Thursday, May 5, 2022

Grand Ole Opry 5/6 & 5/7

Before getting to the Opry lineups for this week, just a note. On Tuesday May 3rd, the Ernest Tubb Record Shop celebrated its 75th anniversary with a special Midnite Jamboree show. It was also the last day that the record shop was open as it is now closed. I was told by a person in the know that there are plans for the shop to reopen. That is all I know. I just thought I would pass that along. 

Now to this week's Grand Ole Opry, as the Opry rolls into the first weekend of May with another weekend of pretty solid lineups. 

The Friday Night Opry will feature a nice group of Grand Ole Opry members. 54-year member Jeannie Seely will be opening the show, with Mike Snider and Del McCoury also appearing during the first half of the show, while Hall of Fame members the Oak Ridge Boys will be closing out the second half. It is really nice to see Mike Snider making another appearance, his second in a month. Hopefully, this is the start of a trend that will see Mike back on the Opry, making regular appearances. His humor and string band music has been missed. 

Saturday night's Grand Ole Opry will feature Hall of Famer Bill Anderson, along with Riders In The Sky and Mark Wills. As with the Friday night show, a good group of Opry members on the schedule. 

There are several familiar names on the guest list for Friday night, Tiera Kennedy is on the schedule, as is famed guitarist Tommy Emmanuel. Darin and Brooke Aldridge are also on the lineup, bringing their wonderful bluegrass sound back to the Opry. It has been said before, and I will mention it again, I do believe that Darin and Brooke are in the discussion when it comes to speculating about new Opry members. Finally, Aaron Raitiere is scheduled to make his Opry debut. 

Dallas Wayne is among the artists listed on Saturday's schedule and from what I have heard, he and Bill Anderson will be performing Dallas's news song, "He Even Brought Her Flowers." This will be the first time that this song will be performed at the Opry. This week's designated comedian is Reno Collier, and also on the schedule is Elvie Shane, Leah Turner and Jameson Rodgers. 

Friday May 6
7:00: Jeannie Seely, Aaron Raitiere, Mike Snider, Tiera Kennedy, Del McCoury Band
Intermission
8:15: Tommy Emmanuel, Darin & Brooke Aldridge, Oak Ridge Boys

Saturday May 7
7:00: Opry Square Dancers, Riders In The Sky, Leah Turner, Bill Anderson, Jameson Rodgers
Intermission
8:15: Dallas Wayne, Reno Collier, Elvie Shane, Mark Wills

No Live Circle television this week. 

Now from 50 years ago, Saturday May 6, 1972: 

1st show
6:30: Willis Brothers (host); Peggy Little
6:45: Justin Tubb (host); Carl and Pearl Butler; Murry Kellum
7:00: Stu Phillips (host); Jeanne Pruett; Urel Albert; Country Johnny Mathis
7:30: Jimmy C Newman (host); Earl Scruggs Revue; Bob Luman; Crook Brothers
8:00: Bobby Lord (host); Skeeter Davis; Duke of Paducah
8:30: The 4 Guys (host); Ernie Ashworth; Johnny Carver; Fruit Jar DrinkersC

2nd show
9:30: Willis Brothers (host); Peggy Little; Carl and Pearl Butler; Murry Kellum
10:00: Jimmy C Newman (host); Earl Scruggs Revue; Urel Albert
10:15: Justin Tubb (host); Jeanne Pruett
10:30: Stu Phillips (host); Country Johnny Mathis
10:45: Bob Luman (host); Crook Brothers
11:00: Bobby Lord (host); Skeeter Davis; Duke of Paducah; Fruit Jar Drinkers; Sam McGee
11:30: The 4 Guys (host); Johnny Carver

It was a thin night for Opry members as most of the big names were out on the road. Of those appearing, Ernie Ashworth only appeared on the early show. Also of note, Carl and Pearl Butler and the Duke of Paducah were not Opry member at the time, while Jeanne Pruett would join the cast the following year. 

