Tony Bennett's Unexpected Connection to Country Music

Some musical legends transcend genres, creating ties that reach far beyond their initial, categorial boundaries. Tony Bennett, known worldwide as one of the titans of pop and jazz standards, is undeniably one of these giants. Beyond his timeless classics such as "I Left My Heart in San Francisco" and "The Good Life," the late, great singer has an intriguing and less well-known connection to country music.

Though Bennett was never defined by a country music identity, he never boxed himself into one genre. A true musician in every sense, his appreciation for the art form of music spanned across genres, cultures, and decades. He was a universal voice, a true songbird with an enduring admiration for other artists irrespective of their musical inclinations. This inclusivity inevitably led to his enduring ties with the realm of country music.

Tony Bennett's first significant connection with country music was his friendship and mutual respect with the "King of Country," Hank Williams. The two legends' worlds collided in the 1950s, and they shared a mutual admiration for each other's unique talents. Bennett was often quoted talking about his respect for Williams's songwriting abilities, even recording his version of Williams' heartbreakingly beautiful song, "Cold, Cold Heart."

The cover, which was released in 1951, brought an unprecedented fusion of jazz and country. While the purists from both sides initially met it with skepticism, the public embraced this cross-genre experiment. "Cold, Cold Heart" became one of Bennett's earliest hits, a testament to his uncanny ability to elevate a song beyond its origins and turn it into something universal.

Following the success of "Cold, Cold Heart," Bennett continued to incorporate country elements into his music. He appreciated the storytelling inherent in country music, and his approach to song interpretation was deeply influenced by this narrative focus. He made no secret of his love for country music and often cited its impact on his vocal style and song choice.

Moreover, Bennett's collaborations with country artists further cemented his relationship with the genre. His work with the likes of Willie Nelson, Carrie Underwood, and Faith Hill was a testament to his belief in music's unifying power. His duet album, "Duets II," featuring Willie Nelson on the track "On The Sunny Side Of The Street," is a delightful example of how Bennett's voice could harmonize with the country twang. He was a singer's singer, able to match his vocals with artists of any genre, and his collaborations are reflective of this ability.

Bennett's unending respect for all music forms extended into his personal life as well. He famously embraced all genres, attending country music concerts and often praising up-and-coming country artists in interviews. Even in his later years, Bennett remained an enthusiastic supporter of country music, often seen singing along at awards shows or speaking fondly of his friendships with country stars.

Tony Bennett's ties to country music showcase the universal appeal of his talent and the inclusive nature of his musical philosophy. His genre-transcending collaborations and cross-genre covers are an important part of his legacy, demonstrating that good music can and should be appreciated regardless of its roots. While we mourn the loss of this incredible artist, we also celebrate his diverse musical influences, including his unexpected yet significant connection to country music. As we revisit Bennett's illustrious career, let us remember him as the versatile and unifying force he was - a musical legend who understood the true meaning of harmony in every sense of the word.

Honky-Tonk Revolution: Exploring the Ten Most Influential Country Music Songs of the 1950s

The 1950s marked a turning point for country music, with the genre experiencing a significant transformation. It was during this time that country music began to gain popularity beyond its traditional rural audience, reaching a broader urban audience and setting the stage for its eventual mainstream success. In this article, we delve into the ten most influential country music songs released during this remarkable decade, examining both the songs and the talented artists who brought them to life.

"I Walk the Line" - Johnny Cash (1956):

Johnny Cash's "I Walk the Line" is an iconic country song that remains a timeless classic. With its distinctive, steady rhythm and Cash's deep, resonant vocals, the song explored themes of loyalty and devotion. Its crossover success appealed to a wider audience, breaking the boundaries of traditional country music.

"Crazy Arms" - Ray Price (1956):

Ray Price's "Crazy Arms" revolutionized the country music scene by introducing the "Nashville Sound." Price's smooth, velvety voice combined with lush arrangements and a prominent steel guitar created a new sound that paved the way for future artists. "Crazy Arms" was one of the first country songs to incorporate elements of pop, ultimately bridging the gap between genres.

"Blue Suede Shoes" - Carl Perkins (1956):

Although primarily associated with rock and roll, Carl Perkins' "Blue Suede Shoes" had a significant impact on the country music landscape. This infectious song showcased Perkins' exceptional guitar skills and catchy lyrics. Its energetic rhythm influenced countless country artists and became a cornerstone in the development of rockabilly.

"Your Cheatin' Heart" - Hank Williams (1952):

Hank Williams, one of country music's most enduring legends, left an indelible mark on the genre with his emotional ballad "Your Cheatin' Heart." The song captures the pain of a broken heart with Williams' distinctive vocal style and heartfelt lyrics. Its timeless quality has made it a country music standard, inspiring generations of artists to explore the depths of human emotions.

"Folsom Prison Blues" - Johnny Cash (1955):

Johnny Cash's rebellious spirit and raw storytelling ability shone through in "Folsom Prison Blues." This song not only resonated with the outlaw country movement of the 1960s but also captivated audiences in the 1950s. With its dark narrative and Cash's signature booming voice, "Folsom Prison Blues" brought a gritty realism to country music and solidified Cash's place as a trailblazer.

"The Battle of New Orleans" - Johnny Horton (1959):

Johnny Horton's "The Battle of New Orleans" combined history with a catchy melody, recounting the famous War of 1812 battle. The song's upbeat tempo, vivid storytelling, and Horton's spirited vocals made it a commercial success, demonstrating the power of narrative-driven country music.

"I'm Movin' On" - Hank Snow (1950):

Hank Snow's "I'm Movin' On" showcased the power of country music as a vehicle for storytelling. The song follows the journey of a man leaving a troubled relationship, with Snow's distinctive voice and vivid lyrics taking the listener on a musical odyssey. It became a crossover hit, reaching both country and pop charts, and cementing Snow's status as a country music pioneer.

"Sixteen Tons" - Tennessee Ernie Ford (1955):

Tennessee Ernie Ford's "Sixteen Tons" became a cultural phenomenon, tackling the plight of the working class. Ford's rich baritone and the song's iconic opening line, "You load sixteen tons, what do you get?" resonated with audiences, shining a light on the hardships faced by blue-collar workers. The song's social commentary and Ford's powerful delivery made it a significant influence on country music's storytelling tradition.

"Heartbreak Hotel" - Elvis Presley (1956):

While Elvis Presley is primarily known as a rock and roll pioneer, his early music drew heavily from country roots. "Heartbreak Hotel" introduced Presley's unique blend of country, blues, and rockabilly, creating a sound that transcended genres. Its enormous success had a profound impact on the country music landscape, inspiring countless artists to experiment with different styles and push boundaries.

"Walkin' After Midnight" - Patsy Cline (1957):

Patsy Cline's haunting voice and captivating delivery made "Walkin' After Midnight" an instant classic. The song's blend of country, pop, and R&B elements brought a unique sound to the genre, laying the foundation for Cline's legendary status and influencing generations of female country artists.

The 1950s witnessed a transformative period in country music, with artists pushing boundaries and reshaping the genre. From Johnny Cash's rebellious anthems to Hank Williams' heart-wrenching ballads, these ten influential songs from the era paved the way for future generations of country artists. They helped country music gain wider acceptance and laid the foundation for the diverse sounds and narratives that continue to define the genre today. By capturing the essence of American life and emotions, these songs and artists forever hold a significant place in the rich tapestry of country music history.

The Timeless Legacy: Unraveling the Historic Importance of 3/4 Time in Country Music

Country music, with its heartfelt lyrics and melodic tunes, has always held a special place in the hearts of listeners around the world. Within this beloved genre, certain musical elements have emerged as defining characteristics, contributing to the distinctive sound and emotional depth of country songs. Among these, the historic importance of 3/4 time, also known as waltz time, stands tall. In 3/4 time, each measure consists of three quarter note beats. People usually count 3/4 time by saying “one-two-three, one-two-three, one-two-three, one-two-three”. With its graceful rhythm and evocative sway, 3/4 time has played an instrumental role in shaping the essence and storytelling nature of country music. Let us embark on a journey through time to explore the profound impact of 3/4 time in the realm of country music.

