Podcasts about grand ol opry

On this episode of JMP, John and Phil chat with the always hilarious Killer Beaz.  Beaz talks about his role on the show "Moonshiners," his 25 appearances at The Grand Ol Opry and his upcoming projects and show on his never-ending tour. Get ready to laugh and laugh hard!

#823. Buckle up, baby, because today we've got country superstar Lauren Alaina in the house! She's getting hilariously candid, and trust me, we are laughing a lot—from pregnancy surprises to birthing class horrors, massive weddings to middle school connections (spoiler: she might be responsible for Kane Brown's career?!). Lauren spills on how she met her husband, her record-breaking country music milestones, and the confession at the end… let's just say her non-viral boob slip story had us crying laughing. If it wasn't viral before, it will be now! Oh, and I may have locked in a duet with her—hold me to it, Vinos! Get ready to laugh, gasp, and maybe even shed a tear. Press play now! If you're LOVING this podcast, please follow and leave a rating and review below! PLUS, FOLLOW OUR PODCAST INSTAGRAM HERE! Thank you to our Sponsors! Check out these deals! Quince: Give yourself the luxury you deserve with Quince! Go to Quince.com/vine for free shipping on your order and 365-day returns. Audible: Go to Audible.com/Chrissypodcast or wherever you get your podcasts and start listening today. Wayfair: Head over to Wayfair.com and find something that's just your style today. Wayfair. Every style. Every home. Pique Life: If you want...

John Spittle born and raised in Southern California started playing drums at the age of 5. His father was a drummer and started teaching him at an early age. Music was always a big influence in his household. By the time John was around 10 He would sit in with his dad's rock bands. Sitting in gave John the desire to want to do more. Joined school band in Middle and HighSchool.  By the time he was 15 he was playing club gigs( having to spend breaks outside because he was too young). At 16 as well playing club gigs he joined rock bands in Southern California in hopes of one day being a Rock Star. That led to doing sessions in L.A. area and landing accounts playing drums on jingles and commercials and demos.  In 1996 John packed up his family and moved to Nashville TN. Nashville was a better place to raise a family and the music scene was thriving.  Since moving to Nashville John has played drums touring and or recording with Artists like  Paul Brandt,Sara Evans, Chris Cagle, Aaron Tippin, Tammy Cochran, Kellie Coffey, Matt King, Marty Brown, Neal Coty, and many more.  Since 2002 John has been playing drums with Country Music Icon Trace Adkins All of this has led to seeing the world on tour and recording in some of the greatest studios in Nashville. And building his own home drum studio for remote tracking.Some of his TV performances include The Conan O'Brien show, Jay Leno Show, Craig Ferguson, Jimmy Kimmel, Jimmy Fallon, Ellen Degenerous show, Today Show, NYC New Years Eve, Emeril Live, ACM Awards Show, CMT Awards Show, The Celebrity Apprentice, The Grand Ol Opry, and many more. Endorsed by Ludwig, Paiste, Innovative Percussion.   Some Things That Came Up:  -2:30 Leaving Ventura, CA -5:40 John is a surgery free drummer! -6:40 John was a surfer back in the day  -7:50 John's Dad was his first drum teacher -9:10 John's Dad gave his some tough love at his first gig at The Troubadour -10:00 Reconnecting with J.R. McNelley at The Mission Cigar and Social in Spring Hill, TN. -14:36 “Music and Cigars with John and J.R.” podcast  -16:00 Playing around L.A., doing jingles and working as an auto mechanic at Chevrolet -21:40 The love of muscle cars  -26:00 The quickest drum charting system in the world. John's version is unique to him -30:45 John's first gig was Marty Brown of “I'm From The Country” fame, then Matt King,              Neal Cody, Paul Brandt, Sara Evans, Aaron Tippin, Chris Cagle and then Trace Adkins -33:45 Trace Adkins gig was a NO audition scenario in 2002 -38:50 It's all about relationships  -41:00 Bitcoin? -42:00 NFT? Gorden Campbell, Gary V DM -43:00 Ableton Expertise  -45:40 Career Highlights: Playing Carnegie Hall, Playing The Ventura County Fair -53:00 Ludwig, Paiste, Innovative Percussion -56:00 Alex Van Halen's “Brothers” Book  -58:30 David Lee Roth was the ultimate frontman -59:40 Kenny Aronoff subbing for Jason Bonham  -1:06:20 Rock project called The Brave on Apple Music and Spotify -1:07:30 The Fave 5…Check out Bruno's Italian Deli -1:13:45 “Dogman” by Kings X! Jerry Gaskill in the house!  -1:22:50 Playing ZZ Top's “Tush” correctly   Follow:  -Email: jpspittle@gmail.com   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.itsyourshow.co

This time on the JMP John and Phil chat with one of the funniest humans on the planet, Truett S. Beasley Jr., aka Killer Beaz. A regular on the show Moonshiners and on stage at The Grand Ol Opry in Nashville, Beaz brings the funny, talking about his life in comedy and making moonshine and bringing his flame thrower to church. (Really!) Don't miss it! Of course, we have Christmas music, Heavy Metal Christmas-Joe SatrianiChristmas Time Is Here-Steve VaiLet It Snow! Let It Snow! Let It Snow! -Dean MartinUp in Smoke-Cheech and Chong Living Hell-The Misfits