So, who was Urel Albert? Urel was, at the time, a well-known singer, comedian and impressionist. During this particular Opry appearance, he did impressions of Roy Acuff, Hank Snow, Tex Ritter and Grandpa Jones. While never having any songs that hit big on the charts, he did make a few recordings during his career. 

The other interesting name from that night was Country Johnny Mathis, and yes, there was an artist that went by that name. 

Country Johnny Mathis, not to be confused with the pop singer of the same name was born September 28, 1930, in Maude, Texas, was known as both a Country Music songwriter and artist. He learned to sing and play guitar in his dad’s church and the family picked cotton to make ends meet. By the time Johnny was 15, he quit school and began playing in the honky-tonks around Texas. 

‘Country’ Johnny Mathis, as he was labeled early in his career to distinguish himself from the other emerging singer of the same name, began his career as a recording artist on the StarTalent label in 1949. He would go on to record for a number of record labels during his music career including Chess, Columbia, D Records, Mercury, Decca, United Artists, Little Darlin’, Hilltop and Stonegate. As a part of the duet, Jimmy and Johnny, he scored a Top 5 Billboard Chart hit in 1953 with the song, “If You Don’t Somebody Else Will”, released on Chess Records. In 1955, on the heels of their chart success, Jimmy and Johnny were teamed with Elvis Presley for tour dates as both acts continued their weekend appearances on The Louisiana Hayride. Both Jimmy and Johnny and Elvis received Most Promising nominations in Billboard Magazine’s Most Promising Artists category for 1954.

Johnny’s highest charting single as a soloist, “Please Talk To My Heart” (Billboard Hot Country Singles Top 15), occurred while recording for United Artists in 1963. (Mathis also recorded several Rockabilly sides for D Records under the name of Les Cole & The Echoes. The most notable being “Bee-Bopping Daddy”.)  Johnny was a regular performer on The Louisiana Hayride during the 50’s, he also performed on the Big D Jamboree, The Grand Ole Opry, The Wilburn Brothers Show and TNN’s Nashville Now  to name a few. Johnny contributed interview segments and his song “Let Me Go Back One More Time” was featured in the 1980’s Louisiana Hayride documentary, Cradle Of The Stars, narrated by Hank Williams Jr.

As a songwriter, ‘Country’ Johnny Mathis had a notable body of songwriting work. His songs have been recorded by George Jones (over 20 cuts), Tammy Wynette, Johnny Paycheck, Charlie Pride, Johnny Horton, Ray Price, Jimmy Dean, George Hamilton IV, Freddy Fender, Melba Montgomery, Webb Pierce, The Whites, Carl Smith, Bobby Helms, Elvis Costello, Faron Young and many, many others. Mathis has been credited with writing over 500 songs, he landed dozens of songs on multiple Billboard Charting Country albums and Gold Records, multiple Billboard Charting Country singles and had a total of 11 Country Music Hall of Fame Inductees record his music. His songs are still be recorded and utilized in albums and documentaries today.

Like many songwriters in the 50’s, Johnny sold his writer’s share to several of his songs. He sold the song, “Am I That Easy To Forget”, outright for $15. The song does not bare his name in the writer’s credits, and later became a Country Music standard and awarded the BMI Million Performance category achievement. This act of “selling songs” was a common practice during that time period in Country Music for songwriters.

In 1964, after almost 20 years in Country Music, Johnny had a spiritual turning point in his life. On the heels of a record deal with United Artist and a Billboard Top 20 Country single, as well as a nomination for "New Male Vocalist In Country Music” by Billboard Magazine’s Disc Jockey Awards, he left his career in Country Music  and returned to his roots of faith to sing and evangelize in churches across the country. Johnny spent most of his time during the 70’s, 80’s and 90’s writing and singing Gospel music and evangelizing in churches across the country. 