A Melodic Journey

3/4 time traces its roots back to the Viennese waltz, a popular dance form originating in the late 18th century. As settlers from Europe brought their cultural traditions to the American frontier, the waltz made its way across the ocean and merged with the vibrant tapestry of American folk music. It was during this fusion that 3/4 time found its place in the evolving soundscape of country music.

Capturing Emotion

One of the remarkable qualities of 3/4 time is its ability to encapsulate a wide range of emotions. By its very nature, the waltz rhythm lends itself to a graceful and flowing movement, inviting listeners to sway and feel the music on a visceral level. In the context of country music, this rhythmic structure has proven to be an ideal vehicle for conveying sentiments of longing, heartache, and nostalgia. From Hank Williams' "I'm So Lonesome I Could Cry" to Patsy Cline's "Crazy," countless country classics have harnessed the power of 3/4 time to evoke profound emotional connections with audiences.

Storytelling through Verse

Country music has long been celebrated for its narrative prowess, transporting listeners to vivid scenes and relatable tales. The 3/4 time signature, with its unhurried pace and natural ebb and flow, provides a fertile ground for storytelling. It allows songwriters to paint detailed pictures, weave intricate narratives, and dive deep into the complexities of human experiences. The timeless beauty of Dolly Parton's "Jolene" and the bittersweet saga of Johnny Cash's "Ring of Fire" are just a couple of examples that demonstrate the symbiotic relationship between 3/4 time and storytelling in country music.

Honoring Tradition

While country music continues to evolve with the passing of time, it remains deeply rooted in tradition and reverence for its origins. The presence of 3/4 time in country songs pays homage to the genre's historical foundations and serves as a reminder of its rich heritage. By incorporating this classic time signature into contemporary compositions, artists both honor the past and create a sense of familiarity and comfort for their audiences.

Examples

Here are a few notable songs in country music that utilize the 3/4 time signature:
"I Will Always Love You" by Dolly Parton (also famously covered by Whitney Houston)
"Tennessee Waltz" by Patti Page
"Crazy" by Patsy Cline
"Jolene" by Dolly Parton
"Ring of Fire" by Johnny Cash
"He Stopped Loving Her Today" by George Jones
"Waltz Across Texas" by Ernest Tubb
"Tulsa Time" by Don Williams
"Blue Eyes Crying in the Rain" by Willie Nelson
"Make the World Go Away" by Eddy Arnold

These songs represent a small glimpse into the vast catalog of country music that utilizes the 3/4 time signature. Each of these tracks showcases the distinct storytelling and emotional depth that can be achieved through the use of this timeless rhythm.

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In the tapestry of country music, 3/4 time stands as a testament to the genre's enduring legacy. Its melodic allure, emotional resonance, and storytelling capabilities have left an indelible mark on countless songs and connected listeners across generations. From the honky-tonks of the past to the stadiums of today, the significance of 3/4 time in country music remains steadfast. As we continue to embrace the genre's evolution, let us not forget the timeless beauty and historic importance of this captivating rhythm, which has helped shape the heart and soul of country music.

Country, Pop & Gospel Legend B.J. Thomas Passes Away At Age of 78

Although not unexpected, it's still sad to report that B.J. Thomas has died.

Thomas, a Grammy and Dove award-winning singer and songwriter, died Saturday (5/29), just over two months after his March 23 announcement that he had stage IV lung cancer.

Billy Joe Thomas was born in Hugo, Oklahoma in 1942.  He grew up listening to country music.  He was given his first taste of fame with a 1966 cover of "I'm So Lonesome I Could Cry."  That success, however, came on the pop charts, not the country charts.  In fact, he would have 20 pop chart songs before he ever hit the country chart.  Those charted pop tunes included another Hank Williams song ("I Can't Help It [If I'm Still in Love With You]") and a remake of an Ernest Tubb hit ("Tomorrow Never Comes").

After Ray Stevens turned the producers down to do it, Thomas was recruited to sing the song "Raindrops Keep Fallin' on My Head" for the soundtrack of the film Butch Cassidy and the Sundance Kid.  It was a runaway smash hit, staying at #1 for four weeks and winning that year's "best song" Academy Award for writers Burt Bacharach and Hal David. 

In 1975 his country career began when his second #1 hit, "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" crossed over and topped the country charts as well.  That "real hurting song about a love that's gone wrong" was a major milestone in Thomas' career, earning him his only CMA "song of the year" nomination" and sealing his transition to the country world.  He scored two more #1 country hits with "Whatever Happened to Old Fashioned Love" and "New Looks From an Old Lover."

Another place to hear Thomas in the 80s was singing the theme to the TV series Growing Pains. 

Dealing with a longtime addiction to pills and alcohol, Thomas credited his faith with helping him defeat the problems.  His five Grammy award victories all came in the Inspirational/Gospel categories.  He also won two Dove Awards for his gospel music. 

Thomas was far from retired, planning a new album in 2020 when the pandemic struck.

Farewell to country, pop, and gospel great B.J. Thomas, who was 78.

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.

New Music Video From Darrell Scott - "When You're Tired of Breaking Other Hearts" (Hank Williams Sr Cover)

That Nashville Sound Sunday Newsbytes - Record Store Day & Steve Azar's New Radio Show

Everybody stay safe, hunker down at home if you can, say a little prayer for our front line of first responders and medical personnel and use this music we love as a diversion.

~ Roots & American Music Society (RAMS), a not-for-profit record label based in Memphis, Tennessee, has teamed with the Tragedy Assistance Program for Survivors (TAPS) to orchestrate and create a meaningful recording project titled Love Lives On. The combined creative endeavor aligned TAPS military families, who have endured the loss of a loved one, with some of the music industry’s most gifted and renowned songwriters to pen the family members’ intimate and personal stories in music and song. Featuring special guest vocal performances by award-winning recording artists Vince Gill, Billy Ray Cyrus, John Rich, Paul Overstreet, Andy Griggs, Pam Tillis, Lee Roy Parnell, Lonestar, Gatlin Brothers and more, complemented by A-list studio and touring musicians. The album will be out on May 22, 2020. You can listen to the title track by Lonestar, Vince Gill & friends HERE. 

~ Steve Azar's The I Don’t Have To Be Me (‘Til Monday) Radio Show is coming to country radio coast to coast this July. During this 4-hour weekend show, Azar will be sharing the stories and talents of his peers in country music, their greatest hits, past and current, as well as hosting some candid conversations with them and other pals from TV, film and sports. Azar says, "As you know my song, "I Don’t Have To Be Me (‘Til Monday)" has always been about escapism. Just getting away from the hustle and bustle of routines. I introduced and shared it with you through the power of radio 20 years ago and to this day it’s still rocking. I’m thankful for that!"  You watch/hear a preview of what to expect HERE.

~ We announced last week that Record Store Day was pushed back from April to June 20th this year. What we didn't announce was the list of country(ish) vinyl that will be available as special releases only for this unique day.  You can see the entire list HERE.

   An Evening With The Allman Brothers Band: First Set - The Allman Brothers Band
   A Rooster Says - Brandi Carlile
   Classic Cash: Hall Of Fame Series - Early Mixes (1987) - Johnny Cash
   Pearl Cadillac (Feat. Andra Day) - Gary Clark Jr
   "The Unraveling" b/w "Sarah's Flame" - Drive-By Truckers
   "Times Like These / It's About Blood" - Steve Earle
   Live at the Austin Outhouse - Blaze Foley
   The Man With No Shadow - John Wesley Harding
   Live at Nick’s Fat City, 1995. - Hootie And The Blowfish
   Shooter Live at Bonnaroo - Shooter Jennings
   Angel With A Lariat - K.D. Lang & The Reclines
   Drag - K.D. Lang
   Cover Your Tracks EP - Corb Lund
   Live From The Palomino - Midland
   The Atlantic Albums - John Prine
   The Kentucky Sessions - John Prine/Kelsey Waldon
   Live At The Orange Peel - Son Volt
   Hillbillies in Hell: Volume X - Various Artists
   March of Dimes - Hank Williams

~ And if you didn't see them, a couple of country artists did their favorite Kenny Rogers songs as tributes to the legend who passed away yesterday.

