American recording artist; songwriter, country music singer
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5 episodes with hank williams sr
4 episodes with hank williams sr
2 episodes with hank williams sr
3 episodes with hank williams sr
4 episodes with hank williams sr
2 episodes with hank williams sr
2 episodes with hank williams sr
2 episodes with hank williams sr
2 episodes with hank williams sr
Combining the best of Americana and blues melodies with timeless Southern storytelling, award winning vocalist Stephanie Adlington and guitarist Aaron Lessard draw influence from the likes of Tom Waits and Ray LaMontagne, along with bedrock artists such as Patsy Cline and Hank Williams Sr. A Tale Of Two has opened for notable artists such as Mary Gauthier, Grayson Capps, and Peter Mulvey. Not unlike the artists who inspired them, the duo's songs frequently dabble in stories of revenge, drinking and feature sinners of all stripes and persuasions. Oozing an infectious stage presence and chemistry that carries over from the music to the back and forth banter between songs, “A Tale Of Two” offers a different kind of Americana – storytelling by a swampy pair of retro raconteurs spinning blues arias with soul, intrigue and power.
Lacy J Dalton Meets Gothic Author Alistair Cross Lacy J Dalton Meets Gothic Author Alistair Cross Alistair Cross Early Life and Influences: Born in the western United States, Cross began writing at a young age, inspired by horror novels and movies. His literary influences include authors such as Stephen King, Dean Koontz, John Saul, Tamara Thorne, Ira Levin, and William Peter Blatty. Early Career: Cross' first novel, a collaboration titled "Beautiful Monster," was published in 2012 under the pseudonym Jared S. Anderson. He was first published by Damnation Books in 2012. Collaboration with Tamara Thorne: In 2012, Cross partnered with international bestselling author Tamara Thorne. As "Thorne & Cross," they co-authored the successful Gothic series, The Ravencrest Saga, starting with "The Ghosts of Ravencrest" in 2014. Their collaborative novel, "The Cliffhouse Haunting," became an Amazon bestseller. They have also worked on other projects together, including "Grandma's Rack". Solo Work: Cross' debut solo novel, "The Crimson Corset," a vampire-themed horror story, quickly became a bestseller and received positive reviews from notable authors like Chelsea Quinn Yarbro and Jay Bonansinga. This novel is the first book in The Vampires of Crimson Cove series. "Haunted Nights LIVE!" Radio Show: In 2014, Cross and Thorne started an internet radio show called "Thorne & Cross: Haunted Nights LIVE!", featuring interviews with renowned figures in the horror genre, including authors, paranormal investigators, and discussions of ghost stories. The show has featured guests like Anne Rice, Charlaine Harris, Jeff Lindsay, and Christopher Moore. Current Projects: As of recent accounts, Alistair Cross is continuing to work on both solo novels and new collaborations with Tamara Thorne. He is also noted as the author of dark fiction. Note: Information regarding hobbies and "turn-ons" listed in some sources (playing with fire, conquering ant colonies, bloodletting, etc.) may be intended for humorous effect and should be interpreted with caution. LACY J. DALTON BIOGRAPHY Lacy J. Dalton (born Jill Lynne Byrem on October 13, 1946 in Bloomsburg, Pennsylvania), is an American country singer and songwriter with a career that has spanned many decades and touched the hearts of millions of music fans. In March 2017 Lacy J Dalton was inducted into the North American Country Music Association International Hall of Fame, and in 2022 she was awarded a Lifetime Career Achievement Award from the Josie Music Awards, the largest independent music awards show in the country. She's one of the most instantly recognizable voices in music – the woman People Magazine called “Country's Bonnie Raitt.” From the first time Lacy J Dalton caught the public's ear, that soulful delivery, full of texture and grit, has been a mainstay of Country Music. When you sit to listen to a Lacy J Dalton album, you find yourself pulled in by the very power and heart of this vocalist, because she's not merely performing a ten-song set, she's bringing each and every tune to life. It's as if they were all written especially for her. Prior to recording with Harbor Records in 1978 as Jill Croston, she like many before her, held many jobs to survive and support her family. As a truck stop waitress and singer, she would wait tables and then take the stage to sing a few songs. In June 1979, Lacy J Dalton was signed by Columbia Records and quickly rose to national prominence with Crazy Blue Eyes, which she wrote with her longest friend, Mary McFadden, and which raced to #7 on the Billboard Country Charts. Her hard work and dedication paid off in 1979 when she was awarded the Academy of Country Music's Top New Female Vocalist of the Year. Lacy's success was powered not just by the artist's recordings, but by a stage show that truly electrified audiences. She quickly became one of the few women who could successfully open a show for the likes of Hank Williams, Jr., Willie Nelson, Merle Haggard or Charlie Daniels. Not only could she do it, but she left audiences across the country hollering for more. Her signature song 16th Avenue, became the Anthem for Nashville songwriters. Her other hit records are legendary million-airplay cuts and include Crazy Blue Eyes, Takin' It Easy, Everybody Makes Mistakes, Hillbilly Girl with the Blues, Hard Times, and the worldwide hit Black Coffee. In addition to her Top New Female Vocalist award, she also brought home numerous Grammy nominations and 3 prestigious, back to back (1979, 1980, 1981) Bay Area Music Awards for Best Country-Folk Recordings. Lacy appeared on those shows with the likes of Neil Young, The Grateful Dead, Grace Slick and the Jefferson Airplane. Lacy's collaboration with Willie Nelson on his platinum Half Nelson CD was a high spot for her. Lacy is the only woman featured on that recording (which included singing legends Ray Charles, Neil Diamond, Merle Haggard, Julio Iglesias, George Jones, Leon Russell, Carlos Santana, Mel Tillis, Hank Williams Sr., and Neil Young), and was awarded a Platinum Record for it. She also received a Gold Record from Hank Williams Jr. in 1985 for her support performances throughout his Five-0 Tour, where she opened for him at a time when it was unusual for a woman to do so. Her career includes accomplishments in music, film and radio. In music, they range from her instantly recognizable charted hit songs to her notable duets recorded with George Jones, Willie Nelson, Bobby Bare, Glen Campbell, Eddie Rabbit, David Allen Coe and many others. Her film debut was in the motion picture Take This Job And Shove It, and her acting has also included live stage and theater performances. Until recently, Lacy J Dalton also hosted a weekly radio show called Mustang Matters. Podcasts of past shows are available to listeners on the internet at www.americamatters.us Following a successful career in country music, Lacy decided to draw on all her musical experiences including country, rock and folk, and cross over into the Americana genre. This blend of musical styles allows her to express herself in a way that demonstrates all the facets of who she is as a singer/songwriter. She became an independent artist and formed her own label called Song Dog Records. Under this label, she has released three albums to date. The first was Wild Horse Crossing in 1999, followed by the Last Wild Place Anthology which went #1 on the World Independent Chart, and a year later went #1 on the American Western Music Chart. Then Allison Eastwood, Clint Eastwood's daughter, used the hit song Slip Away from the Anthology CD on the sound track of her independent film, Don't Tell. In 2010 Lacy also released a tribute to Hank Williams Sr. entitled Here's To Hank. Today, Lacy continues to record new music and perform live shows whenever possible. She tours mainly west of the Mississippi and loves small boutique venues and old theaters with great sound quality and warm, receptive audiences she can really connect with. She recently recorded some electrifying new music for an EP that was released in January 2019. When hearing the signature song Scarecrow, her good friend Reverend Barbara Ann Fletcher remarked “that song makes you a whole new you, and it makes me a whole new me.” And that's exactly the response Lacy was hoping for. In 2024 Lacy released an album titled For The Black Sheep, a collection of songs with meaningful lyrics and messages of unity and acceptance for all of us. In addition to her musical career, Lacy has been involved in various service projects through several charitable organizations – namely, the Let ‘em Run Foundation, William James Associates Arts in Corrections, and Rotary International.