George Halford sits down with the guitar professor at Tennessee Tech, Doc Stone. He has played about 1600 spots at the Grand Ol Opry. Hear all about who he is, where he came from, where he's at now, and more! Listen to the Local Matters Podcast today. News Talk 94.1

Miko Marks is a singer/songwriter from Oakland California, who was a member of the CMT Next Women of Country class of 2022, has played the Grand Ol Opry, won multiple Independent Music Awards, and stepped away from a professional career for over a decade to raise her child and be present for her family. We talk about the choices to step back, as well as to return to performing and recording, how that changed her approach and outlook, grounding in your own path, making your world small, living the experiences you are having, your career as a spiritual journey, and more.Get more access and support this show by subscribing to our Patreon, right here.Links:Miko MarksPatti Smith'Wiser Than Me' PodcastCMA FestRed Tone RecordsKelly McCartneyEp 55 -  Rissi PalmerEp 14 - Mark ErelliEp  65 - Elliot BronsonClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

The Grand Ol Opry has been in continuous service since it's first broadcast on WSM November 28, 1925. That's 98 years, folks! But even Little Jimmy Dickens had to hang up his hat and guitar after 67 seasons! Yes, all things - even good things - must come to end, and today's Living Your Dash is the last episode with our host, Rick Hale. Our first recording was on September 11, 2019 - just before Covid-19 started to halt things - but we kept recording! But Sunday, July 7th, was Rick's last message, and he had a lot to say to his church, and therefore, some sage words to all disciples no matter where you are. Of interest is not only Rick's own beginnings in ministry, but wise words to people thinking about ministry themselves, and for those of us who now begin ministry under new leadership with Nate Marsh. Rick - thanks for letting me experiment with this podcast. It's been a lot of fun and very meaningful to me, personally. I love you! ~ Sean

Lola Kirke has played many roles as an actress (“Mozart in the Jungle,” “Gone Girl,” “Winning Time”), but as a musician her sights have always been set squarely on Country. After relocating from Los Angeles to Nashville in 2020, Kirke devoted herself to honing the craft she'd come to admire so deeply in artists like The Judds, The Pistol Annies, and Dolly Parton. Shortly thereafter, she released her critically acclaimed sophomore LP “Lady For Sale” on the much respected Third Man Records in 2022, and played sold out shows with the likes of Jenny Lewis, and Margo Price. This past February Lola made her Grand Ol Opry debut and most recently become the newest addition to the cast of Ryan Coogler‘s untitled supernatural thriller for Warner Bros Pictures which will be released next year. https://www.lolakirkemusic.com/ https://www.theartcareer.com/ @lolakirke

Four country music legends join us after a night of partying at the Grand Ol Opry. This episode is the final installment of the Nashville Tapes. Thank you to all our artists listening for an amazing year. Artists on Artists on Artists on Artists is an improvised Hollywood roundtable podcast by Kylie Brakeman, Jeremy Culhane, Angela Giarratana, and Patrick McDonald. Edited by Conner McCabe. Music by Gabriel Ponton.Hollywood's talking. Make sure you're listening. Subscribe to us on Apple Podcasts, Spotify, and Youtube! Please rate us five stars! Join our Patreon for exclusive bonus episodes and fun content. https://www.patreon.com/aoaoaoapod

Todays guest is Mike Waldron. Mike has been picking through major tours and studio sessions for over 30 years. As a first call guitar player, he's supported artists like Martina McBride, Lee Ann Womack, Luke Combs, and Hillary Scott. Starting his career in LA club scene, Mike followed the “say yes to every gig” mentality which helped him polish his craft and connect with countless artists and songwriters. One of those songwriters, Jan Buckingham, suggested he make the trek to Nashville and with her help, Mike was playing the Grand Ol Opry a few short weeks later.Since then, Mike has become a master at the craft of session playing. He's participated in around 15,000 sessions, several of which have earned #1 status and coveted Grammy nods. Mike has learned countless lessons along his journey that he was kind enough to share with us in this incredible episode. From how to make your own luck to refining technique to get guitars to cut in a mix, and managing the ups and downs of the fickle music industry, Mike's experiences are a priceless collection of light bulb moments that we hope will help you continue to grow as a player.Support the showJoin The Band for FREE at studiomusicianacademy.comFor access to exclusive masterclass sessionsInstagramYoutube

Larry updates everyone on his latest treatment - Watch out, he's radioactive! Guiding Andy Mills at ICAST Jamieson's fishing report from the Clinch River. Ben's hook removal play by play. Two handed Tenkara ain't fly casting. Lake Fontana with Jamieson. Yella Jackets are Assholes! Colby Acuff debut at Grand Ol Opry. Colby Acuff show at Down Home in JC, TN Ben adds another boat to the fleet. Trout Set / Strip Set Lamson Rebrand (We love their rods) A night of rubbing is racing in Kingsport, TN. The Tailer Park Casting Championship at The Fly Box. Along with opening the Banana Good Luck Mail Tug delivery and other random thoughts.

