The Janie Price Interview on the First Anniversary of Ray’s passing.

Janie Price, photo courtesy- Rick Moore

Janie Price, photo courtesy- Rick Moore

“If you knew just half of the story, you couldn’t get through it without crying. Ray came up to Nashville under the direst of circumstances. He was so ill, feeling so bad and weak. Chemotherapy just wears you out. This man just walked out of that house and, by golly, he got on that tour bus and he came back until he was satisfied he had that volume and that depth to his voice and then would resonate down to the lowest. Ray was able to do this. I was married to one of the most incredible men that has ever walked the face of this earth. This man was a true man. I am so proud to be his wife.” – Janie Price, December 2014

Ray Price spent the last couple of years of his life crafting his final masterpiece, Beauty is… The Final Sessions. A collection of carefully compiled gems, this is a love letter to his wife, Janie Price. Ray worked with legendary Record mogul, Songwriter and Producer Fred Foster [Roy Orbison, Dolly Parton, Billy Grammer, Ray Stevens, Kris Kristofferson, Tony Joe White, Larry Gatlin, Charlie McCoy, Al Hirt, Boots Randolph, Jerry Byrd, Billy Joe Shaver, Grandpa Jones, The Velvets and Robert Mitchum] to build on a bed of lush strings and orchestration reminiscent of the best of Countrypolitan.

???????????????????????????????????????A combination of Texas Country treasures by Cindy Walker [Until Then] and Willie Nelson’s “It Will Always Be” along with standards like Stephen Foster’s “Beautiful Dreamer” and the 1957 Vic Damone classic “An Affair To Remember” at the bequest of the love of his life has proven to be a benchmark for 2014 in modern day Nashville.

Ray Price was joined by Vince Gill [Beauty Lies In The Eye of The Beholder, Until Then] and Martina McBride [An Affair To Remember] on the most personal project of his career.

Janie Price took time to look at Ray Price’s final thoughts and to talk about his friends and recent discoveries regarding the modern age of digital media and social networking.

Brad Hardisty – The Nashville Bridge: Jeanie, it sounds like you have been busy promoting the legacy of Ray Price and his final recording over the last few months.

Jeanie Price, wife of legendary performer, Ray Price: I was down at Larry’s Country Diner and Jeannie Seely and John Conley were there and did a tribute to Ray. They sang some of his songs and it was so neat. I had co-hosted that with Bill Anderson a couple of months ago and they are in the process of getting that 5 DVD set ready. It’s already for pre-orders now. Larry Black had me come back to talk about that we did yesterday. I did the Mike Huckabee Show in October. He is going to do a special on Ray and that is going to air the 13th and 14th [last weekend] of this month around the time of Ray’s Anniversary of his passing on December 16th. I did The Texas Music Scene with Ray Benson. I went down to Billy Bob’s in Fort Worth and it was a day that they had their offices closed so they let us use one of they’re really neat rooms. I met with Dallas Wayne and the production crew all from Texas Music Scene there and filmed a documentary and that started running last week and the response we had from that was absolutely remarkable. I was on WSM with Bill Cody this morning so, I have been busy.

TNB: Who would have guessed that this last album would have such an impact?

JP: Absolutely. You’re telling the facts there because Ray talked to Fred and he asked Fred, he said, before he cut this album, “Do you think that it is humanly possible that an old fellow like me could possibly have another record in this industry? Do you think I can even chart or even get one released, get a record company interested in me?” Fred told Ray everything has changed in this industry and it is certainly not the same place that it was when you and I were in our heyday. But, Fred said, “I will tell you one thing, if anybody can do it, Ray Price can.” Fred Foster was right.

TNB: I think Ray did the right thing by insisting on having strings and the classic Countrypolitan sound.

JP: You know Brad, Ray and I were together forty five years. We were married 43 ½ years and I had taken over his business prior to that and I was there in the beginning of the time when Ray moved from Nashville and came back home to Texas. The reason that he left Nashville was over that very thing. It was the issue of the fact that he had wanted to enlarge the sound of Country Music. Ray wanted to take Country Music to town and to upgrade the sound and make Country Music something that everybody would be proud to listen to.

TNB: Ray was really one of the pioneers of the big Nashville Country sound.

JP: Ray Price paid the dues. He put his money where his mouth was and I can tell you for a fact. I was his book keeper and I wrote every check for Ray Price for the last 45 years and he spent his life’s fortune on moving Country Music into the modern day. When Ray and I first met, he was carrying a 22 piece Orchestra and he was working with so many violins and cellos and violas plus he had a horn section. He had so many musicians.

TNB: I bet that was a challenge on the road.

JP: Ray was working in places that didn’t have a stage big enough to hold them all. It was pretty funny. These guys would set up on the side of the stage. But by golly, he did it.

TNB: Strings were a trademark of his sound.

Ray Price publicity portrait

Ray Price publicity portrait

JP: Ray believed so strongly that the violin was the most classic and versatile of instruments. He said he felt that it replaced the human voice. So, by adding a multitude of strings all at the same time; eight violins, ten violins, it was like having a choir behind you singing. That was Ray’s imagination saying I think we can create this sound and we are going to be able to duplicate a sound that will replace all these people. The violin is going to be the one to do that. I think that he was right.

TNB: Eddie Stubbs [WSM], during the recent tribute, pointed out that Ray carried on the tradition of the violin or the fiddle at a time when it was disappearing in Country Music.