Welcome back to this week's episode of Diving in Deep with your host, Sara Evans! In this episode, Sara welcomes Sam Williams, the grandson of the legendary Hank Williams Sr. and son of Hank Williams Jr. Sam shares his journey of carving out his own identity in the country music scene while navigating the challenges of being a single dad and an aspiring musician.We dive into Sam's experiences growing up in Paris, Tennessee, the impact of family legacy, and the personal tragedies that have shaped his life and music. Sam opens up about the loss of his sister and mother, and also discusses his love for music, his creative process, and the exciting new sounds he's exploring in his upcoming projects.Whether you're a fan of the Williams family's music or just love a good story, this episode is packed with heartfelt moments, laughter, and insights into the life of a rising artist in Nashville.Don't forget to like, share, and comment on the podcast! Listen to Unbroke: (https://ffm.to/seunbroke).About Sam Williams:Grandson of country pioneer Hank Williams and the son of outlaw legend Hank Jr., Sam Williams is the latest in a long line of American originals, who sings with his own singular voice and writes in his own singular style, fusing gut-wrenching honesty and plainspoken poetics with raw vulnerability and deep empathy. In 2021, Williams released his debut album, Glasshouse Children, which was a testament to his brilliant lyricism and soulful vocals and received rave reviews from Rolling Stone, Music Row, Associated Press, and so much more. In October 2022, Williams unveiled a deluxe edition of the record, which featured “Tilted Crown,” a reflective track about navigating his legacy in life. Williams followed up his debut with a string of powerful singles in 2023, along with multiple shows at the Grand Ole Opry and show-stopping performances at Nashville's CMA Fest and the UK's Country 2 Country Fest. In 2024, Sam unveiled a new poignant song “Carnival Heart” which is the official anthem for the new innovative country-themed show Songblazers: A Journey Into Country Music, produced and presented by Cirque du Soleil and Universal Music Group Nashville. His forthcoming album, Act II: Countrystar, is a vibrant and daring seven-song follow-up which underscores Williams' versatile songwriting skills. With the release of Act I: Scarlet Lonesome and Act II: COUNTRYSTAR on the way, Sam continues to prove that he is making a legacy for himself that is completely his own.LET'S BE SOCIAL:Follow Sam Williams:Instagram - (@samwillivms)Facebook - (@Sam Williams)TikTok - (@samwillivms)X - (@samwillivms)Follow Diving in Deep Podcast:Instagram –(@divingindeeppod)TikTok – (@divingindeeppod)Twitter – (@divingindeeppod)Facebook – (@divingindeeppod)Follow Sara Evans:Instagram – (@saraevansmusic)TikTok – (@saraevansmusic)Twitter – (@saraevansmusic)Facebook – (@saraevansmusic)Produced and Edited by: The Cast Collective (Nashville, TN)YouTube – (@TheCastCollective)Instagram – (@TheCastCollective)Twitter – (@TheCastCollective)Directed by: Erin DuganEdited By: Sean Dugan, Corey Williams, & Michaela Dolphhttps://www.thecastcollective.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Bill Nash, a country singer-songwriter whose career spans seven decades, and five major record labels. Along with his wife and songwriting partner, Kim Nash, they have written hit songs for Reba McEntire, Diamond Rio, Eddy Arnold and others. Bill has a new album coming out called OH HANK, honoring the musical legacy & artistic style of Hank Williams Sr. Veteran hit country singer-songwriter, Bill Nash, and his son, Jimmy Nash, have a new five-song tribute EP – Oh Hank – honoring the musical legacy and artistic style of Hank Williams Sr. The first single from the EP, “Locked In Your Lovin' Arms”, written & produced by Jimmy, and sung by Bill, has been released with the full EP becoming available everywhere digitally on Friday, June 6th by Cloverdale Music. #hankwilliams #traditionalcountry #countrymusic #gospelmusic #singersongwriter #singer #songwriter #kriskristofferson #music #newrelease #newmusic
Bill Nash, a country singer-songwriter whose career spans seven decades, and five major record labels. Along with his wife and songwriting partner, Kim Nash, they have written hit songs for Reba McEntire, Diamond Rio, Eddy Arnold and others. Bill has a new album coming out called OH HANK, honoring the musical legacy & artistic style of Hank Williams Sr. Veteran hit country singer-songwriter, Bill Nash, and his son, Jimmy Nash, have a new five-song tribute EP – Oh Hank – honoring the musical legacy and artistic style of Hank Williams Sr. The first single from the EP, “Locked In Your Lovin' Arms”, written & produced by Jimmy, and sung by Bill, has been released with the full EP becoming available everywhere digitally on Friday, June 6th by Cloverdale Music. #hankwilliams #traditionalcountry #countrymusic #gospelmusic #singersongwriter #singer #songwriter #kriskristofferson #music #newrelease #newmusic
Show Notes Matt celebrates 100 Years of Grand Ole Opry by shining a spotlight on someone who was banned from it, Hank Williams Sr! Useful Links Hank Williams Sr. Social Stuff Support us on Patreon Geekade Discord Geekade Facebook Twitter Instagram YouTube Twitch Website Contact Us
This week's show, after a 1968 Dave Davies dip: The Descendents, Dummy, Healees, Linda Lindas, Rifles, Brief Candles, and Royal Headache, plus Pete Ham, Fats Domino, Kaleidoscope, Hank Williams Sr., Paul McCartney, 1970 Barry Gibb, and Adelyne Hood & V...
Today, I tell you about the medicinal uses of three trees and why I'm such a big Hank Williams Sr. fan.The Spring Foraging Cook Book is available in paperback on Amazon: https://www.amazon.com/dp/B0CRP63R54Or you can buy the eBook as a .pdf directly from the author (me), for $9.99:https://southernappalachianherbs.blogspot.com/2024/01/the-spring-foraging-cookbook.htmlYou can read about the Medicinal Trees book here https://southernappalachianherbs.blogspot.com/2021/06/paypal-safer-easier-way-to-pay-online.html or buy it on Amazon: https://www.amazon.com/dp/1005082936PS. New in the woodcraft Shop: Judson Carroll Woodcraft | SubstackRead about my new books:Medicinal Weeds and Grasses of the American Southeast, an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2023/05/medicinal-weeds-and-grasses-of-american.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47LHTTHandConfirmation, an Autobiography of Faithhttps://southernappalachianherbs.blogspot.com/2023/05/confirmation-autobiography-of-faith.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47Q1JNKVisit my Substack and sign up for my free newsletter: https://judsoncarroll.substack.com/Read about my new other books:Medicinal Ferns and Fern Allies, an Herbalist's Guide https://southernappalachianherbs.blogspot.com/2022/11/medicinal-ferns-and-fern-allies.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BMSZSJPSThe Omnivore's Guide to Home Cooking for Preppers, Homesteaders, Permaculture People and Everyone Else: https://southernappalachianherbs.blogspot.com/2022/10/the-omnivores-guide-to-home-cooking-for.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BGKX37Q2Medicinal Shrubs and Woody Vines of The American Southeast an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2022/06/medicinal-shrubs-and-woody-vines-of.htmlAvailable for purchase on Amazon https://www.amazon.com/dp/B0B2T4Y5L6andGrowing Your Survival Herb Garden for Preppers, Homesteaders and Everyone Elsehttps://southernappalachianherbs.blogspot.com/2022/04/growing-your-survival-herb-garden-for.htmlhttps://www.amazon.com/dp/B09X4LYV9RThe Encyclopedia of Medicinal Bitter Herbs: https://southernappalachianherbs.blogspot.com/2022/03/the-encyclopedia-of-bitter-medicina.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0B5MYJ35RandChristian Medicine, History and Practice: https://southernappalachianherbs.blogspot.com/2022/01/christian-herbal-medicine-history-and.htmlAvailable for purchase on Amazon: www.amazon.com/dp/B09P7RNCTBHerbal Medicine for Preppers, Homesteaders and Permaculture People: https://southernappalachianherbs.blogspot.com/2021/10/herbal-medicine-for-preppers.htmlAlso available on Amazon: www.amazon.com/dp/B09HMWXL25Podcast: https://www.spreaker.com/show/southern-appalachian-herbsBlog: https://southernappalachianherbs.blogspot.com/Free Video Lessons: https://rumble.com/c/c-618325
