Showing posts with label Country Music Hall Of Fame. Show all posts
Showing posts with label Country Music Hall Of Fame. Show all posts

Friday, March 20, 2026

Country Music Hall of Fame Welcomes Tim McGraw, Paul Overstreet and The Stanley Brothers in Landmark 2026 Induction

Earlier this morning in Nashville, a new chapter was written in the story of country music as the Country Music Hall of Fame announced its Class of 2026. With a blend of modern star power, timeless songwriting, and foundational bluegrass influence, the induction of Tim McGraw, Paul Overstreet, and The Stanley Brothers represents the full spectrum of what makes country music enduring and deeply personal.

Few artists have shaped the modern country landscape quite like Tim McGraw. With a career spanning more than three decades, McGraw’s voice has been the soundtrack to countless road trips, weddings, breakups, and quiet moments of reflection. Emerging in the early 1990s during a pivotal era for the genre, McGraw helped usher country music into a new phase of mainstream popularity. His breakout success wasn’t just about chart performance—it was about connection. Songs like “Don’t Take the Girl,” “Live Like You Were Dying,” and “Humble and Kind” became more than hits; they became emotional touchstones that resonated across generations.

What has always set McGraw apart is his ability to balance commercial success with artistic growth. He never stayed in one lane for too long. Whether collaborating with artists across genres, experimenting with production styles, or leaning into more stripped-down storytelling, McGraw consistently pushed the boundaries of what a country artist could be while maintaining the core values of the genre. His live performances, often marked by intensity and sincerity, have further cemented his reputation as one of country music’s premier entertainers. Beyond the stage and studio, McGraw’s influence has extended into mentorship, helping shape the careers of younger artists and contributing to the genre’s continued evolution.

If McGraw represents the voice of modern country, Paul Overstreet represents its pen. A master craftsman of song, Overstreet’s legacy is woven into the very fabric of country music through the stories he has told and the emotions he has captured. His songwriting career is a testament to the idea that simplicity, when done right, can be profound. Overstreet had a rare gift for taking complex human experiences—love, regret, faith, redemption—and distilling them into lyrics that felt both deeply personal and universally relatable.

“When You Say Nothing at All” is perhaps the perfect example of his artistry: a song built on subtlety, where what isn’t said carries as much weight as what is. “Forever and Ever, Amen” brought a sense of joy and devotion that helped define an era, while other compositions throughout his career have touched on themes of family, spirituality, and perseverance. Overstreet’s influence extends far beyond the songs themselves; it lives in the countless writers who have studied his work, learning how to say more with less. His induction into the Hall of Fame is a long-overdue acknowledgment of the quiet but profound role songwriters play in shaping the identity of country music.

And then there are The Stanley Brothers—Carter and Ralph—whose legacy reaches back to the very roots of the genre. Long before country music filled stadiums, it lived on front porches, in mountain hollows, and on the airwaves of small radio stations. The Stanley Brothers captured that spirit in its purest form. Their music, grounded in Appalachian tradition, carried a haunting, almost spiritual quality that set them apart even among their contemporaries.

Ralph Stanley’s high, lonesome tenor became one of the most recognizable sounds in American music, while Carter Stanley’s songwriting provided the emotional backbone of their recordings. Together, they created a body of work that felt timeless even as it was being made. Songs like “Man of Constant Sorrow” and “Rank Stranger” are not just pieces of music—they are living artifacts of a cultural tradition that continues to influence artists across genres, from bluegrass purists to modern folk and even rock musicians.

Their impact is perhaps most evident in the way their music has endured. Decades after their initial recordings, their songs continue to find new life, introduced to new audiences through film, television, and reinterpretations by contemporary artists. The Stanley Brothers didn’t just contribute to bluegrass—they helped define it, preserving a sound and a storytelling tradition that remains a cornerstone of country music today.

Together, this class tells a powerful and complete story of country music’s journey. It’s a story that begins in the hills of Virginia with the Stanley Brothers, moves through the songwriting rooms of Nashville with Paul Overstreet, and reaches the global stage with Tim McGraw. Each inductee represents a different piece of the puzzle, yet all are connected by a shared commitment to authenticity, storytelling, and emotional truth.

What makes this class particularly special is how it highlights the interconnected nature of the genre. The Stanley Brothers laid the groundwork for the sounds and themes that would inspire generations of songwriters like Overstreet. Those songwriters, in turn, created the material that artists like McGraw would bring to life for millions of listeners around the world. It’s a lineage that underscores how country music is built—not in isolation, but through a continuous passing of the torch.

For fans, industry professionals, and aspiring artists alike, today’s announcement serves as both a celebration and a reminder. It celebrates the achievements of three very different, yet equally important contributors to the genre. And it reminds us that country music’s strength lies in its diversity of voices and its unwavering commitment to telling the truth, no matter how simple or how complex that truth may be.

As the Country Music Hall of Fame welcomes its Class of 2026, it does more than honor individual accomplishments. It reinforces the idea that country music is a living tradition—one that honors its past, embraces its present, and looks toward its future with a sense of purpose and pride.

Monday, October 30, 2023

Highlights Of The 2023 Country Music Hall of Fame Induction Ceremony

Singer Patty Loveless, songwriter Bob McDill, and singer Tanya Tucker officially joined the Country Music Hall of Fame on Sunday, October 22, in a star-studded Medallion Ceremony at the Museum’s @CMATheater. It was an evening filled with once-in-a-lifetime musical performances and heartfelt, and at times tearful, testimonials. 

Those presenting musical highlights from the inductees’ careers included Country Music Hall of Fame members Dean Dillon, Vince Gill, Charlie McCoy, and Wynonna Judd. They were joined by Brandi Carlile, Jessi Colter, Charley Crockett, Jamey Johnson, Margo Price, Bob Seger, and Sister Sadie. Country Music Hall of Fame member Wynonna Judd led the audience in the ceremonial closing song, “Will the Circle Be Unbroken.” 

Following longstanding custom, a member of the Country Music Hall of Fame, chosen by the inductee, welcomed each new member. Vince Gill inducted Patty Loveless, Don Schlitz inducted Bob McDill, and Brenda Lee and Connie Smith inducted Tanya Tucker.

 Filled with soaring musical performances and moving tributes, the Medallion Ceremony showcased the camaraderie and the broad range of talent—from legends to newcomers—that define the country music community. 

Watch the video and experience some of the special tributes that members of the music community shared in honoring these newest inductees of the Country Music Hall of Fame. 

Wednesday, July 26, 2023

Rose Maddox: A Striking Voice Long Overdue for the Country Music Hall of Fame

Rose Maddox: a name that should ring a bell in the annals of country music. And yet, she seems to be missing from a significant corner of country music legacy - the Country Music Hall of Fame. Today, I present an argument that's long overdue: Rose Maddox, the vivacious and powerful voice of Maddox Brothers and Rose, should be inducted into the Country Music Hall of Fame.

Born in Boaz, Alabama, Rose Maddox moved with her family to California during the Great Depression, and it was here that the Maddox Brothers and Rose band was formed. Together, they would become "the most colorful hillbilly band in America," pioneering a musical style that laid the groundwork for rockabilly and would influence countless artists in the years to come.

The Maddox Brothers and Rose, with their foot-stomping rhythm and infectious energy, were at the forefront of the "hillbilly boogie" era in the 1940s. But it was Rose's powerful vocals and energetic stage presence that truly made the band shine. She was bold, she was vibrant, and she was unapologetically herself. Rose Maddox wasn't just a pioneer for her sound, but also for her spirit - a spirit that continues to inspire country artists today.