   Jake Owen - "She Believes In Me"
   Jason Eady - "Ruby (Don't Take Your Love To Town)"

Brothers Osborne, Hank Williams, Willie Nelson and Patsy Cline Among Black Friday Record Store Day Releases

After an underwhelming list of country music and Americana vinyl releases on Record Store Day earlier this year, it's good to see that the Black Friday version of the same day coming up in November, while light on quantity, has some big names on it that music collector's will be excited about.  An early list of releases include some of the following roots music names:

Live at the Ryman - Brothers Osborne - EMI Nashville - 2 x LP - RSD Exclusive - 2500 qty
Sweet Dreams: The Complete Decca Masters 1960-1963 - Patsy Cline - Third Man Records - 3 x LP - 1000 qty
New Year's in New Orleans - Roll Up '78 and Light Up '79 - The Marshall Tucker Band - Ramblin Records - 2 x LP- 1000 qty
"Red Bows For A Blue Girl" / "Holly, Carol, Candy and Joy" - JD McPherson - New West Records - 7" Vinyl - 1500 qty
"Sometimes Even I Can Get Too High" b/w "It's All Going To Pot" (w/ Merle Haggard) - Willie Nelson - Legacy - 7" Vinyl - RSD Exclusive - 4000 qty
Early Songs and Rarities - The Record Company - Concord Records - LP - 1000 qty
"Western Stars" b/w "The Wayfarer" - Bruce Springsteen - Legacy - 7" Vinyl - RSD Exclusive - 4750 qty
North Carolina Songbook - Steep Canyon Rangers - Yep Roc Records - LP - 1000 qty
The 1940 Recordings - Hank Williams - BMG Rights Management - 7" Vinyl - RSD Exclusive - 2500 qty

Vinyl has made a massive comeback and is poised to surpass dollar sales in CD's this year or next. Vinyl records earned $224.1 million (on 8.6 million units) in the first half of 2019, closing in on the $247.9 million (on 18.6 million units) generated by CD sales. Vinyl revenue grew by 12.8% in the second half of 2018 and 12.9% in the first six months of 2019, while the revenue from CDs barely budged. If these trends hold, records will soon be generating more money than compact discs.

Record Store Day was held on Saturday, April 13, 2019 earlier this year and has this second large album release date to coincide with the largest shopping day in the country. According to the site: 

"Traditionally, Black Friday was about super-cheap prices on mass-produced goods and primarily took place in mails and big box stores. In some places, that's what this is still about. But we really like the idea of a shopping season, especially when that shopping is, at its heart, a way to show the people you like that you like them. (And a way for them to show you. Gift-getting is awesome, too.)

With that mindset, RSD works with labels, artists, managers and distribution companies who feel the same, and puts together a list of titles for that season that are available at participating record stores. They come out on Black Friday (11/29 this year) but may be available at record stores throughout the rest of the year based on availability. 

Truly Historic Box Set At The Louisiana Hayride Tonight Features Previously Unheard Recordings From Hank Sr, Elvis, Cash & More

Album: At The Louisiana Hayride Tonight
Label: Bear Family Records
Release date: October 20, 2017

In the annals of country music history, only one show rivals the importance of The Grand Ole Opry. For more than two decades, the Louisiana Hayride radio show was a Saturday night staple for music lovers, broadcast by Shreveport, Louisiana’s KWKH-AM from 1948-
1960. While the Opry favored established Nashville stars, Hayride offered headliners and newcomers alike an opportunity to perform. It was this policy that led Hayride to say “yes” to a young singer from Tupelo, Mississippi after the Opry said “no.” That singer, Elvis Presley, debuted on the show in October 1954 and later made his first TV appearance on the television version in March 1955.

Now an amazing and truly historic collection of 20 CD's and a 200+ page book featuring more than 25 hours of music will be forthcoming on October 20. This unprecedented collection includes rare performances from stars like Presley, Johnny Cash, June Carter, Kitty Wells, George Jones, and Webb Pierce, as well as a previously unknown Hank Williams recording that you can listen to HERE.

The compilation has been constructed in chronological sequence. Throughout the 20 discs songs are interspersed with the Louisiana Hayride theme tune (“…we’re gonna have a wonderful time…”), and with show announcements, intros, ads, comedy routines, and even mistakes, giving listeners a real sense of what it was like to hear the show on the radio, or to have plunked down your 60¢ (or 30¢ for children) for a ticket to watch it live in Shreveport’s Municipal Auditorium. One of these stage announcements, in fact, is the old-time emcee Horace Logan making the now-famous proclamation that “Elvis has left the building.”

Eighteen of the set’s CDs cover the classic weekly Louisiana Hayride broadcasts that took place from April 3, 1948 until August 27, 1960. The other two CDs collect material from some post-1960 shows, along with commercial recordings made in the KWKH radio studios, promotional discs, and transcribed shows from KWKH’s early days. Among the studio-recorded commercial tracks are hits by Slim Whitman, the Browns, Mitchell Torok, Jim Reeves, Mac Wiseman, and Carolyn Bradshaw. Additionally, there are 11 “as live” studio-recorded transcriptions that feature selections from Kitty Wells, Johnnie and Jack, Hank Williams, and Curley Williams. 

Willie Nelson Announces Willie Nelson and the Boys For 10/20 Release

Artist: Willie Nelson
Album: Willie Nelson and the Boys (Willie's Stash, Vol. 2)
Label: Legacy Recordings
Release date: Oct. 20, 2017

Legacy Recordings will release Willie Nelson and the Boys, the eagerly-awaited second installment in the acclaimed Willie's Stash archival recordings series, on Friday, October 20.

Following in the musical footsteps of 2014's December Day, the first volume in the Willie's Stash series (featuring Willie's Sister Bobbie), Willie Nelson and the Boys is another family collaboration, this time showcasing Willie and sons, Lukas Nelson and Micah Nelson, performing a selection of well-loved American country music standards and classics, including seven penned by the immortal Hank Williams Sr.

The Willie's Stash series will present a variety of archival releases, each personally curated by Willie Nelson, culled from decades of recording and touring, providing unique perspectives on one of America's most vital musical forces.

Consisting mainly of studio recordings laid down during the extraordinary 2011 sessions for Heroes, Willie's Legacy debut, Willie Nelson and the Boys (Willie's Stash, Vol. 2) is produced by Willie's longtime friend and collaborator Grammy-winning Buddy Cannon and recorded by Steve Chadie at Pedernales Recordings Studio in Austin, Texas.

Musicians on the album include Willie Nelson (vocals, Trigger), Lukas Nelson (vocals, electric guitar, resonator guitar), Micah Nelson (vocals), Mickey Raphael (harmonica), Kevin "Swine" Grantt (bass), Bobby Terry (acoustic guitar, electric guitar), Jim "Moose" Brown (piano, B-3 organ, Wurlitzer), Mike Johnson (steel guitar), Tony Creasman (drums), Barry Bales (upright bass on "My Tears Fall") and Lonnie Wilson (drums on "My Tears Fall"). "Move It On Over" featured background vocals by the Spur Of The Moment Singers: Buddy Cannon, Mickey Raphael, Kevin "Swine" Grantt, Bobby Terry, Jim "Moose" Brown, Mike Johnson, Tony Creasman, Melonie Cannon, and Shannon Finnegan.

According to Willie, the album is "....kinda like the country version of 'Stardust.' Where you have all these great songs and standards that the young people have never heard, then all of a sudden you have a whole new audience out there."

"I really love the live element of this record," said producer Buddy Cannon. "There was a fire in the studio during those sessions, especially on these particular tracks. It was as though the band was in a Nashville honky tonk and Willie and Lukas strolled in and jammed with the band for an hour. That's what this record is. It's honest excitement. I've never cut a record before that has this element.... It's a great joy to see Willie, Luke and Micah all equally part of a record that I love so much."