Country Music Hall of Famer Lacy J. Dalton The Queen of Country Music LACY'S BIO Lacy J. Dalton (born Jill Lynne Byrem on October 13, 1946 in Bloomsburg, Pennsylvania), is an American country singer and songwriter with a career that has spanned many decades and touched the hearts of millions of music fans. In March 2017 Lacy J Dalton was inducted into the North American Country Music Association International Hall of Fame, and in 2022 she was awarded a Lifetime Career Achievement Award from the Josie Music Awards, the largest independent music awards show in the country. She's one of the most instantly recognizable voices in music – the woman People Magazine called “Country's Bonnie Raitt.” From the first time Lacy J Dalton caught the public's ear, that soulful delivery, full of texture and grit, has been a mainstay of Country Music. When you sit to listen to a Lacy J Dalton album, you find yourself pulled in by the very power and heart of this vocalist, because she's not merely performing a ten-song set, she's bringing each and every tune to life. It's as if they were all written especially for her. Prior to recording with Harbor Records in 1978 as Jill Croston, she like many before her, held many jobs to survive and support her family. As a truck stop waitress and singer, she would wait tables and then take the stage to sing a few songs. In June 1979, Lacy J Dalton was signed by Columbia Records and quickly rose to national prominence with Crazy Blue Eyes, which she wrote with her longest friend, Mary McFadden, and which raced to #7 on the Billboard Country Charts. Her hard work and dedication paid off in 1979 when she was awarded the Academy of Country Music's Top New Female Vocalist of the Year. Lacy's success was powered not just by the artist's recordings, but by a stage show that truly electrified audiences. She quickly became one of the few women who could successfully open a show for the likes of Hank Williams, Jr., Willie Nelson, Merle Haggard or Charlie Daniels. Not only could she do it, but she left audiences across the country hollering for more. Her signature song 16th Avenue, became the Anthem for Nashville songwriters. Her other hit records are legendary million-airplay cuts and include Crazy Blue Eyes, Takin' It Easy, Everybody Makes Mistakes, Hillbilly Girl with the Blues, Hard Times, and the worldwide hit Black Coffee. In addition to her Top New Female Vocalist award, she also brought home numerous Grammy nominations and 3 prestigious, back to back (1979, 1980, 1981) Bay Area Music Awards for Best Country-Folk Recordings. Lacy appeared on those shows with the likes of Neil Young, The Grateful Dead, Grace Slick and the Jefferson Airplane. Lacy's collaboration with Willie Nelson on his platinum Half Nelson CD was a high spot for her. Lacy is the only woman featured on that recording (which included singing legends Ray Charles, Neil Diamond, Merle Haggard, Julio Iglesias, George Jones, Leon Russell, Carlos Santana, Mel Tillis, Hank Williams Sr., and Neil Young), and was awarded a Platinum Record for it. She also received a Gold Record from Hank Williams Jr. in 1985 for her support performances throughout his Five-0 Tour, where she opened for him at a time when it was unusual for a woman to do so. Her career includes accomplishments in music, film and radio. In music, they range from her instantly recognizable charted hit songs to her notable duets recorded with George Jones, Willie Nelson, Bobby Bare, Glen Campbell, Eddie Rabbit, David Allen Coe and many others. Her film debut was in the motion picture Take This Job And Shove It, and her acting has also included live stage and theater performances. Until recently, Lacy J Dalton also hosted a weekly radio show called Mustang Matters. Podcasts of past shows are available to listeners on the internet at www.americamatters.us Following a successful career in country music, Lacy decided to draw on all her musical experiences including country, rock and folk, and cross over into the Americana genre. This blend of musical styles allows her to express herself in a way that demonstrates all the facets of who she is as a singer/songwriter. She became an independent artist and formed her own label called Song Dog Records. Under this label, she has released three albums to date. The first was Wild Horse Crossing in 1999, followed by the Last Wild Place Anthology which went #1 on the World Independent Chart, and a year later went #1 on the American Western Music Chart. Then Allison Eastwood, Clint Eastwood's daughter, used the hit song Slip Away from the Anthology CD on the sound track of her independent film, Don't Tell. In 2010 Lacy also released a tribute to Hank Williams Sr. entitled Here's To Hank. Today, Lacy continues to record new music and perform live shows whenever possible. She tours mainly west of the Mississippi and loves small boutique venues and old theaters with great sound quality and warm, receptive audiences she can really connect with. She recently recorded some electrifying new music for an EP that was released in January 2019. When hearing the signature song Scarecrow, her good friend Reverend Barbara Ann Fletcher remarked “that song makes you a whole new you, and it makes me a whole new me.” And that's exactly the response Lacy was hoping for. In addition to her musical career, Lacy has been involved in various service projects through several charitable organizations – namely, the Let ‘em Run Foundation, William James Associates Arts in Corrections, and Rotary International. In 1999, Lacy co-founded the Let ‘em Run Foundation which received its 501(c)3 designation from the IRS in 2004. The Let 'em Run Foundation is dedicated to rescuing, rehabilitating and re-homing America's wild horses and burros who have no voice. Let ‘em Run's mission is to serve as an educational, fund-raising and public relations entity, through its own efforts and in assisting similar non-profit organizations, to promote the appropriate and compassionate management of the wild horse, estray horse, and mustang population of the U.S. and other species of endangered or mistreated animals. From 2015 through November 2018, Lacy and her partner, Dale Poune, worked with the William James Arts in Corrections program at High Desert State Prison in Susanville, California. Their work there has been focused on teaching basic song writing skills and techniques, music theory and guitar playing to level 4 inmates. Through their classes, a select group of inmates got the opportunity to learn the basic principles of guitar playing and song writing which they then used to develop songs and lyrics, both individually and as a group. The class culminated with the inmates recording those musical compositions and giving a live performance to an audience of prison and non-prison personnel. In addition, several inmates were able to go on to teach basic guitar to other inmates in the classic “each one teach one” teaching tradition. Finally, Lacy is an honorary member of the Rotary Club of Reno, and a Paul Harris Fellow. Lacy has written two songs for Rotary, which she then recorded on a CD to be used as a fundraising opportunity for the Reno club. Lacy also performed at the Rotary International Convention in New Orleans in 2011, and has been a key note speaker and headline performer at several club meetings and district conferences.
RUSTIC AND RIGHTEOUSJoshua Quimby, a 23-year-old folk singer-songwriter redefining Americana music, emerges from the serene woods of eastern ConnecticutNow thriving in Nashville, Tennessee, Joshua fuses powerhouse vocals, raw, emotive lyrics, and masterful folk-blues guitar into a sound that's both timeless and trailblazing.Inspired by legends like Bob Dylan, Hank Williams Sr., and John Prine, he channels their spirit while forging his own path. His music is a potent blend of tradition and originality, delivered with a gravelly, impassioned voice that pulls you into his vivid, introspective world.Joshua's latest album, Back Home, released in May 2024, showcases his exceptional talent with a collection of folk and Americana tracks that are both haunting and exhilarating. Get ready to experience his spellbinding live performances too as he's on tour RIGHT NOW, bringing his compelling stories and unwavering passion to audiences across the U.S.You'll Also Discover:The story behind His Incredible voice.How got the Americana bug in New England.Playing guitar at 10 years old.A colorful story from the road.How to pick an opener.A misconception people have about Joshua's musicCannabis, tattoos, and high Life.The first song he ever strummed.Where his creative energy comes from.Trucker Hat Collection...YES!13 artists influencing him now.“Dad” MetalHis dream collaborationThe moment he became a full-time musicianJoshua's favorite Nashville music venue.Learn more about Josh's music and tour here: https://www.joshuaquimby.com/----Follow and Subscribe to Americana Curious now for a weekly dose of incredible stories, music, and artists.
