Category Archives: GRAMMYS

George Jones’ First Album, ‘The Grand Ole Opry’s New Star,’ to be Re-Issued For The First Time

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George Jones' First Album, 'The Grand Ole Opry's New Star,'

In 1956 The Grand Ole Opry invited a young country singer named George Jones to perform on their popular radio show.The 25 year-old Marine Corp veteran was already picking up momentum in his home state of Texas, where he was signed to Starday Records, where a year earlier, his song “Why Baby, Why” had become his first hit. However in his estimation, and many young country performers at the time, an appearance on the Opry was proof you had really hit the big time.

In Jone’s own words, “My success as a country singer, no matter how big it became, would always be limited unless I appeared on the Grand Ole Opry.” When that call from Nashville finally came he drove almost 800 miles from Houston, borrowed a guitar from Jimmy Dickens, and performed one song. His appearance was a success and he was quickly asked to come back and become a member.

Starday Records owners, Jack Starnes and Pappy Daily, knew they had to move quickly if their label was going to keep up with Jones’ newfound popularity. In early 1957 they released George Jones’ first album, Grand Ole Opry’s New Star, which also happened to be Starday’s first LP.

On October 15th this collectable release will be reissued in its entirety for the first time. The first 250 copies of this album will be pressed on Blue Vinyl and come with a bonus reissue of George’s only rockabilly record, an ultra-rare 45 he cut under the name ‘Thumper Jones.’

Pre-order George Jones’ ‘The Grand Ole Opry’s New Star’ here

http://www.youtube.com/watch?v=zkzGJrAav48

TRACKS
01. Why Baby Why
02. Seasons Of My Heart
03. It’s OK
04. Let Him Know
05. Play It Cool
06. Hold Everything
07. Boat Of Life
08. You Gotta Be My Baby
09. What Am I Worth
10. Your Heart
11. Ragged But Right
12. Yearning
13. Still Hurtin’
14. Taggin’ Along

BONUS 45
SIDE A
Thumper Jones – Rock It

SIDE B
Thumper Jones – How Come It

Listen Up! Willie Nelson – ‘It Won’t Be Long’ featuring The Secret Sisters

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Willie-Nelson-To-All-The-Girls

The first cut we posted from Willie Nelson’s upcoming collaboration album (and isn’t every Willie Nelson album to some extent a collaboration?) was the heart-wrenching “Grandma’s Hands” featuring the incredible Mavis Staples.

‘To All The Girls….’ (Oct. 15 on Legacy Recordings) features with some of Willie’s favorite female performers. Like Dolly Parton and Rosanne Cash, Norah Jones and Miranda Lambert and many more covering songs that, like Willie’s own, transcend genre approaching something more akin to cuts from the American songbook. Cits that echo the gages like the below cover of Sam Cooke’s moving spiritual featuring country traditionalists duo the Secret Sisters.

Muscle Shoals-natives Laura and Lydia Rogers lend their lovely harmony as a silk backdrop to Willie’s grainy phrasing and winding delivery.

Preorder the album here.

To All The Girls track list:

1. Dolly Parton — From Here To The Moon And Back
2. Miranda Lambert — She Was No Good For Me
3. Secret Sisters — It Won’t Be Very Long
4. Rosanne Cash — Please Don’t Tell Me
5. Sheryl Crow — Far Away Places
6. Wynonna Judd — Bloody Mary Morning
7. Carrie Underwood — Always On My Mind
8. Loretta Lynn — Somewhere Between
9. Alison Krauss — No Mas Amor
10. Melonie Cannon — Back To Earth
11. Mavis Staples — Grandma’s Hands
12. Norah Jones — Walkin’
13. Shelby Lynne — Til The End Of The World
14. Lily Meola — Will You Remember Mine
15. Emmylou Harris — Dry Lightning
16. Brandi Carlile — Making Believe
17. Paula Nelson — Have You Ever Seen The Rain
18. Tina Rose — After The Fire Is Gone

Dwight Yoakam To Release ” 21st Century Hits: Best of 2000-12,” on October 1

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Dwight Yoakam

Fresh off his win for the Artist of the Year award win at the 12th Annual Americana Music Honors and Awards in Nashville comes the news of a spanking new Dwight Yoakam compilation.