JP: Well, you’re right. The old time fiddle was going away so Ray just changed it. Ray said it was the same instrument and it just sounds different depending on whose holding it and how you play it. Ray wanted to hear those beautiful voice-like strings and so that’s why he had them playing.

TNB: Wasn’t that a great tribute?

JP: I was there that night. I was backstage and they told me they just wanted me to come up and thank those involved and how much we appreciated them doing this tribute. I was sitting backstage and I was on the right hand side of the stage facing the audience where the podium was and Eddie Stubbs was standing there. I was just enjoying the show. It was a sad time for me because it had only been three and a half months since I had lost Ray. At the end of the show, Eddie said, “Now folks, I’ve got a real special person here tonight. I want you all to make her feel welcome. I want you all to say hello to Ray Price’s wife, Janie.” Well, it just scared me to death. I had no clue that he was going to ask me to come out on that stage. After all, that is the Grand Ole Opry isn’t it?  told my sister my legs are just killing me. I cannot stand up and she said, “You better do something? Eddie Stubbs is standing there with his arm out wanting you to come out there.” I finally was able to get to my feet. I was out there and Eddie said,”Now Janie, I want to tell you somethin’.” Eddie told me the exact date in 1952 when Ray Price walked out on that very spot and made his very first appearance on the Grand Ole Opry. Eddie told me the song he sang. Eddie said “What do you think about that?”

TNB: I bet that was a surprise.

JP: I was just dumbfounded. I didn’t know what to say. I don’t know why it came out of my mouth but, I said how old was I? Ray was twenty years my senior and I was just thinkin’ that I was just a kid. I said, “How old was I? Eddie said “Janie, a woman who will tell you her age will tell you just about anything.”

TNB: That was a good safe answer.

JP: All the audience just laughed and that relaxed me and it just made me laugh. Eddie said “Well, I just want you to turn to this audience and I want you to tell these fans out here what this album means to you and what Ray’s idea and plans were for this album.” I don’t know how I got through it but I just turned to the audience and I told them that Ray had pancreatic cancer and he had fought it for twenty five months. Before he left this world, he had made the decision that he wanted to do one last thing. He said I don’t want to just go home and sit down and die. I want to do something with the remaining days of my life and do something that is meaningful.

TNB: How did he get started?

JP: Ray picked up the phone and talked to Fred Foster. He asked Fred if he would be a part of it and he said”I would love to be a part of this!” Martina McBride, when she found out about it, she was just so thrilled at the chance to be on the album with Ray. She came over and sang on “An Affair To Remember” which is the song that I just begged Ray to record for so many years.

TNB: I think anybody would have jumped at the chance to work with Ray.

JP: It was just a combination of a dream that my sweetheart husband had. He wanted to have one last album before he left this world and it has been left in my hands to go out and do the promotion and do everything that Ray would have done and had every intention of doing.

TNB: It must have been a huge undertaking with his health issues at the time.

JP: Ray had developed some serious side effects and had some health problems that were caused by those reactions that we simply did not anticipate that pro longed his ability to take chemotherapy. It was during that period of time when Ray was recovering from those side effects to the medication that the cancer had spread pretty quickly beyond where we would not be able to do any treatment for it and he realized that he was not going to be here.

TNB: I bet that was a difficult situation, knowing that this would his final project.

JP: He wanted to be here so badly. He wanted to be a part of another hit record and to leave his fans with one last album. He dedicated it to all the people who supported him all these years. So, he asked me if I would step forward and do what he would have done. I told him I had never done anything like this before. He said you are just going to have to make yourself available. He said I have got the right people in place.

TNB: Ray was confident in your abilities.

Photo by Michael Ochs Archives/Getty Images

Photo by Michael Ochs Archives/Getty Images

JP: Ray said all you are going to have to do is what they tell you to do. I said but, I don’t know what to say. Ray said “I tell you what I want you to do. I want you to call my good friend Eddie Stubbs.” He said you ask Eddie, you tell Eddie that I want him to help you and give you support and to try to tell you how to handle these interviews. Ray said,”He will talk you through it” and he did. Eddie broke down and started crying when I told him what Ray said. Eddie Stubbs said “I would love to do that.” Eddie has spent many, many, many conversations on the phone in the beginning of this and giving me tips. I thought, I’m so lucky to have a master like Eddie Stubbs giving me pointers. Eddie is a big part of this. Eddie and Ray were close friends. Eddie Stubbs was closer to Ray than any other human being those last years of Ray’s illness and I know he called every week and talked with Ray as long as Ray was able to talk. When Ray could no longer talk, he started talking to me and Eddie kept an update with all his fans on his show on WSM. Eddie told Ray as long as I have a job and until they fire me, I am going to play a Ray Price song every time I am on the air.

TNB: What role has social media and internet played in helping to get the word out on this album?

JP: As you know, that is instant media and it just goes everywhere. It is worldwide. There is no limitation. Radio stations are limited as far as their signal will broadcast but internet is limitless. I have done several internet radio shows and they have gone all over the country and that has made a huge difference. It’s like it has opened up whole world. Now, that is hard for older people like us that are not accustomed. We think if we are texting on a telephone we are doing really good. These young people are becoming so computer literate and they just live on that internet. They do their entire life, business and everything on the internet so they are picking up on things. this morning when I was on WSM, Martha [Publicist] tweeted it on her account and Bill Cody did the same thing on WSM’s and Martha just posted “Janie Price is live on the air with Bill Cody and Charlie” and if you would like to listen, click on right now and within less than a minute there were 352 people on those lines in less than a minute. I don’t know how many people ended up listening to it but there were bunches of them.   Ray loved the internet. Do I have time to tell you what he said about it?

