Archives For Country Music

In his new book, The Country Music Reader, Travis Stimeling takes readers through country music history using a host of primary sources as a guide. Assembling country music writing from newspapers, magazines, and scholarly journals the book is a great look at many oft quoted articles in a format that makes them readily available and accessible. Stimeling provides in-depth intros to each article placing them in context and discussing offshoot subjects pertaining to the article. Readers of this blog will also love the further reading sections at the end of each article. Today Stimeling talks to us a bit about the project: cmr

Music Tomes: The book is essentially a tour through the history of country music–from the early fiddler contests to a 2010 profile of Miranda Lambert–through the eyes of news reporters and music writers. How did you strike on the idea for the book?

Travis Stimeling: During my graduate studies at the University of North Carolina at Chapel Hill, I had the great fortune of working as a teaching assistant for Jocelyn Neal’s country music history class. As a consequence, I became very familiar with the available textbooks for such a course, which, at the time, were few. Moreover, I had taken a jazz history course with Chris Wilkinson at West Virginia University that used Robert Gottlieb’s Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now as a primary text. It was there that I had learned the value of encouraging students to engage with primary historical sources and teaching them how to make sense out of these rich, but sometimes confounding, documents. In the summer of 2008, I (with help of two research assistants, Will Frankenberger and Alyssa Callaghan) began collecting newspaper and magazine articles discussing country music in all of its forms with the ultimate goal of organizing them into an anthology that could be used in country music history courses. At the same time, as a country music historian, I also recognized that much of the best source material is tucked away in defunct publications, vertical files, and out-of-print memoirs. So it was my secondary goal to present some of the most interesting primary sources–including several that have been cited widely in the scholarly literature–for my colleagues in the field.

MT: How did you decide what articles to include?

TS: There were a number of factors that I considered when I decided what to include in the book. First, I wanted to make sure that the sources I selected engaged with some of the primary themes in country music studies: representations of country musicians and their audiences, the “Southernness” of country music, the mass media, gender and sexuality, and so on. Some of the sources I selected touched on more than one of these themes, while others reflected only one. Second, I wanted to choose sources that were written by people from diverse backgrounds, including not only musicians and journalists, but fans and industry insiders. It was my hope that this anthology would be as inclusive as possible. Third, I was concerned about accessibility, especially because I hope that the book will be of interest to students as well as the general reader.

MT: As you went on this tour of country music history, what impressions did you get about how the music was and is covered in the press?

TS: Country music has been the source of great fascination since long before the first “hillbilly” records in the 1920s, and it should be no surprise that the press has treated the genre differently at different times in its history. However, there is no doubt that certain themes emerge time and again. For instance, writers frequently discuss the “authenticity” of country music composition and performance. At various times throughout the genre’s history, country music is depicted as a connection to a pure–and ideally European American–musical past, a commercialized bastardization of that pure folk tradition, or a genuine representation of a particular group of people (rural, working-class, Southern, American, etc.).

Another subject of interest has been the business of country music. Whether documenting the fees that recording artists garnered at the Bristol Sessions, the formation of the Country Music Association, or the development of the arena concert, reporters seem to be fascinated by the ways that country musicians–who often play to hillbilly or redneck stereotypes–are able to capitalize on their talents and function as significant economic forces. One article that I found fascinating was an early report on singing cowboy star Gene Autry that discussed the ways that Autry licensed his likeness and created an additional revenue stream that supplemented his film, radio, and recording incomes. The author of the piece, Saturday Evening Post contributor Alva Johnson, seemed absolutely astonished by Autry’s business acumen, which, of course, would help him become a major business leader in Southern California during the 1950s and 1960s.

Finally, it was interesting to me that so much of the journalism around country music does not engage with the music as a sonic artifact. That is, they seldom talk about the sound of country music. Rather, many journalists–even those with astute critical ears–tend to focus on lyrics and iconography and only speak of music in the most general terms. This may be my own bias as a musicologist and musician, but I think there are lots of interesting things that we can learn from listening critically and trying to talk about the sounds we hear.

MT: What do you hope readers take away from the book?

TS: I imagine that most readers will have some working knowledge of country music history or have a great primer on hand as they read this book. With that in mind, it is my hope that The Country Music Reader challenges readers to engage critically with the established narratives around country music and to work to formulate their own understandings. I have offered brief critical introductions to each of the readings to present what I see as some of the interesting themes that emerge from each source, and I hope that readers will use those introductions as a way to frame their own reading. Finally, I have offered extensive reading lists to accompany each source. It would be great if this book led readers to pick up some of the other great writings on country music, as well.