A visit in 1980 from his old producer, Aubrey Mayhew, talked Mathis into moving to Nashville to write for Mayhew’s publishing company, Dream City Music. This stint lasted for a year but landed the Mathis family permanently in Tennessee where Johnny continued to write songs and make records until a massive stroke in 1999 which led to his passing in 2011.
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Finally, going way back this week to Saturday May 7, 1955. Here is the running order from that night 67 years ago: 

7:30: Prince Albert
Ray Price (host): If You Don't Somebody Else Will
Rod Brasfield: Comedy
Terry Fell: Don't Drop It
Fiddle Tune: Grey Eagle
Ray Price: In The Garden
Del Wood: Smoky Mountain Polka
Minnie Pearl: Comedy
Terry Fell: Mississippi River Shuffle
Grandpa Jones: Gooseberry Pie
Ray Price: One Broken Heart
Fiddle Tune: Sally Goodin'

8:00: Martha White
Ernest Tubb (host): Kansas City Blues
Louvin Brothers: Love Thy Neighbor
Flatt and Scruggs: Salty Dog Boogie
Possum Hunters: Billy in the Low Ground
Ernest Tubb: The Woman's Touch
Carters: Gold Watch and Chain
Hawkshaw Hawkins: If I Ever Get Rich, Mom
Red Sovine: Are You Mine?
Flatt and Scruggs: I'll Go Steppin' Too
Ernest Tubb: Daisey May
Fiddle Tune: Leather Britches

8:30: Federal Fertilizer Co. 
Faron Young (host): Live Fast, Love Hard, Die Young
Fiddle Tune: Ragtime Annie
Goldie Hill: Cry, Cry Darling
Wilburn Brothers: My Heart or My Mind
Fiddle Tune: Mississippi Sawyer

8:45: American Ace
Faron Young (host): If You Ain't Lovin' You Ain't Livin'
Bill Monroe: My Rose of Old Kentucky
Cowboy Copas: Gone and Left Me Blues
Faron Young: If That's The Fashion
Fiddle Tune: Wake Up, Susan

9:00: Royal Crown Cola
Roy Acuff (host): Sunshine Special
Fruit Jar Drinkers: Buff Creek Gal
Johnny and Jack: I Get So Lonely
Kitty Wells: Making Believe
Jug Band: Under the Double Eagle
George Morgan: Ever So Often
Roy Acuff: Lonely Tombs
Oswald: Nobody's Business
Roy Acuff: Green Back Dollar
Howdy Forrester: Grey Eagle

9:30: Jefferson Island Salt
Webb Pierce (host): In The Jailhouse Now
Jimmy Dickens: Salty Boogie
Anita Carter: Hillbilly Heaven
Justin Tubb: I Gotta Go Get My Baby
Lew Childre: Riding on the Elevated Railroad
Webb Pierce: More and More
Crook Brothers: Black Mountain Rag
Mitchell Torok: Havanna Huddle 
Chet Atkins: Rainbow
Jimmy Dickens: A Ribbon and A Rose
Webb Pierce: I'm Gonna Fall out of Love With You
Fiddle Tune: Arkansas Traveler

10:00: Wall-Rite
George Morgan (host): The Best Mistake I Ever Made
Bill Monroe: Wait A Little Longer, Please Jesus
Goldie Hill: I'm The Loneliest Girl in Town
Blue Grass Boys: Cheyene
George Morgan: Almost

10:15: Dr. Le Gear
Roy Acuff (host): That's What Maks A Jukebox Play
Johnny and Jack: No One Dear But You
Kitty Wells: Whose Shoulder Will You Cry On
Oswald: Good Old Mountain Dew
Gang: Glory Bound Train

10:30: Hester Battery
Ernest Tubb (host): Tomorrow Never Comes
Jimmy Dickens: When I Play the Fiddle
Benny Martin: Ice Cold Love
Ernest Tubb: Have You Ever Been Lonely
Fiddle Tune: Black Eyed Susan