TNB: Go ahead.

JP: Ray opened up his Facebook page and it was something that just thrilled him. Ray had no clue that so many people would join his Facebook page and so after it was posted, there were 118 people that had already clicked on it. Before our web designer got off the line we already had 500 people that liked his page.

TNB: One last question. The newer Country is really different. Do you find younger Country fans that are going back and looking for the roots and recognizing Ray Price for what he did?

JP: From what we are being told, that is what has turned this record around. That is exactly what is happening. Ray’s fan base was the same age and he was 87 years old when he passed away. We have lost so many of those people. How do we account for all this huge gigantic sales of Ray Price’s album? Well, these people all had children, who had children, who all now have children and they all have been raised on Ray Price’s music. And it has been handed down and now people like Ray Benson are talking this project on The Best of Texas. There are so many new young artists on there and they have brought in so much of the young crowd and there is a younger generation that is just falling in love with Ray Price. We wish he was here to see this because that was always his dream. He said “I have been the singer for all these old folks all these years and I would love it if the younger generation would start liking my music. That would thrill me to no end.” He said, “That would make this old man’s heart proud.” That is what has happened.

Message from Eddie Stubbs, WSM Radio and best friend of Ray Price-

Eddie Stubbs and Ray Price at WSM, twitter photo

Eddie Stubbs and Ray Price at WSM, twitter photo

Ray Price was an extraordinary singer. He was a true vocal and musical stylist–an absolute American original. It was a special blessing to have known him for over twenty years. We did many, many interviews together over those years. There were numerous occasions that I drove four and five hours each way to see Ray in full-concert. I’ve never regretted a single mile of those travels. On-stage Ray Price was pure class–a term you rarely hear used to describe an act in any form of entertainment. He was a super-hero to me, and it was always a privilege to just to be in his presence.”

  • Brad Hardisty, Nashville, TN     thenashvillebridgeathotmail.com
Facebook

Facebook

Keith Richards really put together a great tribute to Bobby Keys about all he did over the years for The Rolling Stones playing on “Sweet Virginia”, “Live With Me” and “Brown Sugar.”

Bobby was a part of the whole Exile On Main Street phase that was featured in a recent documentary and was one of the greatest Rock and Roll sax players ever having played with Delaney & Bonnie as well as Lynyrd Skynyrd, the Who, Harry Nilsson, Delaney Bramlett, George Harrison, Eric Clapton and Joe Cocker, among others.

Bobby was there at the beginning of the whole Buddy Holly phenomena having lived down the street from where he practiced and literally joining Buddy Holly from Texas garage days.

Michael Des Barres and Brad Hardisty at Americana Festival 2010, Exile on Main Street Tribute

Michael Des Barres and Brad Hardisty at Americana Festival 2010, Exile on Main Street Tribute

I had a Rolling Stones experience when the only opportunity I had to hear Bobby Keys was when he played here in Nashville a few years past during The Americana Music Festival 2010 at The Cannery Ballroom with an all-star tribute to The Rolling Stones’ Exile On Main Street that featured Grace Potter, Michael Des Barres and Dan Baird among others.

It was a strange thing to see Bobby playing in the back line horn section and to realize he was there for the whole French affair.

Bobby Keys was one of the greatest sidemen there ever was and he will be missed.

Robert Henry “Bobby” Keys (December 18, 1943 – December 2, 2014)

  • Brad Hardisty, Nashville, TN   thenashvillebridgeathotmaildotcom

LOCASH Signs to Label; Key Team Members Announced

Pictured: (L-R back row) Sony Red's Dewayne Brown, Webster PR's Kirt Webster, Paradigm's Brian Hill, Butch Waugh, Star Farm's Matt Corbin, Conway Ent. Group's Tony Conway, Paradigm's Bob Kinkead and Star Farm's Michael Powers.  (L-R front row): Chris Lucas, Reviver President/CEO David Ross, Preston Brust

Pictured: (L-R back row) Sony Red’s Dewayne Brown, Webster PR’s Kirt Webster, Paradigm’s Brian Hill, Butch Waugh, Star Farm’s Matt Corbin, Conway Ent. Group’s Tony Conway, Paradigm’s Bob Kinkead and Star Farm’s Michael Powers.
(L-R front row): Chris Lucas, Reviver President/CEO David Ross, Preston Brust

NASHVILLE, Tenn. (December 1, 2014) – What do you get when you take one of Nashville’s biggest all-star lineups of music professionals and partner them up with one of the hardest working acts in the business? You call that Reviver Records, which opens up its’ Nashville operation today.

Longtime music industry executive David Ross will lead the team at Reviver as President/CEO. With a career history that began at Alpha Distributors and has flourished over the years with stops at S* Management, College Music Journal, and Vertis, Ross has helped add pages to the legendary careers of such acts as Kenny Rogers, Dolly Parton, Alabama and The Judds.

Ross leads a team that includes some of the most successful members of the Nashville music community. Butch Waugh – who built his name during a decades-long run at Sony, will serve as strategic advisor to Reviver. Waugh has been a key player in the career story of such country acts as Carrie Underwood, Alabama, Kenny Chesney, and Martina McBride as well as Bruce Hornsby and The Dave Matthews Band. Longtime promotion veterans Michael Powers and Matt Corbin (from Star Farm Nashville) will lead Reviver’s charge at radio, while Kirt Webster (from Webster Public Relations) currently handles publicity for LOCASH.