MT: What are you currently working on?

TS: I’m currently working on a book tentatively titled Nashville Cats: Record Production in Nashville, 1955-1973​, which explores the development of the so-called “Nashville Sound” through the eyes of the session musicians, arrangers, engineers, and producers who worked in the city’s recording studios. I’ve been conducting interviews with some of Nashville’s most recorded musicians, including several members of the legendary Nashville “A Team,” and I’ve also spent a great deal of time in the archives at the Country Music Hall of Fame and Museum, the Center for Popular Music at Middle Tennessee State University, and the Southern Folklife Collection at the University of North Carolina at Chapel Hill.

MT: Can you recommend some of your favorite music tomes?

TS: I’ve read a lot of really great books on music lately. Hidden in the Mix: The African American Presence in Country Music, edited by Diane Pecknold, is an outstanding contribution to our understanding of the complicated racial politics of country music culture. Clifford R. Murphy’s Yankee Twang: Country and Western Music in New England challenges us to consider the logic of local and regional country music communities. And Ryan Banagale’s Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon is a remarkable work of reception history that presents a treasure trove of new archival evidence to demonstrate how musicians have constantly arranged and rearranged Rhapsody in Blue to suit their specific musical, economic, and social purposes.

The story of Bobbie Gentry has fascinated music fans for decades now. Riding a wave of fame and then, seemingly, suddenly leaving the business never to be heard from again. Well, that’s maybe an oversimplification, but it’s the narrative that has emerged over time and one that Tara Murtha in the newest entry in the 33 1/3 series, Bobbie Gentry’s Ode to Billie Joe, both confirms and deconstructs this story. The book is an engaging read and a shining example of what the 33 1/3 series should be. Today Tara talked with us about the book:otbj

Music Tomes: What was it that drew you in to Bobbie Gentry’s story?

Tara Murtha: It started innocently enough, with listening to the record and watching the clip of her performing “Niki Hoeky” on The Smothers Brothers Show. I was initially intrigued by the fact that I didn’t already know all that much about her. How could I not know about this hardscrabble but incredibly sexy pioneering feminist country music singer who, after breaking all kinds of records and glass ceilings—suddenly vanished from the spotlight, never to perform in public again? And what’s not to love about that? Then I read an interview from 1974 where Bobbie Gentry claimed that she produced the record Ode to Billie Joe, but didn’t get credit because women just didn’t get credit in recording studios in 1967. The reporter in me couldn’t help tugging on that thread, wondering if the answers there would help illuminate the twin mysteries of the production of Ode to Billie Joe and her disappearance. And I think they do.

MT: You mention that there were a few near misses getting a feeling you might actually get to talk to her. That must have been a bit of an emotional roller coaster. How did that affect your view of Gentry?

TM: I wasn’t expecting to suddenly pick up the phone and hear Bobbie’s voice, but I’d say I kept my ringer on more than I normally would, which is hardly ever. I didn’t approach this project as an excuse to get to talk with her, though. It’s been an investigative pop history all along. I guess the suspense did get to me a little bit, though. One night, I had what felt almost like a lucid dream with Bobbie in it. It was one of those sleeps where it feels like your body sinks down to center earth, like knitting needles are shifting things around in your brain. In the dream, I visited her at a house in Los Angeles, a mansion just off a busy freeway, right in plain sight but set back behind an elaborate garden with ornate fountains and botanical sculptures. Everything was flooded in that golden L.A. magic hour light. The house reminded me of the primordial garden with the dinosaur topiary where Katherine Hepburn’s character in Suddenly Last Summer meets the doctor who is treating Elizabeth Taylor. The Bobbie Gentry I met in my dream was regal, but relaxed. I walked up a staircase to talk with her, then I woke up.

Anyway, I see the book as one part in a larger project, so maybe I’ll get to talk with her yet. Of course, I’d love to hear her take on everyone else’s recollections. And I wonder how connected, if at all, she feels, to the young woman I wrote about and her show biz life. That alone is super interesting.

MT: At one point Gentry says that what was thrown off of the bridge in “Ode to Billie Joe” doesn’t matter, that it was just a device to get to the point, but it also served as a hook that brought in a lot of interview requests with people probably hoping to be the one to get the “real answer.” Do you think that was calculated by Gentry in any way? Or did it just happen to work out well?