GEORGIA RADIO - Grammy winner John McEuen will released his new album, TheNewsman, on March 22nd viaCompass Records. And he joined us to talk about it, plus his incredible music career to date.In an unprecedented move for McEuen,the album is 11 spoken word tracks, all mini movies with his unique style ofmusic behind each one. From the opening title track, which is a true storyabout a man who sold newspapers and was a tremendous influence on the youngmusician in Los Angeles, to the final cut, “Julie's Theme,” inspired by JulesVerne telling a friend, in a French cemetery, about his recently deceased youngwife, McEuen presents an album filled with stories that will inspire andperhaps bring a tear to your eye.The different tracks on the album rage from “Killed at theFord,” a Civil War-era poem that tells of the death of a young soldier as heand friends go to meet a picket-guard by a ford. Although no trouble is expected, a shot isfired from the woods and the young man is dead. Poet Henry Wadsworth Longfellowdoesn't end the poem there, but relates how it affects the young man's familyat home.“The Cremation of Sam McGee,” one of the most famous poemswritten by Robert Service, was published in 1907. It is told from theperspective of the man who cremates the prospector who froze to death in theYukon while searching for gold.The Stephen Vincent Benét poem “The Mountain Whippoorwill”was published in 1925. The Nitty Gritty Dirt Band released it on their album“Stars & Striped Forever” in 1974.“Fly Trouble” is a Hank Williams Sr. classic from 1949, and oneof “talking blues” numbers that McEuen has recited many times over the pastyears.“Old Rivers” was written by Cliff Crofford andreleased by Walter Brennan in 1963, while Thomas Monroe wrote “Nui Ba Den”while he was in Vietnam in 1968. More recent writings are “Pineapple John” byJohn Carter Cash, Hans Olson's “I'll Be Glad When I Run Out Of Gas” andThaddeus Bryant's “Red Clay.”“I have been around the world playing music and collectingstories for… a long time,” McEuen acknowledges. “As a teenager, well beforeNitty Gritty Dirt Band, I loved Meredith Wilson's The Music Man.Before I started playing I must have recited “Ya Got Trouble”2,000times! Later, when performing became part of the life I picked, every now andthen I would do one of these ‘stories' (often a Hank Williams talking blues) onstage, always happy about how well they went over.“I did The Mountain Whippoorwill for many years with theearly Nitty Gritty Dirt Band. Then, another story would come along, be learned,and ‘filed away' for a future date. ‘The stories' soon tired of waiting to ‘getdone'.“So, I did them.”McEuen credits work he has done on film scores as a majorinfluence on this album. He especially credits Tommy Lee Jones, who along with SissySpacek starred in “Good Ole Boys,” for which he did the soundtrack.“At this point of my career, film score work (14 cool scores)gave me the experience of putting background music with words and picture,without getting ‘in the way' with music,” McEuen says. “I learned from TommyLee Jones, while I was doing a score for him, that when someone says ‘Hey,that's a great score going on there,' the music person has failed to supportthe picture. You can't let the music dominate, it has to support what'shappening.' So it sometimes is with spoken word. This album is a soundtrack forfilms not yet made.”McEuen says that watching the Tom Hanks film News of theWorld made him finish this album. “I feel like that character, having toread the news to people who have not yet heard it. And, my first ‘song', thetitle cut, was about that type of fellow in a way, and hisstory had tobe told.“I find in this final year of Nitty Gritty Dirt Band, this albumcomes in a good space. That was a great 50-year run for me, and now that it hasrun its course, it's time for The Newsman!“I look forward to going out and telling people about those 50years that impacted so many, especially me, playing some new music, andthrowing a few of these stories in along the way.”McEuen believes these spoken word offerings can fit on radio.“It is my suggestion that programmers add one of these cuts in between othermusic they are playing, finding styles that fit each – as they are eachdifferent. Listening to The Newsman from top to bottom is a lot to askof anyone! I look forward to seeing what people program with various cuts.”QUICK LINK: https://store.compassrecords.com/products/the-newsman-a-man-of-recordAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
This week Elle and I talk about a rise in Canadian listeners. We introduce our new sponsor... Maker's Mark. Then we recap the Patreon Game where we talked about the Beyonce song Texas Hold 'Em that was re-worked with Hank Williams Sr.'s voice thanks to AI. Here is the link to the song. Then we wrapped up the "Table Talk" segment with a discussion about Camp One Step. That trip starts on Monday. This week on "Call the Floor" Elliott rules on a player that removes chips from the table to pay for their meal while in a hand. "HOTW" is A 8 off suit in the small blind with 3 limpers. I wrap up the show in "Joe's One Outer" talking about someone marking cards at the Battle of Malta. Here is a link to the article from David Lappin. Camp One Step Registration Click here for our Linktree. It is a quick resource to get you to our magazine, podcast, YouTube, and more Ante Up Poker Cruise Click here for our Patreon page, where you can support the show and gain access to our monthly Private game. Check out Jackpot Digital, our HOTW sponsor with the perfect E-Table. Advanced Poker Training: For all of our non-US players. Check out Jack Poker here. It is a great site for the everyday poker player, because it's not incentivized for the poker pro, so there aren't tables full of sharks.
How to handle a bad spot of turbulence on any flight. Grateful Friday - possibly our favorite grateful story yet! In Music News - Hank Williams Sr. meets Beyoncé's country album, and it's fantastic.
This week on the Music Halls of Fame Podcast, we honor the year in music for 1987, along with Rock and Roll Hall of Fame class of 1987 inductee Hank Williams, Sr. We look at our last nominee for this year's class of the Rock and Roll Hall of Fame: The Dave Matthews Band. Plus, our spotlight hall isn't a hall, per se. It's the Library of Congress National Recording Registry in Washington, D.C. & our inductee Fats Domino. Vote for Nominations for the Rock and Roll Hall of Fame - RockHall.com Podcast music playlist - https://www.youtube.com/playlist?list=PLSMDYrumQfYToreX4TdIRa4m2kgdgMZXT United States Library of Congress National Recording Registry - https://www.loc.gov/programs/national-recording-preservation-board/about-this-program/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
Grammy winner John McEuen will release his new album, The Newsman, on April 12 on Compass Records. An unprecedented move for McEuen, the album is 10 spoken word tracks (and one instrumental), all mini-movies, with John's unique style of music behind each. From the opening title track, a true story about a man who sold newspapers and was a tremendous influence on the young musician in Los Angeles, to the final cut, “Julie's Theme,” inspired by Julies Verne telling a friend, in a French cemetery, about his recently deceased young wife, McEuen presents an album filled with stories that will inspire and perhaps bring a tear to your eye. The different tracks on the album range from “Killed at the Ford,” a Civil War-era poem that tells of the death of a young soldier as he and friends go to meet a picket-guard by a ford, not expecting trouble. A shot is fired from the woods, and the young man is dead. Poet Henry Wadsworth Longfellow doesn't end the poem there, but relates how it affects the young man's family at home. “The Cremation of Sam McGee,” one of the most famous poems written by Robert Service, was published in 1907, told from the perspective of the man who cremates the prospector who died in the Yukon, while searching for gold. The Stephen Vincent Benét poem “The Mountain Whippoorwill” (published in 1925). “FlyTrouble” is a Hank Williams Sr. classic from 1949, and one of “talking blues”numbers that McEuen has recited many times over the past years.“OldRivers” was released by Walter Brennann1963, Thomas Monroe wrote “Nui Ba Den” while he was in Vietnam in 1968.More recent writings are “Pineapple John” by John Carter Cash, Hans Olson's“I'll Be Glad When I Run Out Of Gas” and Thaddeus Bryant's “Red Clay.” This album is a soundtrack for films not yet made.” McEuen says that watching the Tom Hanks film News of the World made him finish this album. “I feel like that character, having to read the news to people who have not yet heard it. And, my first ‘song', the title cut, was about that type of fellow, in a way, and his story had to be told.I find in this final year of Nitty Gritty Dirt Band, this album comes in a good space.That was a great 50-year run for me, and now that it has run its course, it's time for The Newsman. I look forward to going out and telling people about those 50 years that impacted so many, especially me, playing some new music, and throwing a few of these stories in along the way.” McEuen believes these spoken word offerings can fit on radio. “It is my suggestion to add one of these cuts in between other music you are playing, finding styles that fit each – as they are each different. Listening to from top to bottom is a lot to ask of anyone! I look forward to seeing what people program with various cuts.” #nittygrittydirtband #spokenword #newalbum #newmusic #stevemartin #music #poetry #poems #tommyleejones #sissyspacek