1. "Move It On Over" (Hank Williams)
2. "Mind Your Own Business" (Hank Williams)
3. "Healing Hands of Time" (Willie Nelson)
4. "Can I Sleep In Your Arms" (Hank Cochran)
5. "Send Me the Pillow You Dream On" (Hank Locklin)
6. "I'm So Lonesome I Could Cry" (Hank Williams Sr.)
7. "I'm Movin' On" (Hank Snow)
8. "Your Cheatin' Heart" (Hank Williams)
9. "My Tears Fall" (Alyssa Miller)
10. "Cold, Cold Heart" (Hank Williams)
11. "Mansion on the Hill" (Hank Williams and Fred Rose)
12. "Why Don't You Love Me" (Hank Williams)

Four Classic Sun Records Albums To See Special Vinyl Reissue By Likes of Orbison, Cash & Perkins

ORG Music has announced that it will release three special vinyl releases from the legendary Sun Records this July: Roy Orbison, Carl Perkins and Johnny Cash. A special Hank Williams dedication album will be released this fall.

Roy Orbison- At The Rock House
Release date: July 14, 2017
This reissue will finally get it’s wide release on black vinyl. It was originally released in 1961 by Sun Record Company as Orbison’s debut. ORB previously did a very limited color vinyl edition for Black Friday Record Store Day 2014.

Track Listing:
A1 This Kind Of Love
A2 Devil Doll
A3 You’re My Baby
A4 Tryin’ To Get To You
A5 It’s Too Late
A6 Rock House
B1 You’re Gonna Cry
B2 I Never Knew
B3 Sweet And Easy To Love
B4 Mean Little Mama
B5 Ooby Dooby
B6 Problem Child

Carl Perkins - Best of the Sun Records Sessions
Release date: July 21, 2017

Best of the Sun Records Sessions is a compilation featuring prime selections of Carl Perkins’ recordings during his time at the legendary Sun Record Company, which have been remastered for vinyl. The album includes favorites like “Roll Over Beethoven,” “Blue Suede Shoes,” and “Only You.”

An Indie Exclusive edition, limited to just 500 copies, is pressed on cream color vinyl. The standard, black vinyl edition will be widely available as well.

Track Listing:
A1: Only You
A2 All Mama’s Children
A3 Roll Over Beethoven
A4 Tennessee
A5 Lonely Street
A6 Blue Suede Shoes
A7 Turn Around
B1 Put You Cat Clothes On
B2 Gone Gone Gone
B3 Glad All Over
B4 I’m Sorry I’m Not Sorry
B5 Dixie Fried
B6 You Can’t Make Love To Somebody
B7 Forever More

Johnny Cash - Greatest!
Release date: July 28, 2017

Greatest! is the fourth album by American singer-songwriter Johnny Cash, released on the legendary Sun Records in 1959. The tracks on the album were recorded between July 1955 and July 1958. Six out of the twelve songs became singles, with “Get Rhythm” topping the Country charts and becoming the most successful one.

An Indie Exclusive edition, limited to just 500 copies, will pressed on red color vinyl. The standard, black vinyl edition will be more widely available.

Track Listing:
A1 Goodby Little Darlin’
A2 I Just Thought You’d Like To Know
A3 You Tell Me
A4 Just About Time
A5 I Forget To Remember To Forget
A6 Katy, Too
B1 Thanks A Lot
B2 Luther’s Boogie
B3 You Win Again
B4 Hey Good Lookin’
B5 I Could Never Be Ashamed Of You
B6 Get Rhythm

Sun Records Does Hank Williams
Release date: TBD (possibly RSD Black Friday release)

Sun Records Does Hank Williams is a collection of Hank Williams hits performed by artists from the legendary Sun Record Company catalog. The compilation features superstars Johnny Cash and Jerry Lee Lewis, alongside a handful of lesser-known Sun Records artists. A wide release on black vinyl is planned for fall 2017.

Track List:
A1      Carl Mann               Take These Chains From My Heart
A2      Sonny Burgess         My Bucket's Got A Hole In It
A3      Johnny Cash             I Could Never Be Ashamed Of You
A4      Eddie Bond              I Saw The Light
A5      Carl McVoy              There'll Be No Teardrops Tonight
A6      Jerry Lee Lewis       You Win Again
B1      Roland Janes            Hey Good Looking
B2      Johnny Cash             I Can't Help It
B3      Cliff Gleaves            Your Cheatin' Heart
B4      Warren Smith            Dear John
B5      Jerry Lee Lewis         Settin' The Woods

Interview Flashback - Talking Bob Dylan Influence With Love and Theft

I have been blessed to write contributions/reviews/interviews/opinion pieces for several country music and roots-oriented websites and publications over the years including Saving Country Music, Nashville Scene, Country California, Country Weekly, American Noise, The 9513 and Engine 145. As a regular contributor to the last two in that list, I did close to a 100 interviews with different artists- and since both of those great sites have come down, I will reprint some of those interviews here to give them a home in perpetuity. This interview was originally published in January 2010 on The 9513.

1984. Ronald Reagan is re-elected President. The Summer Olympics were held in Los Angeles. Transformers are unleashed on the world. And from three different points across the United States, three baby boys are born that will eventually form the country group, Love and Theft. 

Stephen Barker Liles grew up in Palm Harbor, Florida on early gospel and contemporary Christian music. Eric Gunderson was raised in Charlotte, North Carolina developing a deep love for his family’s favorite artists such as Johnny Cash, Roy Orbison and the Eagles. Brian Bandas spent his youth in Austin, Texas. His was a very music-oriented family with his grandfather and uncle both were well-respected jazz players. 

All points converged on Nashville just a few short years ago when all three came to Music City looking to make their mark in country music. They first began working with one-another as songwriting partners, but as they began to work out demos, they realized that they had something unique in their ability to fluidly trade lead vocals and in their love of harmonies. From there, Love and Theft was born. 

They signed with Disney’s Carolwood Records- now Lyric Street after a consolidation- and opened up for Taylor Swift’s 2008 World Tour. (Swift’s song “Hey Stephen” is widely accepted to be written about Barker Liles.). In March of this year, they released their first single, "Runaway" which ran away to number ten on the Billboard Hot Country Songs charts. They followed up that with the debut of their first album, World Wide Open.  

The 9513 had a chance to catch the guys in person before going on to do a fundraising performance for the Sacramento Sheriff’s Toy Project to chat about their first full year on the national music scene. 

Ken Morton, Jr.- I recognize the name of the band from an old Bob Dylan album, what made you guys decide on that as a band name?

Brian Bandas- We are influenced heavily by all kinds of classic music. It could everything and anything by Dylan, Elvis, the Rolling Stones, Johnny Cash- anything in that classic musical style. When we started looking for a name, we started going through old discographies of artists we had idolized for years. We came across that name and loved the phrase. And as songwriters, who better to pay tribute to than Bob Dylan? We think he’s one of the best songwriters of all time. And there you go.

KMJ- How did you guys all meet up in Nashville?

Eric Gunderson- We all got there around the same time but we didn’t know each other then. We all dropped out of college and moved to Nashville with the hopes of getting a publishing deal or a record deal somehow. We all met through the songwriting community in Nashville. We met through some mutual friends of ours and different roommates we were living with. We actually wrote a track together- it’s the last track on our album called “Drowning” together. We recorded in the attic of my house and when we were putting the harmony part on there, we thought, “Wow, this is pretty cool.” And now we’re Love and Theft. 

KMJ- You guys mentioned some classic country artists that you were influenced by. Are there some more modern country artists who you’d say you influenced by as well?

Stephen Barker Liles- Tim McGraw is one. And the fact that we’re going to be on his tour next year is amazing.

BB- Yeah, that is pretty amazing.  George Strait. I think I have every single one of his albums. And he has a lot of albums. (Laughing)

KMJ- For someone who hasn’t had the opportunity to hear your new album, World Wide Open, describe it from the artist’s perspective.

BB- We wrote everything on there and our first goal was to not have any filler. We didn’t want to have three or four good singles on there and fill up the rest with eight more tracks. We wanted to put the same amount of energy and passion into every song. We wanted every song to stand on its own. We feel like we accomplished that. It’s definitely a work of passion, it’s all very personal to us. Everything comes from something in our lives, something that’s happened to us. Any of us could sit down and write a song about anything.