TM: Calculated, without question. What interests me is that another edit, the deletion of the girl’s name from the original first stanza, which shifted Gentry’s role from third-party observant narrator to inhabiting the song’ character. She spent the rest of her public life fielding just as many questions about if the story was “true” or not as ones about what happened at the bridge.

MT: Something I appreciated was that you came at this as a fan of Gentry, someone who was curious about her, but it doesn’t turn in to hagiography. You also, skillfully, peeled back some of the layers of her mystique without completely destroying them or making them sound like a deception or detriment. Was that something you found difficult to do?

TM: I appreciate that you noticed that because that was and is my intention. The way I see it, initially, she was very interested in exploring the culture of the South and that part of her identity. Her roots. She called it “regional material.” But like any true artist, she had other interests and territory to explore. I think she tried to take fans with her, but some had a hard time. People were really invested in the rags-to-riches Southern pin-up persona that came with “Ode to Billie Joe.” It was just so American and beautiful and so full of hope, in a way, at a tumultuous time in our country’s history.

As for authenticity, you can’t explore Bobbie Gentry without acknowledging that the evaluation of a performer’s authenticity is very gendered. Bobbie was really fascinated with Southern culture and mannerisms, but she also regularly explored themes of gender, freedom, femininity, intimacy and independence. All of those themes course through the idea of Southern culture, of course.

Bobbie’s a multi-instrumentalist pop composer sometimes dismissed as a one-hit country wonder. The real story has way more mystique than the flimsy one-dimensional one. She played piano, guitar, banjo, ukulele and vibes; sang in English, Spanish, Italian and Japanese; designed her personal wardrobe and stage costumes; danced; and wrote and composed music. She’s also a talented painter. God knows what else she can do or taught herself to do in the last 30 years.

MT: What was the most difficult part about writing the book?

TM: I thought a lot about how to write the story for three audiences. The first audience is people who hardly know anything about her, or maybe even never heard of her at all. Why should they care? The second audience is people who think they know who she was and what she was about, but have it all wrong based on reading a handful of internet bios full of recycled errors. And the third audience are the fans who get it, who know her catalogue beyond “Ode,” know about the Vegas years, and understand that she was an artist and businesswoman ahead of her time. I wanted to be able to introduce her, dispute the popular persona, and also bury deep new details for super-fans, all in one narrative. It was hard to know where to begin the story. You can’t begin disputing a reputation some readers never heard of to begin with. When I found the videotape of her talking on stage in Vegas about her relationship to her public image, it both confirmed for me that I was on the right track, and gave me my opening.

Logistically, the biggest challenge was time, no question. Researching and writing a book while already working more than 40 hours a week is no joke.

MT: What are you currently working on?

TM: For my Philadelphia book launch, producer and bassist Phil D’Agostino assembled an 11-piece band and they performed the record Ode to Billie Joe in its entirety. It was spectacular. I’m working on figuring out how to get the show to other cities. I’d love to see it done in New York, Los Angeles and Nashville. Of course, Mississippi would be amazing.

I’ve also teamed up with Ruth Lietman, a badass documentary filmmaker who has created some of my favorite films, like Lipstick & Dynamite and the cult classic Wildwood, NJ. We’re in the very early stages of developing a companion documentary. We both feel it is tremendously important to document Bobbie Gentry’s pioneering accomplishments, and really, it’s an aural and visual story. I mean you have to see this Elvis tribute.

MT: Can you recommend some of your favorite music tomes?

TM: I just read the other 33 1/3 book that was released with mine, which is Hole’s Live Through This by Anwen Crawford, and it’s one of the best in the series, hands down. Rat Girl by Kristin Hersh is one of my all-time favorites. I really connect with Hersh’s jagged and winding artistic sensibility. I recently enjoyed Simon Critchley’s Bowie, which weaves philosophical meditations in with recollections of how Bowie influenced him as a kid. I thought about Bowie a lot while writing this, because I see some of Gentry’s later performances, especially in Vegas, as glam rock in that they subvert the pop machine by ripping holes in the facade while succeeding within it. It’s been a while, but I really loved Janis Ian’s Society’s Child for the way it threaded Ian’s life story into a panoramic view of the music industry at the time, and how her feminist lens is just her eyeballs, you know, not treated as some precious monocle that marginalizes her own point of view. Everything I’m Cracked Up to Be by Jen Trynin. Just Kids by Patti Smith, of course. Out of the Vinyl Deeps by Ellen Willis. I used to work with the late Steven Wells, and I think of his work when I’m starting to take myself too seriously, which can happen when I don’t go outside enough. I loved Ozzy Osbourne’s autobiography, and got to interview him about it, and he was really funny and cool. I liked Keith Richards’ memoir too, even though it was a bit sanitized. Right now I have Amanda Petrusich’s Do Not Sell at Any Price, Bob Stanley’s Yeah! Yeah! Yeah! and Viv Albertine’s memoir Clothes, Clothes, Clothes: Music, Music, Music. Boys, Boys, Boys on my night table.