Date is approximate, but sometime in December, 1948. Guest tonight is the Blue Sky Boys. Red Foley opens with his hit, Easy to Please. Claude Sharp and the Hickory Singers…

The Grand Ol Opry  will spend this month honoring the 77th Birthday of Dolly Parton.  is Dolly Parton from New York, Mississippi or Tennessee?

Super excited to announce new guest, Sam Schmidthuber, to The Story!Sam Schmidthuber, is an award winning Nashville Recording Artist and country singer/songwriter from Chester County PA. He has had chart topping hits, won awards domestically and overseas, and most recently won Songwriter Achievement of the Year at the Grand Ol Opry in Nashville, TN. He tours year round and continues to grow his dream!Some highlights of Sam's career have included performing at the 2017 WIOV 105.1 FM (PA) Turkey Hill Fall Fest prior to Trace Adkins, and returning the following year (2018) on the main stage, as one of the openers for Rodney Atkins, David Lee Murphy, Mitchell Tenpenny and Trent Harmon. Another was performing at the 2018 Citadel Country Spirit USA event in PA, prior to Jake Owen and Brad Paisley among others and again in 2021 prior to Chris Young, Josh Turner, Scotty McCreery and Lindsay Ell.In September of 2019, Sam won Young Adult Male Vocalist of the Year at the 2019 Josie Music Awards in TN and in late 2020, won Shining Star at the Fair Play Country Music Awards in the Netherlands, while representing the USA.January 2020 and May 2020, Sam released two new singles, "More Than a Stone" and "Dirt Road World."As 2021 opened up after the pandemic, Sam had several live performances scheduled and was anxious to get back on the road. 2021 ended with Sam's 2020 release "More Than a Stone," winning Song of the Year at the 2021 Fair Play Country Music Awards in the Netherlands, and it went platinum for the most downloads on the Airplay Country Chart. Sam also had the great honor of being awarded Modern Country Male Vocalist of the Year at the 2021 Josie Music Awards in TN!In November 2021, he released his version of of his favorite Christmas song, "Mary Did You Know," followed with a live performance on ABC Ch 27! This past July (2022) "Rebound to Ringbound" was released to all major digital platforms, and Sam won the 2022 Songwriter Achievement Award at the Josie Music Awards in Nashville, TN for this song!You can find Sam and his projects here:Facebook: Sam Schmidthuber MusicInsta: @samschmidthuberofficialWebsite: https://www.samschmidthubermusic.com/Find The Story Podcast here: https://linktr.ee/thestorypodcastSupport this podcast at — https://redcircle.com/the-story/donations

Friday Oct 7 at 1230pm-130pm CST at Center On HalstedMODERATOR : Rev. Todd Atkins-Whitley aka Blessya Hartz Programs - Spiritual Care  Oakland, CA(He/Him)( She/Her)As a cisgender, male-identified, white, gay person born into two dominant religions (America and Christianity), I engage the art of drag to help heal the wounds of toxic masculinity and misogyny upon my body and spirit while also transgressing patriarchal, sexist notions of God that bring harm to queer people. Drag is a new form of spirituality for me and I have found it so far to be liberating. It has also allowed me, as a religious leader, to hold space with folx who have been traumatized by purveyors of toxic religion.PANELIST: Coco Sho-Nell was born in a small town outside of Gary, Indiana. And that town was called Chicago! Coco has been in existence for 13 years but as a theatre actor she has been performing for over 20 years. Coco is a theatre camp queen through and through. Coco is current cast member on season 4 of Camp Wannakiki on OUTtv. She also has been fortunate to have worked with some great Theatre companies in the Chicagoland area. Most notable are Theo Ubique, Fox Valley Repertory, Northlight, Red Tape Theatre and Hell in a Handbag Productions, just to names a few. Most recently Coco was named runner up as Chicago reader's best drag entertainer of 2020 and was named the grand Marshall for the Buffalo Grove pride parade in 2022PANELIST: "Nancy Nogood is what you get if Pussy Riot headlined the Grand Ol Opry. Born out of a mind corrupted by downtown Manhattan, she's appeared on stages and screens across the country with her signature blend of drag and performance art. Nancy is the product of Philip Calabro, a queer artist born and raised as a Roman Catholic in the American South. He was going to be a priest but, meh. Here we are now. "PANELIST: Juan Pablo HerreraLogistics Committee ChairChicago, ILhe/himJuan Pablo is Pastor of Discipleship at Urban Village Church. He is currently imagining a new faith community that is bold, inclusive, and relevant but centered around Latinx voices as part of his work at Urban Village.https://www.dragandspirituality.com

Love Classic Country? You'll Love, New Artist Randall King!! [2022] Randall King counts his influences as Keith Whitley, George Strait, Alan Jackson and John Anderson. He creates straight, traditional country and he really does sound a bit like George Strait. "If we can't do it live, we don't put it into the recording. It's more traditional," King commented during the interview. He set his goals alongside his dad when he was 7, one of them being to play the Grand Ol Opry....check! https://upncountry.tv https://upncountry.com Filmed and produced by: vLiveCast https://vlivecast.com Camera, Sound & Lighting: Ryan Perry, vLiveCast Get the cool Up N Country MERCH Here: https://www.redbubble.com/people/CowChairCountry/explore?asc=u&page=1&sortOrder=recent Check out the Spotify Playlist for all the best NEW COUNTRY! https://open.spotify.com/playlist/6raY92bakZGjjAY9OnEeg7?si=be4f50f7a6304609 #newcountry #lovecountry #upncountry