Grammy winner John McEuen will release his new album, The Newsman, on April 12 on Compass Records. An unprecedented move for McEuen, the album is 10 spoken word tracks (and one instrumental), all mini-movies, with John's unique style of music behind each. From the opening title track, a true story about a man who sold newspapers and was a tremendous influence on the young musician in Los Angeles, to the final cut, “Julie's Theme,” inspired by Julies Verne telling a friend, in a French cemetery, about his recently deceased young wife, McEuen presents an album filled with stories that will inspire and perhaps bring a tear to your eye. The different tracks on the album range from “Killed at the Ford,” a Civil War-era poem that tells of the death of a young soldier as he and friends go to meet a picket-guard by a ford, not expecting trouble. A shot is fired from the woods, and the young man is dead. Poet Henry Wadsworth Longfellow doesn't end the poem there, but relates how it affects the young man's family at home. “The Cremation of Sam McGee,” one of the most famous poems written by Robert Service, was published in 1907, told from the perspective of the man who cremates the prospector who died in the Yukon, while searching for gold. The Stephen Vincent Benét poem “The Mountain Whippoorwill” (published in 1925). “FlyTrouble” is a Hank Williams Sr. classic from 1949, and one of “talking blues”numbers that McEuen has recited many times over the past years.“OldRivers” was released by Walter Brennann1963, Thomas Monroe wrote “Nui Ba Den” while he was in Vietnam in 1968.More recent writings are “Pineapple John” by John Carter Cash, Hans Olson's“I'll Be Glad When I Run Out Of Gas” and Thaddeus Bryant's “Red Clay.” This album is a soundtrack for films not yet made.” McEuen says that watching the Tom Hanks film News of the World made him finish this album. “I feel like that character, having to read the news to people who have not yet heard it. And, my first ‘song', the title cut, was about that type of fellow, in a way, and his story had to be told.I find in this final year of Nitty Gritty Dirt Band, this album comes in a good space.That was a great 50-year run for me, and now that it has run its course, it's time for The Newsman. I look forward to going out and telling people about those 50 years that impacted so many, especially me, playing some new music, and throwing a few of these stories in along the way.” McEuen believes these spoken word offerings can fit on radio. “It is my suggestion to add one of these cuts in between other music you are playing, finding styles that fit each – as they are each different. Listening to from top to bottom is a lot to ask of anyone! I look forward to seeing what people program with various cuts.” #nittygrittydirtband #spokenword #newalbum #newmusic #stevemartin #music #poetry #poems #tommyleejones #sissyspacek
The Yodeling Country Bluesman aka Vaden Landers is the latest guest on the CloudwatcherUno Podcast. His voice takes you back to the golden era of Country Music, following in the musical footsteps of the great Hank Williams Sr.
Our Special Musical Guest is Country Music Hall of Famer Lacy J. Dalton The Queen of Country Music BIOGRAPHY Lacy J. Dalton (born Jill Lynne Byrem on October 13, 1946 in Bloomsburg, Pennsylvania), is an American country singer and songwriter with a career that has spanned many decades and touched the hearts of millions of music fans. In March 2017 Lacy J Dalton was inducted into the North American Country Music Association International Hall of Fame, and in 2022 she was awarded a Lifetime Career Achievement Award from the Josie Music Awards, the largest independent music awards show in the country. She's one of the most instantly recognizable voices in music – the woman People Magazine called “Country's Bonnie Raitt.” From the first time Lacy J Dalton caught the public's ear, that soulful delivery, full of texture and grit, has been a mainstay of Country Music. When you sit to listen to a Lacy J Dalton album, you find yourself pulled in by the very power and heart of this vocalist, because she's not merely performing a ten-song set, she's bringing each and every tune to life. It's as if they were all written especially for her. Prior to recording with Harbor Records in 1978 as Jill Croston, she like many before her, held many jobs to survive and support her family. As a truck stop waitress and singer, she would wait tables and then take the stage to sing a few songs. In June 1979, Lacy J Dalton was signed by Columbia Records and quickly rose to national prominence with Crazy Blue Eyes, which she wrote with her longest friend, Mary McFadden, and which raced to #7 on the Billboard Country Charts. Her hard work and dedication paid off in 1979 when she was awarded the Academy of Country Music's Top New Female Vocalist of the Year. Lacy's success was powered not just by the artist's recordings, but by a stage show that truly electrified audiences. She quickly became one of the few women who could successfully open a show for the likes of Hank Williams, Jr., Willie Nelson, Merle Haggard or Charlie Daniels. Not only could she do it, but she left audiences across the country hollering for more. Her signature song 16th Avenue, became the Anthem for Nashville songwriters. Her other hit records are legendary million-airplay cuts and include Crazy Blue Eyes, Takin' It Easy, Everybody Makes Mistakes, Hillbilly Girl with the Blues, Hard Times, and the worldwide hit Black Coffee. In addition to her Top New Female Vocalist award, she also brought home numerous Grammy nominations and 3 prestigious, back to back (1979, 1980, 1981) Bay Area Music Awards for Best Country-Folk Recordings. Lacy appeared on those shows with the likes of Neil Young, The Grateful Dead, Grace Slick and the Jefferson Airplane. Lacy's collaboration with Willie Nelson on his platinum Half Nelson CD was a high spot for her. Lacy is the only woman featured on that recording (which included singing legends Ray Charles, Neil Diamond, Merle Haggard, Julio Iglesias, George Jones, Leon Russell, Carlos Santana, Mel Tillis, Hank Williams Sr., and Neil Young), and was awarded a Platinum Record for it. She also received a Gold Record from Hank Williams Jr. in 1985 for her support performances throughout his Five-0 Tour, where she opened for him at a time when it was unusual for a woman to do so. Her career includes accomplishments in music, film and radio. In music, they range from her instantly recognizable charted hit songs to her notable duets recorded with George Jones, Willie Nelson, Bobby Bare, Glen Campbell, Eddie Rabbit, David Allen Coe and many others. Her film debut was in the motion picture Take This Job And Shove It, and her acting has also included live stage and theater performances. Until recently, Lacy J Dalton also hosted a weekly radio show called Mustang Matters. Podcasts of past shows are available to listeners on the internet at www.americamatters.us Following a successful career in country music, Lacy decided to draw on all her musical experiences including country, rock and folk, and cross over into the Americana genre. This blend of musical styles allows her to express herself in a way that demonstrates all the facets of who she is as a singer/songwriter. She became an independent artist and formed her own label called Song Dog Records. Under this label, she has released three albums to date. The first was Wild Horse Crossing in 1999, followed by the Last Wild Place Anthology which went #1 on the World Independent Chart, and a year later went #1 on the American Western Music Chart. Then Allison Eastwood, Clint Eastwood's daughter, used the hit song Slip Away from the Anthology CD on the sound track of her independent film, Don't Tell. In 2010 Lacy also released a tribute to Hank Williams Sr. entitled Here's To Hank. Today, Lacy continues to record new music and perform live shows whenever possible. She tours mainly west of the Mississippi and loves small boutique venues and old theaters with great sound quality and warm, receptive audiences she can really connect with. She recently recorded some electrifying new music for an EP that was released in January 2019. When hearing the signature song Scarecrow, her good friend Reverend Barbara Ann Fletcher remarked “that song makes you a whole new you, and it makes me a whole new me.” And that's exactly the response Lacy was hoping for. In addition to her musical career, Lacy has been involved in various service projects through several charitable organizations – namely, the Let ‘em Run Foundation, William James Associates Arts in Corrections, and Rotary International. In 1999, Lacy co-founded the Let ‘em Run Foundation which received its 501(c)3 designation from the IRS in 2004. The Let 'em Run Foundation is dedicated to rescuing, rehabilitating and re-homing America's wild horses and burros who have no voice. Let ‘em Run's mission is to serve as an educational, fund-raising and public relations entity, through its own efforts and in assisting similar non-profit organizations, to promote the appropriate and compassionate management of the wild horse, estray horse, and mustang population of the U.S. and other species of endangered or mistreated animals. From 2015 through November 2018, Lacy and her partner, Dale Poune, worked with the William James Arts in Corrections program at High Desert State Prison in Susanville, California. Their work there has been focused on teaching basic song writing skills and techniques, music theory and guitar playing to level 4 inmates. Through their classes, a select group of inmates got the opportunity to learn the basic principles of guitar playing and song writing which they then used to develop songs and lyrics, both individually and as a group. The class culminated with the inmates recording those musical compositions and giving a live performance to an audience of prison and non-prison personnel. In addition, several inmates were able to go on to teach basic guitar to other inmates in the classic “each one teach one” teaching tradition. Finally, Lacy is an honorary member of the Rotary Club of Reno, and a Paul Harris Fellow. Lacy has written two songs for Rotary, which she then recorded on a CD to be used as a fundraising opportunity for the Reno club. Lacy also performed at the Rotary International Convention in New Orleans in 2011, and has been a key note speaker and headline performer at several club meetings and district conferences.
