For all those of you out there that think that country music is the de-facto soundtrack for the G.O.P.
[youtube]http://www.youtube.com/watch?v=Pgp08CHo-jg[/youtube]
Tag Archives: Merle-Haggard
Grammy Committee Says Merle Haggard’s “The Bluegrass Sessions” Is Not Bluegrass
I came across this a few days back and I thought that after a few days the Grammy folks would do the right thing and allow Hag;s release to qualify as “bluegrass.” I guess I gave them too much credit.
Nashville, TN…McCoury Music, the artist-owned and operated label that released legendary singer/songwriter Merle Haggard’s The Bluegrass Sessions on October 2nd, expressed its shock today at a National Academy Of Recording Arts & Sciences committee’s decision to exclude the acclaimed album from consideration for nomination in its “Best Bluegrass Album” Grammy category. The label, created by legendary bluegrass artist Del McCoury in 2004, earned its first bluegrass Grammy in 2005 with the Del McCoury Band’s The Company We Keep.
“Anyone who knows the bluegrass community knows that its members like to debate definitions,” McCoury Music’s General Manager Chris Harris said. “But this is an album that Merle and Del decided to call The Bluegrass Sessions, produced by a bluegrass musician with bluegrass musicians, recorded at a bluegrass studio, released on a bluegrass label, racked under bluegrass in record stores, aired on bluegrass radio, covered by the bluegrass press, and it’s currently in it’s fourth consecutive week at # 1 on Billboard’s Bluegrass chart. If that’s not enough, even The Washington Post wondered why ‘no one had thought to pair Merle and Bluegrass together before.’ ”
McCoury, who holds nine International Bluegrass Music Association (IBMA) Entertainer of the Year awards, expressed his disappointment personally. “Merle did everything in his power to make this record authentic except remove that unique Haggard sound–and that’s something he’s brought to every genre of music he’s ever visited,” McCoury said. “Merle Haggard could make a polka record, and there’d be no mistaking it’s Merle Haggard.”
Album producer Ronnie Reno, a bluegrass veteran who earned his spurs performing with two Bluegrass Hall of Fame artists–father Don Reno’s Reno & Smiley and the legendary Osborne Brothers–before spending some eight years in Haggard’s band, reacted in a more down to earth fashion: “that’s pure bullshit.”
Recorded at Ricky Skaggs’ Hendersonville, TN studio, The Bluegrass Sessions features Haggard backed by an all-star–and all-bluegrass–cast of musicians that includes such IBMA award winners as fiddler Aubrey Haynie, dobro player Rob Ickes, guitarist and harmony singer Carl Jackson and Alison Krauss.
As veteran mandolin player Marty Stuart, who got his own youthful career start with Hall of Famer Lester Flatt (Flatt & Scruggs) in the 1970s, wrote following the recording sessions, “Merle Haggard has put the blues back into bluegrass. I was honored to be there alongside of him when he did it.”
On its release, The Bluegrass Sessions rocketed to the top of Billboard’s bluegrass album chart, racking up the legend’s highest first-week sales for a new release since 2000, and Merle’s first #1 on any of Billboard’s charts since 1984. Bluegrass Sessions is currently enjoying it’s 4th consecutive week at the top of the chart. There has been solid support from the Bluegrass media, from the monthly magazines to the increasingly popular Bluegrass Blog, the winner of this year’s IBMA Media Award, in addition to features in mainstream media such as TIME Magazine and major newspapers across the country,
“When I contacted NARAS, they would not identify the committee, their qualifications, or why they don’t classify this album as bluegrass. Their stance just doesn’t make sense. With that said, of course, we’re grateful that members can at least vote for The Bluegrass Sessions in other country categories, including Country Album of the Year,” Harris said. “But by every reasonable definition, this is a bluegrass album, and we–Merle, Ronnie, Del and everyone involved in the project–think that Academy voters ought to be able to consider it for Best Bluegrass Album.”