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & Roll; the music business was still limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex sound. On songs such as "Not Fade Away," "Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby," "Rave On," "Heartbeat," and "It's So Easy," Holly took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

Nashville New Country Artist - Interview with Jackson Capps He met Marty Stuart at age 12 backstage at the Grand Ol Opry and Marty asked him to come on stage and play with him. That was the beginning of Jackson Capps' musical journey! He graduated high school early to move out to Nashville at 17 and plays there non-stop. One of his songs charted in Australia and he tells us about playing at a tailgate party and she shares some of the breaks he's gotten while in Nashville. https://upncountry.com Get the cool Up N Country MERCH Here: https://www.redbubble.com/people/CowChairCountry/explore?asc=u&page=1&sortOrder=recent Want the YOUTUBE CHANNEL? We've got that too! https://www.youtube.com/channel/UCIUpaweVx8BZ3eNzLKM-eSw Check out the Spotify Playlist for all the best NEW COUNTRY! https://open.spotify.com/playlist/6raY92bakZGjjAY9OnEeg7?si=be4f50f7a6304609

Sonya Isaacs from The Isaacs called in to talk with Melissa and David about their new song and album called "The American Face". Sonya also chatted about becoming the newest members of the Grand Ol Opry. Also, Melissa asked Sonya to share the inspiration behind the mega hit song she wrote for Martina McBride called "I'm Gonna Love You Through It"!Support the show (https://www.paypal.com/paypalme/my/profile)

Craig Campbell is no stranger to country music. He spent a year and a half as keyboardist for Tracy Byrd and then with Luke Bryan. He has played the Grand Ol Opry more than 75 times and has had radio hits such as Family Man and Fish. He cherishes family and is happy to be free from a record label as he went fully independent. And yes, he has forgotten the lyrics on stage before! He has a new song called Never Mine that he shares with us and the double album will release in Fall 2021 https://upncountry.com Get the cool Up N Country MERCH Here: https://www.redbubble.com/people/CowChairCountry/explore?asc=u&page=1&sortOrder=recent Want our YOUTUBE CHANNEL? We've got that too! https://www.youtube.com/channel/UCIUpaweVx8BZ3eNzLKM-eSw Check out the Spotify Playlist for all the best NEW COUNTRY! https://open.spotify.com/playlist/6raY92bakZGjjAY9OnEeg7?si=be4f50f7a6304609 #Newmalecountryartists2021 #Newmalecountryartist #Newcountryartists #Newcountrysongs2021 #Hotnewcountrysongs2021 #Hotnewcountry #Countrymusic #CountryArtists #UpNCountry

New Country Music Interview with Alex Hall Country artist Alex Hall has collaborated with Brad Paisley, Vince Gill and Brad Tursi of Old Dominion and in his recent single, Heart Shut, Alex teams up with Tenielle Townes. He is currently opening for Little Big Town and recently played the Grand Ol Opry. He won the CMT Quarantine Video of the Year, collaborating with multiple country artists. I especially appreciate his story about snow sledding on a baking sheet! https://upncountry.com Get the cool Up Nr Country MERCH Here: https://www.redbubble.com/people/CowChairCountry/explore?asc=u&page=1&sortOrder=recent Want the YOUTUBE CHANNEL? We've got that too! https://www.youtube.com/channel/UCIUpaweVx8BZ3eNzLKM-eSw Check out the Spotify Playlist for all the best NEW COUNTRY! https://open.spotify.com/playlist/6raY92bakZGjjAY9OnEeg7?si=be4f50f7a6304609

In this episode, Part 3 of Seasonal Migrations, Jimmi shares his memories of Kevin Kelley's drumming and discusses the first few months of the new Byrds lineup, including Gram Parsons. The new foursome plays for Robert Kennedy's Los Angeles rally shortly before he is assassinated.  With the addition of Doug Dillard, who had played on the Sweetheart of the Rodeo sessions, the new Country Byrds head off to England and play a basement show with The Who, Queen, and The Rolling Stones in attendance.  The Stones invite The Byrds on a night trip to visit Stonehenge, where Keith Richards and Gram become fast friends over lines and drinks in the limousine.Some highlights from the show:00:02:06         Kevin Kelley and his metronome 00:09:57         Gram Parsons doctor's visit00:13:04          Kevin and Gram in rehearsal00:19:18           Euro tour preparations with Doug Dillard00:24:55         The Country Byrds & Sweetheart of the Rodeo00:28:19          Playing for Bobby Kennedy00:33:04         The London Gig00:36:48         The Ferry and Doug Dillard's drinking 00:41:32          Stonehenge with the Rolling Stones00:52:40         Show at the Grand Ole Opry & Ralph EmeryThanks for listening!Visit our WEBSITE for additional information on this episode, extra content and information on future episodes.Or follow Echoes from the Canyons on FACEBOOK, INSTAGRAM or TWITTER

Dierks Bentley has invited Parker McCollom to perform at the Grand Ol’ Opry, does a pile of dishes in the sink drive you crazy?, how many hints does it take a get him to pop the question, Megan Fox might … Continue reading → The post Friday, January 29, 2021 appeared first on New Country 92.1 The Frog.

