Ken Burns' COUNTRY MUSIC Documentary

and this: http://www.scottymoore.net/studio_mcgavock.html

i see PBS is already shipping DVDs

and the library has ordered 'em

I read somewhere that the 1927 landmark Bristol sessions were recorded there (Bristol TN, not UK, which would have been innaresting) when Nashville was mostly known as a minor-ish industrial town---this article seems pretty accurate, from what I recall (no I wasn't there):
https://en.wikipedia.org/wiki/Bristol_sessions

Right. I think the it is stated in many places, including this doc, that this was the first significant recording of this music in the South.

By which I think I mean a one-two punch of the Fiddlin’ John Carson recordings in Atlanta and then the Bristol sessions.

If you liked the doc, the companion book is essential. Probably my favorite thing on TV all year.

Seems like the companion book has extra stuff that’s not in the show.

Just noticed Tommy Duncan imitating Robert Johnson.

Well, good morning, Captain!

This is your old pal Gene Autry calling. I was just passing through town and thought I’d call to see how y’all were doing.

They didn't get into Carlene Carter as a recording artist either
Is her father ever even mentioned?

I don't think so. They just brought up that June was married when she and Johnny first got together.

Somewhere (I hope) I've stiil got an ancient twofer CC CD, Blue Nun/Musical Shapes, from her Nick Lowe era, with other members and colleagues of Rockpile, I think: good but could use re-masterting, as I thought even when it first came out. Later she worked with Al Anderson, who had left NRBQ and moved to Nashville--okay songwriter, though I preferred his guitar, with which she and he ripped it up on Austin City Limits.
Best album of hers I've heard is 2014 Carter Girl, where she folds elements of the Family sound and karma into her own rolling thing. At first I really liked the 2017 Mellencamp offering featuring her, Sad Clowns and Hillbillies---he's a painter of such---but later it seemed kind of stupid, because of his mannerisms, which he actually sounded happy with, even though I've liked several of his albums.
(They prob didn't mention the Mellenplate formula of denim pop country, since that was mostly post-'96, when the hats were starting to come off.)

They just brought up that June was married when she and Johnny first got together.
They were both married iirc?

To other people, I mean

Yes. Figured it went without saying.

my interest started to flag when they were goin in to Hank Williams Jr. and Roseanne Cash careers but then they tied it all up nicely with Pancho and Lefty

i haven't seen this but: rosanne cash rules and king's record shop changed country music. is it just boringly rendered

The episode they focus on her in is by far the longest one, and to be honest, they could have moved both her and/or Hank Jr. to the next one for better effect.

ahhh. jeez i gotta start watching this already

I think all the eps are streaming for free on the PBS site now, so dig in!

they are streaming until 10/6 iirc

oh shit i'll never finish lol

It’s on Kanopy now.

Wow. Who has access to that anymore?

I do

tbh I don't use it much though

Replacements thread reminding how things like their country covers and pastiches helped lead the way, for me and my cohort at least, back to the this stuff, along with the same from pub and punk rockers, especially Elvis Costello and Nick Lowe, as well as the not-uncommon “turn” from punk to alt-country and early adopter country punks like, say, Jason and the Scorchers, whereas before this was just music I was forced to listen to in the car with my dad, on a pretty tightly formatted station such that the only time I heard about Lefty Frizzell was on a Sunday night interview show. Kind of dreading watching the last episode as it rides off into the sunset as I doubt this will be discussed, didn’t notice it in the penultimate episode.

Forgot to mention X and The Blasters and no doubt several more.

Which I just reminded myself of, but will leave to others to bring to thread if they want.

Ah, thanks for reminding me that Jason (Ringenberg) has a new album out this year, though it's not on his bandcamp (yet?)---lots of stuff here:
TS: Lone Justice or Cruzados or Drivin' & Cryin' or Green On Red or Del Fuegos or Jason & The Scorchers or Long Ryders or Bodeans?

and

The Blasters: C or D?

Did they mention "Dead Flowers"? Still need to check Townes VZ's version.

Don’t think so. Believe they did mention Gram Parsons’s involvement with Exile On Main Street, but that was probably the extent of any Rolling Stones connection.

Darn. Oh yeah, some of this pertains:
Giant Sand / Howe Gelb P0X

Never appreciated until now the country, blues & rockabilly classics that were introduced to me by Beasts of Bourbon covers alone

I think Cantwell's recent Tanya Tucker piece for the New Yorker put it pretty well:

/Because it’s a late-career country-music comeback, “While I’m Livin’ ” is bound to be compared to Johnny Cash’s “American Recordings.” But Rick Rubin, the producer of the Cash album, succeeded in part by shrinking Cash’s complexity to a kind of two-dimensional rebellion.

Remember too that Cash--perhaps with some label influence--had cast a wide net for material for some time: He was one of the first Country artists to record Dylan; "Ballad of Ira Hayes" was by a Greenwich folkie; and in the '80s he was recording Nick Lowe material and stuff from Springsteen's Nebraska.

a) Naive Teen Idol: you make a great argument but jfc “facile”? you dont get to come at Cash backwards and presume to say that my misgivings as a lifelong fan are facile. it pisses me off

and b) if anyone else starts piling on to “remind” me about Cash i will kill every one of your firstborn children mark my words

...just to watch them die

*nods*

Ha. Well, apologies, VG, that wasn’t directed at you so much as the passage from Cantwell. Just the idea that anything about Cash in that era is “two-dimensional” rubs me the wrong way given how rich the music actually is.

I mean, I get it. The marketing, the NIN, etc. A lot (most?) people see his American Recordings work and nothing else of Cash. But I think that ultimately does a disservice to the music across those records in a lot of ways. That’s all I meant.

Btw, did you know that his birth name was not “Johnny,” but just a pair of initials, “J.R.”? *ducks*

oooh you’re gonna get it

I believe the ubiquitous Marty Stuart tells a story of taking that final portrait picture of him. Johnny was kind of slumped and falling asleep so Marty said “J.R!” whereby he immediately snapped to attention

Immediately after the photo session Marty accompanied Johnny to his dressing closet, where he received five Man In Black suits along with with five Western-style dress shirts and an equal number of bolo ties.

I believe he has also made arrangements to take custody of Trigger in case something happens to Willie.

Barbara Mandrell really <is> the female Marty Stuart.

http://s2.dmcdn.net/Mug2r/x240-Rnb.jpg

my interest started to flag when they were goin in to Hank Williams Jr. and Roseanne Cash careers but then they tied it all up nicely with Pancho and Lefty

― Οὖτις, Wednesday, October 2, 2019 3:11 PM

Kings Record Shop and Rhythm and Romance, one of which is a top ten all-timer for me, were the next steps in souped-up pop country, important forebears of Shania Twain and Garth. If those artists make you retch, remember that Cash's records have a confessional intimacy that's closer to Richard Thompson, beefed up by Waddy Wachtel and members of the Heartbreakers. And those singles sound great beside Randy Travis and Ricky Skaggs.

I feel like the Roseanne Cash story was underserved in several ways which I believe I might be able to articulate, just not into this little text box right now/FermatsLastTheorem

XP Now defend Hank II

I like quite a few of his early songs!