The band's first hit, "Whoa Sailor," exploded onto the country music scene in 1946 and was just the start of their successes. With a dozen chart-toppers under their belt and an influential role in the country and rockabilly genres, it's hard to dispute the impact the Maddox Brothers and Rose had on the music industry.

Rose's solo career, launched in 1957, was equally impactful. She was the first woman to record a bluegrass album and was a six-time nominee for the Grammy's Best Female Country Vocal Performance. Her distinctive vocal style and approach to traditional bluegrass and country music resonated with many, pushing the genre's boundaries and inspiring a new generation of female musicians.

A pioneer, a trailblazer, and a formidable talent, Rose Maddox significantly contributed to the development and evolution of country music. The energy and passion she brought to the genre remain virtually unmatched, and her influence can still be heard in today's country and rockabilly scenes. Johnny Cash referred to the Maddox Brothers and Rose as "the most exciting thing this side of the rock of Gibraltar," and Merle Haggard cites their energetic performances as a significant influence on his music.

Despite all of these contributions, Rose Maddox's name is noticeably absent from the roster of the Country Music Hall of Fame. While the recognition she's received, including an induction into the International Bluegrass Music Hall of Fame, is significant, it does not fully represent her wide-ranging impact on the music scene.

Inducting Rose Maddox into the Country Music Hall of Fame would not only be a fitting recognition of her contributions to the genre but would also send a clear message to future generations of country musicians. It would tell them that it's not just about conforming to expectations, but about pushing boundaries, taking risks, and staying true to oneself.

The time has come for the Country Music Hall of Fame to reconsider and recognize the compelling case of Rose Maddox. Let's honor this vibrant pioneer and ensure that her legacy in country music continues to inspire artists and fans for generations to come.

Sunday, July 23, 2023

Country Music Hall of Famer Jerry Bradley Passes Away At 83

The world of country music mourns the loss of one of its most influential figures, Jerry Bradley, a true titan of the genre whose impact reverberated throughout the industry. He passed away peacefully earlier this week, leaving a legacy that will be celebrated for generations to come.

Jerry Bradley was born into a family that was woven into the fabric of country music. His father, Owen Bradley, was a legendary record producer, and his uncle, Harold Bradley, was a celebrated studio guitarist. With this lineage, Jerry's path into the industry seemed destined.

His career began in the mid-1960s when he joined his father's company, Owen Bradley Productions. With a natural talent for spotting potential in artists and a keen business acumen, he quickly moved up the ranks, carving out a significant role for himself in the company.

In 1973, he ascended to the role of head of RCA Records' Nashville division, a position that allowed him to guide the careers of countless country music luminaries. This era is now known as the 'Nashville Sound,' and much of that sound can be attributed to Bradley's leadership and innovative approach to music production.

Under Bradley's guidance, RCA Nashville flourished, and he was instrumental in signing and developing artists who would go on to become country music legends. These included Alabama, Dolly Parton, Ronnie Milsap, and Charley Pride among others. Bradley's keen ear and sharp business sense allowed him to shape the careers of these artists and solidify their places in the annals of country music history.

Bradley was also a key figure in the creation of the Country Music Association (CMA) Awards, the genre's most prestigious event. His leadership and vision for the awards set the tone for what it has become today - a platform that recognizes and celebrates the best that country music has to offer.

In 2019, Jerry Bradley was inducted into the Country Music Hall of Fame, an honor that underscored his pivotal role in the industry. In his acceptance speech, Bradley humbly said, "I've been very fortunate. This business has been very good to me, and I have always tried to be good to it." This sentiment encapsulated his commitment to the growth and longevity of country music.

His colleagues and those he mentored remember him as a man of principle and integrity, who treated artists with respect and always saw the potential in them. His infectious enthusiasm for the genre was evident in every facet of his work, and his legacy will live on through the countless lives he touched and the music he helped bring to life.

Jerry Bradley's passing marks the end of an era in country music. His contributions to the industry, his championing of artists, and his unwavering love for the genre left an indelible mark on country music. His absence will be deeply felt, but his influence will continue to resonate.

As we remember and celebrate his life, we find comfort in the knowledge that Bradley's work shaped the soundtrack of many lives, spreading the soulful charm of country music across the globe. The songs he helped craft and the artists he nurtured will ensure that his legacy lives on for generations to come.

Today, we say farewell to Jerry Bradley, a true country music pioneer. His life and work will forever be a testament to his love for music and his dedication to the country genre. We extend our deepest condolences to his family, friends, and all who were touched by his extraordinary life. Rest in peace, Jerry Bradley. Your music lives on.

Friday, June 30, 2023

Hatch Show Print: Preserving Nashville's Vibrant Music History One Poster at a Time

In the heart of downtown Nashville, there exists a cultural landmark that has been tirelessly etching the essence of the city into print for over 140 years. It’s not a record label or a performance hall, but a humble print shop – Hatch Show Print. The iconic Hatch Show Print has long been an integral piece of Nashville's storied music history, and its role in shaping the city's artistic landscape remains as vibrant as ever.

The History of Hatch Show Print

Founded in 1879 by brothers Charles and Herbert Hatch, Hatch Show Print began as a small print shop catering to the bustling advertising needs of a growing city. Their early clientele included circuses, vaudeville shows, and minstrel shows. However, it was their connection with the vibrant country music scene that truly defined their legacy.

As the Grand Ole Opry began to rise in popularity in the 1920s, Hatch Show Print started crafting striking posters for the performers. These posters, often characterized by bold typography and unique, hand-carved designs, would soon become symbolic of the Opry itself, adding visual depth to the country music narrative.

Over the ensuing decades, Hatch Show Print's distinctive style became synonymous with Nashville's music scene. They designed posters for music legends such as Hank Williams, Johnny Cash, and Dolly Parton, solidifying their place in the annals of country music history.

How Hatch Show Prints Are Made

Hatch Show Print's distinctive posters are created using a time-honored technique called letterpress printing. Despite the advance of digital technologies, Hatch Show Print has staunchly adhered to this traditional printing method, giving their work a unique, handcrafted feel that sets it apart. Here's a step-by-step explanation of the process:

The first step involves conceptualizing and designing the poster. This process takes into account the specific needs of the client, the intended visual impact, and the constraints of the letterpress technique. Each element of the design, from the text to the images, must be planned carefully.

Hatch Show Print has a vast collection of typefaces and wood blocks that are used to create the text and image elements on their posters. Each piece of type (letters, numbers, punctuation marks) and each woodblock image is hand-selected and meticulously arranged on a composition stick or a layout galley to form the layout of the poster.

Once the type and images are arranged, they are inked using a roller. Hatch Show Print's technicians are skilled at applying the correct amount of ink to ensure a clear, even impression on the final print.

The inked type is then pressed onto paper. This can be done either by hand or using a mechanical press. The pressure pushes the paper into the inked type, transferring the design onto the paper.

After printing, the posters are left to dry. This process can take some time, as the ink used in letterpress printing is often quite thick.

If the poster design includes multiple colors, the process is repeated for each color, with careful alignment to ensure each color fits perfectly within the design.

Through this labor-intensive process, each Hatch Show Print poster becomes a work of art, bearing the individual quirks and characteristics imparted by the hands-on technique. The result is a print that not only announces an event, but also encapsulates the spirit and vibrancy of Nashville's thriving music scene.

Impact on the Country Music Landscape

While Hatch Show Print's influence may appear to be predominantly aesthetic, its impact on the country music landscape is far deeper. The role of Hatch Show Print can be seen as a cultural amplifier, elevating country music artists and contributing significantly to the 'Nashville Sound'.

The posters created by Hatch Show Print did more than just announce concerts; they brought the music to life through their artwork. The vibrancy and liveliness of the prints reflected the spirit of country music and its artists, creating a tangible connection between the musicians and their audience.