Eric Church has THREE new albums coming in April, Darius Rucker has invited Lady A to become a member of the Grand Ol’ Opry, there was an earthquake in Lima last night, Dustin Diamond has stage 4 cancer, Kim Kardashian … Continue reading → The post Friday, January 22, 2021 appeared first on New Country 92.1 The Frog.

In lieu of new episodes of Toy Heart, host Tom Power introduces an episode of "The Bluegrass Breakdown" podcast featuring a deep-dive into the making of Second Generation Bluegrass by Ricky Skaggs and Keith Whitley. Ricky Skaggs and Keith Whitley were only 17 years old when they recorded Second Generation Bluegrass. Ricky Skaggs joins The Breakdown to talk about this iconic album. Both went on to be country megastars – until Whitley died of alcohol poisoning at 34. Bluegrass legend Ricky Skaggs joins us to explain how two teenagers managed to perfectly replicate the bygone sound of the Stanley Brothers – and share his final moments with Keith. On each episode of "The Breakdown", Fiddler Patrick McGonigle and music journalist Emma John uncover bluegrass music one iconic record at a time in The Breakdown, a limited series from The Bluegrass Situation. Peeling back the layers of a sometimes under appreciated genre, The Breakdown reveals the bizarre, compelling, and often completely mad stories from bluegrass players past and present.

In this episode we talk about Vince Gill introducing us at the Grand Ol Opry by the wrong name. Aka Thomson Station. How difficult branding is for artist and we disagree if it’s important.  The big “moment” to date for each of us.  Where Keifer was when he got the call about his big moment. Being at the Grammy’s for the first time.  First time playin the Grand Ol Opry Shawna’s Hair.  The every changing Shawna situation which was emotional and real.  The problems and challenges she has with her hair and how it effected her daily life and our marriage.  How tough it is to be “yourself” or “different” in county music then, finding “yourself” and having to deal with social media D bags and their insensivtive comments.   Keifer getting death threats

Jen Lason is the archivist for the Grand Ol Opry. She's also a well known guitarist/singer in bluegrass. She discusses her performance and non-performance careers with Howard Parker.

Grand Ol' Opry Performer shares her Victory Story. After the doctor pinched a nerve in her neck during birth, her right arm became crippled. Through her praying mother, the arm was healed by the age of 3 without surgery. Now, Amber Brooke Taylor plays multiple instruments and sings in Nashville on the Grand Ol' Opry stage.

Host Tom Power talks to Bluegrass Hall of Fame member Jesse McReynolds of Jim & Jesse and the Virginia Boys about his career in bluegrass. One of the last founding fathers of bluegrass, Jesse McReynold’s story is the story of bluegrass — a music that emerged out of the country, into rural schoolhouses, onto rural radio, finding sponsorship along the way, enmeshing itself into the mainstream of American culture. McReynolds tells the story of his grandfather, who played in the first recorded country music session, talks about being offered a gig with the Stanley Brothers, serving with the armed forces in Korea and singing alongside Charlie Louvin. He relates hunting down record deals and successes with his brother Jim, starting their own label, being sought out by counter cultural icons like the Grateful Dead and The Doors. Now nearing the age of 91, McReynolds spends some time reflecting as well, on his brother Jim’s death, his own struggles with the Opry, and how he feels about his legacy in the music. This is an icon of American music whose story isn’t often told, and we’re honored to play a part.

Bluegrass legend and Country Music Hall of Famer Ricky Skaggs talks to TOY HEART host Tom Power about what it was like to grow up as a child prodigy, the real story of how he got pulled on stage by Bill Monroe, how meeting Keith Whitley changed his life forever — and the last time they ever spoke. Plus, a never before told story of how Bill Monroe thought Ricky would make a “fine Blue Grass Boy.” It’s the story of Ricky Skaggs… but the one that you may not expect. Skaggs is a notable entry point to bluegrass for many listeners and fans — like our first guest, Del McCoury is as well. Though his story is familiar: From playing the Grand Ole Opry as a tot, joining Ralph Stanley’s Clinch Mountain Boys, and going on to perform and record with J.D. Crowe and the New South, to his own smashing success in mainstream country and eventual return to his now dynastic bluegrass career. Still, Tom Power displays Skaggs in a fresh light, with stories from and impressions of the icon that even veteran fans will find refreshing and illuminating. Subscribe to TOY HEART: A Podcast About Bluegrass wherever you get your podcasts. New episodes drop every other Thursday through May.

Del McCoury talks to Tom backstage at the Opry about how he started playing banjo, his (interesting) time in the military, joining Bill Monroe's band, being replaced by Bill Keith, starting over, playing music with his sons, and how he found his way to becoming a legend of Bluegrass music - and to some, defining the whole thing. Presented by BGS (The Bluegrass Situation).

