Once again it is a television series that is stepping up to deliver what mainstream country radio and other conventional music mediums often don’t, which is the music from independent artists that is resonating with the public despite commonly being overshadowed.
Not as a rebuke of the work of the documentary, but as an addendum for those who watched and might want to dig deeper into the history of country through some of its more important personalities not represented well in the film, here are some of the Country Music film’s biggest oversights.
Alison Krauss, Billie Jean Horton, Conway Twitty, David Allan Coe, Dayton Duncan, Don Williams, Doug Sahm, Eddie Rabbitt, Emmloyou Harris, George Strait, Glen Campbell, Hank Snow, Jerry Jeff Walker, Jerry Lee Lewis, Jim Reeves, Jimmy Martin, John Hartford, Johnny Horton, Johnny Paycheck, Keith Whitley, Ken Burns, Linda Ronstadt, Michael Martin Murphy, Patsy Cline, Sam Bush, Tanya Tucker, The Maddox Brothers & Rose, Vern Gosdin
The Country Music Hall of Fame has partnered with Sony Music’s Legacy Recordings to release a 36-song companion double album to coincide with what the public can expect to see and hear as part of the upcoming Outlaws & Armadillos exhibit. The track list of the album reveals just how deep the exhibit will go.
Amanda Shires, Ashley Monroe, Billy Joe Shaver, Bobby Bare, Chris Gantry, Colter Wall, Commander Cody, Country Music Hall of Fame, Dave Cobb, Doug Sahm, Gary P. Nunn, Jack Ingram, Jamey Johnson, Jason Boland, Jason Isbell, Jessi Colter, Joe Ely, John Hartford, Kimmie Rhodes, Kinky Friedman, Michael Martin Murphey, Mickey Newbury, Outlaws & Armadillos, Shooter Jennings, Stevie Ray Vaughan, Terry Allen, Townes Van Zandt, Willis Alan Ramsey
For the past few years, if you truly wanted to get a snoot full of an authentic Texas country experience, you sought out a show from the Austin-based country-fried Outlaw Conjunto band called the Crooks. Originally formed as a two piece in 2007 around the songs of frontman Josh Mazour, over the years it has slowly morphed into one of the coolest live country music experiences you can find.
Don’t be spooked too much by the Haight-Ashbury circa 1967 album cover on this record. There’s no acid trips or space jams inside, though in its own way the cover conveys the laid back mood that the music of High Life embodies, and the harkening back to the cowboy hippie vibe of Austin in the mid 70’s that this album evokes. What you do get with High Life is some damn fine Texas country.