Hatch Show Print's designs became an extension of the artists' personas, often defining how the public perceived them. This has been especially pivotal for independent and emerging artists, for whom a Hatch poster could mean increased visibility and recognition.

Moreover, the print shop has helped cultivate the image of Nashville as a major music hub. It has become an emblem of the city's rich musical heritage, making Nashville not just the home of country music, but a destination for music lovers around the world.

Some of the Most-Famous Hatch Show Print Posters

Elvis Presley at the Florida Theatre Poster (1956): This print for an Elvis Presley concert at the Florida Theatre in 1956 stands as one of the most well-known pieces from Hatch Show Print. It features a full-body image of Elvis with his name emblazoned at the top in large, bold letters. The poster reflects the energy and cultural impact of Elvis at the peak of his popularity.

Grand Ole Opry Posters: Hatch Show Print has been creating posters for the Grand Ole Opry since the 1920s. These pieces serve not only as advertisements but also as beautiful historical records of the performances and artists that have graced the Opry stage. From Hank Williams to Patsy Cline to Dolly Parton, these posters have become part of the fabric of country music history.

Johnny Cash Poster: Hatch Show Print created several posters for the "Man in Black" throughout his career, and these designs are among the most famous in their archive. The prints often featured striking typography and Cash's imposing image, perfectly capturing his unique style and stage presence.

Bob Dylan Poster (1966): Hatch Show Print created a famous poster for a 1966 Bob Dylan concert at Nashville's Municipal Auditorium. The poster depicts a sketch of Dylan alongside large bold text announcing the concert, and it remains one of Hatch Show Print's most sought-after designs.

Minnie Pearl Poster: Minnie Pearl, a longtime Grand Ole Opry comedian and singer, was often featured in Hatch Show Print posters. The posters typically incorporated her signature price tag hanging from a hat, reflecting her comedic persona.

Ryman Auditorium Hatch Show Print (2001): When the historic Ryman Auditorium reopened in 2001, Hatch Show Print created a special poster to commemorate the event. It featured a striking image of the "Mother Church of Country Music," cementing the relationship between Hatch Show Print and Nashville's most iconic music venues.

While these are some of the most famous, every Hatch Show Print carries with it a unique story and place in the history of Nashville's music scene. Their commitment to maintaining traditional printing methods continues to preserve the visual heritage of Nashville's vibrant musical culture.

Hatch Show Print in the Modern Era

In an age dominated by digital media, Hatch Show Print remains a testament to the craft of traditional letterpress printing. Now a part of the Country Music Hall of Fame and Museum, the shop continues to produce 500 to 600 poster jobs annually, all while maintaining their original, distinctive style. They're not just a nostalgic nod to the past, but an active participant in Nashville's ongoing musical story.

Today, the Hatch Show Print archive stands as an invaluable resource, chronicling the city's music history through its vast collection of prints. The shop also runs educational programs and tours, providing a unique, hands-on experience into the world of letterpress printing.

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The story of Hatch Show Print is intrinsically woven into Nashville's cultural tapestry. Over the decades, it has been more than a print shop—it has been a storyteller, a promoter, and a historian. Their striking, handcrafted posters have not only illustrated the evolution of country music but also greatly influenced it.

Despite changes in technology and trends, Hatch Show Print's enduring influence is a testament to their commitment to authenticity, craftsmanship, and an undying love for music. As long as there's a concert to announce in Nashville, you can be sure Hatch Show Print will be there to etch it into history.

Sunday, June 11, 2023

The Case for Dwight Yoakam's Induction into the Country Music Hall of Fame

It has always been a subject of great debate as to who deserves a spot in the illustrious and revered Country Music Hall of Fame. This Nashville-based institution stands as an embodiment of country music's storied past, honoring the giants whose music has echoed across the rolling plains and beyond. While many legends of the genre have received their due recognition, there are some whose induction still lingers in the realm of anticipation. Among these names, one stands out as particularly overdue: Dwight Yoakam.

Known for his twangy vocals and cool cowboy persona, Dwight Yoakam has, over the years, become an indelible part of the country music fabric. He represents a maverick within the genre, bringing a unique blend of country and rock that has reshaped the perception of country music itself. Here, we will delve into the reasons why Dwight Yoakam unquestionably deserves his spot among the immortals in the Country Music Hall of Fame.

Honkytonk Heritage and a Touch of Rock

In an era where country music was embracing a more polished sound, Yoakam fearlessly championed the raw, gritty feel of honky tonk and blended it with elements of rock and roll. His first album, "Guitars, Cadillacs, Etc., Etc.", released in 1986, was a statement of intent. It signaled the resurgence of honkytonk, while embracing the energy and spirit of rock music. It was a new sound that invigorated the genre and challenged the prevailing status quo.

The album went double-platinum, and with hit singles like "Honky Tonk Man," Yoakam affirmed that traditional country music and its honky-tonk roots had a secure place in the modern music landscape. This fusion of styles, which has become a hallmark of Yoakam's music, set the precedent for many country artists that followed, making him a significant and influential figure in the genre's evolution.

Additionally, songs like "Fast As You" and "A Thousand Miles from Nowhere," both of which peaked at number 2 on the Billboard Hot Country Songs chart, underline Yoakam's ability to blend lyrical depth with catchy rhythms, further enhancing his popularity among country music fans.

Musical Influence and Industry Impact

Yoakam's influence on country music and its artists is both expansive and profound. His distinctive style, encompassing both traditional and contemporary elements, has inspired generations of country musicians. Artists like Chris Stapleton and Eric Church have cited him as an influence, attesting to the enduring power of his music.

Furthermore, Yoakam's ability to seamlessly blend genres and push boundaries played a crucial role in the genre's expansion and development. He was instrumental in creating a bridge between the traditionalist and modernist wings of country music, fostering inclusivity within the industry.

Commercial Success and Enduring Popularity

Yoakam's commercial success is a testament to his music's appeal and longevity. Over his career, he has sold more than 25 million records worldwide, with five albums reaching the number one spot on Billboard's Country Albums chart, and twelve gold albums to his credit.

Furthermore, his popularity extends beyond the realm of country music, with his music garnering appreciable attention in the mainstream. Songs like "Fast as You" and "A Thousand Miles from Nowhere" have become staples on country and rock radio alike, further proving his appeal across musical boundaries.

The Bakersfield Sound

Dwight Yoakam is widely recognized for reinvigorating the Bakersfield sound, initially popularized by Buck Owens, and imbuing it with his unique style and sensibilities. This country subgenre, which emerged from Bakersfield, California, in the 1950s, is characterized by its raw, rock-and-roll-infused honky-tonk vibe, standing in sharp contrast to the slick, orchestrated Nashville sound of the era. Yoakam, a Kentucky native, moved to Los Angeles and found himself drawn to this distinctive Bakersfield sound. Embracing the genre's roots, he incorporated its signature twangy guitars and direct, unvarnished lyrics into his music. 

However, Yoakam didn't simply replicate Owens' sound; instead, he injected it with his unique blend of rock, country, and punk influences, creating a grittier, more rhythmic, and modern Bakersfield sound. This is particularly evident in songs like "Guitars, Cadillacs" and "Streets of Bakersfield" (a duet with Owens himself), where Yoakam's interpretations resonate with the old spirit of the Bakersfield sound while distinctly echoing his own musical identity.

Contributions Beyond Music

Beyond his musical accomplishments, Yoakam's impact is felt in other areas of the entertainment industry. A prolific actor, he has appeared in over 35 films, working with esteemed directors like David Fincher and Billy Bob Thornton. His film and TV work underscores his versatility and his ability to connect with audiences on different levels.