“Being Spherical,” with Guests, Authors, and Co-Founders of Spherit Inc., Phil and Pam Lawson, and Musical Guests, Singer / Songwriter and Storyteller, From Broadway to the Grand ‘Ol Opry, Sara Niemietz, and Emmy Award Winning Composer, and Guitar Virtuoso, W.G. Snuffy Walden, on The LIFE CHANGES Show #563

Although they each have successful solo careers  Colin Linden,  Tom Wilson, and road warrior  Stephen Fearing together  are Blackie and The Rodeo Kings.   In 2020 the boys celebrate being together and making music for 25 years.  How did they kick off 2020? Jan 4 they played The  Ryman Theatre, home of The Grand Ol’ Opry. Stephen Fearing packed his bags and went touring his solo album  The Unconquerable Past! Colin  won a Grammy for Keb Mo’s Oklahoma,  which Colin  co-produced in his home studio in Nashville. Just days ago  Tom Wilson gets a Juno nomination for Lee Harvey Osmond. And Blackie releases King of this Town . The coming tour may take the entire year! What  started off in 1996 as a one off tribute album in  celebration of the music of Willie P Bennett  has evolved into 25 years of Blackie and the Rodeo Kings. Quite simply one of Canada’s finest bands.  Ever!! Enjoy the stories!

Part 1 of Erin Enderlin and Kayla Ray at public radio program Live From The Divide in beautiful Bozeman, MT. With multiple appearances at the Grand Ol’ Opry, Erin is gaining steam as a solo artist, having been named a member of the 2018 CMT Next Women of Country, a recipient of the Arkansas Country Music Awards Songwriter and Album of the Year recognitions, and runner-up to Jason Isbell in the Best Singer-Songwriter field in Nashville Scene’s touchstone Best of Nashville issue. Also from Nashville, Kayla Ray delivers country music with rawness and honesty. Her second album, Yesterday and Me, a collection of hard-lived truths set to moving melodies earned plenty of critical acclaim, with critic Kelly Gregory of Country Music People Magazine naming it the best album of 2018.

Part 2 of Erin Enderlin and Kayla Ray at public radio program Live From The Divide in beautiful Bozeman, MT. With multiple appearances at the Grand Ol’ Opry, Erin is gaining steam as a solo artist, having been named a member of the 2018 CMT Next Women of Country, a recipient of the Arkansas Country Music Awards Songwriter and Album of the Year recognitions, and runner-up to Jason Isbell in the Best Singer-Songwriter field in Nashville Scene’s touchstone Best of Nashville issue. Also from Nashville, Kayla Ray delivers country music with rawness and honesty. Her second album, Yesterday and Me, a collection of hard-lived truths set to moving melodies earned plenty of critical acclaim, with critic Kelly Gregory of Country Music People Magazine naming it the best album of 2018.

This week on the show, part one of Z's converstaion with Dom Flemons, the Grammy Award winning American songster who has made it his mission to reclaim and rejuvenate the lost acoustic music of the past and bring it whistling brightly into the future. Born in Phoenix Arizona to parents of African American and Mexican heritage, the ever curious young Dominique Flemons went from playing drums in his school band and busking on the streets of Flagstaff with his fingerpicked guitar and neck rack harmonica, to taking a chance that would change his life completely. He scrounged enough money to make it to the Black Banjo gathering in North Carolina where he would meet Rhiannon Giddens and Justin Robinson, and begin seven year run with their groundbreaking African American stringband The Carolina Chocolate Drops. They would go on win the Grammy for traditional folk album, headline festivals and theaters around the world, open for Bob Dylan play the Grand Ol Opry, and burst into the consciousness of young acoustic music hopefuls all around the world, who were tired of the same stoic, hillbilly bluegrass and white-washed old-time songs played over and over around the festival campfire.

About This Episode For thirty-five years Riders in the Sky have been keepers of the flame passed on by the Sons of the Pioneers, Gene Autry and Roy Rogers. While remaining true to the integrity of Western music, they have themselves become modern-day icons by branding the genre with their own legendary wacky humor and way-out Western wit, and all along encouraging buckaroos and buckarettes to live life ‘The Cowboy Way!’ In addition to being inducted into the Grand Ol’ Opry, and too many halls of fame to mention, they are also the winners of two Grammy awards for music from Disney/Pixar’s Toy Story 2 and Monsters, Inc. It comes as no surprise then that Billboard’s, Jim Bessman, counts them as one of the “most significant acts in the history of American music.” The Quebe Sisters (pronounced Kway-bee) are the newest darlings of Western music, performing a refreshing blend of vintage country, bluegrass, jazz & swing standards, and Texas style fiddling. The Blue Canvas Orchestra perform great country and western music takes us from the mid-60s through the early 80s with music from Opry icons like Willie & Waylon, Dolly & Loretta, Johnny Cash, George Jones, Glen Campbell, Charley Pride and Lynn Anderson. This show again features the Blue Canvas Orchestra with Corey Carlson and special guests Andy Dee, Randy Sabien, Joe Savage, Danielle Diamond and Emily Belanger. This show will bring you to your feet as you clap and sing along to popular tunes! So get ready for a foot stompin’, hand clappin’, good time Old Opry style!! About Michael Perry Michael Perry is a New York Times bestselling author, humorist and radio show host from New Auburn, Wisconsin. Perry’s bestselling memoirs include Population 485, Truck: A Love Story, Coop, and Visiting Tom, and his latest, Montaigne in Barn Boots: An Amateur Ambles Through Philosophy. His first book for young readers, The Scavengers, was published in 2014 and first novel for adult readers, The Jesus Cow, was published in May of 2015. Raised on a small Midwestern dairy farm, Perry put himself through nursing school while working on a ranch in Wyoming, then wandered into writing. He lives with his wife and two daughters in rural Wisconsin, where he serves on the local volunteer fire and rescue service and is an intermittent pig farmer. He hosts the nationally-syndicated “Tent Show Radio,” performs widely as a humorist, and tours with his band the Long Beds (currently recording their third album for Amble Down Records). He has recorded three live humor albums including Never Stand Behind A Sneezing Cow and The Clodhopper Monologues. Learn more about Michael and where to get his publications at www.sneezingcow.com. Follow Michael Perry www.sneezingcow.com Twitter Facebook Instagram Other Ways to Stream Public Radio Exchange: www.prx.org/tentshowradio Podcast: www.libsyn.com/tentshowradio iTunes: www.itunes/tentshowradio Stitcher: www.stitcher.com/tentshowradio Player.FM: www.player.FM/tentshowradio iHeart Radio: www.iheart.com  