Kevin Romeo and Matt Bakken are currently directing a film titled Where Ya Been? The Odyssey and Elegy of Luke Bell. The film covers the life of Luke Bell, a country artist who met an untimely death in 2022 at the age of 32. Luke earned a reputation as a mysterious guitar picker whose music still brings forth memories of Hank Williams Sr and Merle Haggard. We discuss what they have learned about Luke through the process of creating the film, discuss unreleased music from Luke, and look forward to what is coming in regards to the film's release. Thank you to all of you for listening and supporting the show! Powell River Sessions-https://www.youtube.com/channel/UCE1hQUOVResRSMDpguQPSzwWhere Ya Been? Website- https://www.whereyabeenfilm.com/HTH Instagram- https://www.instagram.com/honky.tonk.heroes/HTH Merch- https://honkytonkheroespod.com/
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Jeff Gross and John ShafranskiHank Williams with his Drifting Cowboys “Lovesick Blues" a 1949 single released on MGM. Written by Irving Mills and Hank Williams and composed by Cliff Friend and produced by Fred Rose.Personel:Hank Williams - vocals, guitarClyde Baum - mandolinZeke Turner - electric guitarJerry Byrd - steel guitarLouis Innis - rhtyhm guitarTommy Jackson - fiddleWillie Thawl - bassCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Phish “Gamehenge”Trey AnastasioPearl JamSmashing PumpkinsWarrantSoul AsylumEddie VedderTom MorelloLenny KravitzRage Against the Machine “Killing in the Name Of”Keanu ReevesCourtney LoveSteve MartinAdam SandlerHank Williams Sr. “I'm So Lonesome I Could Cry”Hank Williams Sr. “Ramblin' Man”Hank Williams Sr. “Move It on Over”Hank Williams Sr. “I Saw the Light”Hank Williams Sr. “Lost Highway”Hank Williams Sr. “Long Gone Lonesome Blues”Jimmie RodgersMaestroLouvin BrothersJohn FogertyChris StapletonJason IsbellDrive By TruckersHank Williams Sr. “Hey Good Lookin'”Hank Williams Sr. “Jumbalaya”Hank Williams Sr. “Honky Tonkin'”Cliff Friend “The Merry Go Round Broke Down”Looney TunesEmmett MillerJimmy DorseyTommy DorseyOh, ErnestElsie ClarkWillie Nelson“Blues Eyes Cryin in the Rain”Hank Williams Sr. “I Can't Help It If I'm Still In Love With You”Roy AcuffRobert JohnsonCharlie PattonOxford AmericanI Saw the LightBohemian RhapsodyDonna Summer “Love to Love You Baby”MC Hammer “Can't Touch This”Nick Tosches “Hellfire”Jerry Lee LewisNick Tosches “Country: The Twisted Roots of Rock n Roll”Dean MartinNick Toches “Dino”Johnny CashBob DylanThe Rolling StonesMarty RobbinsMerle HaggardAlan JacksonChris StapletonPatsy ClineLoretta LynnDolly PartonThe CricketsLittle RichardGeorge StraitRyan AdamsFrank IfieldBauhausEtta JamesAl Jolson
Julian Talamantez Brolaski's newest album It's Okay Honey, is an ode to good old country music like the Carter Family and Hank Williams Sr. You will not want to miss this episode where Julian and I talk country music, yodeling, and poetry!!!!
Making a Scene Brings you Gerry Casey's Interview with Tyron BenoitTyron hails from Houma, Louisiana, where music and culture are plentiful."Growing up around the house, I remember hearing a lot of classic country: George Jones, Hank Williams (Sr. and Jr.), Merle Haggard, Waylon Jennings, and Ernest Tubb. Going to my grandpa's house is where the Cajun and Folk influences came from. He was a fantastic fiddle and harmonica player. But when we left the house, it was Led Zeppelin, Toto, and Steely Dan. Everybody was into classic rock, and it was good!"
We continue with our look at films where Tom Hiddleston is not playing Loki. In 2015 he starred with another MCU regular, Elizabeth Olsen, in the Biopic about Hank Williams Sr. Find out what the Crew thought of it and why it is not talked about more. Don't forget to check out https://www.specialmarkproductions.com and https://kickseat.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/spoilerroompodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/spoilerroompodcast/support
242. America... heck, yeah!! Celebrate your rockin' independence with that incendiary Aztec Werewolf™, DJ Del Villarreal on a special LIVE episode of "Go Kat, GO! The Rock-A-Billy Show!" The 4th of July means we say "Happy Birthday!" to good ol' Uncle Sam and we also get to enjoy some firecrackin' good 50's-styled rock 'n' roll along with the hot dogs, BBQ and Mountain Dews! Hot cuts sizzling on the turntable tonight from The Hub Caps, Mozzy Dee, Darrel Higham, Deke Dickerson & The Whippersnappers, Willie Barry, The Barnestormers, and the Reverend Horton Heat! Plenty of historic vintage music from the past to celebrate as we enjoy selections from Hank Williams Sr., Link Wray & The Wraymen, Johnny Cash, Wanda Jackson, Carl Perkins, Chuck Berry, Elvis Presley, Joe Penny and even Joe Maphis, to boot! Don't forget -there's a killer SHINY RUST promotions car show this Sunday, July 9th downriver -the 2023 Uncle Same Jam Custom Car Show! Always a good reason to celebrate real American music with DJ Del Villarreal's "Go Kat, GO! The Rock-A-Bily Show!" -good to the last BOP!™Please follow on FaceBook, Instagram & Twitter!
Check out this different side of Country Music! Turner is a 24 year old, up-and-coming country music artist with influences from Hank Williams Sr. to James Taylor, Alan Jackson to Nelly. The United States Air Force Veteran was born and raised in Chambersburg, PA. and has been writing music over the last four years. Turner has recently begun producing and performing his own music with his first ever debut single, "Let It Burn", clearing over 15,400 streams in the first three months following its release. "Broken Record", his debut EP, was released in July of 2022. He has performed acoustically at seven different venues, including one sold out show. So I hope you enjoy him and Rock on! --- Send in a voice message: https://podcasters.spotify.com/pod/show/n8thedrummer/message
This week's show, after a 1978 Adverts trill: brand new Damned, Wedding Present, Belle & Sebastian, Donovan's Brain, Beach House, Gaz Coombes, and Green Pajamas, plus Linton Kwesi Johnson, Bonzo Dog Doo/Dah Band, Hank Williams Sr., Al Smith, The Loot, ...