Industry favorites LOCASH (formerly known as The LoCash Cowboys), who have already gained airplay with singles such as “Here Comes Summer,” “Keep In Mind,” “C.O.U.N.T.R.Y.,” and “Best Seat In The House,” are among the initial artists signed to the Reviver roster. Their most recent album, a self-titled effort, made it to the top half of the genre-encompassing Billboard 200 album chart. Chris Lucas and Preston Brust, who comprise the duo, have also written chart hits for Tim McGraw (“Truck Yeah”) and Keith Urban (“You Gonna Fly”). Working with LOCASH will be Nashville power manager Tony Conway and Paradigm Talent Agency’s Bob Kinkead will handle booking for the duo. Distribution for the label will be handled through Dewayne Brown at Sony RED.

Ross says that he is passionate about the music that LOCASH will soon be releasing through the Reviver label, as well as the team he has assembled. “I feel that we have put together a group of people that have the experience and the success stories to lead this team all the way into the stratosphere,” he said. “And, I think that the industry is going to be blown away by what Chris and Preston have coming down the line. We’re ready to take this town by storm.”

Reviver Records, LLC is based in New Jersey and is comprised of the record label, Reviver Music, and a Production and Management Company.

Resource Reviver Records: http://www.revivermusic.com

Resource LOCASH: http://www.locashmusic.com

Two children left to their own devices shun all the millions spent on lobbing them current cheap artificial commercial culture for thirty to forty year old vinyl artifacts.

henry mancini classicI recently got married and went from a household of one to four. My new bride has two children that are developing their own musical tastes at the age of four and nine.

The nine year old has some highbrow tastes already since his autistic focus has gravitated towards movie soundtracks favoring composer Henry Mancini as well as James Bond Soundtracks.

The four year old daughter was into the current millions spent on films like the Lego Movie and Tegan and Sara’sEverything Is Awesome” as well as her older brother’s favorite, Pharrell William’sHappy” that had both of them bouncing along to YouTube.

When we were dating, the four year old became intrigued with my vinyl collection and started asking me to play stuff, especially 80’s dance music. The nine year old autistic spectrum boy was not at all amused, his comment was, “I hate your music!”

pink pantherMany autistic children have a main focus and his are movies and memorizing all the vital statistics off of the DVD and Blue-Ray clamshells. He can tell you what year the first Pink Panther movie was made. He can tell you all about Esther Williams or Katherine Hepburn much to the shock of people decades older. Henry Mancini is Paul McCartney and John Lennon all rolled into one. He can do no wrong.

jack white another way to dieOne time, I said, “I have something you might like. I have a James Bond theme.” His eyes lit up as I pulled out the Jack WhiteAlicia Keys seven inch, “Another Way To Die” on Third Man Records in gold vinyl. He had to hear it. I gave it a spin on the Audio Technica turntable blasting through a pristine Sherwood receiver and a pair of JBL monitors with twin subs. He was all ears.

After we were married, the two kids took their respective rooms upstairs and started migrating to the living room going through my vinyl collection.

herbie hancock rockitThe four year old picked out her first record at The Groove: Herbie HancockRockit” virgin vinyl on Columbia. Herbie Hancock is still her favorite when her teachers ask about her favorite it ignites a littler laughter and surprise at her Pre-School mainly because it’s not Katy Perry or Taylor Swift.

janet jackson controlHe likes it a lot too. They found the “Rockit – dancing pants” video on YouTube and they watch it almost every morning to wake up during breakfast time. Other times, it’s Janet Jackson or C&C Music Factory. Most often the four year old is practicing her dance moves while her older brother has his arm doing Pete Townshend style “windmills”.

cc music factoryThe nine year old has now gone through all 300 seven inch records and has memorized names, logos, labels, dates, artists and knows the difference between radio copies, promotional copies and limited editions.

frank zappa im the slimeHe has a new favorite artist outside of his beloved Henry Mancini: Frank Zappa. I think that has started some interesting conversations in his 4th grade class when he tells them about “I’m The Slime” on limited edition green vinyl on Barking Pumpkin Records. He sings along and adds all the music parts with his vocal impersonations.

greenhornesSo, here are his current top three favorite artists in order, Frank Zappa, Jack White and The Greenhornes. Third Man Records is one of his main searches as he locates all things Jack White as well as any Columbia Records because he knows Columbia from all of his movie memorization.

deep purpleSpeaking of movies, Warner Brothers, Deep Purple Highway Star” on a limited edition Record Store Day pressing was an instant hit.

Okay, the four year old is becoming very opinionated and 80’s dance music seems to really get her bouncing off the walls especially “Rockit” at number one. C&C Music Factory is a close second.

run dmc its trickyThe four year old is even more opinionated than the nine year old. She really liked Run DMC, “It’s Tricky” so I flipped it to MC Hammer, “You Can’t Touch This” figuring it would be the right transition and she gave Hammer a thumbs down.

I’m sure that as they transition into their teens and start to pay attention to what everybody else is doing they will start to become the by-product of current ad campaigns, but for now we celebrate their discovery and enjoyment.

  • Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

justin townes earle single mothersJustin Townes Earle continues a musical dialog between his fans and his Book of Life with his most recent venture Single Mothers.

Enough has been said in interviews about the influence on songs like “Single Mothers” which talks about absent fathers and what he had to deal with on a personal basis.

Rather than do a track by track analysis, let’s just get down to what I see flipping through this new deck of cards.