Max and Coco do their own version of a corporate retreat, involving a lot of field trips, including the Pavek Museum, where they discover a Minnesota version of the Grand Ol' Opry, the former Kay Bank studio, where Dave Dudley recorded "Six Days on the Road," an exhibit of Prince fan art, and an indoor restaurant designed to look like a trailer park ringed by food trucks.

Your locals sit down with Exit 0 Jazz Fest producer Michael Kline and get the low down on the hot Jazz ready to invade Cool Cape May. Then Barry and Susan Tischler talk about the Grand Ol Opry event to benefit the West Cape May Christmas Parade. Join Ed McDonough, Michael Clark, Joe McLaughlin and John Cooke for an informative and entertaining discussion about these an other relevant topics about Cape May and Middle township.

As Eiffel, Minkowski, and Hera reel from the results of their mutiny, it soon becomes clear that even worse dangers might be right around the corner. With everyone's psyche in a delicate state and the chances of survival mounting against them, the crew has to decide how to spend their last hours before the alien contact event. Plus, the Grand Ol' Opry, ooga-booga, evolution, the oncoming alien-pocalypse, and getting by with some help from your friends. 

Today we feature the especially fine fiddle playing of Eddie Stubbs, now an announcer for the Grand Ol' Opry and WSM in Nashville, TN in honour of his birthday. More birthdays to celebrate and lots of new music!

Today's Guest: Amy Rose, country singer, "Put A Lime In It," "Show Up Naked and Bring Beer," "Party Like A Redneck (Redneck Reunion)" Mr. Media is recorded live before a studio audience full of Grand Ol’ Opry fans sipping complimentary Seagram's Escapes Bahama Mamas with a lime in it… in the NEW new media capital of the world… St. Petersburg, Florida! [caption id="attachment_14027" align="alignright" width="300"] Amy Rose, "Put A Lime In It" Amy Rose may not be the only country music singer to sing songs about drinking and partying, but she’s certainly staking her rising career on them! The first time she was on Mr. Media, in 2012, it was to promote and sing “Party Like A Redneck (Redneck Reunion).” AMY ROSE podcast excerpt: "People just like to relate to songs about beer, let’s face it! Everybody likes beer. Everybody likes beer! The songs are working!" You can LISTEN to this interview with country singer AMY ROSE by clicking the audio player above! In 2015, she was here commanding us all to “Show Up Naked and Bring Beer”! This time, our favorite performer in all of North America has a new drinking anthem, “Put A Lime In It”! It is her fastest rising single to date and when you hear her sing it here live, you’ll know why. In fact, she will be performing two songs today with guitarist Chris Taggart, so stick around for a little lime and “One Of These Days.” AMY ROSE podcast excerpt: "We do 'Pieces of My Heart' by Janis Joplin in our live show and we do 'Me and Bobby McGee. Everybody loves Janis Joplin." Oh, PS – Amy promised to sponsor my Canadian citizenship if Donald Trump is elected president of the United States. I don’t think I asked, but she was sweet enough to offer! Key interview moments: • 3:53 Country singer Amy Rose talks about her wildly growing success with songs about beer, partying and rednecks; • 17:50 She reveals that her live shows include two Janis Joplin covers, “Me and Bobby McGee” and “Piece of My Heart." Amy Rose Website • Facebook • Twitter • Google+ • YouTube  

This West Virginia-based singer/songwriter opened for Merle Haggard at the Ryman Theater (home of the Grand Ol’ Opry), had a publishing deal in Nashville, has written over 500 songs, and plays four different instruments.