New West Records will release the new Dwight Yoakam compilation, 21st Century Hits: Best of 2000-12, on October 1. The album spans a choice selection of songs Yoakam recorded while signed to New West Records, Warner Brothers and Koch between 2000-12.

Included are singles from five albums including Tomorrow’s Sound Today, Population Me, Blame The Vain, Dwight Sings Buck and 3 Pears as well as the cover the Queen’s “Crazy Little Thing Called Love” as featured in the film “The Break-Up.” Also included is a never before commercially released duet with Michelle Branch, “Long Goodbye” and the Willie Nelson duet “If Teardrops Were Diamonds.”

Even after a three-decade long career, more than 25 million albums worldwide, 12 gold albums and nine platinum or multi-platinum albums and is a 21-time nominated Grammy award winner
Yoakam still appears to be at the top of his game as a standard bearer and trail-blazer.

Buy 21st Century Hits: Best of 2000-2012 (CD+DVD)

DWIGHT YOAKAM’S 21ST CENTURY HITS: BEST OF 2000-12 TRACK LIST
1. The Sad Side Of Town (Tomorrow’s Sounds Today)
2. Late Great Golden State (Population Me)
3. The Back Of Your Hand (Population Me)
4. If Teardrops Were Diamonds (with Willie Nelson) (Population Me)
5. Long Goodbye (with Michelle Branch) (Previously Unreleased)
6. Intentional Heartache (Blame The Vain)
7. Blame The Vain (Blame The Vain)
8. I Wanna Love Again (Blame The Vain)
9. Just Passin’ Time (Blame The Vain)
10. Crazy Little Thing Called Love (The Break-Up Soundtrack)
11. Close Up The Honky Tonks (Dwight Sings Buck)
12. My Heart Skips A Beat (Dwight Sings Buck)
13. Act Naturally (Dwight Sings Buck)
14. A Heart Like Mine (3 Pears)

Bonus DVD
1. Close Up The Honky Tonks
2. Intentional Heartache
3. Blame The Vain
4. Back of Your Hand
5. Late Great Golden State
* Bonus DVD also contains hi-res 24/96 audio playback of the album

Americana Music Awards Winners 2013

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Shovels and Rope Americana Awards

The Ryman Auditorium, the Mother Church of Country Music, was again a fit setting for the Americana Music Awards, kicking off a week-long Americana Music Conference. A ceremony that the evening’s MC, the incomparable Jim Lauderdale, set the tone by saying “The past matters, traditions matter, even when we explore ways to have those traditions extended and expanded.”

The night’s nominees and performers were on hand to offer proof and testimony of that reflective sentiment.

Charleston SC husband and wife duo Shovels & Rope took home two awards, Emerging Artist of the Year and Song of the Year. At the podium a notably choked-up Cary Ann Hearst said, “All we ever wanted to do was make music the rest of our lives and.…propel ourselves into a normal existence.’

Hearst could have been speaking for all the nominees, presenters and many in attendance this night.

An unannounced Delbert McClinton lead things off with Hank Williams’ classic “Hey, Good Lookin.’” His granddaughter Holly Williams , and daughter Jet Williams, accepted President’s Award for Hank Williams on the day after what would have been Hank’s 90th birthday. Holly said in acceptance , “Hank would be Americana if he was alive today.” She then performed a lovely rendition of “I’m So Lonesome I Could Cry” on the same stage her grandfather stood brining Opry crowds to their feet many years ago.

Emmylou Harris and Rodney Crowell won 2 awards for duo of the year and album of the year for their collaboration on Old Yellow Moon. The veteran performers used their time onstage to congratulate the other nominees, Harris’ ex-husband and longtime producer Brian Ahern, and reminisce about their 40-year friendship.

John Fullbright and Shovels & Rope reminded that there s new generation that is carryon on tradition and shaping it in unexpected and electrifying ways by bring the house down around the capacity.

Jim Lauderdale choked back emotion as he presented the Lifetime Achievement Award in Songwriting to his mentor, collaborator and Grateful Dead lyricist Robert Hunter. Hunter then played his first public performance in almost a decade by doing the Dead’s classic “Ripple.”