SBL- Like Bill Nye the Science Guy.

BB- It’s about one of us coming into the room and saying, “This just happened in my life,” and us writing a song about it. It’s writing about it from that point of personal place. That’s something we’re proud of, that sort of raw kind of authenticity. It’s a little scary kind of baring your soul like that. You’re kind of open to the world like that. 

KMJ- Is that where the title of the album, World Wide Open, comes from?

BB- Absolutely. Eric wrote that song about a specific situation he found himself in and after he wrote it, we all felt it applied to our own lives and to the band as a whole. This ride could go anywhere, we just don’t know where. 

KMJ- It’s not often that bands will share lead vocals like you guys do. Was that a conscious decision to do it differently or did it just evolve that way?

EG- A little bit of both. We all came into it as solo singers. So I don’t think any of us were anxious or willing to totally give up the lead vocals. We all love to sing and we all love that time when we get to sing solo. 

SBL- If you look at the Eagles, they tried it out that way. And it worked out pretty well.

BB- Yeah, we’re huge Eagles fans. 

EG- As for as lead vocals and group harmonies, that’s really what we’re striving towards. It really never ever came up though between us who would sing what. I never had to defend my position and say, “No no no, I want to sing too.” No one even ever asked that question. We all sing. We just all kept singing. 

KMJ- Were you guys ever encouraged to do it differently and find that one lead singer?

SBL- (Stephen pretends he’s a music executive) “How are you guys going to do that without one lead singer? That’s impossible to establish.” We just told them, “You know, we’re going to try it.” 

EG- Especially when we were going around looking for a record deal at different studios. I don’t remember who it was, but they were like, “You guys sound great, but I can’t see this ever working in this town. It’s hard enough with one lead singer, I don’t know how they’ll ever react positively to three.” Which is valid I guess.

BB- But that was definitely one of the biggest responses and reactions to our thing. “We love it… but the multiple lead singer thing isn’t going to work.” But through all of our songs, we’ve never had a problem of who was going to sing what. It’s never really mattered. I think the three of us have worked enough together so we know who sings what parts best. Now it’s only our first record… (laughter from all three)

KMJ- What’s been the highlight of the year for each of you so far?

SBL- The Jason Aldean Tour was the highlight for me. Oh, and playing the Grand Ole Opry. We’ve got a chance to play the Grand Ole Opry three times this year which is awesome. And this last time, we got to play the Ryman. Incredible. 

EG- For me, that’s probably our favorite thing this year. It was our second time playing at the Ryman. The first time we got to play a J.D. Souther tribute. That was an incredible honor for us. We got to get up there with Lee Ann Womack. But then we got the chance to go up and do the Grand Ole Opry right there at the Ryman. So that was pretty special. 

BB- For me, it was Jimmy Fallon. For years, that was one of my little pipe dreams. “Someday, I’m going to be on the Late Night Show.” That was the coolest thing for me.

KMJ- Great experiences for you guys. Stephen, you wrote a track on Martina McBride’s latest album Shine called “Wrong Baby Wrong Baby Wrong.” That has to be a pretty remarkable accomplishment for you this year in itself.

SBL- Yeah. I mean songwriting is my favorite thing in the whole world. I was very honored that she picked it to record. And I just found out it’s going to be her next single that’ll be coming out right around the end of the year. I’m so very excited about that. 

KMJ- You guys opened up for Taylor Swift in 2008. How important was that to your successful launch?

EG- At that point we didn’t have a single. We didn’t have a record.

SBL- Anything.

EG- We didn’t have anything. Halfway through that tour we recorded a live EP because we wanted people to have something that wanted it something to take home. But it was really important because it gave us the opportunity to go out in front of 6,000 to 10,000 fans almost every single night. And it helped to fine-tune our live show and our acoustic show. There wasn’t any pressure to out there and sound like our record because there wasn’t a record. We could go out there and work on performing in front of a huge audience. So it was really unique in that perspective. And it was very cool for them to take a chance on us. 

KMJ- You guys mentioned the upcoming tour, you’ll be going out with Lady Antebellum and Tim McGraw. How many dates- how long will you guys be out on tour?

EG- I think forty-something dates.

SBL- It goes from April to August. 

KMJ- So you won’t be seeing anyone you know- no family or friends- for five months, will you?

BB- But that’s how it’s been all year long, anyways. I think we’ve only been home 30 days the whole year. But we love it.

SBL- Yeah we do. We had like six days off at home. And I started to feel weird. We hadn’t had that many days off all year. So I actually had to go to Florida to take a vacation and go do something. 

BB- It does feel weird. I know for me, I get antsy if I’m not doing something with the band, if we’re just not doing anything.

KMJ- This last one’s meant pretty open-ended. What is country music to Love and Theft?

EG- For me, country music is really just all about the song. Songwriting is such a big part of country music. From Johnny Cash to Waylon to Hank to all these others great songwriters- all those great writers that came before us make it really inspiring to go back and listen to their songs and then go write a song. It’s cool to me to see that they were writing about some of the same things back then. It’s just the world evolving and moving on a bit. It’s about relationships and the things you love. It’s all about the songwriting. 

BB- That has been the other thing that has been eye-opening through this process. It’s the fans. It’s these people that are passionate about it. They put it on as they’re driving across the country or are listening to it as they’re working in the shops or whatever it may be. This is their soundtrack of their life. And they embrace it passionately. We’re constantly blown away by what it means to people, what a huge part of people’s lives it is. 

Linda Ronstadt's Duets Scheduled For April 8 Release

Rhino Records is bringing together 14 of Linda Ronstadt's biggest collaborations with the likes of Aaron Neville, Emmylou Harris, Don Henley, Frank Sinatra, James Taylor, Dolly Parton and James Ingram along with a previously unreleased collaboration with Laurie Lewis, for a new collection that was created with help from Ronstadt and her longtime manager, John Boylan.  Duets will be available on April 8.

The album will arrive just days before Ronstadt is inducted into the Rock and Roll Hall of Fame on April 10. The honor recognizes her role as a pioneering female artist and pays tribute to her exceptional musical legacy, which has earned 12 Grammy Awards, two Academy of Country Music Awards and one Emmy. Last year, Ronstadt released her best-selling memoir Simple Dreams and also revealed that she had been diagnosed with Parkinson’s disease, which left her unable to sing.

Several songs on this collection are also Grammy winners. Ronstadt won her first in 1976 for a cover of Hank Williams’ “I Can’t Help It (If I’m Still In Love With You)” that featured Emmylou Harris and appeared on what many consider her masterwork, Heart Like a Wheel (1974). Another Grammy-winner featured on Duets is “Somewhere Out There,” which Ronstadt recorded with James Ingram in 1986 for the soundtrack to An American Tail.

Duets also includes two of her most successful collaborations, both of which feature Aaron Neville. The Grammy-winning songs “Don’t Know Much” and “All My Life” originally appeared on Ronstadt’s triple-platinum album Cry Like a Rainstorm, Howl Like the Wind (1989).  In 1976, she and Don Henley sang the Warren Zevon-penned track “Hasten Down The Wind,” which was the title track to Ronstadt’s Grammy-winning, #1 album. It was her third consecutive million-selling album, an accomplishment no other female artist had achieved at that point.

Duets also spotlights a number of Ronstadt’s more recent collaborations, like “Sisters” with Bette Midler, which appeared on Bette Midler Sings the Rosemary Clooney Songbook (2003). That same year, Ronstadt partnered with Carl Jackson on “The New Partner Waltz,” for the Grammy-winning tribute album Livin’, Lovin’, Losin’: Song of the Louvin Brothers. Duets also includes three tracks from Adieu False Heart – a Grammy-nominated album Ronstadt recorded in 2006 with Cajun-music singer Ann Savoy – including a cover of the 1966 hit, “Walk Away Renée.”

