Ok, Ok, I guess I'd better get these little irritations and
natterings off my chest as they come up, otherwise I'll probably just break out
in terminal hives.
I don't even
remember who it was, but I finally saw one too many faux cowboys with the mandatory straw hat singing with that nasal
twang about how his best friend stole his dog, had sex with his truck, and took
the tires off his wife (or something like that).
Wearing
"the hat" if you're actually baling hay in the sun or rounding up
cattle makes sense. Wearing it to a dinner dance while dressed in a tux is
simply grotesque and screams "poseur!"
Not talking Woody Guthrie or Jimmy
Rodgers, or Carter family here, (real
country folk with legit roots who lived the life) but rather calling out the
degree holding, non-farm working (ever), dudes who want the unwashed to think
they're "good ole boys." Who, you ask, fits this category? Here are
some names of frat boy college grads who "took up the hat", apparently
to augment their skills. Jason Aldean, Tim McGraw (PKE UL Monroe), Garth Brooks( BA Advertising),
Brad Paisley (BA Business admin), Kenny
Chesney (BA advertising , LCA frat).
The notable exception in the above is Garth Brooks, who has legit vocal chops,
can sing without the whiny nasal shit kicker twang, and has sold more certified
platinum solo artist albums than any other American male singer, including one, a respectable rock effort, in his alter ego as Chris Gaines. Of course the
29X platinum country- rock (minus the twang/straw hats) Eagles Greatest Hits,
album eclipses any two Brooks albums in sales.
This is, I freely admit, an acquired distaste on my part for the vast majority of country music, since I was
raised in western Maryland in Hagerstown, a town right across the Potomac River from West, by God,
Virginia, where there were two radio
stations, one of which played what we then called "hillbilly" music,
the other which played the most bland mix of syrupy pap available, and neither
of which was about to play rock and roll in the later 1950s. Like the BBC until,
believe it or not, 1964 , many US
mainstream stations cared not a fig for what the listening public wanted to hear, choosing instead to air what they
thought listeners "should"
like and, would grow to like if it was all that was available. (this was
actually stated as policy by BBC bigwigs!)
This phenomenon continued in the UK to the
extent that many BBC listeners were forced to change to Radio Luxembourg
("Pirate" Rock and Roll radio from ships) to hear "the New Music" which American kids
were gradually being allowed to hear on prime time local radio.
WARK, aka the
"hillbilly" station (AM/FM in a time when few listened to FM
anyway, shamelessly broadcast the
twangy, nasal, crap most of the day, with an occasional listenable flare of
Patsy Cline, who today would be Adele, or Eddy Arnold, who had a likeable
enough, plain vanilla, baritone. But at
night, I discovered, like so many teenagers trapped in similar situations
did, the phenomenon known as ionospheric bounce. It was life
changing.
For the uninformed (or younger, lol) FM radio transmission range is roughly "line of sight", like TV and, like TV, have about the same range. At
night, they don't change much, but shorter (lower frequency) AM radio waves
undergo skywave bounce under most nighttime atmospheric conditions and can extend
far beyond the transmitter's usual range.
For a youngster hungry for better listening fare in a sea of
shit kicker and schlock, this meant that some pioneering Rock stations like
WLAC in Nashville and WKBW in Buffalo, both 50,000 watters, were actually
listenable at night. So, Listening to "John R & the Hoss Man" in
Nashville I was introduced to Rhythm and Blues of a sort which would have
occasioned cross burnings in Hagerstown, Md. Tom Shannon on WKBW in Buffalo played early White artist efforts. Had I known of its existence I could
also have heard Alan Freed's WJM
(Cleveland, OH) "Moondog Rock 'n
Roll House Party" It was Freed who began calling "Rythm and
Blues," which carried the race connotation, "Rock and Roll."
My parents,
both trained musicians, may not have cared for the genre, but they, bless their
hearts, appreciated that there were different styles and tastes and, never once even attempted to negatively influence my choices. Although the first record I actually bought
myself (45 rpm) was Rosemary Clooney's (you remember, George's aunt?)
"C'mon a My House," a decidedly
bland mainstream disc, the second was "Earth Angel" by the
Penguins, a Black R & B quartet, heard late at night from Buffalo.
Meanwhile, in Nashville, late night jocks,
John Richbourg ("John R") and Bill "The Hossman," Allen, apparently left to their own devices to sell late night airtime, sold some to "race
record labels" and Gene Nobles, another WLAC jock, began playing records
brought to him by black students hungry to hear dance music they liked on the
radio. This was a time when most Black owned or focused labels/artists did a
lot of business via mail order because mainstream record stores simply didn't
(or wouldn't) carry them. James Brown was quoted as saying "WLAC was all
we ever listened to."
To the young
kid listening to late night radio in bed it was an introduction to music which
wouldn't be played locally on air for another 4 or 5 years. Ruth Brown, Faye
Adams, and others were a revelation, but it was Little Richard, whose
"Tutti Frutti" was riveting to me. The lyrics were nonsense, but the
beat was inescapably catching. That was followed up by "Long Tall Sally"
which I actually bought. (Interestingly enough I would eventually own covers of
both by Elvis Presley, a White singer who didn't sound like it.) At the same time Ray Charles, Bo Diddley and
Fats Domino were forcing their way into the airwaves.
By 1956, White crossovers were penetrating and making
the R & B category somewhat more
homogenous with market penetrations by
Elvis, and Carl Perkins, while Chuck Berry's reworking of a song called "Ida Red" into
"Maybelline" rose off the R&B charts into the white dominated Pop
charts. In the UK, the only way anyone could hear any these was the
aforementioned Radio Luxembourg pirate broadcasts or the increasing number of
records smuggled by travelers.
The common
thread in all this music was authenticity, which I find lacking to a shameless
degree in much of what is currently called "Country" music. Flatt and Scruggs played country music, The
Carter family and Hank Williams did country. While there are some genuine
talents in the field, many of these artists are seemingly at their best when
they do more mainstream pop. Carrie Underwood
would be a star in any genre and Taylor Swift has landed far, far from her
original style, while singers like Darius Rucker, whose monotone drone made
Hootie and the Blowfish so execrable and forgettable, has gone to country to
maintain a career. On a final bright
note, genius picker Vince Gill, he of the great six string skills and nice tenor voice (and never, never with the faux cowboy hat)
has crossed into the light with The Eagles.
If you have
read this far and disagree, I don't care. This was an opinion piece with a
history lesson in the middle.