. Strait’s win marks the first time in a decade a true country artist has won the trophy. Alan Jackson, George Strait’s duet partner for “He Stopped Loving Her Today” during a stirring George Jones tribute, was arguably the last traditional-leaning artist to win the award in 2003.
Which leads us to the performances of the 47th Annual CMA Awards. Along with the somewhat abridged, but heartfelt George Jones tribute, there was a tribute to Kenny Rogers, who was presented with this year’s Willie Nelson Lifetime Achievement Award—an award that was founded last year. Lo and behold, a steel guitar made an appearance early in the presentation during Kacey Musgraves’ set, despite the disappointment of the lyric “roll up a joint” in her song “Follow Your Arrow” being censored out. Taylor Swift of all people, offered a stripped down acoustic set that featured Vince Gill, bluegrass maestro Sam Bush, Alison Krauss, and not just as backing musicians. Both Gill and Krauss took turns on verses, no doubt stimulating not a few younger fans to take to Google to figure out who these artists were, facilitating that important initial spark of discovery.
Even Luke Bryan, whose performance of “Country Girl (Shake It For Me) on the 2011 CMA Awards seemed like the pinnacle of indecency for a country awards show at the time, offered a somewhat stripped down, heartfelt performance that featured songwriter Chris Stapleton. In fact, there wasn’t really any performances that seemed gratuitously over-the-top. Apparently there was a moratorium on choreographed backup dancers for the 2013 CMA’s, and about the only pyrotechnics aside from Eric Church’s over-the-top performance of “The Outsiders” were some sparks streaming from beneath the wheels of a simulated boxcar during Jason Aldean’s song “Night Train.” Even the cross-genre moment was when the well-beloved Dave Grohl joined the Zac Brown Band on drums—a stark contrast from the rappers and Kid Rock’s of the world that have somehow become regular fixtures of country award shows recently.
What does this all mean? For one, it means there is a reason to be positive. Whether it is because of the collective crying out about the disenfranchising of country music’s traditional and independent fans through events like Blake Shelton labeling them “Old Farts and Jackasses,” or whether it is the tangible demographic data that shows that country fans as a whole want more traditional country in the country format, someone, somewhere is listening, and some of the change fans have been clamoring for in recent years is finally being enacted.
All that has been asked for is balance—a place at the table for alternatives to pop country—and though the ratio may still be somewhat out-of-whack, some balance was reinstated during the 2013 CMA Awards. If there was another winner during the event beyond the award winners, it might be CMA producer Robert Deaton. Deaton told the Tennessean on Nov. 1st, ““I think the biggest thing I want to strive for is balance. I’m talking about balance of who we are as a music and a genre because we are a lot of different things, you want to be current but you also want to pay tribute to the shoulders that we stand on.” And Robert Deaton backed up those words in the presentation. As much as the censoring of Kacey Musgraves may be a black eye of the 2013 CMA’s, it was done to make sure families and traditional viewers were not offended.
Furthermore, the proof that balance works is in the ratings pudding. The ratings for the CMA Awards was up by 21 percent over last year’s telecast in viewers and 24 percent in the key demographic. The growth was particularly big among young males, with ABC touting a nine-year high among men 18-34.
In September, Saving Country Music published 12 Reasons To Be Positive About Country Music in 2013, and the 47th CMA Awards was yet another one to add to the list. However slowly, however incrementally, and however offset by the continuing lows of some of country music’s mainstream males, things are changing. It had been years since true country fans felt a reason to stand up and cheer and had a reason to feel represented at the CMA Awards. But the 47th installment offered a few of them, and one very big one.
Yeah, I remember the first time I heard marijuana referenced in a song and thought it was cool. It was a song by the New Riders of the Purple Sage called “Henry” from their 1971 self-titled album. More of a smuggling song than a drug song, the story and the suspense of the song is what made it intriguing, with the marijuana more of just a backdrop. This inspired me to try and discover similar songs which led me to the Arlo Guthrie smuggler’s song “Coming Into Los Angeles.”
Gram Parsons somewhat challenged the stuffiness of the country establishment when he sported a Nudie suit with marijuana leaves embroidered on it in the late 60′s, but at the time he was considered more of a product of the rock world. And then of course there’s Kris Kristofferson’s iconic “Sunday Morning Coming Down” whose somewhat veiled reference to marijuana is given credit for stretching lyrical boundaries in country music on its way to being named Song of the Year by the CMA in 1970.
But 2013 very well may go down as the year when referencing marijuana and other drugs in your songs is no longer cool as much as it is conformist—a lyrical hook, a well-recognized buzz word made for marketing an artist or song just as much as anything else. When a former Disney star like Miley Cyrus is out there talking about “Dancing with ‘Molly’” and “Trying to get a line in the bathroom,” and the 80-year-old Willie Nelson is singing a duet with the 42-year-old Snoop Dogg called “Roll Me Up And Smoke Me When I Die,” there ceases to be either the generational gap, or the exclusivity of drug references in music to make them “cool.”
Where the current trend of mentioning cannabis in your country song seems to be cropping up is in the unlikely place of country music’s songwriting females. This dynamic and inspiring group of women who are regularly referenced as the last bastion of substance in country music’s mainstream seems to be the epicenter of country music’s marijuana bloom: Kacey Musgraves with the songs “Merry Go ‘Round,” “Blowin’ Smoke,” and “Follow Your Arrow.” Ashley Monroe with the song “Weed Instead of Roses.” Brandy Clark and the song “Get High.” And The Pistol Annies with songs like “Takin’ Pills” and “Hush Hush.”
The differences between these song’s marijuana and drug references and the trends on the male side of country music to reference pickups, tailgates, ice cold beer, and dirt roads, are very subtle. Sure, many of the pot references come within the context of a more in-depth story. But just like pickup truck references, they’re used to grab the attention of demographics and sell music to listeners.
Just look at the graphics below taken from Amazon’s MP3 popularity ratings. For a marijuana song like Ashley Monroe’s “Weed Instead of Roses,” it positively dominates the popularity contest compared to her other songs. Same goes with Kacey Musgraves’ three most popular songs (though in fairness, “Blowin’ Smoke doesn’t reference pot directly). One might argue though that these songs are more popular because they are also the artist’s radio singles. But this speaks even deeper to the current marijuana trend. If you want to be a mainstream female songwriter and have the A&R folks pay attention to your music, you may want to include a song with marijuana references.