10:45: D Con
Ray Price (host): I'll Be There
Hawkshaw Hawkins: How Can Anything So Pretty Be So Mean
Gully Jumpers: Bully of the Town
Ray Price: I'm Alone Because I Love You
Fiddle Tune: Sleepy Lou

11:00: W. E. Stephens
Webb Pierce (host): Even Tho
Louvin Brothers: Make Him A Soldier
Eddie Hill: Sugar Boggie
Lonzo and Oscar: Oh, What A Wind
Webb Pierce: You're Not Mine Anymore
Crook Brothers: Pretty Little Polly
Grandpa Jones: Cindy
Carters: Wildwood Flower
Don and Rita: Two Hearts
Webb Pierce: That Heart Belongs to Me
Fiddle Tune: 8th of January

11:30: Delited
Faron Young (host): Just Married
Cowboy Copas: Tragic Romance
Justin Tubb: My Heart is Not for Little Girls to Play With
Sam and Kirk: Milk Cow Blues
Faron Young: Forgive Me, Dear
Lew Childre: Put on Your Old Grey Bonnet
Wilburn Brothers: I Wanna, Wanna Wanna
Fruit Jar Drinkers: Katy Hill
Cowboy Copas: Feelin' Love
Faron Young: Place for Girls Like You
Fiddle Tune: Fisher's Hornpipe

A couple of names appeared on the Opry that night, Terry Fell and Mitchell Torok, that a few folks might not of heard of previously, or might have forgotten. 

Terry Fell was born in Dora, Alabama on May 13, 1921, and got his first guitar at the age of nine. Later, he learned mandolin and took singing lessons. When he was 13 years old, his father died; three years later, he moved alone to California.

 There, he began playing in 1943 as bassist for Merl Lindsay.

He started his record career in 1945 as a member of Billy Hughes' band, Pals of The Pecos. His first record was with Hughes on the Fargo label. He began his solo career with Memo, then Courtney, 4 Star, and Gilt-Edge Records, although none of his releases became hits there.

During his first session for RCA in Hollywood (1954), he recorded a song that would become a hit. Although the A-side, "Don't Drop It", was underplayed, the B-side, "Truck Drivin Man", became a classic, especially in the trucker country-music scene. In 1955, he made a guest appearance on ABC-TV's Ozark Jubilee. Terry remained with RCA for the following two years; however, he never produced a single with the same success. RCA extended his contract in 1956. In 1958, he recorded some sides for Lode records. One of them, released under the name "Johnny Valentine," was a song he wrote called "Sandy" which became a No. 15 pop hit for Larry Hall in 1960.

Due to the lack of success and health problems, his career fell short. Later, for a short time, he managed country star Buck Owens and wrote a song in 1961 with Bobby Edwards titled "You're The Reason". In 1962, Fell moved to Nashville, Tennessee, where he was a songwriter for various publishing companies until he retired. Published in 1993 with Bear Family Records, the album Truck Drivin Man was released with his collected RCA works. Terry Gordon noted that it was discontinued in 1998, but revised/reissued again. Because of his achievements in country music, he was inducted into the Alabama Music Hall of Fame.

Terry Fell passed away on April 4, 2007, in Madison, Tennessee.


Mitchell Torok was born in 1929 in Houston, Texas and attended Stephen F. Austin State University on a baseball and football scholarship. 

Torok recorded his first session in Houston with a duet partner named Sally Lee. These masters later wound up on Imperial Records. During the next two years, he performed his own morning radio show on KSFA and KFRD, in Rosenberg and KTRE in Lufkin. Impressed by the rolling East Texas hills, Mitch recorded two singles for the FBC label in Rosenberg, the "Nacogdoches County Line" and the "Piney Woods Boogie".