Track Listing
1.                  “Adieu False Heart” with Ann Savoy
2.                  “I Can’t Get Over You” with Ann Savoy
3.                  “Walk Away Renee” with Ann Savoy
4.                  “The New Partner Waltz” with Carl Jackson
5.                  “I Never Will Marry” with Dolly Parton
6.                  “Pretty Bird” with Laurie Lewis*
7.                  “I Can’t Help It (If I’m Still in Love With You)” with Emmylou Harris
8.                  “Hasten Down The Wind” with Don Henley
9.                  “Prisoner In Disguise” with J.D. Souther
10.               “I Think It’s Gonna Work Out Fine” with James Taylor
11.               “Don’t Know Much” with Aaron Neville
12.               “All My Life” with Aaron Neville
13.               “Somewhere Out There” with James Ingram
14.               “Sisters” with Bette Midler
15.               “Moonlight In Vermont” with Frank Sinatra

Outlaw Music Hall of Fame Unveils Its First Class Of Inductees

The first inductees into the new Outlaw Music Hall of Fame were announced yesterday in conjunction with the 1st annual Outlaws and Icons Charity Ride and Concert held in Altamont, Tennessee. Founded in August of 2013 as a grassroots effort, The Outlaw Music Hall of Fame is dedicated to those musicians and songwriters whose work best exemplifies the qualities of the Outlaw country movement that first began in the 1970s. 17 inductees will go in on the inaugural class under two different categories: Pioneers/Innovators (Pre-1970), and Highwaymen (1970-1990). The new museum also announced a third category called the Guardian Award. This award isn't a Hall of Fame induction, but a one-year honor that identifies the artist or group's work, commitment to their music and that they honor the music and traditions that came before them. This third award will be fan-voted in coming years. The initial inductees are:
Pioneers/Innovators Pre-1970

• Hank Williams Sr.
• Loretta Lynn
• The Carter Family
• Bobby Bare
• Chris Gantry

Highwaymen (1970-1990)

• Willie Nelson
• Waylon Jennings
• David Allan Coe
• Kris Kristofferson
• Merle Haggard
• Johnny Cash
• Johnny Paycheck
• Sammi Smith
• Steve Young
• Jessi Coulter
• Hank Williams Jr.
• Billy Joe Shaver

Guardian Award

• Dallas Moore
• Wayne Mills
• Hank Williams III
• Jamey Johnson
• Whitey Morgan

The Hall of Fame will be dedicated to those artists, both musicians and songwriters, whose work best exemplifies the qualities of the Outlaw movement that first began in the 1970s and has gained renewed momentum as an alternative to the current Nashville pop country scene.  In doing so it will place the spotlight on music firmly attached to the roots of country.  Moreover, the Hall of Fame will educate the public about Outlaw country, memorialize founders of the genre—such as Waylon Jennings, Willie Nelson, and Jessi Colter—recognize current Outlaw artists, and provide a platform for them and for the independent record labels who currently have little if any voice in the industry. The facility encompasses more than 5,000 square feet and under the direction of architect Thomas Bartoo will feature a state-of-the-art layout, including interactive displays.  There will also be a studio to allow for live broadcasts to be streamed over the Internet.

Located right on the town square in Lynchburg, the Outlaw Music Hall of Fame will sponsor a concert series each April to November to showcase independent roots country artists. Along with the Hall of Fame, there will be established the Outlaw Music Association.  It will bring together independent artists, songwriters, and record executives to promote roots country.  It will also recognize accomplishments by each of these.

Keith Whitley, The Judds, Blake Shelton, Guy Clark and Jason Aldean Among Early ACM Winners

The Academy of Country Music announced the winners of awards that will not be televised during the 48th Annual Award Ceremony, due to time constraints. The ceremony will be telecast from the MGM Grand Garden Arena in Las Vegas on Sunday, April 7, 2013 at 8:00 PM live ET/delayed PT on the CBS Television Network.

The Academy of Country Music Special Awards are voted on by the ACM Board of Directors and are awarded during years where the Board of Directors feels there are clear and deserving candidates.

SPECIAL AWARDS

Cliffie Stone Pioneer Award - Keith Whitley and The Judds have been chosen to receive the Cliffie Stone Pioneer Award, honoring individuals who are pioneers in the country music genre.

Keith Whitley brought a blend of traditional bluegrass, classic country and contemporary songwriting influences to his timeless recordings. Although his catalog is regrettably small, this Kentucky native stands as one of the most respected vocalists of his era, thanks to a rich baritone that effortlessly conveyed the emotion of any song. Whitley first entered the Top 10 in 1986 with “Ten Feet Away,” setting the stage for enduring ballads like “Don’t Close Your Eyes,” “When You Say Nothing at All” and “I’m No Stranger to the Rain,” all of which reached No. 1 before Whitley died in 1989 at age 33.

The Judds gave country music an acoustic boost in the 1980s, ultimately racking up 20 Top 10 hits. They picked up seven consecutive ACM Awards in the Vocal Duet category, as well as a Song of the Year trophy for “Why Not Me.” Their winning streak began in 1984 with “Mama He’s Crazy,” the first of 14 No. 1 hits. Fans also identified with the ups and downs of Naomi and Wynonna’s mother-daughter relationship, adding another dimension to modern classics like the nostalgic “Grandpa (Tell Me ‘Bout the Good Old Days)” and the empowering “Love Can Build a Bridge.”

Past recipients of the Cliffie Stone Pioneer Award include Alabama, Garth Brooks, Johnny Cash, Charlie Daniels, Larry Gatlin & The Gatlin Brothers, Merle Haggard, Emmylou Harris, George Jones, Brenda Lee, Loretta Lynn, Willie Nelson, The Oak Ridge Boys, Dolly Parton, Charley Pride, Jerry Reed, Tex Ritter, Marty Robbins, Kenny Rogers, Billy Sherrill, Ricky Skaggs, Mel Tillis,Randy Travis, Conway Twitty, Porter Wagoner, Hank Williams, Hank Williams Jr., Bob Wills and Dwight Yoakam, among others.

Crystal Milestone Award - Jason Aldean has been chosen to receive the Crystal Milestone Award, which is given to an artist or industry leader to commemorate a specific, remarkable achievement.

Jason Aldean soared to stadium headliner status in 2012. He sold out his first stadium show last year, moving more than 27,000 tickets for Crew Stadium in Columbus, Ohio. All tickets were purchased more than two months in advance. Aldean’s arena show tickets went quickly too. He sold 24,000 tickets in two minutes for his Indianapolis show, along with 20,000 seats in just four minutes in St. Louis. Aldean is now swinging for the rafters with his “Night Train Tour.” Stadium shows on the itinerary include Wrigley Field in Chicago, Sanford Stadium in Athens, GA, and Boston’s Fenway Park—which sold out in seven minutes, setting a venue record and making Aldean the first country act to headline the historic ballpark. The Academy is honoring Aldean for this remarkable achievement.

Past recipients of the Crystal Milestone Award include Garth Brooks, Kenny Chesney, Gayle Holcomb, Jennifer Nettles and Taylor Swift.

Gene Weed Special Achievement Award - Blake Shelton has been chosen to receive the Gene Weed Special Achievement Award, which acknowledges unprecedented, unique and outstanding individual achievement in country music.

Blake Shelton stepped into his role on NBC’s The Voice as a well-known figure in country music circles. Now he’s a household name to millions of viewers who appreciate his lively personality, his honest approach toward aspiring talent and his camaraderie with pop stars like Christine Aguilera, Cee Lo Green and Adam Levine. That broad appeal paved the way for a network special to coincide with his first holiday album, Cheers, It’s Christmas. A three-time ACM Awards co-host, Shelton is climbing the charts with “Sure Be Cool If You Did.” Look for his “Ten Times Crazier Tour” starting in July.

Past recipients of the Gene Weed Special Achievement Award include Garth Brooks, George Burns, Jeff Foxworthy, Willie Nelson and George Strait.

Jim Reeves International Award - Lady Antebellum has been chosen to receive the Jim Reeves International Award, which is presented to an artist for outstanding contributions to the acceptance of country music throughout the world.