Austin was represented in great form by nominees Kelly Willis and Bruce Robison performing “Border Radio.” Richard Thompson folioed by performing “Good Things Happen To Bad People” from his Buddy Miller produced “Electric.”

The Black Keys’ Dan Auerbach presented the Lifetime Achievement Award for Performance to Louisiana’s JuJu master Dr. John. Auerbach recounted Dr. John’s extraordinary, and sometimes dangerous, career trajectory. “Songwriter, bandleader, hustler – the guy who found work for his friends when they needed it – A&R executive, keyboard player, a phenomenal guitarist”. Auerbach added that the John was: “A man whose music transcended race and cultural divides… A man who’s been in the right place at the wrong time and lived to write the songs.”

Auerbach then strapped on a guitar to accompany Dr John for ‘I Walk On Guilded Splinters’ from his 1968 debut album, ‘Gris-Gris’, accompanied by the house band of legendary session musicians, led by Buddy Miller and including Don Was, Larry Campbell, Marco Giovino, John Deaderick, Jim Hoke and the McCrary Sisters.

Emerging artists nominee John. JD McPherson followed this up with a spirited performance of his rockabilly hit “Northside Gal.”

The ABC Nashville television drama overlapped this night as Lennon and Maisy Stella covered The Lumineers “Ho, Hey!” much like they did on an episode the show itself.

Guitar interpretive master Ry Cooder presented Jack Emerson with the Lifetime Achievement Award for Executive by recounting his many ventures south of the border to chase unique music. Following was Old Crow Medicine Show, who the devious night had been inducted in to the Grand Ole Opry fold. Naturally they played “Wagon Wheel.” Actor Ed Helms presenting Old Crow with the Trailblazer Award in the form of a WW2 era Harmony guitar with the lyrics of “Wagon Wheel” written on it.

Nicki Bluhm and Sam Bush pleasantly surprised the crowd by announcing the 2013 Artist of the Year award for the Dwight Yoakam. In response to an audible disappointment from the audience that Yoakam was on tour and not in attendance.
Sam Bush accepted the award on Dwight’s behalf and that he wore the “tightest pants I have.”

This was followed by a performance from the golk-duo Milk Carton Kids then BBC Radio’s Bob Harris presented the Lifetime Achievement Award for Instrumentalist to Duane Eddy who then played his most famous instrumental, “Rebel Rouser.”

The Spirit of Americana Freedom of Speech award went to Stephen Stills, who played the Buffalo Springfield classic 60s anthem “For What It’s Worth” alongside fellow Buffalo Springfield member Richie Furay and guilt-slinger Kenny Wayne Shepherd.

Dr. John led the final song, with many of the performers – Emmylou Harris, Rodney Crowell, Buddy, Jim, Old Crow’s Ketch Secor, Rosanne Cash, The Civil Wars’ Joy Williams, Shovels & Rope, Billy Bragg and Aiofe O’Donovan united to sing Rodney’s “Leaving Louisiana in the Broad Daylight.”

Then it was out into the sultry Nashville night to attends various venue showcases where the future Americana Music Award winners would be perfecting their considerable craft for us fortunate enough to be here.

Listen the the Americana Music Awards Winners from the NPR archives.

Americana Music Honors & Awards 2013 Winners:

Album of the Year: “Old Yellow Moon,” Emmylou Harris & Rodney Crowell
Artist of the Year: Dwight Yoakam
Duo Group of the Year: Emmylou Harris & Rodney Crowell
Song of the Year: “Birmingham,” Shovels & Rope
Emerging Artist of the Year: Shovels & Rope
Instrumentalist of the year: Larry Campbell
Trailblazer Award: Old Crow Medicine Show
Spirit of Americana / Free Speech in Music Award co-presented by the Americana Music Association and the First Amendment Center: Stephen Stills
Lifetime Achievement for Instrumentalist: Duane Eddy
Lifetime Achievement Award for Executive: Chris Strachwitz
Lifetime Achievement for Performance: Dr. John
Lifetime Achievement Award for Songwriter: Robert Hunter
President’s Award: Hank Williams

Listen Up! Willie Nelson – “Grandma’s Hands” featuring Mavis Staples

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Willie-Nelson-To-All-The-Girls

Willie Nelson just doesn’t know the meaning of quit. The Texas Yoda took time from his extensive (some might say grueling) touring schedule to enter the studio with some of his favorite female singers for a duets album entitled ‘To All The Girls….’ (Oct. 15 on Legacy Recordings.)