Justin has had a love/ hate relationship with Nashville going back to The Good Life when I met him after the release at The Basement when Justin was doing one of those small gigs right before things really took off. It looks like Nashville is back on deck for this one and is not found lacking what it did before.

Recorded at extremely yellow Quad Studios, Single Mothers screams Nashville, particularly East Nashville with its vibe and current subject matter. This album spotlights what makes Nashville such a cool place right now; Something old, something new, something borrowed (not sure about this one other than maybe a little Jonathan Richman vocal motif), something blue.

While it sounds like a stripped down Nashville Skyline, dripping with Paul Niehaus’ pedal steel and sounding like right before closing time at Robert’s Western World after the last call, much of the actual song structure is very classic Muscle Shoals era Alabama soul ballads.

Justin seems to have found that the Nashville era of 2007 has changed for the better and is now flexible enough to become his playground again.

I have enjoyed the changes that have gone into all of his catalog as the last several years have gone by. Single Mothers seems to flow right off Midnight At The Movies in a very de-structured way. The tracks almost sound like clean demos with the lyrics loud enough to decide how the actual music will feel later. It reminds me of how Keith Richards described in his autobiography, Life, about The Rolling Stones recording process. Keith said that much of what was released in at least the middle period with Mick Taylor were actually demos and they would always talk about recording a proper version of the song later. In the end, they would decide they couldn’t improve upon the original jam and they would release it as is.

Everything about this represents the best of Nashville even down to the photos by Nashville’s very own music photographer, Joshua Black Wilkins.

There was a time when music was a true reflection of the guy who put the album on the turntable. Somehow, multitudes of people found a connection in what certain artists were saying and felt a certain rhythm in their life that flowed between their clothes, car, friends, hanging out and music. Justin Townes Earle is one of the few that really makes that happen now in the same way Bob Dylan and Neil Young did back when.

Justin Townes Earle, The State Room, Salt Lake City, 2009 - opening for Jason Isbell  Photo / Brad Hardisty

Justin Townes Earle, The State Room, Salt Lake City, 2009 – opening for Jason Isbell Photo / Brad Hardisty

There is a small circle of current musicians that have been able to transcend all the volleys and Justin Townes Earle and Ryan Bingham are at the forefront for the same reasons that come with life experience and a fine tuned sense of balance between pessimism and optimism reflecting on what is life and what makes it worthwhile and real.

Favorites: “My Baby Drives”, “Picture In A Drawer”, “Burning Pictures”

  • Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

TANYA TUCKER: STRONG ENOUGH TO BEND

OPENS NOVEMBER 14 AT

COUNTRY MUSIC HALL OF FAME® AND MUSEUM

photo courtesy Tanya Tucker

photo courtesy Tanya Tucker

NASHVILLE, Tenn. (October 16, 2014) – The Country Music Hall of Fame® and Museum will explore the career of superstar Tanya Tucker with the exhibition Tanya Tucker: Strong Enough to Bend, which opens November 14, 2014, and runs through May 2015.

Tanya Tucker’s talent blossomed early, despite being born into poverty in Texas and raised in ramshackle apartments and trailers in Arizona, Utah, and Nevada. She began performing on local shows at age six, and within years was a regular on a Phoenix TV program. A Las Vegas agent sent a demo recording to Billy Sherrill, who quickly signed Tucker to Columbia Records. She was thirteen years old.

At the time, few child performers had achieved success in country music. But the singer’s husky voice and audacious confidence made her seem more grown-up. She proved as much when she walked into a Nashville studio, in March 1972, and announced to Sherrill and the veteran musicians, “Well, I know my part, boys. Do you know yours?” She proceeded to belt out “Delta Dawn” like a seasoned pro, and by summer the song was a hit.

Tucker assured her success by releasing six consecutive Top Ten hits—including the #1s “What’s Your Mama’s Name,” “Blood Red and Goin’ Down,” and “Would You Lay With Me (in a Field of Stone)”—in two years, all produced by Sherrill. The narrative songs told daring stories that courted controversy, and Tucker’s mature-beyond-her-years vocal style brought out the drama and emotion in each.

Tanya Tucker on the cover of the Rolling Stone

Tanya Tucker on the cover of the Rolling Stone

Two years into her singing career, Tucker appeared on the cover of Rolling Stone magazine—a rare national media spotlight for a country star in 1974. To her parents, Beau and Juanita Tucker, such recognition signified that their teen daughter had crossover potential that could take her beyond the country audience.

On October 10, 1974—Tucker’s sixteenth birthday—she signed a $1.4 million contract with MCA Records, a deal brokered by her ambitious father. Her seven years on MCA yielded the #1 hits “Lizzie and the Rainman.” “San Antonio Stroll,” and “Here’s Some Love.” In 1978, she recorded the rock-influenced album T.N.T. in Los Angeles.

In California, Tucker began dating singer Glen Campbell, twenty-two years her senior; their fiery, tabloid-filled relationship ended in acrimony. After a stint with Arista Records, Tucker signed with Capitol Records and reunited with producer Jerry Crutchfield, with whom she had worked at MCA.

TANYA TUCKER ©2009 photograph by Alan Messer

TANYA TUCKER
©2009 photograph by Alan Messer

Tucker’s 1986 album, Girl Like Me, featured four Top Ten hits, including the #1 “Just Another Love.” She enjoyed a long run of success on Capitol (and sister label Liberty), with a string of Top Ten hits through 1997, including three consecutive #1s, “I Won’t Take Less Than Your Love,” “If It Don’t Come Easy,” and “Strong Enough to Bend.”