One of Torok's idols, Hank Williams, died suddenly on January 1, 1953. Inspired by a need for some happy songs, he immediately penned a happy-go-lucky song titled "Mexican Joe," which he wrote in thirty minutes, initially intending the song for another one of his idols, Hank Snow. But, a new record producer and label owner from Hollywood, Fabor Robison, happened by Nacogdoches and found Torok and the song. Torok wanted one of Robison's supposed heavy West Coast artist to record his song. He reluctantly gave it to him and his Abbott record label, to be recorded by one of his own struggling artists, the then unknown Jim Reeves, in Shreveport. (Torok, feeling the chances of Reeves' record hitting were small or nonexistent, planned to use the Jim Reeves record as a "demo" to send to Hank Snow.) Reeves had been hired to be an announcer on KWKH and the Hayride Show, but not allowed to sing. Torok's song, "Mexican Joe", was recorded by Reeves and it became a number one hit and spent seven weeks riding the top of the Billboard Country Music Charts. Torok was then signed to Abbott Records. A month later wrote his own number one hit that became popular in both the Billboard Country and Jukebox charts and remained at the top for four weeks. The song was "Caribbean". It remained on the country chart for 24 weeks, also a top five hit on both the Best Sellers and Disc Jockey charts, as well as being a No. 13 hit in Australia.

He became a member of The Louisiana Hayride on KWKH Shreveport. In 1954, Torok gained a number 9 country hit with the ridiculous sounding ‘Hootchy Kootchy Henry (From Hawaii)’, and in 1956/7, he even had success in the UK pop charts with his songs ‘When Mexico Gave Up The Rhumba’ and ‘Red Light, Green Light’. This success led to him touring in the UK in 1957. 

He made further recordings for Mercury, RCA, and Starday, and his last US chart entry was ‘Instant Love’, for the Reprise label in 1967. He continued to write songs, usually working in partnership with his wife (she has used both Gayle Jones and Ramona Redd as pseudonyms), and some have been recorded by top artists including Skeeter Davis, Kitty Wells, Glen Campbell and even Dean Martin. Hank Snow recorded ‘The Mysterious Lady From Martinique’ on one of his last RCA albums and ‘Redneck’ was a Top 20 hit for Vernon Oxford in 1976. Torok joined Cedarwood Music in the late 70s and worked on a recording project telling the history of Nashville from 1780 to 1980. 

From what I can gather, Mitchell Torok passed away several years ago. 

There you have it for this week. As always, thanks for reading and commenting and I hope everyone enjoys the Grand Ole Opry this weekend. 









 




17 comments:

  1. Johnny Mathis lived in the same county that I live in Marshall County, TN. His sons are great singers too.

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  2. From the Oak Ridge Boys:

    TONIGHT AT
    @opry
    … We will sing COLD SOUP with
    @aaronraitiere
    whose album released today… We will sing HE’S GETTIN’ME READY with
    @DarinandBrookeA
    … We will close show with 5 songs … Aaron will join us on Love Light and Healing … which he wrote

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  3. Mitchell Torok was also quite a painter. When I visited the Ryman in 1991, there was a painting of his hanging on the wall titled "Hillbilly Heaven" featuring now gone Country artists. I'd LOVE to know what happened to it!

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  4. A couple of comments regarding the Friday Night Opry:

    It is always nice to hear the Oak Ridge Boys at the Opry, but last night their harmony didn't seem as tight as on previous shows. Sometimes on the radio the sound gets a little distorted, but last night they just seemed off.

    Mike Snider is funnier and much better than pretty much any of the comedians that the Opry has been booking. Plus, he adds his great musicianship. I know Mike hasn't made it a priority to be at the Opry since Covid hit, but if I were management, I would make a huge effort to get Mike back more often, certainly in the place of some of these so-called comedians that they have booked in the past.