Ashley Monroe’s Tracks from the album Like A Rose:
Kacey Musgraves Tracks from the album Same Trailer, Different Park:
Just like with the country rap trend or the pickup truck trend, when a lyrical theme works, it almost becomes a requirement for mainstream artists. And just like the male tailgate songs that sound so cliche to distinguishing music listeners, marijuana references appeal to bored suburban types who listen to country music as a form of escapism.
Back in the 90′s marijuana references and imagery became popularized by big music acts like Cypress Hill, Pantera, Snoop Dogg, and Green Day. But then the trend became sort of passé amongst bands on the fringes of the mainstream when marijuana references began to work themselves into the content of Top 40 pop songs. It was no longer cool.
Country music was a late bloomer to the marijuana marketing trend because it’s traditionally conservative-leaning audience. Artists like Hank Williams Jr. and Charlie Daniels referenced pot in the 70′s and 80′s, but this was far from the mainstream. Waylon Jennings’ “Don’t You Think This Outlaw Bit’s Done Got Out of Hand,” Hank Jr’s, “O.D’d in Denver,” take it a step further into the cocaine realm. But as modern mainstream country artists step into the marijuana and drug realm, independent and cutting-edge artists seem to step away. For example Hank Williams III started his career in country music with heavy marijuana imagery and references, but has veered away from it in recent years.
Women are not the only ones referencing marijuana in the current mainstream country market. Eric Church sells T-shirts with pot leaves on them and had a hit song in “Smoke A Little Smoke.” Luke Bryan’s mega-hit “That’s My Kind Of Night” says “I got that real good feel good stuff up under the seat of my big black jacked up truck.”
The political environment surrounding marijuana also plays into the pot music debate. The stigma around the drug has been significantly diluted by the passing of laws decriminalizing the plant, making it legal for medicinal purposes, or legalizing it in full which has happened in some states. Marijuana is a very commonly-used substance throughout American society, and as the stigma around the plant subsides, so does the potency of the references to it in popular culture.
There’s nothing naughty or cutting edge about a pot reference in a song anymore. It’s conformist. It’s marketing. It’s mainstream. Not all the time of course; sometimes it comes up naturally in the context of a song. But just like many so many other musical elements, marijuana and drug references have been co-oped by the mainstream, spoiled, and exploited.
The inaugural inductees to the Outlaw Music Hall of Fame set to open 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.
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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These are lines pulled from the opening track of Justin Moore’s new album Off The Beaten Path, and with a steel guitar riding high in the mix accompanying Justin’s imperatives and a wide-brimmed cowboy hat crowning his backlit visage splayed across the album cover, the distinguishing music listener who doesn’t care too much for today’s country radio may conclude they have just found a keeper.
Then of course a few songs later, Justin seems to forget his own proclamations and manages to name drop Kim Kardashian, J-Lo, Snoo P Double G, filch a line from “Honky Tonk Badonkadonk,” and even try his hand at country rapping. And that’s just in one song. Hey we’ve all got to eat, right?
Justin Moore’s 2011 album Outlaws Like Me was declared the worst album ever by Saving Country Music up to that moment in time; a diagnosis I still stand behind with puffed chest. Earlier this year when Moore somehow sniveled his way onto the lineup of Willie Nelson’s 4th of July Picnic, as I stood 50 feet from the stage listening to Justin attempt to Svengali the crowd into believing that he was an industry outsider and one of the last champions of real country music, the only reason I didn’t rush the stage was because I didn’t have a good plan of what I would do when I got there, and I wanted to still be around later for Willie’s set.
Despite a few moments of respite, Off The Beaten Path is like an expeditionary campaign to discover and exploit every single worn out modern lyrical trope of American country music, and to try and make some new ones. Luke Bryan may be the latest of the discipline, but Justin Moore was the first to master disregarding any and all independent thinking or self-desired creative penchants to simply become the country music equivalent of Silly Putty for the suits to do whatever they choose with. And the fate they chose for Justin was to be Big Machine Record’s representative for attempting to re-integrate the revenue of anti-Nashville sentiment by misleading the public into believing Justin’s career was the result of a repressive industry looking to dog him at every turn because he was too country. Yes, he’s an Outlaw, bucking the system, flying in the face of artists like Taylor Swift….whom he shares the same record label with.
But though it would be easy and romantic to declare Justin Moore’s 2013 offering as bad enough to depose 2011′s Outlaws Like Me at the shameful peak of crap mountain and use this album as a vehicle to vent any and all unresolved anger held over from my personal life in the form of the most venomous of rants, the real truth of the matter is that Off The Beaten Path is not nearly as bad as one would initially assume.
It’s still more bad than good without a doubt, with a strong contingent of country checklist songs eroding any redemptive moments on the album and then some. But I was surprised how unpredictable this album was, how some songs took a really progressive approach instead of just relying on rock guitar riffs, and how many slow, meaningful songs made the final cut.
The only reason the song “Old Back In The New School” could be considered bad is because it’s coming from Justin Moore, rendering it hypocritical. But on it’s own, it’s not too shabby. Neither is the slow and sincere duet with Miranda Lambert “Old Habits.” In fact, it’s downright good, and wouldn’t be a bad contender for the “Vocal Event” categories of the big country award shows. If it weren’t for lines like “We work hard, play hard, take our paychecks straight to the Wal-Mart. Girls will out drink you, boys will out Hank you…” the song “This Kind Of Town” could really be something sensational in the way the song is crafted.
But unfortunately, that line does exist in the song, and so do a dozen other cringe-inducing moments on Off The Beaten Path. Really, it’s the words of this album that hold it back the most. There’s some authentic country instrumentation here, and some really sweet moments sonically. And then there’s songs like the title track that feel oh so cliche in both words and structure, and the aforementioned country-rapping name-dropping abomination known as “I’d Want It To Be Yours” that will probably receive its own dedicated diagramming and ridicule in due course.
As bad as it is, I have to give Justin Moore and his songwriters credit for guile in crafting the song “Country Radio” that will flatter every programming manager from coast to Clear Channel coast and probably make it into radio rotations despite its shortcomings. “For Some Ol’ Redneck Reason” that features a crotchety, borderline disturbing appearance from Charlie Daniels in a moment of token Patriotism probably won’t. Whatever happened to going to LA via Omaha?