Tanya Tucker heard her name called as the 1991 CMA Female Vocalist of the Year while lying in a hospital bed, watching the awards show on TV. Earlier the same day, she had delivered her second child, Beau.

Her first child, daughter Presley, was born in July 1989—a year after Tucker had checked herself into the Betty Ford Center over issues with substance abuse. Her third child, Layla, arrived in 1999.

For Tucker, the CMA award came at a time when some radio stations refused to play her music while criticizing her choice to be a single mother. The CMA award, the first of her career, proved that the country music industry at large continued to support her. The national media cited Tucker’s win, and her eighteen Top Ten hits between 1988 and 1994, as signs that country music reflected the evolving roles of women in American society.

Tucker detailed her colorful life story in her 1997 autobiography, Nickel Dreams: My Life. The singer also starred in her own reality show, Tuckerville, on cable network TLC. “Every one of us has good and bad times in our lives,” Tucker wrote in Nickel Dreams. “In my case, they have been to extremes.”

TANYA TUCKER ©2009 photograph by Alan Messer

TANYA TUCKER
©2009 photograph by Alan Messer

Modern Ozark Mountain Daredevils Bring Forth Loaded Baked Potatoes From Americana Dirt

pawns_or_kings_press_picture“The process of finishing this album was the hardest experience of our life. With equipment failure, the original album files being erased and three years of struggling with nothing to show, we can finally give you the album you guys deserve.”

“We offer this piece of us in hopes that it would pick you up when you are down or be there to celebrate the good times alongside you. Every second of every track was an independent effort by members of this band. We truly and humbly hope you enjoy it.”- Pawns Or Kings

Hailing from the Ozark area of Southern Missouri, Pawns or Kings have a unique take on the popular folk revival that is sweeping the world.

“Without the Ozark Mountains… there would simply be no Pawns or Kings” said Stengel during a recent interview. Members of the band grew up playing music together ever since junior high and have been shaped by a variety of influences from classic rock like Led Zeppelin to bluegrass legends like Ricky Skaggs.

Pomme De Terrre puts Pawns Or Kings in a realm inhabited by the likes of Mumford & Sons, The Avett Brothers and The Decemberists.

Preview Pawns Or Kings Pomme De Terre Here

pawns or kings pomme_de_terre

 

The End proudly presents Balance and Composure this Wednesday night along with Seahaven and Creepoid.

photo courtesy Balance and Composure

photo courtesy Balance and Composure

The band’s latest record The Things We Think We’re Missing debuted at #51 on Billboard’s Top 200 Chart and has been very well received in the media, garnering coverage from Pitchfork, Spin, Stereogum, MTV and Rolling Stone.

Balance and Composure rides the line between noise pop like Sonic Youth and the reflective inner sanctum of Nirvana.

Frontman Jon Simmons likes to deliver visual stories with the tone of Dennis Wilson and the mindset of a wave riding Billy Corgan on a dark beach set endless six footer drifting to the right.

The intervweaving guitars set the tone for this Pennsylvania quartet.

Their videos are always well executed,

balance and composure album cover–          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom

 

 

SAMMY KERSHAW GOES VINTAGE VINYL WITH

GEORGE JONES TRIBUTE ALBUM

 Vinyl Edition of Kershaw’s ‘Do You Know Me? – A Tribute to George Jones’ Available Now

 

photo courtesy Sammy Kershaw

photo courtesy Sammy Kershaw

Nashville, Tenn. (September 11, 2014) – As critics continue to rave about SAMMY KERSHAWs new George Jones tribute album, Do You Know Me?, the country music star is now making the album available in vinyl form.  The vinyl edition contains two LPs and is available now in select record stores and online at Amazon.com. “I decided to make this album available on vinyl because it seemed appropriate,” says Kershaw.  “Jones released all of his early records on vinyl because there wasn’t any other way to do it.  Vinyl gave his records that vintage sound that can’t be replicated so on my tribute to him, I wanted to do the same thing.” Kershaw tackles some of Jones’ biggest career songs on the 14-track album. The tribute includes Kershaw’s renditions of “White Lightning,” “Who’s Gonna Fill Their Shoes,” “The Grand Tour,” “He Stopped Loving Her Today” and “The Race Is On,” among others. Two all new songs, inspired by Jones, are also included and Kershaw recruited the “Possum’s” daughter Georgette Jones for the classic duet, “Near You.” 

Do You Know Me? was released on July 22 and debuted at #37 on the Billboard Top Country Music Albums Chart, landing Kershaw his first Billboard Top 40 album in more than a decade.

The tribute to Jones is produced by Kershaw and available through his label, Big Hit Records.

 

For additional information on Sammy Kershaw, visit www.sammykershaw.com or his official Facebook Page.

 

Dead Fingers 2014 Interview

Dead Fingers, photo Courtesy Pipe and Gun

Dead Fingers, photo Courtesy Pipe and Gun

Taylor Hollingsworth and Kate Taylor better known as Birmingham, Alabama’s Dead Fingers took a few minutes to reflect on their adventures that took about two years and resulted in their sophomore release Big Black Dog on Birmingham’s Communicating Vessels .

Taylor and Kate took a much needed break when they became first time parents and found themselves with new material at a crossroads in the music business that is affecting even smaller regional labels.

After much reflection and at a point where they felt like they were ready to get out on the road, they ended up working with Birmingham, Alabama’s Communicating Vessels which has had national success with The Great Book Of John as well as regional favorites like The Grenadines.