Nelson features his talented daughter Paula Nelson, as well as legends like Loretta Lynn, Dolly Parton, Emmylou Harris, Roseanne Cash and newcomers Secret Sisters, Norah Jones, Carrie Underwood and Miranda Lambert.

Also representing the legend status is Mavis Staples. She and Nelson do a smooth version of Bill Withers’ deeply personal “Grandma’s Hands.” Besides Withers the song has been previously covered by Mavis’ own legendary family gospel group, The Staple Singers.

Preorder the album here.

To All The Girls track list:

1. Dolly Parton — From Here To The Moon And Back
2. Miranda Lambert — She Was No Good For Me
3. Secret Sisters — It Won’t Be Very Long
4. Rosanne Cash — Please Don’t Tell Me
5. Sheryl Crow — Far Away Places
6. Wynonna Judd — Bloody Mary Morning
7. Carrie Underwood — Always On My Mind
8. Loretta Lynn — Somewhere Between
9. Alison Krauss — No Mas Amor
10. Melonie Cannon — Back To Earth
11. Mavis Staples — Grandma’s Hands
12. Norah Jones — Walkin’
13. Shelby Lynne — Til The End Of The World
14. Lily Meola — Will You Remember Mine
15. Emmylou Harris — Dry Lightning
16. Brandi Carlile — Making Believe
17. Paula Nelson — Have You Ever Seen The Rain
18. Tina Rose — After The Fire Is Gone

Hardly Strictly Bluegrass 13 Line-Up Announced

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Hardly Strictly Bluegrass 13

The good people at Hardly Strictly Bluegrass have released the roster for this years event and it’s another winner.

For those uninitiated, HSB is one of the premier Americana and roots music festivals in the world.
The annual event is held on the first Friday, Saturday and Sunday in October on 5 stages stretching across a location in Golden Gate Park formerly named Speedway Meadows but renamed Hellman Hollow in 2012, to pay homage to the late HSB benefactor, private equity investor and banjo enthusiast, Warren Hellman.

The 13th version of the festival does not disappoint as there is few Americana and roots festivals with this number of quality acts. it also has the benefit of being free. Well, it’s benefit in one sense, but the swelling os not always pleasant crowds in recent years does take a toll.

The 41 confirmed acts offers exciting newcomers like Sturgill Simpson, Trampled By Turtles, Della Mae, First Aid Kit, Sallie Ford & The Sound Outside and local favorites Nicki Bluhm & The Gramblers and The Devil Makes. Americana and roots stalwarts like Buddy Miller, Joe Ely, Jimmie Dale Gilmore & Butch Hancock (aka The Flatlanders), Jon Langford, Patty Griffin, Tim O’Brien & Darrell Scott.

The folk-rock pioneers The Waterboys will be appearing as well as the legendary Ralph Stanley & The Clinch Mountain Boys. The whole thing wraps up in traditional fashion with the woman that has closed the event since it’s beginning and embodies the spirit of the event, the extraordinary Emmylou Harris.

Find below the full line-up. The per-day stage schedules will be announced soon and I will update his post with the information.

When: Fri Oct 4th, Sat Oct 5th (11am – 7pm), and Sun Oct 6th, 2013 (11am – 7pm).
Where: Hellman Hollow (formerly Speedway Meadows), Lindley & Marx meadows in Golden Gate Park, San Francisco, CA.