Recognition and Awards

Yoakam's accolades reflect his significant contributions to country music. He's a 21-time nominated, 2-time GRAMMY Award winner, has 12 gold albums, and nine platinum or multi-platinum albums. He was also the recipient of the Artist of the Year award from the Americana Music Association in 2013.

Despite these numerous awards and recognitions, his induction into the Country Music Hall of Fame remains noticeably absent. This oversight becomes even more glaring when one considers his influence, reach, and the depth of his contributions to the genre.

Dwight Yoakam's unique blend of honkytonk and rock, his influence on the industry and its artists, his commercial success, and his contributions beyond music make a compelling case for his induction into the Country Music Hall of Fame. His induction would not only recognize his contributions to the genre but also serve as a reminder of the diverse and innovative nature of country music.

Country music is about storytelling, passion, and breaking boundaries, and few have embodied these traits as consistently and as powerfully as Dwight Yoakam. To leave such a transformative figure outside the hall would be a significant oversight. It's time to hang Yoakam's cowboy hat in the hallowed halls of Nashville's Country Music Hall of Fame, where it rightly belongs.

Monday, April 3, 2023

Patty Loveless, Bob McDill and Tanya Tucker Elected To Country Music Hall of Fame

Singer Patty Loveless, songwriter Bob McDill, and singer Tanya Tucker are joining the Country Music Hall of Fame. Election to the Country Music Hall of Fame is country music's highest honor, and new members are elected annually by an anonymous panel of industry leaders chosen by the Country Music Association (CMA).

Tucker will be inducted into the “Veterans Era Artist” category, while Loveless will be inducted in the “Modern Era Artist” category. McDill will be inducted in the “Songwriter” category, which is in rotation with the “Recording and/or Touring Musician” and “Songwriter” categories, each coming up every three years.

The announcement was met with cheers from fans and industry professionals alike, as all three have long been favored for induction. Tucker and Loveless, in particular, have been talked up as should-be shoo-ins for their historical importance as leading women in the genre.

Hall of Famer Vince Gill hosted the press-conference reveal, which was carried live on the hall’s YouTube channel, joined by Country Music Association CEO Sarah Trahern. Gill had a personal or professional connection with all three nominees. Loveless quipped, “See there, Vince I told you it’d happen, that we were gonna sing together” – a reference that flew over the heads of almost everyone but the emcee. Gill subsequently explained, “That young kid there was at my second or third Fan Fair when I was doing an autograph line. She said, ‘Someday I’m gonna sing with you.’ I thought, ‘Right.’ Turned out to be about the best (singing) partner I ever had.”

Before the announcement, Trahern led the assembled in a moment of silence for the recent loss of Hall of Fame members Jeff Cook, Jerry Lee Lewis, and Loretta Lynn, as well as Hall of Fame staff members Peter Cooper and Liz Thiels.

The annual announcement of the Country Hall of Fame’s inductees is perhaps anticipated and taken even more seriously in the country community than the Rock and Roll Hall of Fame’s similar yearly announcement, if only because it selects its members in much smaller numbers than the Rock Hall, with only three or four coming in each year (and at least one of those usually a non-celebrity writer, session player, or exec, to boot). The waiting list of universally acknowledged greats who haven’t gotten in is arguably much longer, making it a truly prized honor no one in Nashville circles takes for granted.

Last year’s trio of inductees were Jerry Lee Lewis, Keith Whitley, and executive Joe Gallante. Lewis was alive and able to participate in the May 2022 press conference announcing his election, although he fell ill and was unable to attend the Oct. 16 medallion ceremony. He died less than two weeks after his induction became official, on Oct. 28.

Earlier in 2022, a belated medallion ceremony for the previous class of inductees was held in April, postponed due to the pandemic. That ceremony honored the Judds, Ray Charles, Eddie Bayers, and Pete Drake. That ceremony was quite emotional, as Naomi Judd died by suicide the day before the event, with her daughter Naomi showing up in the immediate wake of the tragedy to accept the award.

Nominees are not made publicly known, and voting is done among specially selected members of the music industry and artist community. These three honorees will join 152 others who have been inducted into the hall since it was instituted in 1961.

Sunday, January 30, 2022

Country Music Hall of Famer Hargus "Pig" Robbins Passes Away at 84

Again we have to pause and say farewell to a Country Music Hall of Fame member.  This time, it's Hargus "Pig" Robbins, who died this morning (January 30).

Robbins' daughter broke the news on Facebook on Robbins' page.  "Dad has been hospitalized twice in the last two months.  He suffered from a bacterial infection in his bloodstream, kidney disease, heart disease, etc.  It all became too much for his body to handle."

Blinded at age three in a knife accident, Hargus Melvin Robbins began playing piano at the age of seven.  While classically trained through the Tennessee School for the Blind, Robbins picked up the pop and jazz sounds in the 40s and early 50s.  He got his nickname "Pig" from, as he told the Country Music Hall of Fame, from sneaking out of class to play and would get "dirty as a pig."

Robbins' style was anything and everything.  He did the rollicking piano on "White Lightnin'" by George Jones, the subtle performance on Roger Miller's "Dang Me," and the Floyd Cramer-like soulfulness on Charlie Rich's "Behind Closed Doors."  

In addition to his country accolades, Robbins played on albums by acts as diverse as Bob Dylan, Gordon Lightfoot, Leon Russell, Rosemary Clooney, Aaron Neville, and Neil Young.  He toured as part of Young's band the "International Harvesters" in support of Young's 1985 country album Old Ways.

Dolly Parton told Rolling Stone that she wanted to use Robbins as the piano player on her upcoming album, but his health would not permit it.

Robbins' endless contributions to the sound of country music earned him his spot in the Hall of Fame in 2012.

Farewell to Pig Robbins, who was 84.

K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

Wednesday, November 11, 2020

New Music Video From Ashley McBryde - "You're Lookin' At Country" (Loretta Lynn Cover)

For the Country Music Hall of Fame and Museum’s Big Night (At the Museum) last week, Ashley McBryde sang in tribute to Loretta Lynn, playing “You’re Lookin’ at Country” on the 1956 J-50 Gibson guitar that Lynn’s husband, Doolittle Lynn, purchased for his wife in 1961, and that resides in the Country Music Hall of Fame's historic collection.

Wednesday, August 12, 2020

Hank Williams, Jr., Marty Stuart and Dean Dillon Named As 2020 Country Music Hall of Fame Inductees

This morning, the CMA announced the 2020 inductees for the Country Music Hall of Fame – Dean Dillon, Marty Stuart and Hank Williams Jr.

Dillon will be inducted in the “Songwriter” category, which is awarded every third year in rotation with the “Recording and/or Touring Musician” and “Non-Performer” categories. Stuart will be inducted in the “Modern Era Artist” category and Williams will be inducted in the “Veterans Era Artist” category.

“I couldn’t be more thrilled to welcome Dean, Marty and Hank Jr. into the unbroken circle and honor this revered milestone,” says Sarah Trahern, CMA Chief Executive Officer. “I’m sad we can’t toast this year’s class in person at the Country Music Hall of Fame, but I hope this news can bring some joy and cause for celebration during this time that our world has turned upside down. In particular, our hearts are with Hank and his family following the recent loss of his daughter, Katherine.”

“I was just speechless,” says Dillon. “Trying to soak in the words that I had just heard. My life flashed before my eyes. You could’ve knocked me over with a feather.”

“It is the ultimate honor in Country Music,” says Stuart. “I’m so honored to be included in this class and I’m honored to be included alongside Hank Jr. and Dean Dillon. I love those people. To be officially inducted into the Country Music Hall of Fame is beyond words. I’m usually not at a loss for words.”

