Yeah, you’ve probably seen the video already, and probably a few times after it popped up in one or many of your social media feeds. But the ultimate lesson from the Wal-Mart yodeling boy is that America truly is starving for traditional country music.
We’re plenty well satiated on new music from Willie Nelson after the release of his latest album God’s Problem Child in May. In fact it might be one of Willie’s best recordings in many years, and certainly one of the better selections since signing with Sony’s Legacy imprint some years back. But there’s no rest for the wicked.
In the process of criticizing modern country music, sometimes we lose sight of the bigger picture, or fall into “old man’s syndrome” where the past of the genre seems pristine and idyllic in our mind’s eye, and today’s smutty music perpetrated by sellout stars is an abomination to our beloved genre.
For the better part of two years now, country music fans with any sort of taste have been waiting not-so-patiently for the long-awaited arrival of the Dave Cobb-produced fourth album from 3rd generation performer Holly Williams. You can’t blame fans for their impatience after the performance she turned in on her 3rd record, ‘The Highway.’
Dear Sally Williams, To begin, let me offer my sincere congratulations to you for ascending to the position of not just the new General Manager of the most esteemed and storied institution in all of country music, but as the General Manager, and Senior Vice President of Ryman Hospitality’s new Programming and Artist Relations Division.
The story has been told for many years that The Allman Brothers initially didn’t want to record “Ramblin’ Man” or release it as a single because they were afraid it was too country. Today people take for granted that The Allman Brothers fit squarely in the Southern rock genre, but to start, they were very much a blues and jazz-based jam band.
Country music is not just a commodity or even a form artistic expression. It is an integral part of people’s lives and has been the foundation for their cultural identities for generations. It’s what binds them to their homes and ancestry, and is interwoven into the very fabric of who they are as people.
Not known by every country, blues, and Americana fan, but cherished deeply by the ones who did, songwriter and performer Bap Kennedy took his cross-Atlantic enthusiasm for roots music and became one of the most well-respected musicians and songwriters by his peers ranging from Nashville to Belfast during his nearly 40-year career.
Preserving the roots of country is not always just about paying homage. Sometimes it is about sowing disharmony or speaking out in protest to help force country music back on the right path. Music Row and the country music industry will always be about money first. The artists are the ones who must take the lead and reign the business in.
If you’re into country music and the history of it, you’re probably used to hearing about the “King” of this, or the “Father” of that. Since the history of country music is so important to keeping the lineage of the music alive, country pays special homage to the people who helped form or popularize the genre.
What is so striking about the album listening back to it after nearly 35 years of perspective is not just the big hits, the #1’s, and the now country standards that it contains. It’s the variety in Strait From The Heart that makes it the perfect study of where country music had been, where it was in the present tense, and where it would be going.
“I thought Tom Hiddleston did a superb job. I thought he captured the physical resemblance, the mannerisms,” Jett Williams says. “But I would have liked to see a lot more focus on the music, and why did he write those songs? … They did not ask anyone in the family anything.
The final chapter has been written on the highly-anticipated and much maligned movie on the life of country music icon Hank Williams, at least until the DVD is released. “I Saw The Light”—starring Tom Hiddleston as Hank, written and directed by Marc Abraham, and based off of the Hank biography written by Colin Escott—is a commercial flop. This is on top of receiving terrible reviews…
A natural phenomenon that has been baffling scientists at the University of Alabama for years has taken yet another strange “turn” over the past few months and days. At the grave site of Hank Williams—the legendary country singer who is eternally entombed at the Oakwood Cemetery in Montgomery, Alabama—unexplained seismic activity has been occurring for many years.
Saving Country Music posted a total of 27 articles about I Saw The Light before it’s release. This will make #28. The reason such dedicated interest was shown to the film was because of the potential it carried for exposing the music and the legacy of Hank Williams to an entirely new generation, and to preserve and promote his legacy for generations to come.
It was nearly five years ago now that Saving Country Music first delved into the subject of whether there was indeed a legitimate fourth generation member of the most legendary name in country music history: Hank Williams. Of course we all know about the original Hank Williams, whose birth name was actually Hiram King Williams, and who was country music’s first superstar.
Roy Acuff may have been the model of good clean family fun and old-fashioned entertainment for the majority of his country music career, but at the beginning of his legendary, Hall of Fame-caliber run was an era of music that was quite the opposite of the accepted Acuff character, or the wholesome nature of his performance home of the family-friendly Grand Ole Opry.
The release has been delayed and the early reviews have been lackluster, but that won’t stop the creators of the Hank Williams biopic I Saw The Light starring Tom Hiddleston from releasing a soundtrack album for the upcoming movie. Set to arrive on March 25th—the same date the long-anticipated film will finally arrive in theaters—I Saw The Light…
If you’re wondering what the Dave Cobb-influenced mainstream country world might sound like after the success of Chris Stapleton, take a good sniff at “My Church.” The arrangement and grainy production quality could very well be that of Lindi Ortega or Nikki Lane, but this is a major label artist looking to gain the attention of the fickle mainstream country music fan.
Just like Dave Cobb, and just like Chris Stapleton before him, Robby Turner has been working for years behind-the-scenes, at the side of the stage, or in the studio, while others soaked up the spotlight. But the power of his efforts, and the success of the projects that he’s been a part of, has slowly but surely revealed Robby as one of those behind-the-scenes legends whose contributions should be left a secret no more.