Mark Lanegan, Bonnie Raitt, Patty Griffin, Conor Brings Friends For Friday Featuring: Whispertown, The Cave Singers, The Felice Brothers, The Evens, First Aid Kit, Conor Oberst, Pieta Brown, Joy Kills Sorrow, LP, The Handsome Family, Jesse Dee, Alison Brown, Gogol Bordello, Boz Scaggs, Paul Kelly, The Deep Dark Woods, Justin Townes Earle, Emmylou Harris, The Devil Makes Three, Calexico, Ralph Stanley & The Clinch Mountain Boys, Martha Wainwright, The Brothers Comatose, Elvin Bishop, Jon Langford & Skull Orchard acoustic / FREAKONS, Low, Tumbleweed Wanderers, Richard Thompson, Tim O’Brien with Bryan Sutton & Mike Bub, Moonalice, Chris Isaak, Buddy Miller, The Time Jumpers featuring Brad Albin, Larry Franklin, Paul Franklin, Vince Gill, “Ranger Doug” Green, Andy Reiss, Dawn Sears, Kenny Sears, Joe Spivey, Jeff Taylor & Billy Thomas, Kieran Kane, Kevin Welch & Fats Kaplin, The Flatlanders featuring Joe Ely, Jimmie Dale Gilmore & Butch Hancock, The String Cheese Incident, Nick Lowe, Mike Scott & Steve Wickham of The Waterboys, Steve Martin and Steep Canyon Rangers featuring Edie Brickell, Freakwater, The Go To Hell Man Clan, Tim O’Brien & Darrell Scott, Billy Bragg, Loudon Wainwright III, Dry Branch Fire Squad, Mike Farris & The Roseland Rhythm Revue, Steve Earle & The Dukes, Kate McGarrigle Tribute with Martha & Sloan Wainwright & Special Guests, Holler Down the Hollow: A Hardly Strictly Salute to the Masters, Sturgill Simpson, Peter Rowan Bluegrass Band featuring Yungchen Lhamo, Sallie Ford & The Sound Outside, Shovels & Rope, Seldom Scene, Natalie Maines, Dave Alvin with Greg Leisz, Evolfo Doofeht, Allah-Las, Buddy Miller & Jim Lauderdale, G. Love & Special Sauce, Robert Ellis, Spirit Family Reunion, Bettye LaVette, Supermule, MC Hammer (Friday morning middle school program), Trampled By Turtles, The Warren Hood Band, Della Mae, Los Lobos Disconnected, Father John Misty, Jesse DeNatale, The Wood Brothers, Ryan Bingham, Jerry Douglas, Sonny & The Sunsets, Nicki Bluhm & The Gramblers, Tift Merritt, Kat Edmonson, Laurie Lewis & The Right Hands, The Forest Rangers with Katey Sagal,
Manchester Orchestra, Poor Man’s Whiskey (Friday morning middle school program), Robert Earl Keen

Americana For All

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carolina chocolate drops

I’ve been kicking around the ideas to address Giovanni Russonello’s “Why Is a Music Genre Called ‘Americana’ So Overwhelmingly White and Male?” i heard my mom’s advice in m mind,
“just walk away from the stupid.” Part of it was my dad’s voice “Teach ’em a lesson.” i’ve decided to go with dad on this one.

Russonello’s piece frames the recent six-week “Americanarama” tour to argue that the tour’s roster, which included Bob Dylan, Wilco, My Morning Jacket and Ryan Bingham – represents a larger cultural exclusion rampant in the genre.

Setting aside the argument that the “Americanarama” bill does not really represent the contemporary Americana genres, let’s address the premise of “Overwhelmingly White and Male”

Early country, folk and bluegrass have generally appealed to a predominantly anglo audience. Partly because many of the songs are from European source material performed by mostly white people. The trend in these genres have mapped closely to the trends in American society in general and, as opportunities have arisen, woman and people of color have stepped up to represent their unique take on the music.

The difference is that Americana proper (and it’s cousin alt.country) have never been exclusionary.

It’s introduction into popular culture came in the 80’s as MTV gave us the L.A. cow punk band Lone Justice , featuring the gritty soul of Maria McKee, and their “Ways to be Wicked” and “Sheltered videos in rotation with Jason and the Scorchers and The Georgia Satellites on the 24- hour feed.

At the same time kd Lang and Roseanne Cash joined Steve Earle, Dwight Yoakam and Lyle Lovett in shaking up Nashville.