Bob Lefsetz Does Country
I usually hang on every acerbic and insightful post from music business gadfly Bob Lefsetz. He’s a no bullshit guy that sees the bloody writing on the wall for the big labels and pulls no punches. I hope this blog allows me to do 1/16th of what he’s been able to do in exposing the hypocrisy and crap in the music industry and also point the way to a great talents that are trying make a difference and do great work.
But recently Mr. Levitz was caught in L.A. Traffic and came across Sirius radio Channel 60, “New Country” who, by the blurb on their web site states they play ” Rascal Flatts, Tim McGraw, Carrie Underwood, Keith Urban, Toby Keith, Kenny Chesney.”
Lefsetz writes that while listening to the station that:
“…every one of (the) words rang true and glowed like burnin’ coal, pourin’ off of every page like it was written from me to you, but I was not tangled up in blue, I was laughing, I was alive, I was ECSTATIC! This was a joy I hadn’t experienced in oh-so-long!
But I don’t know shit about country. Maybe this is the crap. Maybe this is the stuff those deep into it rail about. Then I realized, I was the target audience, I was fucking IGNORANT!”
I’m here to tell you Bob, you are listening to the crap, and allow me to school you.
You are a fucking genius savant when talking about rock and pop of the past, present and future, but when you stray into country music, I won’t say “fucking ignorant”, but I will say sadly naive.
What you were listening to was the country equivalent of listening to Beyoncé or Fallout Boy. Sad, shallow reproductions of artists that came before that did it not just do it better, but did it in a way that was breathtaking and dangerous. What you were listening to was formula, contrivances and confection.
You pine for the days of the Beatles, Stones and Hendrix. When the Velvet Underground and the Stooges were punching sonic holes in the cultural malaise of the 70’s. If you’re looking for the contemporary country equivalent of that, then you’re not going to find in on Channel 60, “New Country.”
The country equivalent to these ground-breaking artists, the giants that the current talent of country artists are standing on the shoulders of is Johnny Cash, Loretta Lynn, Willie Nelson and Merle Haggard. It’s the Allman Brothers and The Band. It’s Lynyrd Skynyrd, X, Jason and the Scorchers. Buck Owens and Dwight Yoakam.
You’re more likely to find these artists on the Dallas area station Lone Star 92.5 that, despite being a Clear Channel station, is taking risks and plays artists that better represent the spirit you crave. Bands like The Drive By Truckers and the Bottle Rockets. Artists like Hank Williams III and Shooter Jennings. But Lone Star 92.5s are hard to find just as great rock stations are. The playlists are still the most common framework for commercial radio, and playlist are driven by sales.
Shooter Jenning’s band, the .357s comes closer to Led Zeppelin than the comparison you draw between Zeppelin and Tim McGraw. Tim McGraw is less Led Zeppelin and more Peter Frampton.
There is great country music out there and Bob Lefsetz, with a little counseling, is just the gauge that will recognize it. I for one would love for him to turn his laser eye on the Nashville money machine and the way it takes great talent and churns out dull, gray sausage.
Emmylou Harris Prepares Box Set / New Release
From Billboard.com – Emmylou Harris is preparing a 80-song boxed set due Sept. 18 via Rhino, which features two discs of obscure studio work and two additional CDs of rarities, many of them previously unreleased.
“For the most part, none of these songs have ever been on a compilation before,” Harris tells Billboard.com. “They’re kind of favorites — I call them my orphans, songs that maybe I didn’t even perform that much but I loved enough to record in the studio. They didn’t quite fit either the Hot Band or whatever I was doing. Things like ‘Coat of Many Colors,’ which was one of my favorite songs of all time, or ‘Ballad of a Runaway Horse’ and ‘1917.’”
Also included are several unreleased recordings with her Trio, which also featured Dolly Parton and Linda Ronstadt. “There’s an outtake from the aborted Trio album that we did in 1978, a Carter Family song called ‘Palms of Victory’ that’s just live off the floor,” Harris says. “There’s not even a solo on it — it’s just the band and the three women singing and I sound like I’m channeling Sara Carter. I wish — in my dreams!”