185. It's time to pause and say "thanks"... thanks to HANK! As a special Thanksgiving Day treat, we're celebrating the legendary Hank Williams Sr. on "Go Kat, GO! The Rock-A-Billy Show!," highlighting many of his most memorable honky tonk hits and diving deep into his catalog of seminal country music & proto-rockin' juke-joint jive! From his earliest Sterling 78 platter to his chart-topping MGM sides and even a few of his rare radio transcriptions, we're ready to celebrate with a bountiful harvest of memorable music. We're even digging into the vaults to hear some cool covers of Mr. 'Lovesick Blues' by a host of modern day artists such as Johnny Horsepower, Nick Curran And The Nitelifes, The Tennessee Drifters, Big Sandy, The Don Diego Trio, Rusty Rookes and the Delta Bombers! Fresh from the oven, we've got some tasty Turkey-Billy tunes sure to make you 'gobble'... you get all the sides & plenty of gravy, too with DJ Del Villarreal on "Go Kat, GO!" -good to the last bop!™
Hank Williams Sr. is not only crucial to the development of Country and Western music, I'd go as far as to say he's an influence on the development of the culture of the the Western World - as in multiple continents. But more importantly for us, Rock n' Roll would certainly not be as rich in rhythm, poetry and plaintive cries from the wounded human soul to the deafening wind in the cold wilderness that is Life, when you're down and out. In my opinion he not only changed Country music forever, but he sang blues as well as any white man ever can be expected to. This episode covers most of my viewing of "Your Cheatin' Heart", an MGM musical from the early 60's that feels like an olde-tyme Disney film, and I take you through Hank's early life and influences. The greatest cluster of said influences being a spinal deformity, his domineering mother, a regular booze habit at the age of 11, and the tutelage of a black blues musician named Rufus Payne. All potent ingredients in a recipe for a man who would become a voice for the voiceless in ways no Country superstar ever had before. Choose your preferred method of supporting the show for no money or maybe some money: https://linktr.ee/justtheworstever Shirts: https://www.bonfire.com/store/justtheworstshirtsever/ https://afsp.org/ Suicide Prevention, Text/Call: 988 https://www.rainn.org/resources National Sexual Assault Hotline 1-800-656-4673 References: https://archive.org/details/hankwilliamsbiog00escott/page/n13/mode/2up https://archive.org/details/hankwilliamscoun0000care https://archive.org/details/singsadsonglifeo0000will/mode/2up
170. Yes! It's the Aztec Werewolf™, DJ Del Villarreal back in the Motorbilly Studio on a Tuesday night for another all-new, all KILLER / no filler rockin' radio revue -it's "Go Kat, GO! The Rock-A-Billy Show!" Dig some deep rockin 50's styled roll with tracks from Carl Perkins, Art Adams, Dick Dale, Wanda Jackson, Faron Young, Hank Williams Sr., Glen Glenn, Johnny Burnette& Junior Thompson to name but a few. We also have our greasy thumb on the pulse of the modern day rockabilly scene with HOT new selections from The Hi-Fi Lowdowns, Charlie Crockett, The Jerrells, Jane Rose & The Deadends, Gris Gris, The Hi-Fly Rangers and Al Dual to name but a few! It's the best way to celebrate the past while rockin' towards the future -DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™
This week, after Jim plays The Beths' new single on piano: brand new Beths, Sloan, Death Cab For Cutie, Persian Leaps, A.M. Nice, American Darlings, and Graham Nash, plus Small Faces, Hank Williams (Sr.), David Bowie, Simon & Garfunkel, Prince Buster, ...
162. Cruising Woodward and rolling through those hot summer nights on DJ Del VIllarreal's "Go Kat, GO!" Getting all tuned up for the 27th Annual Woodward Dream Cruise in the Motor City this weekend, stocking up on some of the wildest, weirdest and coolest hot rod automotive toons ever made -PLUS a few gems you may have never heard before! We're packing some SEATBELT (SoCal), RAY BLACK & THE FLYING CARPETS (Germany), THE SPIKES (Germany), LEGACASTER (Spain), AL DUAL (Spain), LOBO JONES (England), DOMINIC HALPIN (Germany), THE HI-VIEWS (Detroit), LUCKY JONES (Georgia), GRAHAM FENTON & JACKSON SLOAN (UK) and BODHI CORBETT (LA, CA) and for extra milages, we'll be pouring some HANK WILLIAMS SR., BUDDY HOLLY, SANTO & JOHNNY, SAMMY MASTERS, ELVIS PRESLEY & THE EVERLY BROTHERS into the turntable/tank! Enjoy the car show season with the best 50's styled rock & roll ever made -enjoy DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" Good to the last bop!™
This week Ryan and Jordan discuss the legend, Hank Williams Sr. Although his life was cut short at the age of 29, he influenced country music in a way that other legends can't come close to. His list of written songs is extremely long for his short life span. Hank overcame so many obstacles to solidify his legend status. We go through his portfolio, personal life, career path, and we go into detail about his death. Alcohol claimed his life but his music will live forever. We hope you enjoy! As always, please remember to LIKE, FOLLOW, COMMENT, RATE, REVIEW, and SHARE! We love to hear your feedback! Thank you for your support! Hasta Mañana --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/countrymusiccritic/support
The award-winning “Malpass Brothers” will appear at the Texas Theater in Seguin on Sunday, July 10, with an afternoon show at 2 p.m. and an evening show at 5 p.m. Their music is steeped in the legacy of “The Louvin Brothers,” Johnny Cash, Marty Robbins, Hank Williams Sr., and others. Count on classic, real country, some new Malpass tunes, a couple of old-time traditional gospels, and you'll even see some big, high man hair and maybe an Elvis twitch or two. Tickets are for general admission and for reserved VIP seating. Purchase them online at www.heartoftexascountry.com.Article Link
Part two of our talk with artist and preacher Howard Finster, this one got him talking about Hank Williams Sr., Elvis Presley, chewing tobacco and singing an original banjo tune talking about being a tack in the shingle of a roof! To hear on Stitcher, click here! To hear on iTunes, click here! To hear on Spotify, click here!
GEORGIANA, Ala.—Neal McCoy and Gene Watson, along with a host of other national known entertainers will headline this year's Hank Williams Sr. Festival in Georgiana, June 3-4. This will mark the 43rd Annual Salute To A Legend, and the festival promoters are going all out to make this year's event one of the best. Featured entertainers that will be on stage to honor one of country music's most legendary singers and songwriters during the two-day festival include, Neal McCoy, Gene Watson, Mo Pitney, Shane Harrell Band, Bobby Tomberlin, The Band “Flashback”, Burning Bush Gospel Band, Today's Yersterday Band, Mary Mc-...Article Link
The twang of a steel guitar and the sweet notes of a fiddle met with the sound of a music-hall piano. This is the classic country sound young artist Jake Blocker grew up listening to. “My grampa gave me a guitar when I was 8 years old,” said the 18-year-old singer-songwriter. “I've been playing ever since!” In fact, Blocker has been writing songs ever since, too. The Stockdale native grew up listening to classic country songs written by the likes of Hank Williams Sr., Moe Bandy, Buck Owens, and Wanda Jackson. “I was 8 when I first heard Hank's music,...Article Link
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
More deepy-divey into the making of the Jack Butler guitar duel and the crafting of the specific guitar itself! Also a review of the recent Charvel Guitars documentary, some background on Joe Satriani's early years in San Fancisco, and more hyperactive shred chat with Dan and Brian. OH, and a major detour into everything Motley Crue was up to during 1991, for reasons that will be made abundantly clear as we examine Steve Vai's shifting mindset during that era. Also I sploosh majorly over my new favorite gospel song of all time and Joe Morton's mastery of acting like a major prick toward Ralph Macchio before he takes the stage. Choose your way of supporting the show for no money or for maybe some money: https://linktr.ee/justtheworstever Thank you for supporting someone who is doing things counter to the way successful people do it. That would be short, graphic-laden video content with clickbait titles and much less information. I appreciate your thirst for knowledge because it keeps me reading and writing and discovering more stories every time I put out another episode. This was a joy. Thank you for listening. https://www.guitarworld.com/artists/forgotten-guitar-crossroads-and-its-unsung-guitar-hero-arlen-roth https://www.guitarworld.com/features/steve-vai-crossroads https://www.guitarworld.com/features/steve-vai-crossroads-jackson "Hush, Somebody's Calling My Name" by Galilee Singers: https://www.youtube.com/watch?v=ttZd_FprSG0 P.S. I forgot to mention Steve Vai portrays Hank Williams Sr. in the film "Crazy" (2008) so have fun with that on your own time :)
