Finally, there is the issue of the term “rhinestone cowboy” which came to symbolize country music entertainers and that era of country music when Glen Campbell took a song of with the title to #1 on both the country and pop charts. However, David Allan Coe had popularized and possibly coined the term years earlier through his stage persona and had in 1974 released an album on a major label called “The Mysterious Rhinestone Cowboy.” He alludes to this in his song “Longhaired Redneck” saying “I’ve been the rhinestone cowboy for so long I can’t remember.”

So for all of those reasons, plus his DIY approach and his ability to connect with audiences outside of country music’s traditional fan base, I think he more than warrants induction.

(And this, btw, is why I think the comparison of Ray Charles to Connie Francis or patty Page is quite specious. The “Modern Sounds in Country music” album changed country music–the line-ups in studios, production approaches– and their are whole careers afterwards impossible to see happening without Ray’s contribution. (Ronnie Milsap.. Charlie Rich…) and lit the path to the eventual migration of many R&B musicians and producers (even a Billy Sherrill) and writers (black and white) from Memphis and Muscle Shoals into Nashville studios. That would be a case for some really significant impact and contribution–not a passing fancy.)

As for DAC, I agree that most Hall of Fame voters would be unable to overlook one unfortunate song on one album, but in doing so they would be creating a double standard (see songs by Uncle Dave Macon or the Skillet Lickers whom Paul has suggested for induction) and overlooking why that album in particular warrants Coe’s unique approach. The album in question was never intended for a mainstream audience and was, in fact, released on DAC’s own label and sold exclusively through a biker magazine. Much in the same way that Johnny Cash was the first to prominently explore a new audience within prisons, Coe was the first to deliberately shun country’s traditional “family values” audience and focus on outlaw bikers, convicts, fans of heavy metal and punk rock, and other groups who have clung to his music despite DAC’s outspoken stance against them. Again, these are groups who many traditional country fans would rather not be associated with, but they DO exist and DAC is quite possibly the only artist in the history of country music who owes his prolonged success almost exclusively to these groups.

Out of curiosity, how would people feel about Dave Dudley or Stonewall Jackson being inducted?

Well, d’oh. That was my whole point.

I fear that the same will happen with the early stars of country music. Billboard didn’t start its county charts until January 1944, so much of what occurred before then has been lost – out of sight, out of mind – so to speak.

What Jon seems to have forgotten is that the business wasn’t always just about hit records. Even up into the 1950s and 1960s one could be a huge star without having national chart hits, since records tended to be more regional. Bradley Kincaid and Doc Williams & Chickie Williams were of far greater importance than some of the CMHOF inductees such as George Morgan and Lew Childre, to name just a few.

I notice that Jon, as always is the case, selects his targets carefully, mentioning two of the lesser names I put forward and ignoring the stronger names such as Gid Tanner, Al Dexter and Ted Daffen.

Even within baseball’s Hall of Fame, there are Hall of Famers and there are HALL OF FAMERS. Eddie Murray, Reggie Jackson and Harmon Killebrew were indeed worthy of Cooperstown even though they are midgets in comparison to Babe Ruth, Lou Gehrig and Ted Williams. Similarly with the CMHOF. Johnny Cash, Ernest Tubb, Hank Williams, Eddy Arnold, Webb Pierce, Conway Twitty, Loretta Lynn, Patsy Cline and Merle Haggard are NOT the standard for the CMHOF – if they were, it would be a very small HOF indeed. Fortunately, the CMHOF has taken a more panoramic view of the genre.

I do think that the CMHOF should restrict itself to artists who primarily worked within the genre. I love Ray Charles, in fact just purchased a 4 CD set covering eight of his Atlantic albums; he doesn’t belong in the CMHOF any more than Dean Martin, Connie Francis or Patti Page, all of whom were exposing country songs to the more general market before Ray set his sights on the genre. I doubt Ray ever had a single that sold as many copies as Patti Page did with “Tennessee Waltz”

2. Bona fide mainstream long-time major country stars deserve to be inducted. In addition to Kenny Rogers, who I’ve argued about before, I’d say Dottie West, Bobby Bare, Ronnie Milsap and Tanya Tucker should all get in in the next few years, based on their accomplishments.

3. I think it should be considered a plus when artists transcend the genre. I’d say yes to Charlie Rich and Jerry Reed and Jerry Lee Lewis.

4. I’d say yes to Horton because of his staying power. Paycheck is a tough call. His best recordings were not commercially successful. I might say yes to David Allen Coe because of his great songwriting talent in addition to his performing. But the virulently racist and incredibly vulgar recordings that he’s made will-and probably should–prevent him from being honored. I agree with Jon that you have to draw a line somewhere. Gary Stewart is just not a hall-of-famer.

5. Anybody who would question the bona fides of George Jones and Merle Haggard for the H-o-F based on “morals” standard is just demonstrating an utter lack of sophistication and worldliness. Jones and Haggard are significant American music figures who’ve been invited to perform for presidents and kings and receive medals of honor and attend state dinners. Oh and by the way, for whatever it’s worth, I’m pretty sure Haggard does not have a criminal record. (He was prettty famously pardoned by a certain Governor Reagan.)