    Bob Weir of the Grateful Dead (now performing as Dead & Company), made a surprise visit at the Opry last night, playing guitar for Aaron Raitiere. Another example of a surprise that can take place most any night at the Opry. The Oak Ridge Boys were also with out with Aaron. Actually, there were several collaborations last night, as in addition to Aaron, Bob and the Oaks, the Oak Ridge Boys also came out with Darin & Brooke Aldridge for a song, and all of them came out and sang "Elvira" to close the show (a show that ended 15 minutes early by the way).

    Overall, not a bad Friday Night Opry.

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  5. Mickey Gilley has passed away at 86, He's someone that should absolutely be in the Hall of Fame, Speaking of the Hall of Fame, Who do you see going into the Hall of Fame this year?.

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    1. It's a travesty that not only Mickey Gilley is not in the Hall of Fame, but so many other veteran artists. One a year is not going to get it done and sorry to say, so many of these veteran artists have passed away, or will have passed away, before the electors get to them.

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    2. Agreed. Mickey Gilley is part of a group of artists who had phenomenal success in the mid to late 70s that also includes Eddie Rabbitt, Larry Gatlin and Crystal Gayle. Each had #1 records in the double digits (with exception of Larry Gatlin, who only had 3 go to the number 1 position but had 15 Top 5 singles) which should qualify them regardless but they all helped move country music forward in some way during that time and, to me, the overall impact of an artist's career is as important, if not more so, than a long list of hit records (hence, my support of The Wilburn Brothers, Hank Locklin, The Carter Sisters, The Maddox Brothers and Rose and Leroy Van Dyke for the Hall). Crystal Gayle and Eddie Rabbitt were two of the biggest crossover acts of the 70s. "I Love A Rainy Night" and "Driving My Life Away" were two of the most popular songs on radio. Crystal Gayle had (and still has) one of the most unique voices in country music and she helped to bring a certain "uptown" quality to the music. Larry Gatlin brought a new kind of poetic quality with his songwriting. And Mickey Gilley helped propel country music into the national spotlight via the "Urban Cowboy" craze of that era. I would consider each of them a part of the "Modern Era" group but I suppose most would now look at them in the "Veteran" category.

      Frankly, I think those two broad categories have outlived their usefulness. Part of idea of the "Modern Era" classification was to be able induct artists that the current music buying public would recognize and therefore provide publicity for the Hall of Fame but, as far as I can tell, recent HoF inductions have been mostly met with a shrug outside of the country music community. Naomi Judd's death probably gained the medallion ceremony the most coverage than it's had in years.

      So many deserving artists, especially in the musicians category, have passed on before they could be recognized. I think of Bob Moore and Buddy Harman, in particular. At the rate we're going, it would take 75 years for everyone on my list of deserving musicians to make the Hall if every one of them was elected at the current rate. I think of Eddie Bayers as one of the newer musicians on the list and he's been around for 40 years! The core group of "A-Team" musicians that are still missing include Moore, Harman, Ray Edenton, Tommy Jackson, Boots Randolph and the Anita Kerr Quartet (Anita Kerr, Dottie Dillard, Louis Nunley and Gil Wright). And they have yet to elect a musician who is primarily known as a "touring" musician like Bashful Brother Oswald, Don Rich, Buck Trent or John Hughey.

      If you have to put people into boxes, maybe it's time to expand those boxes a bit...add a "Pioneer" or "Open" category to the rotating groups...and have the rotating categories every other year. It would make for 4 inductees instead of 3 each year and would give voters a way to clear up some of the serious backlog of deserving artists while still maintaining the integrity of the honor. Of course, I don't have a vote and no one is asking for my opinion. But there it is for what it's worth.

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    3. Barry, I have some of the same thoughts regarding the categories and the backlog. Currently, the Hall of Fame inducts 3 inductees each year (unless there is a tie vote). I don't see why the rotating categories, especially in the case of musician and songwriter, cannot be a yearly category, or at the very least, every other year. That would move it up to 4 or 5 inductees each year, which still makes it exclusive.