Jake Brown as written over 30 books, several of which focus on a given artist (like Heart, Iron Maiden, and Tori Amos, to name a few) work in the studio. In Nashville Songwriter: The Inside Stories Behind Country Music’s Greatest Hits he steps out of the studio to talk to some of the songwriters putting hits on the charts. Jake was gracious enough to talk to us a little about the book.NashvilleSongwriter_FrontCover

Music Tomes: The book tells the stories of many hit country songs, but instead of structuring the book around the songs, you did it around the songwriters. How did you decide to do that?

Jake Brown: The songwriters in this town are the unsung heroes of country music outside of the immediate confines of Nashville, and though there artists like Brad Paisley, Kenny Chesney and Carrie Underwood who co-write many of their # 1 hits with songwriters interviewed in this book and I wanted to tell their story in a definitive book series. For generations and generations, its been one of the better-kept secrets that there was this amazing community of songwriters working behind the scenes composing the majority of country’s biggest hits: Kenny Roger’s “The Gambler,” for instance, was written by a legendary songwriter named Don Schlitz, and “Always On My Mind,” one of Willie Nelson’s biggest hits, was written by another songwriting great, Wayne Carson, who we were lucky enough to interview for the book. Bob DiPiero, who is a VERY respected member of the Nashville songwriting community, and Tom T. Hall, Craig Wiseman, “Whisperin” Bill Anderson, Sonny Curtis, Tom Shapiro, Dean Dillon, Jeff Silbar – there were so many members of the songwriting royalty, if you will, that were willing to share their wisdom, and stories behind hits that go back throughout the decades, allowing us to appeal not just to today’s newest generation of country music fans, but also its classics. In the same time, I’m very proud to say this book chronicles the majority of the hits within the catalogs of today’s biggest country stars: Brad Paisley, Kenny Chesney, Luke Bryan, Carrie Underwood, Lady Antebellum, and so on for stars and stars. So it was just a privilege to have such access to the behind-the-scenes stories of how literally hundreds of # 1 hits – chronicled in this book – came to life before they became chart-toppers.

This approach also allowed me – and hopefully the reader- an educational opportunity from hearing these songwriters talk about their heroes, those who gave them their starts in the business, to put the spotlight on some of country’s original movers and shakers: from Willie Nelson and Freddy Powers talking about the pivotal role Texas country great Paul Buskirk played in launching both their careers as songwriters, and the adventures these guys went on chasing their dream: Rivers Rutherford – who wrote “Ain’t Nothin’ Bout You” by Brooks & Dunn- among countless other # 1s – talk about hopping the fence at the house of Chips Moman and getting attacked by watch dogs while trying to deliver a demo of what became the title track off The Highway Man album! The huge chances these guys took – and struggles they survived – in pursuit of their dream to make it as hit songwriters, like Dean Dillon – writer of such George Strait classics as “The Chair” and “The Best Day”- hitch-hiked down here at 18 with a guitar on his back and not much else. This book tells their stories, the songwriters, and through those conversations about their careers, very naturally, the true-life inspirations behind many of country music’s GREATEST hit songs emerged. It’s a book written by songwriters for songwriters, both to inspire and hopefully to teach, because the collective wisdom these writers share within their respective chapters is priceless to an aspiring songwriter just starting out, or a struggling one that’s been in town a while and hasn’t landed a cut yet. For instance, the torture of a song being put on “hold” by an artist or publishing company and not being recorded for years before it then finally became a hit, or a songwriter getting news that a major country star is going to record their song, only to have it get bounced off the record, and wind up getting picked up serendipitously by another star who took it to # 1. These are the true stories behind the journey of those songs, and of their songwriters, and of the 20 writers profiled in this book, not one of them hasn’t won the biggest awards in the business: ASCAP/American Academy of Country Music/NSAI Songwriter of the Year, BMI ICON, Nashville and Country Music Hall of Fame Inductees, CMA/Billboard Hot Country Music Songwriter, Grammy Nominees and on and on- their status as the biggest names in the business is confirmed by their endless parades of hits and accolades for that success as songwriting.