Lady Antebellum seized the day with their “Own the Night World Tour,” ultimately performing to more than a million fans in 11 countries and three continents. Along with packing venues in the U.S. and Canada, the trio sold out three shows at the Sydney Opera House in Australia. Band members Dave Haywood, Charles Kelley and Hillary Scott also accepted the honor of opening for a musical hero, Bruce Springsteen, at London’s Hard Rock Calling. A three-time winner in the ACM Vocal Group category, Lady Antebellum will release its fourth studio album, Golden, in May, likely taking their newest hit “Downtown” around the globe.

Past recipients of the Jim Reeves International Award include Garth Brooks, Dick Clark, Roy Clark, Merv Griffin, Alan Jackson, Charlie Nagatani, Buck Owens, Dolly Parton, Taylor Swift and Keith Urban, among others.

Mae Boren Axton Award - Tommy Wiggins has been chosen as the recipient of the Mae Boren Axton Award, which is given in recognition of years of dedication and service by an outstanding individual to the Academy of Country Music.

Tommy Wiggins co-founded the organization that is now the Academy of Country Music. While pursuing opportunities performing on radio and on stage, Wiggins lived in Tucson and Nashville before relocating in 1960 to Los Angeles, where he appeared on local television shows. Along with releasing several singles on Stadium Records, Wiggins launched a radio industry publication titled D.J.’s Digest. In 1964, he teamed with songwriter Eddie Miller and club owners Mickey and Chris Christensen to stage a Los Angeles-based awards show and form the Country Western Music Academy--later renamed the Academy of Country Music--to draw attention to country artists based on the West Coast.

Past recipients of the Mae Boren Axton Award include John Dorris, Rod Essig, Gayle Holcomb, Jack Lameier, Marge Meoli,Ray Pilzak, Gaynelle Pitts, Gene Weed and David Young.

Poet’s Award - Guy Clark and Hank Williams have been selected to receive the Poet’s Award, which honors songwriters for outstanding musical and/or lyrical contributions throughout their careers in the field of country music.

Guy Clark has earned the respect of countless songwriters by crafting his compositions with wit, wisdom and warmth. This native Texan made a lasting impression with his 1975 debut album Old No. 1. His extensive songwriting catalog includes cuts by Johnny Cash (“Texas 1947”), Kenny Chesney (“Hemingway’s Whiskey”), Rodney Crowell (“She’s Crazy for Leaving”) and Ricky Skaggs (“Heartbroke”). Meanwhile, his own recordings of “L.A. Freeway” and “Desperadoes Waiting for a Train” make listeners feel as though they know him personally. The 2011 collection, This One’s For Him: A Tribute to Guy Clark, received a Grammy nomination for best folk album.

Hank Williams remains one of the most revered songwriters in history. A native of Alabama, Williams’ commercial style found a champion in music publisher Fred Rose in 1946. Despite a brief career, Williams catalog includes “Cold, Cold Heart,” “Hey Good Lookin’” and “Your Cheatin’ Heart.” His compositions have been recorded by Tony Bennett, Jimmy Buffett, Norah Jones, Jerry Lee Lewis, Charley Pride, Linda Ronstadt and Hank Williams Jr., among many others. The legendary figure was found dead on Jan. 1, 1953. He was elected to the Country Music Hall of Fame in 1961 and received the 1973 ACM Pioneer Award. Hank Williams will be inducted posthumously.

Previous recipients of the Poet’s Award include Bill Anderson, Bobby Braddock, Hank Cochran, Merle Haggard, Tom T. Hall, Harlan Howard,Roger Miller, Fred Rose, Don Schlitz and Cindy Walker.

INDUSTRY AWARDS

CASINO OF THE YEAR – Red Rock Casino & Resort - Las Vegas, NV

NIGHTCLUB OF THE YEAR – Joe's Bar - Chicago, IL

VENUE OF THE YEAR – Ryman Auditorium - Nashville, TN

DON ROMEO TALENT BUYER OF THE YEAR – Jerry Hufford - Buck Owens’ Crystal Palace

PROMOTER OF THE YEAR – Ed Warm - Joe's Bar

MBI (MUSICIAN, BANDLEADER, INSTRUMENTALIST) AWARDS:

PRODUCER OF THE YEAR – Jay Joyce

AUDIO ENGINEER OF THE YEAR – Chuck Ainlay

BASS PLAYER OF THE YEAR – Jimmie Lee Sloas

PERCUSSIONIST/DRUMMER OF THE YEAR – Matt Chamberlain

FIDDLE PLAYER OF THE YEAR – Aubrey Haynie

GUITARIST OF THE YEAR – J.T. Corenflos

PIANO/KEYBOARDS PLAYER OF THE YEAR – Michael Rojas

SPECIALTY INSTRUMENT(S) PLAYER OF THE YEAR – Ilya Toshinsky

STEEL GUITAR PLAYER OF THE YEAR – Mike Johnson

SONGWRITER OF THE YEAR – Dallas Davidson

Hilary Williams Extends The Williams Music Legacy With New EP

Her grandfather is Hank Williams. Her father is the legendary Hank Jr. Brother Hank III has two albums coming out this year and her sister Holly just released her critically-acclaimed third album this past month. Now it's Hilary Williams turn as she releases a brand new self-titled EP this week.

The story of Hilary Williams’ life is extraordinary in every sense of the word. Born into one of music’s most revered families as the daughter of Hank Williams, Jr. and the granddaughter of Hank Williams, Hilary inherited the family’s songwriting and singing gifts in spades. In fact, her father says, “She sings like a queen, like a star.” But that legacy is only part of what has come to define Hilary’s life and ultimately give her a story that is both inspiring and uniquely her own.

While driving to her grandfather’s funeral with sister Holly on March 15, 2006, Hilary lost control of her SUV on Mississippi’s historic Highway 61. The crash left both sisters in critical condition, but Hilary’s injuries would prove to be catastrophic. Hilary describes her injuries as she hovered between life and death at the scene: “I had broken too many bones to count. Both of my legs, my ankle, my back, collarbone, tailbone, pelvis, right femur, and three ribs were all broken. My hips were shattered. I had a ruptured colon and bruised lungs.”

Thanks to the work of talented EMT’s and a transfusion of an experimental blood substitute called PolyHeme at the crash site, Hilary survived the crash and air transfer to the Regional Medical Center in Memphis. She would spend the next month at that facility before being transferred to Vanderbilt Medical Center in Nashville.

Over the course of her recovery, Hilary went through 23 surgeries — an experience that tested Hilary’s resolve to its limit. Dealing with such a profound injury is a long, drawn out and excruciatingly painful ordeal that takes years, not months. Though her family and friends rallied around her throughout this process, there were extremely long bouts of solitude during the healing process. Hilary gives gripping insight into the physical and mental rigors she endured during the seemingly endless parade of surgeries and rehabilitation.

In the wake of her accident, Hilary carries on the “family tradition” writing songs and pursuing her own music career. The recent book she penned called Sign of Life closes with the story of Hilary’s return to the concert stage in Nashville. It only seems appropriate that the single "Sign of Life" is just the first step of Hilary Williams’ journey as she carves out her own place in her family’s storied legacy.

EP Track Listing:

1. Get Out of My Way
2. Casino
3. World Without Hope
4. West Hollywood Monday Mornings
5. Sign of Life

Unheard Buck Owens Album To Be Released In January

Six years after his death, Buck Owens will have new unheard music see the light of day. Omnivore Recordings, digging a little deeper, found two albums worth of never-before-released music from the Buckaroos camp: Buck Owens’ Honky Tonk Man- set for release January 23, 2013.

The 18 tracks on Buck Owens’ Honky Tonk Man were culled from the vast trove of material he recorded at his Bakersfield studio for the rural hit comedy TV series Hee Haw in the early ’70s. The set is a concise tutorial on the history of country music — from “In the Jailhouse Now,” a song first popularized by Jimmie Rodgers in 1928, to “Rednecks, White Socks and Blue Ribbon Beer,” a hit for Johnny Russell in 1973. Many of the songs Owens did for Hee Haw were originally recorded by his biggest and earliest influences: Bob Willis & His Texas Playboys’ “Stay a Little Longer”; Hank Williams’ “My Bucket’s Got a Hole in It,” “Jambalaya” and “Hey Good Lookin’”; Hank Snow’s “I’m Moving On”; and Jack Guthrie’s “Oklahoma Hills.” Owens also nodded to fellow Bakersfield Sound stalwart Merle Haggard on “Swinging Doors.”