      As to the Modern and Veteran categories, I would leave the Modern the way it is. That one doesn't concern me. The Veterans category does. There are too many artists falling into that category and as new ones become eligible, the older ones become forgotten. I would add another rotating category, perhaps for artists who achieved career prominence prior to 1960. I don't think that would dilute the Veterans category but would provide another opportunity for those older artists.

      I am not sure who has the final word on the categories. I am sure it is either the CMA or the CMF. Whoever does, the discussion needs to be taking place.

      Final note: I do not favor a mass induction and I don't think there are many who do. To me, that waters down the honor of being elected. Also, I do not want to see what the Rock Hall is doing. It seems that each year up to 10 are elected and that is way too many. It has gotten to the point that many fringe acts have gotten in, and I would hate to see that with the Country Music Hall of Fame.

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    4. A good start would be for the HOF to acknowledge its backlog. In addition to slightly restructuring its categories, I would like for them to induct 5 per year for a few years, and then 3-5 per year after that. I think that would alleviate some backlog and hopefully avoid similar situations in the future.

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  6. Byron: I'm glad to hear you say that about Mike and the other comedians. I grumble enough as it about the music so I was trying to leave the comedy side alone. We all know where Mike got his education, Pa, Minnie, Bill Carlisle, Os, Little Jim and others that were still around when he came along. He is what Opry comedy should be in my opinion. There are a few others that appear that fit in but he is the best that is left.

    While we are on the subject of comedy, I have another issue I have left alone. They say you should write a letter or an email when you are frustrated, leave it set and rethink it before you send. Seems there is always something better left unsaid and you realize that when you take a second look later. That said, I can't sight specifics now since time has past. Over the past couple months or so I have heard some mostly non country acts perform some songs on the Opry that I felt were poking fun of country music. It was said to be there attempt at writing a country song. I never liked David Allen Coe's "You Never Even Called Me By My Name". I can't say the last verse was all a lie but I always felt it was to make fun of country music. I know he wrote or co-wrote some songs that were sizable hits for Tanya Tucker, Paycheck and others but that particular song just felt like a put down to me.

    I'm sure I come across as a square stiff and take things to serious. If you are a guest in my house don't make fun of the way I live if you think it is too simple to or beneath you. Politely leave and if you don't approve don't return if you are invited back!

    Maybe I have read some performers wrong the past few months. Maybe I'm too simple minded to appreciate and understand this parade of diverse performers that now grace the Opry stage that used to be the home of country music. And, as we continue to see, the audience usually approves of most of it so who am I to criticize it!

    Jim
    Knghtsville, IN

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    1. Jim, I don't mind songs that poke some fun, but, yes, the question is whether the song and its writer respect country music in the process. If Wikipedia is to be trust, and on this one I think it is, Steve Goodman and David Allen Coe both felt Nashville had been unkind to THEM, and I see the point. John Prine actually co-wrote it with Goodman, who apparently was upset that "City of New Orleans" was as far as the industry was willing to go with him, but Prine wanted no credit because he felt it could be offensive.

      Maybe it's a little like some earlier debates. Mr. Acuff had no problem "hillbilly," but Ernest Tubb found it offensive. I remember Garth Brooks started a special by introducing himself as a country singer and then saying something like, "But wait. There are no haystacks here." Well, to a lot of people, "Hee Haw" and its approach were all there was to country music, and of course there's so much more.

      Comedy fits into this discussion. Archie Campbell had died by the time Mike Snider got to the Opry. Archie was the one who got fed up with dressing funny--think of Lonzo & Oscar, or Rod Brasfield in clothes that were too big for him--and went onstage in a jacket and tie. He did fine. But it did seem a bit revolutionary.