Another fascinating aspect within this book was exploring the longer-term collaborative relationships between key songwriters and country music superstars who worked for album after album over multi-decade associations, like Dean Dillon and George Strait, or Chris Dubois and Brad Paisley, or more recently, Luke Bryan and Dallas Davidson. The kindred nature of these relationships were fascinating, and very authentic, with one instance being Kenny Chesney’s hit “Out Last Night” which he co-wrote with Brett James on a trip they took down to the Islands together. So those authentic backdrops were always cool to hear about as they inspired a song idea that went on to become popular enough to top the charts. It speaks to country’s almost universal relatability within the subject matter of the songs we talk about in this book, and its an important point the writers make over and over, the necessity of being able to relate to the audience. To paint “a 3 minute movie” as Craig Wiseman, co-writer of Tim McGraw’s “Live Like You Were Dying” and “The Good Stuff” by Kenny Chesney, and the skill with which these writers reflected the every-day language of Nashville and their respective rural roots or hometowns in the lyrics of these hits. Dallas Davidson, one of Luke Bryan’s main hit writers – including this summer’s monster # 1 smash “Play It Again” – put it best when he said in the book that “I tell people all the time, my job is to ‘speak the language,’ and if you’re going to have a hit, especially in today’s time, you need to speak the language, you need to talk hip and you need to put that in your songs, because it relates to a new generation, and to my generation. You have to do that, and I think just going out and living and listening to people and the way they talk, and translate it in your words and in your songs, it will work.” So the chance to get inside these amazingly creative minds, really for the first time in a book of this kind, it was never lost on me how unique an opportunity I was being given as a biographer. I’ve written 36 books in the 14 years I’ve been doing this, and this is by FAR one of top 2 or 3 favorite books I’ve ever been involved with.

MT: You interviewed some classic songwriters and some current songwriters. What traits or qualities did you find that they all shared?

JB: I found often that the routines were the same, getting up every morning and coming on to Music Row, getting in a room with a co-writer or co-writers and working 8, 9 hours a day banging out songs, day in and out. The work ethic is truly amazing, especially with just the natural talent for output that these writers’ musical minds have, some of them write up to 200 and 300 songs a year, and a good number of them go on to be cut, if not turned in many cases into hits. Even before they ever had hits though, almost every writer in the book hammers home the importance of doing as much co-writing as you can for the practice, as an up-and-coming writers especially.

MT: What are some differences in their process?

JB: Where that culture varied was within the approaches some writers took, for instance writing from a chorus first, or from concept down, but there were commonalities too within things like happy accidents where a hit song emerged spontaneously out of ANOTHER song a pair of writers may have been working on that day, like Brad Paisley’s hit “Whiskey Lullaby”, which began as “Midnight Cigarette,” or “Wind Beneath My Wings,” which though it went on to become a monster pop crossover hit actually began as a # 1 country hit. Another thing that I found fascinating was to hear about how song ideas came to writers when they may have been driving in that day to a session and that then guided the rest of the writers involved to stick with that idea because they all found it so hooky. There were a million variations on that of course from one song to the next, but my favorite – I have to say – were the hits that songwriters said “wrote themselves.” Kenny Chesney’s “There Goes My Life,” Rascal Flatts’ “Banjo,” and Jason Aldean’s “Fly Over States” were poignant examples of that magical moment, where in other instances, you learn about the importance of laboring over an idea when a songwriter felt in his gut it really had promise.

MT: Can you narrow it down to a favorite interview?