But color me surprised. Certainly not a good album, and I’m definitely not recommending it. But on Off The Beaten Path, Justin Moore peels himself off the very bottom of the country music mat, and proves that maybe if he wasn’t such a tool, he would have a little something.
1 ½ of 2 guns down. 2 of 5 stars.
If you need any more proof that corporate country music has become so milktoast that the backlash against its homogenized format and fashion plate stars has become an indelible and easily-identifiable element of American culture, then look no further than the recent blockbuster video game Grand Theft Auto 5 from Rockstar Games. Featured in the third-person, open world game that shattered industry sales records by earning $800 million in the first 24 hours and $1 billion in the first three days is a radio station called “Rebel Radio” that is described as playing classic Outlaw country that “reminds listeners that corporate country sucks.” The station’s tagline is “Because country has gone sissy.”
Rebel Radio is hosted by The Dancing Outlaw Jesco White, made famous from the Dancing Outlaw movie first shown on PBS, and his subsequent appearances in various documentaries, including most recently The Wild & Wonderful Whites of West Virginia. The soundtrack for Rebel Radio includes Johnny Paycheck, Waylon Jennings, Hank Thompson, Johnny Cash, Willie Nelson, and Hasil Adkins among others (see full playlist below).
Illustrating the great care for detail game makers go through these days, Rebel Radio has its own logo, and even has its own location in the game in the Grand Senora Desert in Blaine County on a hill near the Redwoods Lights Motorcross Track. 13 total minutes of Jesco White commentary are mixed in with the 11-song soundtrack to give players the feel of listening to a real radio station, and Jesco even makes an appearance in the game as a “hidden Easter Egg” doing his famous Outlaw tap dancing routine.
Grand Theft Auto 5′s use of radio stations speaks to the opening of new outlets for music as traditional radio continues to narrow formats in the face of consolidation at the hands of big corporations like Clear Channel and Cumulus. Big companies have been buying up stations all across the country, implementing and institutionalizing nationalized programming. Grand Theft Auto 5 boasts a total of 15 different radio stations players can tune into, with over 240 officially licensed songs making up the game’s entire soundtrack. The game is also the first in the series to solicit an original score.
Ivan Pavlovich, the Soundtrack Supervisor for Grand Theft Auto 5, points out that the music licensing for the game is the equivalent to 20 movie soundtracks—a tremendous investment for a video game. Other celebrity DJ’s for the game’s various channels include Bootsy Collins for an 80s funk station, Pam Grier hosting a soul station, and Kenny Loggins for the classic rock station. The soundtrack is also available for sale in multiple volumes.
Grand Theft Auto 5′s Rebel Radio Playlist:
- Ozark Mountain Daredevils – If You Wanna Get To Heaven (1973)
- Hank Thompson – I Don’t Hurt Anymore (1954)
- Johnny Paycheck – It Won’t Be Long (And I’ll Be Hating You) (1968)
- Johnny Cash – General Lee (1982)
- Willie Nelson – Whiskey River (1973)
- Jerry Reed – You Took All The Ramblin’ Out Of Me (1972)
- Charlie Feathers – Can’t Hardly Stand It (1956)
- Waylon Jennings – I Ain’t Living Long Like This (1979)
- Waylon Jennings – Are You Sure Hank Done It This Way (1975)
- C.W. McCall – Convoy (1975)
- Hasil Adkins – Get Out of My Car (1966)
As much as we may love the older music performers we grew up with, or cherish the performers from a past beyond our own, there might be nothing worse to behold as a music fan than watching an aging artist who refuses to come to grips with reality, and won’t let go of the spotlight. Of course it is a shame that the music business is so callous towards its aging talent and seems so quick to cast its older entertainers off. But all artists eventually age and experience the passing of mass interest, and must face a new set of realities.
As much as Ronnie Dunn started out showing promise as a substantive artist and one willing to speak his mind about the state of the country music business after the Brooks & Dunn breakup, he’s now out there now kinking his hair and cutting country rap songs. Hank Williams Jr. might be the poster boy for the country artist who’s unwilling to face their fate; carousing with Kid Rock and taking great care not to show any gray in his mane. Remember when Alabama collaborated with ‘N Sync? Or the catastrophe of Kenny Rogers’ facelift? Even our beloved Willie Nelson had a moment when he thought the best thing for his career was to cut a Dave Matthews song produced by Kenny Chesney. We can’t blame our country heroes for not wanting to call it quits from the mainstream spotlight until they’re absolutely sure it’s time, but sometimes you wonder why they just can’t rest on their laurels, appreciate their years of success and the financial windfall it afforded them, and simply refocus on the music as their first priority.
That is exactly what we are seeing from two of country music’s most prestigious previous heavyweights: Alan Jackson and Vince Gill. With 34 CMA Awards, over 20 Grammys, and and some 80 million records sold between the two, they both have seen their share of overwhelming commercial success, public notoriety, and peer recognition. But over the last few years the writing has been on the wall that their time has come, and their days of widespread radio play and big awards are over.
And so what did these two men do? Did they shake their fists at the system and criticize it for being unfair? Did they try to mix it up with some young artist outside of the genre to hopefully rekindle interest? Did they debut a new look to try to hide their age? No, they both did something out-of-the-ordinary—they embraced their roles as legacy artists, and put out albums that paid homage to the roots of the music that brought them both so much fortune over the years.
Vince Gill teemed up with legendary steel guitar player Paul Franklin and put out an impressive and energetic tribute to the West Coast influence on country called Bakersfield, swapping songs from California country titans Merle Haggard and Buck Owens. For all the chatter about country having to evolve to stay commercially viable, Bakersfield debuted at #4 on the charts and sold an impressive 12,000 copies its first week—virtually unheard of for a tribute album, especially one from an older artist.
Right on the heels of Bakersfiled‘s success, Alan Jackson has just released an album of bluegrass music simply called The Bluegrass Album. It includes 8 Jackson originals all done in authentic bluegrass style, and covers artists like Bill Monroe and The Dillards. The record is a critic’s favorite and has been creating tremendous buzz.
