CMHOF to Open John Prine Exhibit; CMA Awards See Ratings Boost; Drew Kennedy Plays Mountain Stage
Juli Thanki | November 8th, 2013
John Prine: It Took Me Years to Get These Souvenirs will open at the Country Music Hall of Fame and Museum on November 15. The spotlight exhibit is scheduled to run through May 2014.
Kristin Sanders (niece of songwriter Mark D. Sanders) in The Guardian: The Watermelon Queen, Bobbie Joe Gentry, Liza Jane, Fancy: these women were my idols. Some of them were sirens. Some of them were prostitutes. All of them won men’s hearts. As a young girl, I internalized the messages of these songs, tried to mimic their coolness and beauty. Luckily, this was the nineties, so a lot of the songs sung by women were actually empowering. They told about the joy of being a female (“Man, I Feel Like a Woman”), the difficulty of being married (“You Don’t Even Know Who I Am”), and were sometimes even downright feminist (“Guys Do It All The Time”). We had Reba, Wynonna, Trisha, Patty, Martina, Pam – to name a few. I could list dozens more. I grew up listening to these women sing songs that were complex, heartbroken, inspirational, nuanced portraits of womanhood…These women absolutely taught me what it means to be a woman…But I can’t even begin to imagine how current country songs are affecting our nation’s young girls.
Taylor Swift will perform for Prince William and the guests at the Winter White Gala at Kensington Palace later this month. By December she’ll be linked to Prince Harry and/or the royal baby. Swift and herPinnacle Award win were the subject of an article on The New Yorker site.
The music scene in Lyons, Colorado is rebuilding after September’s flooding.
Jason Mellard, author of Progressive Country: How the 1970s Transformed the Texan in Popular Culture, compiled a companion playlist for Music Tomes featuring Guy Clark, Doug Sahm, Jerry Jeff Walker, and more.
Stephen Deusner interviewedDavid Bromberg for CMT Edge.
Slaid Cleaves wrote an excellent guest post for Saving Country Music. An excerpt: The fact is: lots of people like [mainstream country music]. Lots of people go to Kenny Chesney shows. I don’t understand why. And those people probably don’t see what I see in Adam Carroll. It’s like two different tribes, and each is seeking a different experience. I wouldn’t pay a dollar to see Kenny Chesney or any other Nashville star. Likewise, a Kenny Chesney fan would have no fun at all at one of my “listening room” gigs. And no, it doesn’t matter that Clear Channel plays Chesney and not me. My music doesn’t translate in a mass market situation. Can you picture me singing in a hockey arena? My kind of music works in the little local music club and on the community radio station where people present only the music they are passionate about, and the audience fits into a room that’s smaller than Keith Urban’s drum riser. My music works for people who want a more intimate connection to music, and are more interested in the subtleties of songwriting and the depth of storytelling you can find only in the “artisanal” country music being made today. There’s no reason to despair. There’s an embarrassment of riches to be found on the edges of commercial music today.
Black Country Rock has started counting down the Top 100 Albums in Country Music History.
Drew Kennedy’s first Mountain Stage appearance aired last weekend (remember when he told us about it back in September?); listen here.
The Bottle Rockets were featured on Esquire.com. The post also includes a stream of the unreleased demo “This Is What It Sounds Like When You’re Listening to Lindsey Buckingham and Thinking About Your Friend’s Girlfriend at the Same Time.”
NBC released another teaser for The Sound of Music Live, starring Carrie Underwood.
Will Hoge in The Chicago Sun-Times: “I use my wife and kids as a barometer of what’s going on in my career at the moment…Between my wife’s excitement and my kids’ apathy, I think I get a good feel of how most of the country feels about my music.”
Viewership of this year’s CMA Awards was “up 24 percent…with an average 4.7 rating among adults 18-49. That was enough to score an easy nightly win for the network in both the key demo and total viewers. ABC saw the show rise to a four-year best with 16.6 million viewers, according to fast national returns.”
Out January 14: This is Lone Justice – The Vaught Tapes, 1983.
Juli Thanki is the editor of Engine 145 and a freelance writer whose work has appeared in the Washington Post, Bluegrass Unlimited, and M Music & Musicians Magazine. In 2011 she received the International Bluegrass Music Association Print Media Person of the Year award.