“Bocephus has been eyeing this one for awhile. It’s a bright spot during a difficult year,” says Williams. “I have been making Top 10 records for 56 years. I fell off a mountain and tried to reinvent myself as a truly individual artist and one who stepped out of the shadows of a very famous man…one of the greatest. I’ve got to thank all those rowdy friends who, year after year, still show up for me. It’s an honor to carry on this family tradition. It is much appreciated.”

“In this, the most exclusive of music halls of fame, we now have three new deserving members,” says Kyle Young, Country Music Hall of Fame and Museum Chief Executive Officer. “One is the son of one of American music’s greatest masters who became a self-made master of his own. One is a child of tough-town Mississippi who became a force for togetherness, inclusion and righteous musicality. And the third is an East Tennessee kid who triumphed over a hard youth to write words and melodies that have enriched us all. In a year of turmoil, strife and dissent, this announcement is something all of us can cheer.”

Historically, CMA hosts a press conference in the famed rotunda of the Country Music Hall of Fame and Museum in Nashville to reveal the new class of inductees. Due to the COVID-19 pandemic, CMA traveled to Dillon and Stuart to capture their reaction.

Details regarding a formal induction ceremony for Dillon, Stuart and Williams will be released as information is available. Since 2007, the Museum’s Medallion Ceremony, an annual reunion of the Hall of Fame membership, has served as the official rite of induction for new members.

Monday, March 18, 2019

Brooks & Dunn, Ray Stevens and Jerry Bradley Elected to Country Music Hall of Fame

The Country Music Association held a press conference this morning to announce the 2019 inductees into the Country Music Hall of Fame – Jerry Bradley, Brooks & Dunn and Ray Stevens.

Bradley will be inducted in the “Non-Performer” category, which is awarded every third year in rotation with the “Recording and/or Touring Musician” and “Songwriter” categories. Brooks & Dunn will be inducted in the “Modern Era Artist” category, and Stevens will be inducted in the “Veterans Era Artist” category. “One of my favorite days of the year is when I get to tell the new class they are being inducted into the Country Music Hall of Fame,” said Sarah Trahern, CMA Chief Executive Officer. “This is the highest achievement in Country Music, and I couldn’t be more thrilled to welcome Jerry, Brooks & Dunn and Ray into the distinguished group and honor this incredible career milestone.”

“It’s really hard to put into words how it feels to hear you’re going into the Country Music Hall of Fame,” said Kix Brooks. “When you’re a huge fan of Country Music, there’s nothing more humbling. My idols are on that wall in there - Hank Williams, Johnny Cash, Waylon Jennings - so, to think that Ronnie and I are going to be placed beside those guys is probably one of the coolest things I could ever imagine happening. I’m not sure I’ll ever consider myself a peer because it’s not something that you think about…I just never even dreamed quite that big.”

“This means so much to us and I will be honored to accept it, but I still don’t think I’m ever gonna be able to believe it!” added Ronnie Dunn.

“I am surprised and emotional knowing that I’ll be joining my dad and uncle in the Hall,” expressed Bradley. “I was glad that Sarah Trahern and Tom Collins came to my house to bring me the good news.”

“I am seldom at a loss for words but when they told me I was going to be inducted into the Country Music Hall of Fame, I was thoroughly caught by surprise,” said Stevens. “What a great honor to be included in the company of the people who are already members. When I heard the news, I was speechless and all I can say is, ‘It don’t get no better than this!’”

A formal induction ceremony for Bradley, Brooks & Dunn and Stevens will take place at the Country Music Hall of Fame® and Museum in the CMA Theater later this year. Since 2007, the Museum’s Medallion Ceremony, an annual reunion of the Hall of Fame membership, has served as the official rite of induction for new members.

“This year’s class of inductees includes a visionary executive, a remarkable songwriter, producer, performer, and publisher, and the most-successful Country Music duo in history,” said Kyle Young, Country Music Hall of Fame and Museum Chief Executive Officer. “Jerry Bradley, Ray Stevens, and Brooks & Dunn have earned Country Music’s highest honor. It has been my privilege to watch and listen as they forged indelible marks.” 

Monday, February 25, 2019

Country Music Hall of Famer Mac Wiseman Passes Away at 93

K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

In less than two months the Country Music Hall of Fame has lost its fourth member. Mac Wiseman, the legendary singer, dubbed "Voice With a Heart," died Sunday (2/24). He had been suffering from kidney failure in the last weeks of his life.

Malcom Bell Wiseman was born in 1925 in Virginia. Stricken with polio as a child, he learned to play guitar, and music became his primary interest. His first appearance on record came as the bass player on Molly O'Day's classic "The Tramp on the Street" in 1946.

Wiseman also worked in radio, where he would sing and play records. Lester Flatt and Earl Scruggs heard him on the radio and asked him to join their band. From there he later became a member of Bill Monroe's Blue Grass Boys before striking out on his own in 1951.

Although usually considered "bluegrass" Wiseman had a number of songs on the singles chart. His highest charting song was the classic "Jimmy Brown the Newsboy," although he also had a top 40 country hit with the novelty Cy Coben-penned song "Johnny's Cash and Charley's Pride" (with lyrics that were puns of country singers' names: "If I had Johnny's paycheck Charlie'd walk'er home from work no more").

In addition to his decades of work as a recording artist, Wiseman was also very active behind the scenes. In 1958 he became the first treasurer of the Country Music Association, the organization that would later create the Country Music Hall of Fame. He was inducted in 2014. Additionally, he helped charter the International Bluegrass Music Association. His close association with bluegrass throughout his career led him to be part of the third class of inductees into the Bluegrass Music Hall of Fame.

People have often asked me what my favorite concert was. It came in 1995, at MerleFest. It was hardly a "concert" in the traditional sense (as anyone who's ever been to MerleFest, or any bluegrass festival, will attest), but it was the memorable thing I've ever witnessed in music. Mac Wiseman was on a stage in a tent near the main grounds, entertaining the Saturday pre-lunch crowd. One of the individuals enjoying Wiseman's wonderful voice was Doc Watson, the founder of the festival. After Wiseman left the stage he sat down on a stool next to Watson, and the two spent the next 45 minutes swapping stories and songs, passing Wiseman's guitar between them. Totally impromptu, totally unscripted, and totally mesmerizing.

The song that's probably most closely tied to Mac Wiseman is "'Tis Sweet to Be Remembered." That sweet voice will always be remembered.

Mac Wiseman was 93.

Friday, February 22, 2019

Country Music Hall of Famer Fred Foster Passes Away at 87


K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

For the third time this year, we need to pause and remember a Country Music Hall of Fame great.

Fred Foster, the guiding force behind Monument Records, died Wednesday (2/20) in Nashville. He had been in weak health for a number of years.

The greatest legacy of Fred Foster is his ear for talent. While he worked for Mercury Records in the mid-50s he heard a young man who was on the rockabilly Sun label and begged his superiors to sign the singer. Mercury passed on Elvis Presley, and the rest is history.

Maybe that failure led Foster to believe he could run a label better, so in 1958 he took every penny he had and formed Monument Records, with the logo showing a replica of the Washington Monument. Determined not to let the same mistake happen again, Foster signed another fledgling artist on Sun: Roy Orbison. From there, Foster's skills helped launch or improve the career of a number of country (Billy Walker, Billy Grammer) and rock (Tony Joe White) acts.

His two biggest successes, however, came with the discovery of an east Tennessee songbird named Dolly Parton and a Texas Army veteran named Kris Kristofferson.

Parton's early hit "Dumb Blonde" was released on Monument and produced by Foster. After her first two albums on Monument she moved on to RCA Victor and international superstardom.