ArtSees Diner Radio welcomes Independent Country Music Association 2 time nominee, Doug Briney.    When you think of cowboys and country music, the cold climate and frozen tundra of Alaska might just be the last place on earth that you would think of.  But, the northern-most state in America is right where up-and-coming country artist, Doug Briney’s career began.  With two nominations in the 2013 Independent Country Music Association  Awards, eight months on the Roots Music Report charts, as well as appearances at Rodeo Alaska, The Iditarod, and the Alaska State Fair, this God-fearing road warrior with the warm baritone voice and love for all things southern is now bringing his Alaskan persuasion to Music City, USA – Nashville, Tennessee. While recording in the studio is a labor of love for Doug, performing live on stage is his true passion.  He has been a finalist for two year running in the KBear Radio “Country Idol” in Anchorage, Alaska.  Through his associations, he also met and performed live with Kelly Clarkson, before her big American Idol win.  In March 2013, Doug sang the National Anthem for the start of Alaska’s biggest event, The Iditarod.   Next stop for Doug: Nashville.  “I like to tell people that I’ve sung at the Grand Ol’ Opry.  Of course, it was in the parking lot..but some day!”  It’s this sunny disposition and witty sense of humor that is making country music fans sit up and take notice of this cowboy as one of the “good guys in white.”   http://www.dougbriney.com http://www.facebook.com/dbsongs http://www.twitter.com/dougbriney http://www.youtube.com/akdougjr  

Bluegrass Hall of Famer Del McCoury’s folks came from the mountains of western North Carolina, but he grew up on a farm in York County, Pennsylvania, less than an hour’s drive from Baltimore. “My dad and my older brother listened to the Grand Ol’ Opry every Saturday night,” McCoury said. It was before television, in the middle- to late-1940s. “At a young age I heard Earl Scruggs, and that’s what got me into music.” McCoury had already learned a little guitar from his older brother — who had learned it from their mother — when, inspired by Earl Scruggs, he took up banjo. And, thanks to his dad, soon acquired one. “My dad knew a guy who had an old banjo; he didn’t play it, and so he borrowed it from that guy because I kept talking to my dad about getting me one. And he said, ‘I know a guy who’s got one. He don’t even play it.’ And, after a while, that guy started owing him money for something, so we got a banjo out of the deal,” he said. “It wasn’t a good one, but you could play it.”

News, some Crosstalk and another installment in our 45 Days Of Dye! News: Two Celebrity Passings: Momofuku Ando, the inventor of instant ramen noodles, died last week in Osaka, Japan. He was 96. Broke musicians everywhere are in mourning. The Grand Ol' Opry's king of twang, Del Reeves, has died at 73. His most well-known hit was Girl On The Billboard. Crosstalk: The first PSN was released January 12, 2006! Celebrity Interview This is week #6 in 45 Days Of Dye. Multi-platinum, Grammy Award-winning engineer, mixer and producer Charles Dye began his engineering career in 1992. Since that time he's mixed hits for Ricky Martin, Sammy Hagar, Julio Iglesias, and Jon Bon Jovi. He's also recorded artists such as Aerosmith, Jennifer Lopez, Shakira and Gloria Estefan, among many others. Interview Links: Tom Sartori Web Site Tom Sartori On MySpace Tom Sartori On CD Baby Tom Sartori Poker Story Stu Venable - Angry Folk Podcast The "Cocktail Party" Effect Mike Schettler - Shortler Studios Andrew Brierly - Home Recording Odyssey Podcast Andy DiekrogerSweetwater Engineer(800) 222-4700 Ext. #1273Andy Diekroger - Sweetwater Dave Criddle - Home Recording Odyssey Podcast Hens Zimmerman - Sounds Good Podcast Ted Jensen Discography Ted Jensen - Sterling Sound Brian Stephens - Music Pro Show DUY Valve & Tape McDSP Analog Channel Tri Tone Digital - ColorTone Massey Tape HeadCrane Song - Phoenix Massey - Tape Head Sign Up For The CAPE at The Womb CharlesDye.com Charles' Recent Projects Answer To Last Week's Trivia Question: Q: Who was the 22-year old drummer who played on the Marvelettes 1961, number one hit, "Please Mr. Postman"? A: Marvin Gaye! This week's winner is George Leite, congratulations George! You're taking home a free copy of Guitar and Drum Trainer, courtesy of Ryan Smith over at GuitarAndDrumTrainer.com. Honorable Mention also goes out to Ernest Daniels, Brian Stephens from The Music Pro Show, Mark Rufino and Dan Leuders! See you next week! Tags: music recording studio home studio project studio mixing protools plugin digidesign frappr creative commons digidesign guitar and drum trainer charles dye mix it like a record ssl ricky martin sammy hagar julio iglesias jon bon jovi grammy aerosmith jennifer lopez shakira gloria estefan livin la vida loca Momofuku Ando del reeves girl on the billboard tom sartori stu venable angry folk podcast cocktail party effect andrew brierly hit street records home recording odyssey sweetwater andy diegroger dave criddle ted jensen sterling sound brian stephens music pro show duy valve duy tape mcdsp analog channel tri tone digital colortone crane song phoenix massey tape head marvin gaye please mr postman

In our Made-in-Canada segment, we kick off our Mother’s Day show with music by The Happy Gang, Don Messer, and Marg Osborn about mothers.  We also present an episode of The Rod and Charles Show.  Our Canadians Abroad segment features an episode of The Grand Ol’ Opery, hosted by Hank Snow, who was a native […]