The CD’s title track, “Honky Tonk Man,” is a song first popularized by Johnny Horton in 1956. Thirty years later it became an even bigger hit for Dwight Yoakam, an avowed Bakersfield Sound disciple.

Drifting Cowboy "Pee Wee" Moultrie Passes Away

Cois E. “Pee Wee” Moultrie, a former member of country singer Hank Williams’ Drifting Cowboys band, died this week of a heart attack.

Moultrie sang with Williams from 1938 to 1940. He is featured in two songs on a recently released CD box set — “Fan It,” in which Moultrie sings and Williams plays, and “Alexander’s Ragtime Band,” with Williams singing and Moultrie playing the accordion.

Moultrie toured, lived and played with Williams until he joined the Army Air Corps. He said even then he knew his pal who gave him the nickname “Pee Wee” would be a star.

“Back then, we were playing Ernest Tubb and Roy Acuff, but he was meant for the big time,” Moultrie said. “We weren’t even trying to write songs, but he’d see something in a paper that would make a good song so he’d tear it off and put it in his pants. He could write a whole song in one car ride. He was terrific.”

“He played in a band his entire life. Even when he was in the Air Force he played in a band,” Moultrie's daughter said. “He always played the accordion, but he could play other instruments. “What always amazed me was that he couldn’t read music. He played by hearing,” she said. “He instilled the love for music in us, too, and probably in his grandchild even more.”

A Hank Williams Movie Preview- The Last Ride

There's a new movie coming out soon starring Henry Thomas, the kid from E.T., called The Last Ride. From the press release:

Hank Williams pioneered and pretty much invented what we know today as country music. At the peak of his career, he was acknowledged to be the greatest singer-songwriter in American history. But after a meteoric rise to record and radio super-stardom in the late 1940's, the man had made a train wreck of his life. Drugs, alcohol, and a hair-trigger temper had ended two marriages, ruined a host of friendships and made the tortured genius a virtual untouchable in the music business. So at the end of 1952, Hank Williams gathered what was left of his physical strength to make things right, and begin the long road back. He booked New Years shows in West Virginia and Ohio, and hired a local kid who didn't even own a radio, much less know who this legend was, to drive him there from Montgomery Alabama. Inspired by the mysterious final days Hank Williams' mercurial life, THE LAST RIDE is the story of that final drive through the bleak Appalachian countryside of 1950's America. A lonely two-man odyssey; a boy coming of age, and a man leaving this world way before his time, a victim of his own abuses.

New Hank Williams 16-Disc Collector's Box Set Arrives Today

Time Life has released the highly anticipated The Hank Williams Complete Mother Best Recordings….Plus!- hitting shelves today.

The 16-disc collector’s box set contains 72 complete 15-minute shows, featuring 143 performances by Hank Williams together with conversation, and much more. In the music and talk, Williams is revealed like never before. It is the first three-dimensional portrait of an American music legend.

The recordings are from Williams’ Mother’s Best Flour shows, recorded at the pinnacle of his career in 1951. When Williams was planning to be out on tour, he prerecorded his Mother’s Best shows, and 72 of them miraculously survived. Thinking the shows would only reach a small, mostly rural audience in mid-Tennessee, Hank was unguarded in both his conversation and choice of songs. Accordingly, we hear him perform many songs he never performed elsewhere, including some from his childhood. . The original acetate recordings were painstakingly restored after they were salvaged from a trash can by a WSM employee and turned over to the Hank Williams estate. The sound quality of these exceptional radio shows is at least comparable to his studio recordings, and many critics have remarked that the “direct-to-disc” Mother’s Best recordings actually have more presence and clarity.

Hank Williams Complete Mother Best Recordings….Plus! is comprised of fifteen audio discs and a bonus DVD. The shows contain so many priceless moments, including Williams’ first-ever performances of “Cold, Cold Heart” and “I Can’t Help It (If I’m Still in Love with You)” just days after they were written, as well as many songs he never recorded elsewhere such as “Blue Eyes Crying in the Rain” and “On Top of Old Smoky.” On the DVD, two of Hank’s original band members reminisce about his brief, incendiary career. Sadly, both of them died shortly afterward. . The project also contains a booklet with an introduction by Hank Williams, Jr. and over one-hundred pages on the history of Williams, written by respected music writer and Hank Williams historian, Colin Escott. This deluxe, limited box set is packaged in an antique working radio where the listener presses the radio dial and selections of Williams will play.

“When I heard about the Mother’s Best shows, I couldn’t believe there was more,” exclaims Hank Williams, Jr. “And when I heard that these recordings increased the amount of daddy’s music by fifty percent, man, talk about a grand slam. Hearing him sing songs like The Blind Child’s Prayer and On Top Of Old Smoky, and you realize he was listening to country music, soaking it up, back in the 1930’s. But the most special songs to me are where daddy sings with mother on those old Gospel songs like, Where The Soul Of Man Never Dies. There’s something special about those recordings.”

An Interview With Hank Williams' Daughter Jett Williams Over At The 9513

Jett Williams, daughter of the legendary Hank Williams, was born in Montgomery, Alabama, five days after her father died on his way to Canton, Ohio, where he was to perform on New Year's Day, 1953. Relinquished by her natural mother, Bobbie Jett of Nashville, the infant was taken from the hospital where she was born into the home of Hank's mother, Lillian, who adopted her. Lillian, who started her lengthy adoption process within days of Hank's funeral, completed the adoption in December of 1954. Unfortunately, she was dead within two months and the Williams family no longer wanted the infant, whom Lillian had named Cathy Yvonne (for the "Yvonne" in "Jambalaya"). The Williams family made Jett a ward of the State of Alabama and she was relocated to a foster home in Pine Level, Alabama, at the age of three.

During her youth, Jett had no idea who her natural parents were, let alone that her daddy was Hank Williams, but from a very young age she demonstrated an unusual and natural talent for music, singing, and her guitar. In the early 1980's, at the urging of her adoptive father and armed with a few facts and a little rumor, Jett set out to learn what she could about who she was and what had happened to her. After years of futile effort, fortune smiled and Jett got proof-positive that Hank Williams was her father. Not only was he her father, he had made all provisions for her and her well being. In fact, three months before Jett was born, Hank had prepared and executed a notarized pre-birth custody agreement giving him full custody of his as yet unborn daughter. The rest is history, and is documented in the files of the Alabama State Court and in the scores of newspaper and feature magazine articles written about Jett and her saga.

Jett Williams was declared by court order dated October 26, 1987, to be the biological daughter of Hank Williams. On June 5, 1989, the Supreme Court of the State of Alabama, reversing a lower court ruling, found that Jett, since birth, had been the victim of fraud and judicial error in that her identity was concealed from her for financial gain. The Supreme Court declared all prior orders in the Estate of Hank Williams to be null and void, since procured by fraud on the court, and reopened Hank's estate, making Jett Williams a legal heir, entitled to one-half the estate proceeds. Her autobiography, entitled Ain't Nothin' as Sweet as My Baby, chronicles the saga of her struggle.

Hank Sr has a brand new box set of unreleased recordings that comes out this month called Hank Williams- The Complete Mother's Best. I had a chance to talk with Jett in an interview for The 9513 about the new project and her role as guardian over her father's name and likeness. Check out the snippet below and then click HERE to read the whole interview.

"When you hear that version with him telling you about it or when you hear him talk about how out of all the songs he’s recorded this one or that one is his favorite, it’s special. That’s opposed to hearing people say that Hank said this or Hank said that or reading that Hank said this. Now I’ve got Hank saying that. And [it is meaningful] to hear him talk about why he selected the song to sing and why the song means so much to him. But then you can hear him banter between the emcee and the band members. That is cool too. Mistakes were made on-air and you get to hear him laugh at himself. It’s so personal. It’s absolutely fantastic. You can hear songs he wrote and other people’s songs. There are songs you’ve never heard him sing before. There are many of those. I don’t remember the exact amount, but there are 140 songs. Some of them were before the masters were cut for those songs."