You can now support us on Patreon!At long last, the boys cover Hank Williams Sr., the "Hillbilly Shakespeare" himself. This week Danny and Tyler are joined by Greg Hess (@heygreghess, MEGA Podcast, Live from Here, Improvised Shakespeare) to discuss Hank Williams' final recorded song before his untimely passing. Is "I'll Never Get Out of This World Alive" dark comedy country? A knowing farewell? Straight up cursed? Or perhaps one of the most Buddhist country songs ever recorded? All of the above? We dig in to find out, plus we talk about a lot of other fun stuff, including (but not limited to) our theories on the evolution of pop country, ideal child names, and Hoobastank. This is a real fun one!You've probably heard "I'm So Lonesome I Could Cry" and "Move It On Over" just from being alive and in the world, but we have a few other Hank Sr. recommendations for you!Hey Good Lookin'Mansion On A HillYour Cheating HeartI Could Never Be Ashamed of YouJumbalaya (On The Bayou)Honky Tonkin'My Bucket's Gotta Hole In ItHowlin' At The MoonRockin' Chair MoneyI Saw The LightFollow the link to keep up with which songs are being added to our Ultimate Country Playlist on Spotify, now including the "I'll Never Get Out of This World Alive": https://tinyurl.com/takethispodplaylist And now on TIDAL!https://t.co/MHEvOz2DOAFor everything else:https://linktr.ee/takethispodandshoveit
In honor of it being spooky season, I thought I would tell you some country music ghost stories. The history of country music goes way back so there are lots of dead people and old buildings so of course there are going to be ghosts. And surprisingly some of our favorite country stars have either had their own run ins with the spirit world OR have stuck around to haunt us themselves. Follow me @brentsnydermusic everywhere and the show @rootoftheboot on Instagram. Full webisodes of this podcast are available at YouTube.com/brentsnydermusic Visit goldandivy.com and use code BOOT 15 for 15% of your entire purchase. Visit neoncowboys.com and use code BRENTSNYDER for 10% off your order. Use this link, https://amzn.to/3phfF1b for a HUGE discount on the book, Country Music: An Illustrated History. For links to the source material for this episode, visit YouTube.com/brentsnydermusic or rootoftheboot.com
Noah Garner is a singer/songwriter. He and Big Shrimp talk today about: The Listening Room in Nashville, TN; how the pandemic, tornadoes and the bombing has affected Nashville and it's music; how music binds everyone together, no matter the race or sex; the interpretation of audiences; Noah's grandfather playing with Hank Williams Sr, and how that made him want to be a musician; being vulnerable and trusting others with the art that you have created; Noah's new single "Gotta Get to You"; and Noah's connection with SMO. All that and more. bigshrimpradioent@gmail.com Big Shrimp: instagram.com/bigshrimpradio Noah: instagram.com/noahgarner --- Support this podcast: https://anchor.fm/big-shrimp-radio/support
This week we sit down with Austin Grimm, frontman for Roots of A Rebellion. Introducing us to his solo material and projects by the name of Dank Williams and collaborations with artists like Mellodose. Recorded on Austin's front porch and former house of the man himself Hank Williams Sr. We talk about our ties to Belmont University where myself and Austin were roommates back in 2008. Closing out the episode with a live performance of his brand new single, 'Good Energy' out everywhere now! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/notable-nashville0/support
Back to Blackmail. Resistance Reduced to Stormy Daniels. Again No Collusion. In spite of gaudy MSM headlines, key leftist commentators cheering down on Mueller. Newt Gingrich summarizes the Mueller Investigation as a "Trump destruction project" that has "nothing to do with the truth." Tin-eared Andrew McCarthy outlines a forthcoming "indictment" of Trump, but ends up calibrating his assessment. Journalist John Solomon reveals the existence of a damning "FBI email chain" which could be big trouble for Comey. Another day, another dose of Karma for Michael Avenatti. Losing the Ferrari? Meanwhile, we review Camille Paglia's stellar definition of the "authoritarian" Deep State -- a "sodden, intertwined mass of bloated self-replicating bureaucracy." You heard it here first. Bill Kristol's decaying Weekly Standard prepares to go belly up. What, no free market for Never Trump? Good riddance, we say. Also, Trump nominates William Barr to be the next Attorney General. We listen to Joe diGenova describe the framing of General Flynn, and sample Judge Jeanine's blasting of the failed leadership of Speaker Paul Ryan. She goes on to ask Rep. Jim Jordan "who stopped you" from getting answers on SpyGate. Well? Yellow. Plus, heroin in Colorado and vignettes on foreign-born health care professionals in America. A Harvard study claims immigrant doctors improve access to health care in the U.S., but we wonder what happens to access levels in the countries they've left behind. With Listener Calls & Music via Coldplay, George Harrison, Patricia Kaas and Lady Gaga. Sacred Song from Hank Williams Sr. and Little Jimmy Dickens. See omnystudio.com/listener for privacy information.
Smoking Gun for Obama Administration Surveillance of Trump? Rep. Devin Nunes, Chair of the House Intelligence Committee, describes troubling new information he has received. Nervous Democrats respond by disparaging Rep. Nunes -- calling him a "stooge" -- and referring to suspicious data collection as "incidental." However, investigative reporter Bob Woodward notes the potential for "gross violation" herein and says recent revelations "could be criminal" in scope. Might an Obama deep-stater soon end up behind bars? Meanwhile, we discuss the "spiritual battle" afoot between proponents and opponents of Western Civilization. Why is the media minimizing a Maryland rape committed by two illegal immigrants? How has the media already managed to drop last week's London Terror story? Why is Johnny Rotten of the Sex Pistols changing his tune on the Queen? Plus, a review of the latest Russian Conspiracy theories from Louise Mensch regarding the nature of "America First." With Listener Calls & Music via Ed Sheeran, Dwight Yoakam, Hank Williams Sr. and the Sex Pistols. See omnystudio.com/listener for privacy information.
Country music in its purest form is about the expression of emotions and experiences. A country song is made with story elements related to love, broken hearts, drugs, hardships, suicidal thoughts, and sometimes all in one song. Now that isn't to say country songs can't be energetic, fun, and filled with good times…but those types aren't expressed all the time. The purest elements of country music are, or have largely been about the saddest moments of a person's life. So, it isn't much a stretch to believe that some of the legendary musicians of country music may not have ever moved on to the other side. But instead their spiritual energy may still roam from town to town, or perhaps preferring to stick around places—or people—they once loved or knew while alive. Our guest this on this edition of the podcast is Penn State researcher and journalist, Matt Swayne. Matt has written numerous books, and the Ghosts of Country Music is the second such “Ghosts of” book, his first focused on the Ghosts of Rock and Roll.
Keep Calm and Carry On. Even Though Abusive, Bullying "Rigged Media" Attempts to Suppress Trump Turnout. Notes on the importance of good "Mental Hygiene" when bombarded by constant "Media Garbage." Describing the deceitful elites who prey upon the "naivete" of so many well-meaning Americans. A conversation with Charles Johnson, founder and editor of GotNews.com. Debunking Trump's accusers and Carlos Slim's tabloidy New York Times, along with the skewed polls and Hillary's unhinged Russian conspiracies. Praise for James O'Keefe, WikiLeaks and also Malik Obama -- our president's Trump-supporting half-brother. With Listener Calls and Music via Abba, Green Day, Elvis Presley and Hank Williams Sr.See omnystudio.com/listener for privacy information.
Is Jimmy Fallon "legitimizing" Donald Trump? Sure seems like it, much to the chagrin of Gloria Steinem and the Hard Left. The New York Times describes the "tsunami of unease" and "creeping dread" now afflicting Hillary supporters -- including a bichon-frise poodle named Dipsy -- as Donald Trump takes polling leads in several swing states. Hillary Clinton gives a supremely sleepy response to the terror bombings on the East Coast, and President Obama inserts himself into the 2016 campaign with self-absorbed frettings over his "legacy." Also, we share a Vangelis vignette on Captain Bligh, the Mutiny on the Bounty and remnant Never Trumpers. Plus, an appreciation of the virtues of resilience, tenacity and faith -- via Trump & Fallon on The Tonight Show. With Listener Calls and Music from Hank Williams Sr., Cesaria Evora, Salif Keita, Social Distortion and Abba.See omnystudio.com/listener for privacy information.
Williams died in the back seat of a cadillac when he was 29. Why did he die and how is he doing on The Other Side? Venus and Hank have a chat and you'll hear one of his greatest hits. Venus The Medium takes your calls on air. She looks into people and their situations, using energy, good sense and mediumship to untangle your problems. It's always fun for listeners! See godisalwayshappy.com for details.
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