Soon after bands like The Meat Purveyoyers, Freakwater , Neko Case, Gillian Welch, the Cowboy Junkies, Hem, Tarnation – all bands prominently featuring female artists – laid the groundwork for Americana.

An allum of the watershed “O Brother where art thou” roster, Alison Krauss, has the enviable honor of having won the most Grammys by a female artist with twenty-seven (!)

Hardly the good-old boys club that article paints for the genre.

Then there’s this:

“… if an art form is going to name itself after this country, it should probably stop weatherproofing itself against America’s present-day developments. And it hardly seems like enough to say you’re carrying on the legacies of black gospel and blues if the performers and listeners venerating them are almost all white.”

The claim that Americana is “carrying on the legacies of black gospel and blues” is specious. True, some artist incorporate gospel and blues within their style, to say that Americana is carrying on the legacy of those sage musical genres is insulting to these thriving genres and their decades of practitioners.

And the argument that since the genre appeals to a particular segments of the population signifies that genre exclusion of others is ridiculous. Much of music is self-identity. If a segment of society don’t see themselves in the performers and their stories it follows that they wouldn’t be compelled to buy the music or attend the shows. Early hip-hop was a primarily African -American cultural phenomenon which has now transcended. As for as I know on one was accusing hip-hop of excluding anglos.

Just as people of color have taken different roads to Americana, and have contributed to it’s evolution. Los Lobos and Alejandro Escovedo bring a uniquely chicano take to the music. The Carolina Chocolate Drops and newcomer Valarie June have infused the genre with African-American string-band and folk-soul influences receptively.

Russonello places Dylan as the “the father of Americana” (I would argue Gram Parsons or Townes Van Zandt) and then points to the current shining light, Jason Isbell, as not heading the lessons of Dylan and providing anything “new.” The argument could be made that Dylan at the beginning of his career, as Isabell still is, brought nothing that hadn’t already been done by Guthrie and Seeger. Russonello then makes the case that “Music gets its power from a keen, contemporary perspective” and then “it feels facile to let this one strain of yellow-page nostalgia represent it.”

This is just lazy. Though the form, the music and singing styles harken back to a yesteryear , topics are either contemporary, like Isbell, Todd Snider and Steve Earle or dealing with the great human truths – love, hate, death – that transcend any time period.

Though the article does a serviceable job of tracing roots music’s trajectory thorough time, the conclusion shows a bias of the writer. Anything this white and male met be a conspiracy..

Americana does reflect an idealized notion of the the past (as Americans are prone to do,) but to confuse the predilections of subjective taste enjoyed by some as a kind of organized Jim Crow-style musical segregation insults a music and musicians that I celebrate daily. It also, ironically, displays a type of bigotry that all cultural forms must undergo some forced, artificial desegregation toward some imagined moral purity.

Let freedom twang!

Johnny Cash – The 1950s Live TV Appearances

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Johnny Cash Live

This is why the Internet is awesome. Someone on YouTube took the time to compile every TV appearance that Cash made between 1955 and 1959. It says that it;s an “incomplete” collection but who cares. These 16 gems of musical history will satisfy.

Thanks to JohnnyCashfan66 for this.

1955 – Johnny Cash (Backstage in Oklahoma City)
1956 – So Doggone Lonesome (Grand Ole Opry)
1957 – Get Rhythm (Tex Riter’s Ranch Party)
1957 – Give My Love To Rose (Tex Riter’s Ranch Party)
1957 – Home of the Blues (Tex Riter’s Ranch Party)
1957 – I Walk the Line (Tex Riter’s Ranch Party)
1957 – So Doggone Lonesome (Tex Riter’s Ranch Party)
1957 – Next in Line (Tex Riter’s Ranch Party)
1957 – Train of Love (Tex Riter’s Ranch Party)
1958 – Stay All Night & Next In Line (Country Style USA)
1958 – Give My Love to Rose (Country Style USA)
1958 – Home of the Blues & Stay All Night (Country Style USA)
1958 – Ballad of a Teenage Queen (American Bandstand)
1959 – All Over Again (March of Dimes)
1959 – Camptown Races (Bell Telephone Hour)
1959 – Don’t Take Your Guns to Town (Ed Sullivan Show)

http://www.youtube.com/watch?v=e2JhTmHhiqk

5 Americana Artists the Grand Ole Opry Should Induct

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Old Crow Medicine Show

Following the ongoing trend of Music City tapping Americana music for source material and injecting some vibrant blood to an all but stagnant (but lucrative) genre, the old-time string band, Old Crow Medicine Show was invited to join the Grand Ole Opry by Opry member Marty Stuart during their concert at the Ohio Theatre in Cleveland, OH.