As much as country music, especially in the current era, may feel like a business of the here and now, one thing that still separates country from other genres is the role of the legacy artist. Rock once had this as well, but there is a reason a 51-year-old Sheryl Crow decided to bring her act to country in 2013. As much as it may pain purists when pop and rock artists cross over to country, it also speaks to how despite the conventional thinking of modern country as a kid’s game, country still deliver strength to older artists. Sure, artists like Vince Gill and Alan Jackson may no longer be able to sell out arenas, but they’re also not considered “has-been’s” simply because the big hits have stopped coming. You may not be treated as a superstar in the twilighting of your country career, but you’re still doted on as a legend by core fans who will never forget your contributions. That was one of the unfortunate things about the early passing of Waylon Jennings. He never got that opportunity to take a victory lap and stand as a country music elder statesman.
Like Emmylou Harris allowing her raven hair to turn a shimmering silver, watching an artist age in country music can be a splendid thing to behold when the artist performs the transition with grace, class, and wisdom, and the industry allows this process to unfold naturally instead of shutting them out. By setting new parameters of success that don’t have to do with sales and flashy awards, an artist can craft the finishing touches on their legacy while the genre shows their respects for their contributions.
But moreover, what Vince Gill and Alan Jackson have proven is they still have plenty of tread on the tires, and aging artists can still have a sizable impact and contribution to the country music canon.
(This story has been updated, see below)
A small stuffed toy armadillo may not seem like a big deal to most, but apparently it is a big deal for Willie Nelson and one of the members of his road crew, and they want it back after it walked off after a concert.
At Willie’s show on Thursday, September 19th at the Capital Theater in Port Chester, NY (a northern suburb of NYC), the small stuffed armadillo was stolen off the sound desk backstage by a woman who can be seen in low grade surveillance footage from the show (see below). The armadillo is affectionately known as O’ Dillo, and it is the property of Aaron Foye, Willie’s monitor engineer. More notably, O’Dillo is a beloved mascot of the Willie Nelson crew, and his kidnapping stimulated a message to Willie fans through his social networks.
Someone stole Aaron’s Armadillo from the sound desk backstage on Sept 19 at the Capital Theater (149 Westchester Ave, Port Chester, NY 10573) Did you go to the show? Did you work the show? Help us find the WOMAN in this video who stole him.
Armadillos are small armored mammals that rarely exist outside of Texas, and are considered an affectionate symbol of the Lone Star State. When Willie Nelson left Nashville for Texas in the 70′s and helped stimulate the Austin, TX music scene and country’s Outlaw movement, the epicenter of the movement was a club known as the Armadillo World Headquarters.
Anyone who knows the whereabouts of O’ Dillo is asked to contact Willie Nelson’s management, or can contact us here at Saving Country Music, and we’ll do our best to see it gets returned to its rightful owner.
(9/27/13 8:30 PM CDT): According to theater manager Tom Bailey at the Capitol Theater in Port Chester, NY, O’Dillo has been returned. The toy was returned to the theater’s box office in a sealed box. It was not the same woman who can be seen on the video below taking the animal, and the woman did not identify herself. Tom Bailey says they believe they know who stole the Armadillo, but Willie’s monitor engineer Aaron Foye has decided to not press charges.
The last few weeks might go down in history as one of country music’s most feud-laden moments. From Gary Allan going off about country music and indirectly accusing Taylor Swift and Carrie Underwood of not being country, to Zac Brown calling out Luke Bryan’s song “That’s My Kind of Night,” and Jason Aldean calling out Zac Brown in Luke’s defense.
Though country music feuding may be on a sharp rise here recently, it is not an uncommon or recent occurrence in country music by any stretch. Many artists have had a beef with the Grand Ole Opry over the years, including Johnny Cash and Stonewall Jackson. Curb Records has been in the middle of many feuds, most notably with Leann Rimes, Hank Williams III, and a big one with Tim McGraw that pitted cross-town heavyweights Mike Curb and Scott Borchetta against each other. But nothing gets folks talking like a good old artist on artist donnybrook. Here are some of the most infamous over the years.
Dolly Parton and Porter Wagoner were one of country music’s most legendary pairings, but when Dolly wanted to leave the Porter Wagoner camp in 1974, things turned heated. Parton did the best she could to leave Porter’s side in an amicable way, even penning and performing her legendary song “I Will Always Love You” for her long-time singing partner. But Porter turned around and sued her for $3 million in a breach of contract suit in 1979.
However, the two made up eventually, and Porter performed with Dolly on her TV variety show in 1988. Dolly Parton was also by Porter Wagoner’s side when he passed away in 2007.
In the midst of Billy Ray Cyrus’s “Achy Breaky Heart” success, Travis Tritt was asked what he though about it, and always willing to be a lightning rod, Travis Tritt responded, “I haven’t seen his show so I can’t say anything about that. I haven’t seen the man personally, so I can’t say anything about him personally. I haven’t listened to his albums, so I can’t make a statement about that. But I have seen the video and I have heard “Achy Breaky Heart”, and I don’t care for either one of them. It just seems kind of frivolous. The video doesn’t appeal to me because it shows him stepping out of a limousine in front of thousands and thousands of fans, and nobody’s even heard of this guy.. Garth Brooks didn’t even do that. It doesn’t seem very realistic to me.”
Travis Tritt recalled in his autobiography Ten Feet Tall and Bulletproof, “I apologized to Billy Ray, told him I hoped he sold ten million copies of the record. Went home. I sent Billy Ray a peace lily and a get well card because I heard he’d been feeling bad enough to cancel his Fan Fair appearance. Headline in the local paper the next day. ‘Travis Tritt Trashes Billy Ray Cyrus.’ The more I said about it, trying to rectify the situation, the worse it got.”
Waylon Jennings really didn’t like Garth Brooks, and wasn’t very good at hiding it. Though in the portions about Garth in Waylon’s autobiography he was careful not to use Garth’s name, during interviews in the 90′s Waylon would regularly let his anti-Garth anger slip. For example in an interview with The Inquirer form September, 1994, Waylon said about Garth, “I think he’s the luckiest s.o.b in the world. He’s gotten more out of nothing than anybody I can think of. I’ve always accused him of sounding like Mr. Haney on Green Acres.”
There’s another Waylon quote about Garth that goes something along the lines of “Garth Brooks did for country music what panty hose did for finger fucking.” But there has yet to be a verifiable attribution of the quote.