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  7. I was able to attend the Friday Night 'Opry this weekend. I could write an entire book on my trip, but here are the takeaways.
    1) Jeannie Seely still has it. Triple fiddles, the girl can still entertain.
    2) Mike Snider absolutely stole the show. The "You know how to fish" joke had the entire house in stitches.
    3) Del McCoury Band was also amazing, featuring the best instrumentals I have heard in a LONG time anywhere.
    4) Tommy Emmanuel is a world class guitar player.
    5) Oak Ridge Boys had so many folks on stage with them, I honestly couldn't tell if they were singing well or not.
    6) The sound at the 'Opry is top-notch, loud but not ridiculous.
    7) The town of Nashville has become an unmitigated disaster, with a thousand honky-tonks playing horrible music, drunks on pedal yourself bars, school buses with openings cut out for drunk girls to dance, and essentially no real country music except in one place I will soon mention. Did I mention the traffic jams?
    8) The Johnny Cash Bar/Honkey-tonk had some folks you could hear singing on the street that Johnny Cash would shoot on the spot. No talent, sounded like a group of cats in heat. Embarrassing.
    9) Robert's Western World, on the other hand, featured astounding traditional country music on Friday afternoon with the Tennessee Walkers. Rachael Hester moved to Virginia, but her band lives on. By noon, the place was packed.
    I literally had tears in my eyes because I thought our type of music was dead, but this band was on par, or maybe better, than the 'Opry staff band. Featured a real pedal steel guitar and a fiddle played by Renae Truex, who is an unbelievable talent. She was playing three three hour gigs at Robert's Friday after playing until 2:00 AM Thursday night.
    I think I got lucky with the Friday Night 'Opry lineup. Listened to Saturday's 'Opry on the radio going home, and I'll just say I'm very glad I attended the Friday night show.
    It has become a real crap shoot as it relates to traditional artists.
    There you have it, from the eyes of a 74 year old guy who had an awful time finding his car in a parking garage (after finally finding the right parking garage that is). But I can't wait for a repeat trip to the 'Opry and Robert's Western World! If I can find an 'Opry lineup I like.
    Nat Hill IV
    ps. thanks for giving me a chance to vent and brag on Roberts.

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    1. Downtown Nashville, specifically Lower Broadway, has changed so much over the past decade, and it keeps getting worse. The crowds and behavior are ridiculous, and it will not get any better when Garth opens his club. Personally, when I am in Nashville, I will head downtown in the morning and leave by mid-afternoon. If there is a show at the Ryman at night, I will park on the North, or upper side of downtown and actually avoid the Broadway area.

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    2. Nat, nice report.......and THANKS!

      I had a lady I deal with at one of our customers tell me they stopped in Nashville on their way back from Florida. I can't remember her exact words but she thought downtown was out of control. My response was that it wasn't a good place in the heyday of the Opry when it was at the Ryman but folks covered their kids eyes and took their family to the Opry anyway. The Opry left and it pretty much died. Then business started to return when they opened the Ryman up again and moved some of the Opry shows back downtown. Then it went too far and for about the last decade it has become a less family friendly place again in a little different way. However, based on Nat's reporting.....maybe not that much different!

      Unfortunately, the music and singers you described makes me wonder if the Opry talent scouts are just taking tour bus downtown and walking the streets to round up some of the talent to fill out the show.

      I spent a half our trying to find my car in a parking garage in Indy one time when I had my mom up there for a doctor appointment. That was about ten years ago! So, I get it.

      Glad you had a safe and fun trip.

      Jim

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  8. Thanks Jim and Byron. The trip, taken as a whole, was a blast, thanks to the 'Opry and Robert's Western World! Simply had to endure downtown Nashville to get to Robert's.

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    1. I need to proof read my posts closer! I keep going back later and see where I have used the wrong word, the wrong tense or just left words out! Hopefully they have still been understandable.

      Jim

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  9. Thanks for the mention of Country Johnny Mathis in the 1972 program line up for the Grand Ole Opry. He also had ties to the 1955 program you listed as Ray Price sang "If You Don't, Somebody Else Will" (a Country Johnny Mathis song) and a Top 10 for Price in 1954.

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