They will formally be inducted into the Opry at the Grand Ole Opry House in Nashville on Tues., Sept. 17.

In recent years Music Row has been looking to Americana music for new ideas, market trends and extending demographic appeal.

Sure the Opry has lost cred for ignoring great performers and casting out key members of the country music community (Hank Sr. anyone?) but it is an institution that provides a stage for broad exposure and, rightly or not, credibility.

There’s is no magic formula the Opry uses to choose who is asked to join. It’s a mix of sound, commitment, (gasp) popularity and what the Opry calls “relationships.” Relationships like backing Darius Rucker on the Orey stage for Bob Dylan’s “Wagon Wheel.”

Here are 5 Americana artists that, like Old Crow Medicine Show, would fit comfortably on the Opry stage.

The Dixie Chicks – Yeah I know, but the Chicks were always an Americana band to me. I know they and the country music industry had disagreements, but there’s no denying their positive (and lucrative) impact on the genre.

in 1986 Dwight Yoakam rescued country music from the Urban Cowboy blight and reminded people why it was fun, heartfelt and brave in the first place. Rarely has there been a better meeting of traditional and mainstream success then Yoakam? And he’s still going strong, though his new album, 3 Pears, isn’t up for CMA awards it’s up for Americana Music Awards.

Does any contemporary performer embody the sound, style and spirit of all that is great in country music more than Elizabeth Cook? The answer is no way. She’s a fan favorite and has been asked by the Opry to perform on their stage over 100 (!) times. It’s time to make it official.

For 11 albums over a 20-year career Robbie Fulks has been playing smart trad-leaning country music. Sure he hd some choice words for music row (made plain in his song “Fuck This Town.”) But Fulks disdain for the industry and love for the musical heritage is exactly what the Opry needs to gain cred.

As a member of The Byrds Gram Parsons played the Opry stage on March 1968. The band was asked to play play two Merle Haggard songs (“Sing Me Back Home” and “Life In Prison.”) The first song song won over the skeptical crowd (LONGHAIRS!) And Parsons (who was a big Merle Haggard fan) substituted “Life In Prison” for his own “Hickory Wind,” from The Byrds then current album “Sweethearts of the Rodeo,” in honor of his Grandmother, a huge Opry fan. As expected the management were pissed but the crowd and some of that night’s performers, loved it.
https://www.youtube.com/watch?v=NWjGtEmQ5Co

Listen Up! Johnny Cash – (Ghost) Riders In The Sky (Live) from ‘LIFE Unheard: Johnny Cash’

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cash life unheard

If this cut of Johnny Cash spirited (heh) rendition of Stan Jones’s classic “(Ghost) Riders in the Sky” before a rowdy crowd at Nashville’s storied Exit Inn club in indicative of the recently released “LIFE Unheard: Johnny Cash” then this to be a must-have.

‘LIFE Unheard: Johnny Cash,’ is a joint collaboration between LIFE and Sony Music Entertainment. The CD offers solo acoustic songs recorded at his House of Cash’s home studio studio in Hendersonville, Tenn., as well as live songs from the White House and Newport Folk Festival. The 12-song album also features a previously unreleased studio version of Ben Dewberry’s ‘Final Run,’ and ‘Movin’ Up,’ both recorded for Cash’s 1981 made-for-TV movie, ‘The Pride of Jesse Hallam.’

A separately sold book offers illustrated 192-page biography features many rare and never-before seen photos.

I never get enough of more Cash.

Buy

https://soundcloud.com/legacyrecordings/johnny-cash-ghost-riders-in/s-qceDF