Still to this day, not much is known about the exact details of the feud between these two men, but in the mid-70′s you couldn’t find two artists more tied to the hip than Waylon and Tompall. Tompall was the proprietor of Hillbilly Central in Nashville—a renegade studio where Waylon mixed and mastered his album Honky Tonk Heroes, and recorded his album This Time. Waylon and Tompall appear together on Wanted: The Outlaws—country music’s first million-selling album. The two became close friends and were kindred spirits from their hated of Music Row’s business practices. They would spin long hours battling each other on pinball machines or picking out tunes or playing pranks on each other. But when the friendship went south in the late 70′s, it went south hard, and the two men never resolved their differences before their respective deaths, despite both men still insisting on their deep love and appreciation for each other.
The crux of the beef between two of country music’s most famous sons is that Hank3 felt Shooter Jennings stole his persona. Hank3 had a song called “Dick In Dixie” that included the line, “I’m here to put the Dick in Dixie, and the cunt back in country.” Shooter, who previously had been in a rock band called Stargunn, came out with his first country record entitled Put The ‘O’ Back In Country in 2005, and Hank3 perceived the title was a little too close for comfort.
If you wanna go down that road and rip us off, mutherfucker, I’ll see you in ten years and five thousand shows down the road.” Hank3 said. We’ll see where the fuck you’re at. You know, I called him out and just flat out said, “fuck you if you’re gonna rip us off like that on your first release.”
Shooter for his part seemed unwilling to reciprocate the feud, saying “You know what, I don’t even comment on these things, really. I don’t even know him. I met him once, I think, for a second. And somehow all this stuff started about how he hates me. I don’t know. It’s, like, stupid.”
In fairness to Shooter, Carlene Carter had used the line “If that doesn’t put the cunt back in country, I don’t know what will” at a show in New York in 1979 when her mother June Carter and father-in-law Johnny Cash were in attendance. Eventually Shooter and Hank3 reportedly buried the hatchet.
Hank3 is the legitimate son of Hank Williams Jr., but Hank Jr. was not Hank3′s everyday father. Hank3 was raised by his mother, and usually only saw Hank Jr. once a year when growing up. In 2001, Hank Jr. began collaborating with Kid Rock in songs like “The ‘F’ Word” and others, and Hank Jr. often referred to Kid Rock as his “rebel son.” This stimulated a rumor that Kid Rock was in fact Hank Jr.’s biological offspring. Though both men denied it, the urban myth grew legs, and Hank Williams III began to be asked by people if Kid Rock was his brother, which didn’t sit too well.
Then the situation escalated when Kid Rock accosted Hank3 at a show in Detroit, trying to patch up the strained relationship between Hank3 and his father. “He kept trying to come on the bus, you know, him and Pam Anderson, and all that shit,” Hank3 recalls. “And I said, ‘Tell that motherfucker I got nothing to say to him,’ and then he finally get his way back in there and tells me how I need to be treating my father, and I’m like, ‘All right, you crossed the line motherfucker.’ And I don’t know how many times I have to say it: No, he’s not my fucking brother . . .”
The altercation eventually led to the line in Hank3′s song “Not Everybody Likes Us,” “Just so you know, so it’s set in stone, Kid Rock don’t come from where I come from. Yeah it’s true he’s a Yank, he ain’t no son of Hank, and if you though so god damn you’re fucking dumb.”
It is considered one of country music’s most legendary moments—when Charlie Rich took out his lighter at the 1975 CMA Awards and burned the envelope announcing John Denver as Entertainer of the Year while Denver watched via satellite. Rich had clearly been drinking, and his antics were taken as an act of defiance against the intrusion of pop influences into country music, and have since become a rallying cry for country music purists.
Recently when video surfaced of the incident, people began to question what Charlie Rich’s true intentions were because Rich didn’t appear to look as malicious as the moment had been materialized in many people’s minds without the aid of the archived footage. Though historians and the Country Music Hall of Fame clearly spell it out as being considered a conflict at the time, Charlie’s son Charlie Rich Jr. says that his father was simply trying to be funny. So maybe there was a Charlie Rich vs. John Denver, or maybe there wasn’t, but the moment still makes for great country music lore.
Probably not much more than the names of these two needs to be said to to infer that they wouldn’t get along. Maines started the scuffle in response to Toby Keith’s song “Courtesy of the Red, White, & Blue” saying, “I hate it. It’s ignorant, and it makes country music sound ignorant. It targets an entire culture—and not just the bad people who did bad things. You’ve got to have some tact. Anybody can write, ‘We’ll put a boot in your ass’ … ”
Toby Keith’s response? “I’ll bury her. She has never written anything that has been a hit…” Maines kept up the heat, wearing a shirt with the letters F.U.T.K. on the 2003 ACM Awards. And of course, all of this was exacerbated when Maines criticized President George Bush at a concert in London a month before.
Keith was the one to publicly bury the hatchet, saying in August of 2003, “You know, a best friend of mine lost a two-year-old daughter to cancer. I saw a picture of me and Natalie and it said, ‘Fight to the Death’ or something. It seemed so insignificant. I said, ‘Enough is enough’ People try to make everything black and white. I didn’t start this battle. They started it with me; they came out and just tore me up. One thing I’ve never, ever done, out of jealousy or anything else, is to bash another artist and their artistic license.”
Toby Keith vs. Kris Kristofferson
It sure made for a juicy story at the time, but according to both of the named belligerents, it was a feud that never was. In April of 2009, actor Ethan Hawke published a story in Rolling Stone that without naming his name, accused Toby Keith of saying to Kris Kristofferson at Willie Nelson’s 70th birthday in 2003, ““None of that lefty shit out there tonight, Kris.” According to Hawke, a rolling argument ensued that ended with Kris Kristofferson saying, ““They’re doin’ to country music what pantyhose did to finger-fuckin’” (see Waylon Jennings vs. Garth Brooks above.)
However, according to both Toby Keith and Kris Kristofferson, the incident never happened. Even more damming to Ethan Hawke and Rolling Stone, though Toby Keith became famous from his flag-waving songs, he’s a registered Democrat, making the likelihood Kieth saying to Kristofferson “lefty shit” very unlikely. Ethan Hawke and Rolling Stone stood by their story, but the press who perpetuated it got an earful from Toby about it at the 2009 ACM Awards.