Kristofferson's legacy may be linked to the infamous story about him landing a helicopter on Johnny Cash's lawn to pitch "Sunday Morning Coming Down" to Cash, but it was Fred Foster who first signed Kristofferson to a publishing, and later recording, deal. Foster was also the one who suggested that Kristofferson incorporate the name of one of the secretaries in the building, Bobbie McKee, into a song. Kristofferson's "Me and Bobbie McGee" is one of the most important songs in country and rock (thanks to Janis Joplin's cover).

Foster never slowed down, producing the Grammy-winning Last of the Breed album with Willie Nelson, Ray Price, and Merle Haggard in 2007. In 2016 Foster produced a tribute album to Ray Price. That year Foster was inducted into the Country Music Hall of Fame in the rotating "non-performer" category for his decades of service to country music as a producer, publisher, and promoter.

"I am heartbroken that my friend, Fred Foster, has passed on," Dolly Parton said in a statement. "Fred was one of the very first people to believe in me, and gave me chances no one else would or could."

Fred Foster was 87.

Friday, February 1, 2019

Country Music Hall of Famer Harold Bradley Passes Away at Age 93


K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

The Country Music Hall of Fame has suffered its second loss in January with the death of Harold Bradley.

The legendary A Team session guitarist, who played on thousands of sessions, died Thursday morning (1/31) in his sleep, according to his daughter's post on Facebook.

Harold Ray Bradley was, is, and ever shall be a "musician's musician." Born in Nashville, he served in the Navy in World War II before majoring in music at Peabody College. His first instrument was banjo, but brother and fellow Hall of Fame inductee Owen (they are the only brothers in the Hall of Fame not inducted as a performing act) convinced him to switch to guitar.

The music world was better for it. Bradley's guitar work ranged from simple, subtle rhythm on songs like Roy Orbison's classic hit "Running Scared" to the driving rhythm of Don Gibson's "Sea of Heartbreak." Whether it was country, pop (he did sessions with the likes of Paul Anka, Perry Como, and Ann-Margaret), rock (Elvis, Orbison, Leon Russell), or R&B (Brook Benton, Ivory Joe Hunter), Harold Bradley's work was exactly what a song needed, and nothing more.

In addition to his work as a session man, Harold and Owen were producers (although Owen was the far more successful of the two in that regard) and businessmen. In 1954 the two opened the Bradley Film and Recording Studio. That became internationally known as "The Quonset Hut," and it changed both country music (with the "Nashville Sound") and the area where it was located (16th Avenue), transforming it into "Music Row."

Owen Bradley, who died in January 1998, was inducted into the Country Music Hall of Fame in 1974. Harold's induction came in 2006 in recognition for his long, illustrious career as one of country music's most consistent session men.

Harold Bradley was a longtime friend of the International Country Music Conference. I was honored to meet him on a number of occasions when he served as a panelist for Studio B keynote sessions that focused on the great history of country music that happened in that studio, and in Nashville in general. One of my most treasured memories was when he sat on the piano bench, cradling his guitar, and moderator and Country Music Foundation librarian John Rumble played "Running Scared," the great Roy Orbison song that Bradley had provided the guitar work for in 1960. In the studio, as the recorded version began to play, Bradley strummed along with the work he had created 50 years earlier.

Farewell to the great Harold Bradley, who was 93.

Sunday, January 27, 2019

Country Music Hall of Famer Maxine Brown Passes Away at Age 87

K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

Back in the late 2000s I saw Jim Ed Brown at the Midnite Jamboree. At the autograph/meet & greet after the show I told Jim Ed how much I wished the Browns would get inducted into the Country Music Hall of Fame.

Brown smiled shyly, then said, "Well, if they're gonna do it, I wish they'd do it soon, because Maxine's health isn't good."

Who would know that Maxine Brown, the eldest of the singing trio that finally got that Hall of Fame induction in 2015, would outlive her two performing siblings. Today comes the sad word that Maxine Brown has joined her famous brother and sister in death. Maxine passed away earlier this week (1/21) in a Little Rock hospice with her family at her side. She had been suffering from heart and kidney issues.

Maxine, along with younger brother Jim Edward, burst onto the country music scene in 1954 with a song that they wrote inspired by their youngest sister, Norma, excitedly trying to explain something to them and getting her words jumbled up. That song was "Looking Back to See." In addition to becoming the first brick in the road that would lead the Browns to the Country Music Hall of Fame "Looking Back to See" became one of the more popular songs for duos to record, with acts such as Justin Tubb and Goldie Hill and Buck Owens and Susan Raye also scoring charted hits with the song. (The rhythm guitarist on the Browns' recording was Jim Ed's friend and Abbott Records label mate, Jim Reeves. Reeves would later successfully lobby RCA Victor to sign the Browns.)

After Bonnie graduated from high school she joined her older siblings and "The Browns" became the legendary trio that we remember. While there were many pit stops along the way in the 1950s (most notably, Jim Ed's Army service), the trio built a career with songs such as "I Heard the Bluebirds Sing" and the Ira and Charlie Louvin composition "I Take the Chance."

With the advent of rock and roll in the mid 50s the Browns' career waned significantly, along with many other country stars. They were about to call it a career when they recorded "The Three Bells." From there, the floundering career soared to new heights, with the song topping country, easy listening, and "hot 100" charts.

In the mid-60s the family career ended, with Maxine singing lead on their final single release, "Big Daddy." Bonnie and Maxine left to be with their young families, while Jim Ed continued with a successful solo and duet (Helen Cornelius) career.

The Browns would reunite on occasion at the Grand Ole Opry, including one memorable weekend in 2009, when the 50th anniversary of the release of "The Three Bells" was celebrated.

In 2005 Maxine penned a bestselling autobiography, Looking Back to See, about her career in country music, focusing on the trials of performing in the 50s. The book won the Ella Dickey Literary Award.

Shortly after the 2015 announcement that the Browns were being inducted into the Country Music Hall of Fame Jim Ed died of lung cancer. At the medallion ceremony later that year Bonnie announced that she, too, had lung cancer (although she never smoked). She passed away two weeks before her birthday in 2016.

And so closes the book on another legendary country music act. The three bells -- Jim Ed, Maxine, and Bonnie -- ring no more on earth. Oh, what a legacy they left us.

Maxine Brown was 87.

Wednesday, March 28, 2018

Johnny Gimble, Dottie West & Ricky Skaggs Inducted Into Country Music Hall of Fame

K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

Today (3/27) it is overcast and gloomy, but the new Hall of Fame inductees are shining so brightly it takes away the cloud cover. The class of 2018 was announced this morning, and I am thrilled beyond measure to present the list of inductees.

MUSICIAN: JOHNNY GIMBLE. Known initially as a member of Bob Wills' Texas Playboys, Gimble's career branched out to include his trademark fiddle work on countless albums. He was featured on Merle Haggard's tribute album to Wills, as well as working as a road musician for Willie Nelson and a session man for George Strait. Later he was a member of the Hee Haw "Million Dollar Band." Gimble died in 2015, but what a legacy he left.

VETERANS ERA: DOTTIE WEST. Country music's first female Grammy winner, the late Dottie West had been one of the most overlooked performers on the list of "veterans era" performers. That came to an end today, over 26 years after her tragic death from injuries in a car wreck on her way to an Opry performance. A songwriter, a singer, and a dynamic performer, West was one of the unsung female heroes in country music who helped pave the way for the women singers today. Now, she has received the recognition she so richly deserved.

MODERN ERA: RICKY SKAGGS. From eastern Kentucky (along the famed "Country Music Highway"), Skaggs learned a love of bluegrass at a very early age...and showed it off at an equally early age, playing on Flatt & Scruggs' TV show. His career has covered bluegrass in the 70s with J.D. Crowe, a band musician in the late 70s and early 80s as part of Emmylou Harris' "Hot Band," his own string of country successes in the 80s as one of the champions of the "neo-traditional sound" revival, and his return to his bluegrass roots in the 90s through today.