The album was recorded in Mississippi with Bruce Watson [Fat Possum/ Big Legal Mess] long before the release date and label decisions were made and finally released with Bruce’s blessing right in Taylor and Kate’s own backyard.

Brad Hardisty / The Nashville Bridge: I have been listening to this album and it seems to be more organized then the first release in the sense that it is not as random as the other album. Does that make sense?

Taylor Hollingsworth / Dead Fingers: Yeah, I could see that for sure, yeah. We tried to have a direction, you know, in the recording. We tried to have, like a cohesive sound.

TNB: There are more concentration on the harmonies and also more of a focus on the country sound.

TH: I decided I am just a country musician you know. I’m like psychedelic country.

TNB: It works. I liked how you put “Big Black Dog” on the front end because that was kind of like the most off-beat and different from the rest. It looks like the first push is with “Free Tonight.”

TH: Yeah.

TNB: You’ve been around for at least a decade now. As a solo artist, you were with Brash Music out of Georgia. You worked with Conor Oberst and The Mystic Valley Band . You’ve been with Big Legal Mess / Fat Possum out of Mississippi and now you are working with Communicating Vessels out of Birmingham. I guess it makes it a little bit easier to work with distribution and all of that.

TH: Not necessarily on the distribution, but it makes it easier for like, I don’t know, I thought it was making it easier until the last couple of days. No, I’m just kidding, I mean , it’s like easier when we can go to the office and actually discuss things face to face rather than by e-mail or just a phone call. I can bug them more frequently and make sure things are like getting done, I guess.

TNB: Communicating Vessels has pretty decent distribution. I remember seeing The Great Book of John and some of their other releases here in Nashville. They also concentrate on doing some vinyl, don’t they?

TH: Yeah, they are definitely doing vinyl. They are really cool people that do the label. I have really been excited about doing it. I hope that they can survive in this day and age in the music business. Obviously, it’s like a f*****n’ s**t show out there.

TNB: It’s weird. Jack White made an album that had three speeds on it to create more interest and it ended up being number 1 on Billboard. Lazaretto sold like 40,000 copies the first week. But, it’s like a piece of art.

TH: Well, he’s on a whole ‘nother plane.

TNB: When you guys tour are you going out with any other Alabama bands or just going out by yourselves?

Dead Fingers, Taylor Hollingsworth and Kate Taylor, photo courtesy Jonathan Purvis

Dead Fingers, Taylor Hollingsworth and Kate Taylor, photo courtesy Jonathan Purvis

TH: We just have this one tour booked as of right now and that’s just us by ourselves with local support in all the cities. I think that is usually good, you know, because you get local bands that help you with the draw.

TNB: Are you doing recording pretty much the way you used to, like, are you pretty much taking control of your work?

TH: This new album we did over at the Fat Possum studio at the same place as we did the first Dead Fingers album with Bruce Watson. We both kind of, you know, produced it like I come up with a lot of ideas of arrangement type stuff and instrumentation. Like adding certain things to make it sound a certain way, but I really don’t have anything to do with, like, what mic we are going to use or what stuff like that. Bruce is on top of that because I’ll just grab any kind of mic there is and just put’em on shit to record, but he knows which mic to use and to do it the proper way.

TNB: Well, he’s worked on a lot of stuff. My favorite Black Keys album was Chulahoma, the Junior Kimbrough stuff. That was awesome.

TH: Yeah man, Bruce has got his name on some cool records.

TNB: Ok, so you did it over there, was it originally going to be on his label, or?

TH: Yeah. The music business is eating them alive like he is losing money on a lot of records. He lost money on our first record. So, he was kind of thinking we would just release this record just digitally then I said there is a Birmingham label. I told him about Communicating Vessels. I was like, what if we got them to do the vinyl and you do the digital, but it kind of got to be like nobody is going to want to spend all this money on vinyl and not have the digital release so, we just decided to go with Communicating Vessels. We thought about it and they kind of offered us to do the vinyl and offered to help us with some of the core stuff. We also liked the idea of them just being down the street from us. I mean they are literally like a two minute drive so, we talked to Bruce and he was totally cool with the whole thing. I mean he was like I would love to say I could give you enough money to do all that but he just can’t.

TNB: It is kind of weird how Birmingham had evolved into where there were a lot of great bands that came out at a certain period of time. Like beitthemeans, Model Citizen, Universal Joint and your band The Spider Eaters. I can think of at least a dozen bands; Through The Sparks has made it through that whole thing. But, now Birmingham has its own label and other things going on so they can promote their own scene, which is kind of cool.

TH: Yes, it’s really cool, you know, I hope that they can expand beyond Birmingham. They certainly are trying real hard. They are goin’ through the motions. They are living and learning. They are hiring all kinds of publicists and radio people and I mean they are doing it.

TNB: Are they trying to get over to England?

TH: Yeah. They are actually hiring print over in England.

TNB: I was thinking, how say like The Drive By Truckers broke over there as well as Kings of Leon.

TH: Yeah, we went to Europe last year. On our last record, we had a European label as well as the Stateside label and we did a European tour which went over really well for us on our level. But, the label we were on, over there, went under. They lost their ass on every one of their records and now we don’t have a label over there. Labels are just going under right and left.

TNB: Jack White’s Third Man Records can sell a lot of his own records but he has recorded a lot of other people that don’t do much like even the Neil Young record he did is way down on the charts so it’s maybe selling like a couple of thousand.