Feuds that involve accusations of songs getting ripped off can get especially nasty, and this was the case when Jason Isbell took to Twitter to accuse Dierks Bentley of ripping off his song “In A Razor Town.” “‘Dierks’ has officially ripped off my song ‘In A Razor Town.’” Isbell fired off. “Dierks is a douchebag. The song of Dierks is called ‘Home.’” Isbell continued to pummel Dierks through Twitter, even getting political because of the flag waving nature of “Home.” Dierks in his defense referred to an interview one of the song’s co-writers Dan Wilson did with ASCAP that explained how the song came together.
The result? Though Isbell went silent after he said he was told to do so by his lawyer, if there was ever litigation over the song, the results were never made public. Isbell has since in interviews blamed his heavy drinking at the time for his Twitter tone. Though the two songs do sound similar, whether it was truly a ripoff or not seems to remain inconclusive.
Robert Earl Keen put Toby Keith in his crosshairs when he believed Keith lifted the melody from his song “The Road Goes On Forever” for his 2010 song “Bullets In The Gun.” Keen recalls, “I got all these calls from my friends. They were saying, ‘This is ridiculous. What are you gonna do? I felt like this individual had been picking on me for a long time, and I was sick of it. So instead of getting really ugly about things—I don’t really believe in lawsuits or threats—I took the Alexander Pope road and answered this guy in song.”
Keen recorded “The Road Goes On And On” as a shot at Toby Keith (though he never mentions his name), with lines that included:
You’re a regular jack in the box
In your clown suit and your goldilocks
The original liar’s paradox
Your horse is drunk and your friends got tired
Your aim grew weak and uninspired . . .
Toby Keith has never formally responded to the accusations.
This battle of heavyweights ensued when Eric Church was quoted in Rolling Stone in late April of 2012 saying, “Honestly, if Blake Shelton and Cee Lo Green turn around in a red chair, you got a deal? That’s crazy. I don’t know what would make an artist do that. You’re not an artist. Once your career becomes about something other than the music, then that’s what it is. I’ll never make that mistake. I don’t care if I starve.”
Miranda Lambert, who is married to Blake Shelton and also has a reality show past, came out swinging, saying through Twitter, “I wish I misunderstood this . . .Thanks Eric Church for saying I’m not a real artist. You’re welcome for the tour in 2010,” referencing Church’s opening spot on one of her tours.
Eventually Eric Church apologized, saying, “The comment I made to Rolling Stone was part of a larger commentary on these types of reality television shows and the perception they create, not the artists involved with the shows themselves. The shows make it appear that artists can shortcut their way to success… I have a problem with those perceived shortcuts, not just in the music industry…I have a lot of respect for what artists like Carrie Underwood, Kelly Clarkson, and my friend Miranda Lambert have gone on to accomplish. This piece was never intended to tear down any individual and I apologize to anybody I offended in trying to shed light on this issue.”
As some have pointed out since, Eric Church apologized to Miranda, but never apologized to Blake.
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Eric Church also created a firestorm with Rascal Flatts in 2006. While playing in an opening slot, he purposely played too loud and for too long after numerous requests to respect the tour’s wishes, resulting in him being kicked off the tour. It also resulted in a young starlet named Taylor Swift getting a chance to open on the big tour, which many experts give credit for helping Taylor’s meteoric rise.
Blake Shelton vs. Ray Price
When Blake Shelton’s comments about how he considered country music’s traditional fans “Old Farts and Jackasses” came out, Country Music Hall of Famer Ray Price shot back, saying, “Every now and then some young artist will record a rock and roll type song , have a hit first time out with kids only. This is why you see stars come with a few hits only and then just fade away believing they are God’s answer to the world. This guy sounds like in his own mind that his head is so large no hat ever made will fit him. Stupidity Reigns Supreme!!!!!!! Ray Price (CHIEF “OLD FART” & JACKASS”) ” P.S. YOU SHOULD BE SO LUCKY AS US OLD-TIMERS. CHECK BACK IN 63 YEARS (THE YEAR 2075) AND LET US KNOW HOW YOUR NAME AND YOUR MUSIC WILL BE REMEMBERED.”
Blake Shelton later apologized, saying, “Whoa!!! I heard I offended one of my all time favorite artists Ray Price by my statement “Nobody wants to listen to their grandpas music”..And probably some other things from that same interview on GAC Backstory.. I hate that I upset him.. The truth is my statement was and STILL Is about how we as the new generation of country artists have to keep re-inventing country music to keep it popular. Just EXACTLY… The way Mr. Price did along hid journey as a main stream country artist.. Pushing the boundaries with his records. “For The Goodtimes” Perfect example with the introduction of a bigger orchestrated sound in country music.. It was new and awesome!!! I absolutely have no doubt I could have worded it better(as always ha!) and I apologize to Mr. Price and any other heroes of mine that it may offended.”
Ray also later apologized to Blake Shelton for being so harsh, and along with wife Miranda Lambert, they attended a Ray Price show in Oklahoma to patch things up in person.
Sex has been used to sell music almost since music became a commercial enterprise. From the shaking of Elvis’s hips, to Madonna’s “Sex” book, to Miley Cyrus doing all manner of gratuitous things with a foam finger on MTV’s Video Music Awards.
What seems especially sinister about the recent descent of artists like Miley Cyrus, Brittney Spears, and so many others is that they started out as child stars and young female role models, marketed towards children and young teenagers. Even when the artists become adults themselves, many times their fan bases continue to predominately hover around ages where being exposed to certain behavior is inappropriate, especially for impressionable young girls who look up to big music stars as role models. Miley Cyrus’s recent stage antics on MTV’s Video Music Awards included teddy bears as a primary part of the presentation, representing the blurring lines between age and the marketing of music to children and adults.
Maybe the ugliest part about Miley Cyrus’s turn for the worse is how predictable the whole scenario is. Cyrus was purposely being sensational to get people talking to eventually sell more music. By decrying her actions, we in turn are fulfilling her wish.
It’s hard not to fall for the idea that depravity and raunch is what rules the day in the modern popular music culture because that is what gets the lion’s share of attention. But in truth there’s plenty of positive female role models in music, from huge, internationally-known pop stars, to promising up-and-coming artists. Here is 8 of them from a cross section of well-known and up-and-coming talent. You are encouraged to share other examples in the comments section below.