Thank you, Hall of Fame. What a remarkable class for 2018.
 





Saturday, August 19, 2017

Country Music Hall of Fame Member Jo Walker-Meador Passes Away At 93

K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

The Country Music Hall of Fame has lost a second Hall of Fame members this month. More significantly, with the passing of Jo Walker-Meador, the Hall of Fame lost the woman who could rightfully be called its mother.

Walker-Meador died Wednesday (8/16) of a stroke in Nashville. Her death comes nine days after the passing of Glen Campbell from Alzheimer's disease.

Her birth name was Edith Josephine Denning, when she came into the world in 1924. In 1958 Harry Stone hired Walker-Meador as an office manager for a new organization called the Country Music Association. By 1962 she was the executive director of the CMA.

In her tenure she oversaw the development of things that we take for granted today: the CMA awards, CMA Fan Fest, and most significantly, the Country Music Hall of Fame. The 1950s may have been the "golden era" of the music, but Jo Walker-Meador helped make the country music industry a formidable and respectable business in the 60s and beyond.

Walker-Meador stepped down in 1991. In 1995, the Hall of Fame that she helped make a reality inducted her as a significant industry individual for her vital contributions to country music.

Farewell to Jo Walker-Meador, who was 93.

Tuesday, February 16, 2016

A Case For The Class of 2016 Country Music Hall of Fame Selection

Election to the Country Music Hall of Fame is country music's highest honor. The Country Music Association (CMA), the country music industry's trade organization, created the accolade to recognize significant contributions to the advancement of country music by individuals in both the creative and business communities. The first members-Jimmie Rodgers, Fred Rose, and Hank Williams-were inducted in 1961.

It’s also quite possibly one of the more debatable arguments in country music. Each time a column is posted here, omissions are complained about and oversights are pleaded. And as we turn the page, let’s start the debate on who will be selected for this year’s class- traditionally announced in early Spring.

In 2009, the Hall changed the way it categorizes its selectees. Three new members will continue to be inducted every year, with one each coming from the new categories, which will be renamed and defined as follows:
Modern Era: An artist becomes eligible for induction in this category 20 years after they first achieve national prominence. They will remain eligible for that category for the next 25 years. This replaces the former “Career Achieved National Prominence Between 1975 and the Present” category.
Veterans Era: An artist becomes eligible for induction in this category 45 years after they first achieve national prominence. This combines the former “Career Achieved National Prominence Between World War II and 1975″ (which was voted on annually) and “Career Achieved National Prominence Prior to World War II” (which was voted on every third year in rotation) categories into one.

Rotating Categories: The third slot will continue to be a rotating category, with each group in the spotlight every third year. The Recording and/or Touring Musician and Non Performer slots will remain, joined by a new Songwriter category. 2016’s selection will come from the non-performer category.
These are the ones that I believe should be inducted- and hopefully not posthumously for those still alive on this list.

10. John Denver- Might as well start with the most controversial first. In 1975, previous Country Music Association Entertainer of the Year Charlie Rich set fire to Denver’s winning envelope rather than announce the win. Some considered it a statement against country pop and the Music Row-controlled Nashville Sound. But looking closer, he was one of the top album sellers in the 70’s, won several country music awards, 2 Grammys, and his hits “Take Me Home”, “Rocky Mountain High” and “Thank God I’m A Country Boy” are sing-along standards.

9. Jerry Reed- The CMHOF has a history of inviting comedians and actors (Minnie Pearl) and Jerry Reed belongs in. Jerry Reed, was an country music singer, country guitarist, session musician, songwriter and actor who appeared in over a dozen films. As a singer, he may be best known for Amos Moses, and When You're Hot, You're Hot, for which he received a Grammy in 1972 and East Bound and Down, the theme song to the film Smokey and the Bandit in which he portrayed the "Snowman", Cledus Snow.

8. Kenny Chesney- It's hard to imagine that he's old enough to qualify for the Country Music Hall of Fame, but it was 20 years ago that Kenny Chesney released his first major label album with BNA. Chesney has been country music’s biggest and most-active stadium draw for the last decade or so, sold 30 million albums and has had over 30 Top 10 singles.

7. Charlie Daniels- The man who made southern country/rock a new genre, he should be in for his fiddling ability alone. “The Devil Went Down To Georgia” is quite possibly the most recognizable country song ever recorded- he’s been a music hero for close to 40 years.

6. The Judds- As one of the most successful acts in country music history, Wynonna and Naomi Judd won five Grammy Awards for Best Country Performance by a Duo or Group with Vocal, and eight Country Music Association awards. The duo also charted twenty-five singles on the country music charts between 1983 and 2000, fourteen of which went to Number One and six more of which made Top Ten on the same chart.

5. Randy Travis- Travis has recorded more than a dozen important studio albums and single-handedly started the neo-traditionalist movement in the 80’s. He charted more than thirty singles on the Billboard Hot Country Songs charts, of which sixteen have reached Number One. He's gone through some significant health issues over the past couple of years which could influence the sentimental vote or mentally cause the voters to wait a couple more years as he continues to heal.

4. Dallas Frazier - Frazier is the songwriter’s songwriter. His tunes were recorded by George Jones (who recorded an entire album of Frazier's songs in 1968), Engelbert Humperdinck, Jerry Lee Lewis, Jack Greene, Connie Smith (who also recorded an entire album of Frazier's songs in 1972), Willie Nelson, Brenda Lee, Carola, Charley Pride, Merle Haggard, Gene Watson, Elvis Presley, Moe Bandy, Roy Head, Rodney Crowell, Dan McCafferty, and Ronnie Hawkins. Many of the songs became hits into the 1980s; examples include the Oak Ridge Boys cover of "Elvira" and Emmylou Harris's version of "Beneath Still Waters". Anne Murray with Glen Campbell, George Strait, Randy Travis, and Patty Loveless have all also recorded Frazier tunes.

3. Sydney Nathan - Who, you say? My friend, author and country music historian KF Raizor says it best:  "In the early 40's the hotbed of country music wasn't Nashville, it was Cincinnati.  While publishing companies and record labels pooh-poohed the idea of signing "hillbilly" singers or, worse, publishing their songs, Syd Nathan used his keen businessman's sense and noticed that "hillbilly" records were selling very, very well in his Cincinnati record store.  With a deep well of talent to draw from in the area (including future hall of famers Merle Travis, Grandpa Jones, Homer & Jethro, and the Delmore Brothers, and should-be hall of famers such as Moon Mullican and Cowboy Copas), Sydney Nathan founded the nation's first all-hillbilly music label in 1943, King Records.  Nathan has been inducted into the Rock and Roll Hall of Fame for the label's work with pioneering R&B acts such as James Brown, and into the Bluegrass Hall of Fame because of the presence of the Stanley Brothers and Reno & Smiley.  He did much more for country music than either of those genres, and yet he continues to be ignored by the genre of music he helped popularize thanks to easy access to recordings." With this being the non-performer category, it could be Nathan's turn.

2. Alan Jackson- An accomplished songwriter, Jackson wrote much of his first album, which remained on the U.S. country charts for more than a year. His next two albums, Don't Rock the Jukebox (1991) and A Lot About Livin' (and a Little 'Bout Love) (1992) were even bigger hits, spawning five No.1 singles each. Notable among these hits were "Love's Got a Hold on You," "Midnight in Montgomery" (Jackson's tribute to the legendary country star Hank Williams), and "Chattahoochee." With the 1994 release of his fifth album, Who I Am, Jackson's record sales reached a total of over 10 million. Throughout the course of his career, Jackson has been honored with over 45 awards from organizations like the Academy of Country Music (ACM) and the Country Music Association (CMA). He released his Greatest Hits album in 1995 and won eight major awards, including CMA Entertainer of the Year.

