Jimmie Rodgers

The Twenty Best Albums of 1994

December 26, 2014 // 5 Comments

As 2014 comes to a close, the Country Universe staff has been collectively impressed by the number of quality albums that were released this year.  How many of those albums, however, will we still be listening to in twenty years? We have that benefit of hindsight for the year 1994, and we’ve compiled our twenty favorite studio sets from that year.  At their time of release, some of our favorites were comeback albums from veteran artists, some were from current artists reaching new artistic and commercial peaks, and some were debut sets from artists that went on to become mainstays on country radio or in the Americana music scene that was just coming together twenty years ago. What they all have in common is that each and every one of them still sounds great today, and they collectively show the wide breadth that the country music landscape was transforming into Read More

100 Greatest Men: #5. Hank Williams

August 15, 2014 // 1 Comment

100 Greatest Men: The Complete List So epic was his life story, and so tragic its ending, that it’s easy to forget a simple truth: Hank Williams was one of the strongest vocalists and songwriters to ever grace the country music genre. Williams hailed from Alabama, and played guitar from a very young age.  He was drawn to both country and the blues, and by his teens, was already an established performer on the local scene.  He formed a band called the Drifting Cowboys, and was soon singing regularly on the radio, where he was dubbed, “the Singing Kid.”

100 Greatest Men: #6. Jimmie Rodgers

August 14, 2014 // 2 Comments

100 Greatest Men: The Complete List All of country music history is connected by its tradition, with the artists of one generation tracing their sound back to the generations that came before.  For male country singers, all roads eventually lead back to Jimmie Rodgers.What is all the more remarkable about his lasting influence is that Rodgers only recorded for six years. Rodger was born and raised in Meridian, Mississippi.  His father was a railroad man, which is a line of work that would later feature heavily in his material.   He loved music from a young age, even as he was running wild in pool halls and dive bars before he even reached his teens.  He won a singing contest at age 12, and it inspired him to pursue music as a career.

100 Greatest Men: #18. Ernest Tubb

August 12, 2014 // 2 Comments

100 Greatest Men: The Complete List One of the earliest members of both the Grand Ole Opry and the Country Music Hall of Fame, Ernest Tubb’s legacy stretches back to the 1940’s, when he became one of country music’s earliest national stars. Hailing from Texas, Tubb was the son of a sharecropper who passed the time listening to Jimmie Rodgers records, which inspired him to take up singing and yodeling.  By age nineteen, he was singing on the radio in San Antonio, while digging ditches for the federal government to pay the bills.   He wrote Rodgers’s widow, hoping for an autograph, and it started a friendship that motivated her to help Tubb land a recording contract.

The 100 Greatest Albums of the Decade, Part 4: #70-#61

December 3, 2009 // 16 Comments

The 100 Greatest Albums of the Decade, Part 4

70 Tillis

#70
Pam Tillis, It’s All Relative: Tillis Sings Tillis

By the time she released a tribute to her father Mel, she’d become something of a legend in her own right. So it’s no surprise that she approached Mel’s stellar songwriting catalog as if she was recording any other studio album, taking the best of the bunch and making them her own. Bonus points for preserving the original fiddle breakdown from “Heart Over Mind” while making that classic shuffle a forlorn ballad, and a few more for hitting the archives of the Country Music Hall of Fame until she found a forgotten gem that should’ve been a hit back in the day (“Not Like it Was With You.”) – Kevin Coyne

Recommended Tracks: “Mental Revenge”, “Detroit City”

69 Dwight

#69
Dwight Yoakam, dwightyoakamacoustic.net

Yoakam takes a new, inspired spin on the greatest hits album concept, presenting us with a hearty sampling (over 20 songs) of his catalog served acoustic style. It simply works for the country legend. He introduces some delightful new twists and turns to his old classics, and as it should go with acoustic music, the album is driven by unadulterated, raw vocals, coupled with honest storytelling – the purest form of country music. – Tara Seetharam

Tradition: Chain of Strength or Chain of Restraint?

May 27, 2009 // 21 Comments

This past weekend, I had the privilege of attending the 2009 International Country Music Conference, conveniently held at a building on my college campus. The three-day event made for quite a mind-feast – so much so, actually, that it’s taking me longer than I had hoped to sort through all my notes and compose a post to do the thing justice. So that’ll be coming through the pipeline sometime within the next few days.

In the meantime, though, one issue raised during the event has really stuck out in my mind, and I thought I’d give it a spin and maybe throw out a taste of what’s to come in the full coverage.

So here’s what happened: in a discussion on Waylon Jennings’ career attitude during his peak Outlaw years, someone mentioned that his label disliked the way he seemed to view himself as a musical descendant of Jimmie Rodgers and Hank Williams (see “Are You Sure Hank Done It This Way”), as if his only role as a recording artist was to serve as a link in those artists’ musical “chain.” The speaker speculated that this sort of “big picture” attitude toward one’s art would probably worry many labels, simply because it directs the public’s focus away from an artist’s individual “star.”

That struck me as eerily relevant to today’s scene, where it’s become much less simple to hypothesize about which artists the big stars have “descended” from – and heck, which genres, in many cases. Today, more than I’ve yet witnessed in my young life, there seems to be much greater emphasis on building up an artist’s individual importance, rather than carrying a certain “flag.” Concerts are getting bigger and more histrionic; the CMA telecast books any act who might help ratings and basically snubs Hall of Fame inductees; and of course, most shout-outs to country legends of yore by today’s artists are usually just shallow attempts to build cred. The mainstream seems to have spoken its bit loud and clear: it has some progress it needs to carry out without any real help from the past, thank you very much.