Mandolin wizard and multi-instrumentalist Sarah Jarosz signed with Sugar Hill Records as a senior in high school, releasing her first album in 2009. Her song “Mansinneedof” was nominated for a Grammy Award in the category of Best Country Instrumental Performance, and despite having her career path well set in music, she decided to enroll in the prestigious New England Conservatory of Music after high school, recently graduating with honors. Her third album Build Me Up From Bones is set to be released on September 24th.
I just made half a thousand hardcore punk fans throw up into their keyboards, but the simple fact is Hayley Williams is one of the few artists heading a popular rock band that remains unrefined, original, and authentic, and this is even more phenomenal because she is a young woman facing the pressures to sell herself as product. Unlike other pop punk princesses such as Gwen Stephani or Avril Lavigne, Hayley has never sold out for widespread appeal, and remains in her original band despite the big payday that would probably await her with a solo career. Beyond all that, Hayley Williams is a role model because she is fiercely herself. She never sold herself as a sex symbol, and when the suits wanted her to go pop early in her career, she refused. Hayley shows young women that they can be themselves, even if that means being quirky, boyish, or downright strange. There’s a lot of character in this girl, and she also happens to be able to belt out some great Loretta Lynn….
A fiddle prodigy that became the youngest invited fiddle player to ever play the Grand Ole Opry stage, Ruby Jane went on to tour with Willie Nelson and Asleep At The Wheel at age 14. Ruby has been doing her part to set a positive example for younger female musicians for years, despite just graduating high school herself. She received the Daniel Pearl Memorial Violin in 2007, named after the famous journalist killed in Pakistan in 2002—given to artists who display both world-class musicianship, and world-class character. A recent talk she gave to students as part of the TED project is another example of Ruby Jane’s leadership.
You may not think of the inaugural winner of American Idol to be your typical role model, but despite residing firmly in the pop world, Kelly Clarkson has been a champion of being yourself and not being obsessed with image for the entirety of her career. Kelly capped off possibly the most popular quip after Miley Cyrus’s VMA performance on Twitter, calling the VMA performers “pitchy strippers.” In an interview with NPR, Clarkson once said, “I am not normal. Usually, people don’t weigh what I weigh. Usually people don’t go against the grain as a far as, ‘No, I don’t want this song from the most popular writer ever’ and it’s not because I don’t like the song. It’s because I would rather work with people that I want to work with.”
Paige Anderson is a flat-picking guitar maestro and the leader of her family band Anderson Family Bluegrass, as well as her new project, Paige Anderson & The Fearless Kin. A budding songwriter whose harmony singing and guitar skills rival any other female performer, Paige has proven to be a positive example for young women, and has proven her leadership skills as the Teen Ambassador for the California Bluegrass Association from 2007 to 2010. Look for this girl to be big in music in the coming years.
Sisters Johanna and Klara Söderberg from Sweden are becoming international stars by crossing borders and language barriers, and by simply being themselves and sharing their bold, original songs with such confidence and grace. No Swedish bikini team antics are needed here, they simply lend their voices to song, and the sweetest harmonies heard on any shore come crying out to hungry ears.
The Church Sisters
The reason so many popular female artists feel the need to sensationalize themselves is many times to make up for a fundamental lack of talent and skill. True talent nurtured through hard work and dedication needs no window dressing, no bells and whistles for attention, and twin sisters Sarah and Savannah exemplify this with their sensational harmonies. From traditional country, to bluegrass and gospel, The Church Sisters display the type of wholesome talent that gives you hope for the future of music.
When we talk about the reduction of culture and the void of positive young female role models in music, it’s almost easy to forget that the biggest, best-selling pop star for the last two years running has been the bold and beautiful Adele. The flashy pop stars and their ever-present scandal may get all the tabloid attention, but when you look to the very top, Adele outlasts all the gimmicks, sex, and hype. If you need any more proof that substance can sell, and you don’t need sex or shock to get attention, there has never been a better example.
Tompall got his start in country music with his two brothers Chuck and Jim backing up Marty Robbins. They went on to form Tompall & The Glaser Brothers and eventually became members of the Grand Ole Opry. The family band released 10 albums and had 9 charting singles before breaking up in 1975.
But Tompall came to be better known for his work as one of country music’s original Outlaws. As one of Nashville’s first renegade studio owners, he was seminal to the trend of artists winning creative control of their music in the early and mid 1970′s. His “Hillbilly Central” studio became a hangout for artists like Waylon Jennings, Willie Nelson, and many others that eventually would lead country’s Outlaw movement to country music prominence.
Tompall most prominently appeared on the compilation Wanted: The Outlaws that became country music’s first platinum-selling album. His contribution “Put Another Long On The Fire” written by Shel Silverstein became his highest-charting hit. He released 15 solo albums over his long career, but had disappeared lately from the country music scene.
Tompall Glaser was born Thomas Paul Glaser on February 27th, 1936 in Spalding, Nebraska.
James L. Payne, aka Jody Payne, electric guitarist for Willie Nelson for 35 years, has passed away. He died this morning (8-10) in Stapleton, AL due to cardiac arrest according to his wife Vicki. Payne had been suffering from heart problems for years prior.
Payne was part of Willie Nelson’s legendary “Family Band” for over 3 decades until he decided to retire from the road and began teaching guitar. He was born in in Garrard County, Kentucky where he began singing at six years old. Jody first played professionally with Charlie Monroe in 1951, and then was drafted into the army in 1958. After two years of service, he settled in Detroit where he initially met Willie Nelson in 1962, but did not start playing with him until years later. Throughout the 60′s Payne played bass for Ray Price, and also played with Merle Haggard among others before eventually joining Willie in 1973.
Payne was married to country singer Sammi Smith. The couple eventually divorced. They had a son Waylon Payne who is also a musician, performer, and actor. He is also survived by another son Austin Payne, and his wife Vicki who he married in 1980.
Willie Nelson’s Facebook page has posted, “Our friend will be missed.”
Here’s Jody Payne singing Ray Wylie Hubbard’s “Up Against The Wall Redneck Mother” on the pilot episode of Austin City Limits.