The second two discs boast numerous tracks Harris has recorded for tribute albums to such acts as Gram Parsons, Merle Haggard and Townes Van Zandt, as well as the original demo for “All I Left Behind” with Kate and Anna McGarrigle.
Harris put her next studio effort on hold to finish the boxed set, but is making progress on a new Nonesuch album with assistance from the McGarrigle sisters and Seldom Scene lead singer John Starling. Harris duets with the latter on “Old Five and Dimers” (“I finally decided that I was old enough to cut that song, reaching the grand ole age of 60,” she laughs).
“It’s kind of a combination of some of my own songs, some songs that I’ve wanted to record for a long time and some new things that I came across,” she offers of the effort. “You’ll get obth Emmylou the interpreter and Emmylou the songwriter.”
Harris, who will also tour heavily into the fall, has recently recorded guest spots for Parton’s next studio album, an Anne Murray duets album and old friend Danny Flowers’ “Tools for the Soul.”
Emmylou Harris – Making Believe
Miranda Lambert In The New York Times
The New York Times has a cool write-up on Miranda Lambert. Lambert talks about the influences for her new album – “Crazy Ex-Girlfriend†– gives credit to Gretchen Wilson for opening the career door for her and is compared to some mighty company:
Ms. Lambert, 23, cites the usual outlaw influences — Waylon Jennings, Merle Haggard — as well as the well-regarded singer-songwriters Steve Earle, Buddy Miller, Jerry Jeff Walker and Guy Clark. In essence, Ms. Lambert is an alt-country singer operating covertly in the mainstream. “Dwight Yoakam, the Dixie Chicks — I think there’s a way to be really cool and mainstream, too,†she said.
Marty Stuart Announces Late Night Jam Lineup
Country Standard Time reports – Marty Stuart will host his annual Late Night Jam to benefit MusiCares during CMA Music Fest on June 6 at Nashville’s Ryman Auditorium. Marty Stuart and his Fabulous Superlatives (Kenny Vaughan, Harry Stinson, Brian Glenn) will perform and host the unstructured marathon of live music with guest performances this year by singer/songwriter Neko Case, Muzik Mafia founder John Rich (Big & Rich), Eric Church and Ashley Monroe,Charley Pride, Pam Tillis and Porter Wagoner.
“I try never to lose sight of the fact that Nashville is considered Music City,” said Stuart. “When it is time to book the Late Night Jam, it is always my goal to make every form of music welcome. That’s why the Ryman is such a great setting for this concert. It is the Mother Church. Every year, I always feel like its the best we’ve ever had, and this year proves to be no different.”
Marty Stuart’s 6th Annual Late Night Jam has raised more than $70,000 to date for MusiCares, the philanthropic arm of The Recording Academy.
That same week, Stuart will release “Compadres: An Anthology of Duets,” which includes a lifetime of musical collaborations with friends such as Merle Haggard, Loretta Lynn, Steve Earle, George Jones, BB King, Mavis Staples and others. He will also debut an historic museum exhibit titled “Sparkle & Twang: Marty Stuart’s American Musical Odysse” at the Tennessee State Museum that week featuring treasures from the late Johnny Cash, Hank Williams, Patsy Cline, Elvis and more.
Merle Haggard in Newsweek
Newsweek features a pretty sweet interview with Merle Haggard. Hag talks about touring with Dylan and the Stones, the Dixie Chicks fracas and going back in the studio with George Jones for only the second time in 25 years.
an Excert: You had a duet out this year with Gretchen Wilson called “Politically Uncorrect.” The lyrics go, “Nothing wrong with the Bible, nothing wrong with the flag, nothing wrong with the working man.” That doesn’t seem to be particularly controversial or politically incorrect.
Yeah, but what is nowadays? Everybody’s twisted around. Freedom ain’t free no more. What America was and what America is is a totally absolutely different country.
It’s a different country now compared to when and what?
Fifty years ago there was as much freedom in San Quentin as there is in the streets of New York today, with obvious exceptions. You’re just as likely to have a police officer throw down on you with a .30-30 [rifle] in New York as you are in San Quentin.