The Last Ride, a movie depicting the final days of Hank Williams, will be released on DVD and Blu-ray on June 6th through Twentieth Century Fox Home Entertainment, but you can win a copy right here on Saving Country Music by leaving the name of your favorite Hank Williams song in the comments section below. Saving Country Music will give away two exclusive copies of the movie to randomly selected readers.
The long-rumored, long-anticipated Hank Williams III and David Allan Coe collaboration was a long time in the making and even longer coming. But it’s here, and though some may have been wishing for a few songs or even an entire album, clocking in at over 7 minutes, “The Outlaw Ways” will satiate your Hank3/David Allan Coe collaboration jones just fine.
The Last Ride, a movie depicting the final days of Hank Williams, will finally be released on DVD and Blu-ray on June 6th through Twentieth Century Fox Home Entertainment. Starring Henry Thomas (the kid from ET), Kaley Cuoco (Big Bang Theory), Jesse James, Fred Dalton Thompson, and Fred Tolobowsky, The Last Ride follows the last 72 hours of Hank’s life.
If you’re looking for an act that is still virtually unknown, one that is buried deep in the underground and that embodies the raw energy of the roots movement and not just a commercially-viable watered-down derivative, one whose active ingredient still works on even the most hardened of roots addicts, then Jayke Orvis and The Broken Band might be your drug.
Whether you want to go as far as to say Braxton Schuffert “discovered” Hank Williams depends on your perspective, but that Hormel delivery driver was certainly seminal to setting Hank Williams on the path to super stardom, shepherding the young man as a musician and songwriter, making critical contributions to the rise of Hank, and helping Hank as a close friend all the way up to his death in 1953.
The April 28th issue of Country Weekly features Saving Country Music’s 2012 Artist of the Year Marty Stuart and his legendary 20,000-piece archive of country music collectibles, clothing, instruments, and other memorabilia. As Marty Stuart tells the magazine, his passion for preserving artifacts led to his career in country music.
Before this album, I’d been mostly opinion neutral on Holly Williams. Being the granddaughter of Hank Williams, the daughter of Hank Jr., and the sister of Hank3 appointed her music the respect of more than a cursory look. She was neither here nor there, and with a lack of scene support her career sort of drifted. The Highway, released on her own Georgiana label, changes all of that.
Wayne Hancock has more handles than a chester drawers: The Train, The King Of Juke Joint Swing, The Father of Underground Country, The Viper of Melody. He deserves every single one of them, yet none of them nor all of them combined seem to do justice to the enjoyment and influence his music has dispensed over the years.
Instilled in all of us at birth is the idea that becoming a celebrity is the apex of the human experience. We feed this philosophy to our children. We perpetuate it through media. We’ve made it a vital building block of our economy. It is enshrined and institutionalized in our educational system in the form of popularity contests. Yet nowhere is the philosophy of wealth and celebrity being broken promises given equal time.
“Country must evolve” is the way it is sold to the country music public when pop and hip-hop influences are invited into the country music fold. What these folks fail to point out is that country has been trying to evolve for 30 some odd years right under their noses. Are you looking for true progress and evolution in country music? Look no further than this list of women.
This story grew many tentacles, but one worth following a little deeper is Blake Shelton and his current membership at The Grand Ole Opry. By not making even one appearance at the Opry in 2012, Blake Shelton is in unquestionable violation of the Opry’s long-standing membership rules. According to the bylaws of The Opry, membership not only has to be earned, but maintained.
Anti-Nashville, anti-Music Row, and anti-pop country songs have a long and proud tradition in country music that stretches almost all the way back to the beginning of the genre. As long as there’s been country music, there’s been folks arguing about how to define it, what it should sound like, and speaking out when they think it’s going in the wrong direction.
It was 60 years ago today that the legendary Hank Williams passed away in the back seat of his powder blue Cadillac in Oak Hill, West Virginia en route to a performance in Charleston, W. Va. Hank died of heart failure thought to be brought on by the combination of alcohol, pills, and morphine administered for an ailing back, but the death continues to be shrouded in some mystery to this day.
By request, here is my list of the greatest underground country albums of all time. The underground country movement started roughly in the mid 90’s on lower Broadway in Nashville that at the time was a run down part of town. Young musicians from around the country, some from punk backgrounds, came together from their mutual love of authentic country music.
Last night Tim McGraw and Faith Hill began their stint of shows at Vegas’s Venetian, and apparently the show opens with an unveiled shot at country music’s traditionalists and two artists they hold dear: Waylon Jennings and Hank Williams. Tim and Faith’s “Soul2Soul” show opens up to Waylon’s “Are You Sure Hank Done It This Way” playing mockingly.
Rachel Brooke is one of the few select artist with enough mustard to rise out of the ashes of the country music underground and become a force in the greater roots world. Like an early Emmylou Harris, the music industry should be shuttling her across the country to lend her singular vocal texture to other projects in between putting out excellent solo albums that time finds hard to forget.
Jett Williams, the daughter of Hank Williams and co-executor of his estate was interviewed by Joshua Morningstar. Jett had some interesting things to say about the Lost Notebooks of Hank Williams project that matched unfinished Hank songs with contemporary performers, and also clarified some information about the circumstances surrounding her father’s death.
the most rewarding thing Hank Williams fans will walk away with from this collection is a more intimate understanding of the man through the introductions and stage banter that is captured with such breadth in these recordings. Never before has Hank been brought to life in such a real, cognitive way, making this project a provocative, essential listen for the serious Hank Williams fan.
As important as the Songwriters Hall of Fame is, it may not be the most deserving of a spot in Music City Center. If all things were equal, that opportunity would go to the Musicians Hall of Fame that was imminent domained by Nashville and given a week to remove its artifacts before being bulldozed to make way for the new building. And more importantly, the Musicians Hall of Fame was promised the space.
Songs become timeless by having the uncanny knack of feeling relevant no matter when they are performed. The title track from Tom’s latest album Wreck Of A Fine Man falls into that lot. Last week when it was announced Darius Rucker would be the newest member of the Grand Ole Opry, “Wreck Of A Fine Man” seemed to be the best salve for the old soul struggling with the short-sightedness of today’s society.
As some of you may already know, I’ve got a good friend named Pointer, and every year we get together for an annual trip to downtown Nashville around Labor Day. Pointer and I are great friends and we both love country music, but we couldn’t be on more opposite sides of the country music spectrum. Pointer loves to have his picture taken in front of things.
For years, the principals of the Hank Williams estate (Hank Jr. and Jett) were warring back and forth, and this kept the treasure trove of Hank Williams’ legacy recordings relegated to bootlegs and listening parties for the select few with access to the Acuff/Rose archive. But the last couple of years have seen a dizzying dump of previously-unheard material from country’s first superstar.
What elevates this album the most, the intangible of Nights When I’m Sober is the authenticity Billy Don Burns can approach these songs with. The battle will rage on forever about if songwriters and performers have to live what they sing and write about to be authentic, but with Billy Don, the point is moot.
There’s never been a question in anyone’s mind if Johnny Cash actually shot a man in Reno just to watch him die. But that lyric, and Johnny’s song “Folsom Prison Blues” have gone on to become an iconic piece of country music history. This language was nothing new in 1955. Murder ballads and gunslinger tales trace back to the very roots of country music and America’s Gothic, violent identity.