During Johnny Cash’s legendary concert at San Quentin Prison in 1969, photographer Jim Marshall said to Johnny backstage, “John, let’s do a shot for the warden.” The result was the photograph above that mostly remained under wraps until 1998. That is when producer Rick Rubin decided to use the iconic photo in an ad in Billboard magazine decrying country radio’s lack of love for Johnny’s second album on Rubin’s American label called Unchained. Despite no industry support, Unchained went on to win the 1998 Grammy for “Best Country Album.”
Since then the image of the angry face and the raised middle finger has become an iconic symbol of defiance against the direction of country music. As indecent as a raised middle finger happens to be in the first place (and the propensity for some seedy country fans and artists to over-saturate its use in every single photo of them), it has come to mean much more than its vulgar connotation in the fight to save country music.
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Willie Nelson’s middle finger photo was shot by a photographer named Sean Moorman on Willie Nelson’s tour bus on July 26, 2002. The title of image is “Willie Nelson Sending Jim Marshall Regards.” Both the Jim Marshall photo of Johnny Cash and the Sean Moorman photo of Willie stimulated litigation when Urban Outfitters printed up Johnny Cash middle finger T-shirts without permission, and Spencer Gifts did the same with Willie.
Dale Watson doing his best Johnny Cash impression:
Hank Williams III and David Allan Coe in younger days:
Jonny (Corndawg) Fritz telling a fan they’re #1 (Kayley Luftig – Photographer):
Bob Wayne, adding the stink eye for extra emphasis:
Jeff Austin of the Yonder Mountain String Band doing the double bird (Chad Smith Photography):
Keith Richards’ middle finger is insured for $1.6 million. Yes, that one he’s point at you. And no, I’m not kidding.
The wet cigarette of country music, Kid Rock. And Saving Country Music friend “Pointer” from a downtown Nashville excursion in 2011 getting his picture with Kid Rock on the front of Tootsie’s Orchid Lounge.
Townes Van Zandt, from the back cover of his 1972 album The Late Great Townes Van Zandt.
Kellie Pickler telling Kanye West “Fuck You!” for not liking country music (see video).
Lenny Kravitz giving the crowd at the 2013 CMA Fan Fest the double bird because they “couldn’t get with love” during his elongated set that left the crowd underwhelmed.
A sign hanging up in the Johnny Cash themed bar and music venue in Austin, TX called the Mean Eyed Cat.
The ad Rick Rubin placed in Billboard Magazine after Johnny Cash won the 1998 Grammy for Best Country Album:
You’ve all heard about the “Million Dollar Quartet”—the recording session at Memphis’s legendary Sun Studios on December 4th, 1956 that compiled the talent of Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash. Well if there was an equivalent to the Million Dollar Quartet in the songwriting world, it would be the one night in January of 1969 when Kris Kristofferson, Bob Dylan, Joni Mitchell, Graham Nash, and Shel Silverstein all spent an evening at Johnny Cash’s home in Hendersonville, TN on the banks of Old Hickory Lake, swapping songs and stories from their respective spheres of the music world. The music that was showcased for the first time ever at the intimate songwriter circle became the soundtrack for a generation, and the gathering would go down in history as one of the most potent assemblages of songs showcased for the first time in one place.
The Who and Why
Johnny Cash was in the midst of recording his famous The Johnny Cash Show at the Ryman Auditorium in Nashville, and Bob Dylan was in the studio in Nashville recording his landmark country album Nashville Skyline (that Johnny Cash appears on). Bob was staying at Johnny’s Hendersonville house at the time. Meanwhile Joni Mitchell was in town recording an appearance on The Johnny Cash Show (she appears on the 1st & 6th episodes of the 1st season in 1969) and was currently dating Graham Nash who tagged along for the adventure. Kris Kristofferson and Shel Silverstein were in the habit of showing up anywhere where their songs might be heard by big name performers, and together they all formed one star studded songwriting circle.
Johnny Cash was the glue of the whole thing, bridging the differences between the dispirit music realms the 6 participants came from with The Johnny Cash Show being the catalyst. Performers on the show regulary stayed at Johnny’s Hendersonville home. “Music is for everybody,” Johnny Cash explained when telling the story of the legendary night to David Letterman in 1985. “And although I’m known as a country artist, [The Johnny Cash Show] was a network show, and I wanted to see some people on it that I knew the people wanted to see.”
“That night in my house [was] the first time these songs were heard…” Johnny Cash went on. “Joni Mitchell sang ‘Both Sides Now,’ Graham Nash sang ‘Marrakesh Express,’ Shel Silverstein sang ‘A Boy Named Sue,’ Bob Dylan sang ‘Lay Lady Lay,’ and Kristofferson sang ‘Me & Bobby McGee.’ That was the first time any of those songs were heard.”
David Letterman’s poignant reaction to Cash’s run down of talent and songs was, “Did you have snacks?”
All five songs became very successful charting singles. “Me & Bobby McGee” went on to become a #1 hit for Janis Joplin (awarded posthumously), and “A Boy Named Sue” a #1 hit for Johnny Cash. “Both Sides, Now” has now been recorded by over 70 artists, including Frank Sinatra, Willie Nelson, Bing Crosby, and Jimmie Rodgers. Dylan’s “Lay Lady Lay” is considered a country standard, and has been recorded by artists as varied as The Byrds, to Duran Duran, to Ministry.
There is one minor correction to Johnny Cash’s recollection. Even though Joni Mitchell most likely sang “Both Sides, Now” that night, the song was first recorded by Judy Collins in 1967, meaning the first time it was heard would not be that night at Johnny’s house in Hendersonville. And though “Marrakesh Express” wasn’t released until May of 1969, some reports have the song being recorded in 1968 for Crosby, Stills, & Nash’s self-titled album.
Nonetheless, the music showcased that night all in one place by the original songwriters is something to behold, and certainly was one of the most diverse, most star-packed, and most hit-packed songwriter circles in the history of popular music.
It was later memorialized by The Highwaymen in “Songs That Make A Difference” from their 1990 album Highwaymen II.
Shel Silverstein – “A Boy Named Sue”
Joni Mitchell – “Both Sides, Now”
Kris Kristofferson – “Me & Bobby McGee”
Bob Dylan – “Lay Lady Lay”
Graham Nash – “Marrakesh Express”
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