TH: Bruce just told me they released the Iggy & The Stooges new album and didn’t even sell 10,000 copies. Iggy & the f*****g Stooges! That is insane and they spent a fortune on that record.

TNB: I know Infinity Cat put their label right behind the United Record Pressing plant here in town.

TH: Yeah, that is where we pressed our last record.

TNB: They have got things going on where they do limited runs on everything and they keep changing it up whether it is the type of vinyl or the sleeve. They change it up every tour because they have core buyers. They have guys that will buy three different versions of the same record to just get the different covers of a Jeff The Brotherhood release.

TH: Well the truth is the reason we are not on Bruce’s label is what really happened on the business end and that his distribution was losing so much money on all these small records that weren’t selling enough numbers and they were getting shipped back from stores. They had to change their way, so their new approach in order to distribute your record is to have you buy a package plan and it was four grand for just the cheapest package. That was just to get your record into the store and that added four grand to our cost which used to not be a cost at all. They made money per record off a percentage but now they don’t take a percentage they charge a flat fee because those records weren’t even selling enough for them to make a percentage. You know what I mean? Not making anything, losing money.

TNB: It’s kind of the trend right now that they are putting everything back on the artist. I was talking to Ryan Hurtgen [former Nashvillian in Rene Breton]of Perfect Beings and he said out there in California, the pluggers are charging the bands and you don’t know if they are out plugging your music or not. They are trying to suck the musicians dry…Hey Kate, are you there?

Kate Taylor / Dead Fingers: I’m here.

TNB: You kind of have your own thing, but it fits more with Folk Alliance or the Americana Music Festival here in Nashville for promoting, you know what I mean? I didn’t know if you were going to try to get into some of those things. The Americana Music Festival here in town is huge. People are flying in from all over the world.

TH: Is that where I played with The Dexateens last year?

TNB: You probably did. I know the Dexateens are pretty solid. I didn’t go last year.

TH: Yeah. I would love to do that.

TNB: Is the new album stuff you worked on a while back or is at all new?

TH: I don’t think we had it written during the last album but it is now like two years old though. I mean, most of the songs I wrote before our daughter was born. Kate, your songs are probably before she was born too?

Dead Fingers, photo courtesy Jonathan Purvis

Dead Fingers, photo courtesy Jonathan Purvis

Kate: Yeah, we were probably working on that album just as we just finished the tour of the first album. We had just come out from there and I was pregnant. So, when we finished the tour we just went straight back into the studio. Knowing you’re pregnant you are anticipating the lull. I mean, we obviously had to take a little time off from touring and not be able to work as much. So, even when we were on tour we went back and forth to Mississippi every other weekend while I was still pregnant and then we finished it. I think Taylor ended up going one or maybe two times after she was born. I mean she was just teeny tiny like three weeks old or something. We went back a couple of times to finish everything up. But, then there was the switching of labels and all that kind of stuff and that ended up taking much longer than we had anticipated.

TNB: So you are like ready to record again, probably?

TH: Yeah, we haven’t written any songs.

Kate: Yeah, we had the baby and stuff.

TH: I was going through my notebook last night and I realized I probably have an albums worth of stuff written. Old songs from back then.

Kate: We are just getting to the point where we can record again. You know, our daughter is getting to be not quite two actually, she will be in November. Just like little things, you know, even right now. She is usually not a night owl. We don’t have to wait until forever and ever, at bedtime she goes to bed.

Taylor: That just now started.

TNB: Life kind of changes when you got kids, that’s for sure.

Kate: So, we are just getting to a point where we can get the things out in front and start working again. Like at first, we were not writing anymore and not playing anymore.

TH: I’m about ready to start playing full time, just like locally you know.

TNB: What are you doing locally nowadays? Are doing like acoustic gigs somewhere? Or kicking it with a band?

TH: I have a cover band that I am playing with and stuff and then I work. I’ll do some acoustic gigs like, I do every second Friday at Parkside Cafe in the back bar up there. It’s like the cool bar now in Birmingham. All of our friends are hanging there. Lauren, from The Grenadines, tends bar at Parkside. It’s a bunch of cool folks. I think I am going to put together kind of like my own songs but then a bunch of country songs, cover songs that I can just play at bars to make a living. Make enough to get by without working the road. That is what I hope for.

TNB: Sounds good. It is a challenge. It’s kind of weird because it’s like when you released Tragic City, you were right on the edge of when the whole music business was goin’ down. I remember Tower Records was getting behind that album and then they went bankrupt.

TH: Yeah, they had a lot at Tower Records and like I remember it was like in Best Buy and shit like that. It was really getting pushed out there, but it was all right there at the end. I didn’t have a business minded head on my shoulder whatsoever anyway.

TNB: You were pushing everything at 100%.

TH: I just didn’t have the team behind me.

TNB: I definitely promote Birmingham when I get the chance.

TH: Yeah, I know you do.

TNB: Dude, good to hear that you guys are still pressing on. I was going to tell you that one of the highlights for me in Birmingham, probably 2006. You were playing with the Spider Eaters and Matt Patton from Model Citizen…

TH: Oh yeah Matt.

TNB: Yeah, he got up on stage and you guys did Ramones’ “Commando.” That was cool. It was good talking to you. Wish you the best man.

Taylor: Alright man, always good to talk to you.

Kate: Thank you so much.

Dead Fingers, photo courtesy Pipe and Gun

Dead Fingers, photo courtesy Pipe and Gun

–          Brad Hardisty, Nashville, TN     thenashvillebridgeathotmaildotcom