1. Hank Williams, Jr.- He is another long overdue selection. He had two careers, each of them probably worthy of induction. His early standards Eleven Roses are just as HOF-worthy as his later standards like Family Tradition. His discography consists of fifty-six studio albums and twenty-two compilation albums. He has released 106 singles and twenty-four music videos. Eleven of his singles have reached Number One in either the United States or Canada. Hank Williams Jr. has sold more than 70 million albums world-wide. Put him in with a plaque right next to his father.

Consideration should also be given to June Carter Cash, Dottie West, Dwight Yoakam, the Wilburn Brothers, Paul Overstreet, Linda Ronstadt, Larry Gatlin, the Stanley Brothers, Johnny Horton, Ricky Skaggs, Alison Krauss & Union Station (someday), Crystal Gayle, Charlie Rich, Rose Maddox, Tanya Tucker, Anne Murray, Crystal Gayle and Brooks and Dunn. Hopefully, all will eventually be elected.

Wednesday, March 25, 2015

The Browns, Grady Martin and the Oak Ridge Boys Make 2015 Country Music Hall of Fame Class

The Country Music Association announced three newly elected inductees to the Country Music Hall of Fame.  Jim Ed Brown and the Browns will be inducted in the Veteran’s Era category.  The late Grady Martin will be inducted as a Recording and/or Touring Musician active prior to 1980.  The Oak Ridge Boys will be the 2015 inductee in the Modern Era category.

These artists will be inducted during a special Medallion Ceremony at the Country Music Hall of Fame and Museum in the CMA Theater later this year. During the Medallion Ceremony, friends and colleagues pay tribute to each inductee through words and song. Bronze plaques honoring each inductee are unveiled, to be displayed later in the museum’s Rotunda.

For more than sixty years, Jim Ed Brown has maintained a solid reputation as a versatile country performer, radio and television host, and recording artist. On the air, on disc, and in personal appearances, he has extended the smooth-singing tradition established by country stars such as Red Foley, Eddy Arnold, and Jim Reeves. With the Browns—a trio he formed with sisters Maxine and Bonnie—as a solo artist, and as a duet singer, he placed hits in the country charts from 1954 into the early 1980s. Through his recordings and his performances on the Grand Ole Opry, many of these hits have become standards.

James Edward Brown began singing with his sisters in school programs and at church functions when the siblings were teenagers in southwestern Arkansas. In 1952, Maxine entered Jim Ed in a talent contest organized by radio station KLRA in Little Rock, on the program Dutch O’Neal’s Barnyard Frolic. Although a harmonica player took first prize, Jim Ed was asked to join the cast, Maxine quickly followed suit. Within two years, the duo was singing on the regionally prominent Louisiana Hayride, broadcast by Shreveport radio outlet KWKH. Using a KWKH studio, Maxine and Jim Ed recorded their original song “Looking Back to See” for Fabor Records, in March 1954. That summer the record became a Top Ten hit on Billboard’s country charts. Soon Jim Ed and Maxine moved up to KWTO’s Ozark Jubilee in Springfield, Missouri.

After Bonnie joined the act in 1955, the trio’s rendition of “Here Today and Gone Tomorrow” also cracked Billboard’s country Top Ten. RCA Records, one of the music industry’s major labels, signed the Browns, and during 1956–57, they scored Top Five hits with “I Take the Chance” and “I Heard the Bluebirds Sing.”

Legendary guitarist Grady Martin was a member of Nashville’s original “A-Team” of studio musicians. Whether playing the fiddle or the guitar—electric, acoustic, or six-string electric bass—his versatility and creativity helped to make hits of many records from the 1950s through the 1970s.
Thomas Grady Martin was fifteen when he became the fiddler for Nashville’s Big Jeff & the Radio Playboys. In 1946 Martin briefly joined Paul Howard’s western swing-oriented Arkansas Cotton Pickers as half of Howard’s “twin guitar” ensemble, along with Robert “Jabbo” Arrington. After Howard left the Grand Ole Opry, Opry newcomer Little Jimmy Dickens hired several former Cotton Pickers as his original Country Boys band. Martin backed Dickens in the studio, though he seldom toured with Dickens.

Martin’s role as studio guitarist yielded numerous memorable moments. It was he who played the throbbing leads on Johnny Horton’s 1956 hit “Honky-Tonk Man” and the exquisite acoustic guitar fills on Marty Robbins’s 1959 crossover smash “El Paso” and Lefty Frizzell’s 1964 hit “Saginaw, Michigan.” One of his most famous sessions involved an accidental preamplifier malfunction, when Martin played the distorted “fuzz” guitar solo on Robbins’s 1960 hit “Don’t Worry.” Producers often designated Martin as “session leader,” which meant that he directed the impromptu arrangements that became a trademark of Nashville recording and often became the de facto producer. Columbia A&R man Don Law used Martin in this capacity for years.

Martin continued to play sessions through the 1970s, working extensively with Conway Twitty and Loretta Lynn, and producing country-rock band Brush Arbor. His signature lead parts helped to make a hit of Jeanne Pruett’s 1973 “Satin Sheets.” Martin eventually returned to performing, first with Jerry Reed and then with Willie Nelson’s band, with whom he worked from 1980 to 1994.

By injecting gospel-based, four-part harmonies and exciting live shows into country music, the Oak Ridge Boys helped pave the way for the many vocal groups that followed them. From 1977 to 1987, with a lineup of Duane Allen, lead; William Lee Golden, baritone; Richard Sterban, bass; and Joe Bonsall, tenor – they notched twenty-six Top Ten hits (including fifteen #1s), sold millions of records, won numerous industry awards, filled top-tier performance venues, and notched Top Twenty pop hits with “Elvira” and “Bobbie Sue.”

Prior to 1977, the Oaks had been a gospel act for more than thirty years. They began in 1945 as the Oak Ridge Quartet, a gospel ensemble within Wally Fowler’s country group, the Georgia Clodhoppers. The original quartet consisted of Fowler, lead; Curly Kinsey, bass; Lon “Deacon” Freeman, baritone; and Johnny New, tenor. They joined the Grand Ole Opry in September 1945.
In 1962, the Oak Ridge Quartet became the Oak Ridge Boys. Golden joined the group in 1965, Allen in 1966, Sterban in 1972, and Bonsall in 1973. By then, they had won a dozen gospel music Dove Awards as well as a Grammy. They signed with Columbia Records to broaden their audience, but three albums of “message” music produced two singles that didn’t make the country charts. Having removed themselves from the gospel world, the Oaks were struggling mightily to make waves in commercial country music.

Conventional industry wisdom held that there was room for only one gospel-rooted vocal quartet in country music (the Statler Brothers), but record executive Jim Foglesong was impressed with the Oak Ridge Boys’ versatility and range, and he signed them to ABC/Dot (later absorbed by MCA) in 1977. The group’s initial ABC/Dot single, the Sharon Vaughn-penned “Y’all Come Back Saloon,” was a country radio hit that sparked a remarkable run that included chart-toppers such as “I’ll Be True to You,” “Leaving Louisiana in the Broad Daylight,” “American Made,” “Fancy Free,” I Guess It Never Hurts to Hurt Sometimes,” and “Touch a Hand, Make a Friend.”

In 1987, William Lee Golden was replaced by Steve Sanders, a former child star in gospel music who was, at the time, the rhythm guitarist in the Oaks’ band. In 1996, Golden returned to the group, which remains a touring and recording force.