JB: Not really, I was an equal fan of everyone I had the opportunity to speak with, but I will say there were some highlights for me personally, one of them being the opportunity to work with songwriting great Freddy Powers, who sadly has been stricken with Parkinson’s for the past 10+ years. We had some help from an amazing club of fans/friends, including longtime co-writer Merle Haggard, fellow Texas writer/star Willie Nelson, and John Rich of Big & Rich, who also gave us a great list of tips of new writers that we closed with as the book’s last chapter. I had the great fortune of speaking with Dallas Davidson, Luke Bryan’s co-writer, and Ashley Gorley, both of whom are wildly popular right now as hit-writers for stars ranging from Luke to Jason Aldean, Blake Shelton, Jake Owen, Chris Young – just a bunch of today’s biggest and fastest-rising stars. I loved the insight they shared into writing for today’s teenage country fans, who are the next generation that might pop up here in town in a few years with the same dream. Then, from a whole different angle, I had favorite moments that I think country fans will love actually getting a front-row seat into the songwriting process itself. Then you have vets like the aforementioned Rivers Rutherford & Brett James (who co-wrote “Jesus Take the Wheel” by Carrie Underwood, Neil Thrasher (who co-wrote “Fast Cars and Freedom” by Rascal Flatts), David Lee Murphy (who wrote “Big Green Tractor”, one of Jason Aldean’s biggest hits), and Lee Thomas Miller (co-writer of “The Impossible” by Joe Nichols, which was nominated for the Best Country Song Grammy). Hearing about the tricks and tips these guys have used throughout years of writing hits, and then guys like Chris DuBois, one of Brad Paisley’s principle co-writers and President of SeaGayle Music Publishing, which is one of the hottest Millennium publishing success stories in country music, and Craig Wiseman’s Big Loud Shirt. These companies have mentored and developed a lot of the newest faces on Music Row who are writing chart-toppers, so the advice songwriters reading this book get on the business of becoming a Nashville Songwriter in the current musical climate is priceless. I feel like every writer we interviewed in this book had something invaluable to offer the conversation, so really, its impossible to pick. I think readers will hopefully feel the same, BUT if you have a favorite hit you want to read about by a favorite artist, there’s a better-than-likely chance its covered in the book.

MT: What are you currently working on?

JB: I like to stay busy, and I have a history writing in rock the past few years: I just had a memoir come out last May with guitar legend Joe Satriani titled Strange Beautiful Music that we’re still promoting, but coming up, I’m wrapping work with celebrated rock drumming great Kenny Aronoff (John Mellencamp, John Fogerty) on his authorized autobiography, then I begin writing what I’m proud to say is the first definitive rock & roll drummer’s anthology, featuring exclusive interviews with many of the biggest living drum legends alive, including players from Aerosmith, Red Hot Chili Peppers, Creedence Clearwater Revival, the Foo Fighters, Jane’s Addiction, Santana, Lynyrd Skynyrd among many others, and finally, I’m starting work this fall with iconic R&B/Hip Hop producer Teddy Riley on his memoirs, hailed as “a genius” by Michael Jackson at Grammy Awards at the height of their collaboration, and working with Freddy and Catherine Powers on Freddy’s authorized autobiography, The Spree of ’83. So I have a pretty full slate luckily.

MT: Can you recommend some of your favorite music tomes?

JB: As far back as 10 and 11 years old when I was first really reading because I wanted to, it was Rolling Stone and Billboard Magazine every week in and out till I was out of high school, and because I grew up before the internet was around, if it wasn’t music magazines, it was music biographies, and books like Sound Advice, Hit Men: Power Brokers and Fast Money Inside the Music Business and The Mansion on the Hill: Dylan, Young, Geffen, Springsteen, and the Head-on Collision of Rock and Commerce anywhere I could gain an inside look at how the music business worked. When it wasn’t those books, it was mostly music biographies, and I grew up reading guys like Danny Sugarman, who wrote the Doors book, writers who really gave you a front-row view inside the lives of the artist or band you were reading about. More recent favorites have included Tommy James & the Shandells’ Me, the Mob, and the Music: One Helluva Ride with Tommy James & The Shondells, always Motley Crue’s The Dirt: Confessions of the World’s Most Notorious Rock Band is classic, Willie Nelson’s Roll Me Up and Smoke Me When I Die: Musings from the Road, Keith Richards’ Life, I could go on and on. I hope country music fans will add “NASHVILLE SONGWRITER” to their own list of favorites when they’re done reading. Thanks for the opportunity to talk about the book!

Win a copy of Nashville Songwriter! We’ve got one copy to give away, so tell us who your favorite songwriter is in the comment section to enter to win it. The winner will be announced on Tuesday, Sept. 23.

After a long history in television journalism, Jack Isenhour dove in to writing, publishing two books on well known sports figures (Bobby Knight in 2003 and co-writing the memoir of Dennis Rodman in 2005). In 2011 he published He Stopped Loving Her Today: George Jones, Billy Sherrill, and the Pretty-Much Totally True Story of the Making of the Greatest Country Record of All Time chronicling the life of the song that many call the greatest. On the occasion of the book’s paperback release, Jack took a few minutes to talk to us about it:isenhour

Music Tomes: How did you get interested in telling the stories behind this song?

Jack Isenhour: Waylon Jennings brought me to country in the mid-seventies and George Jones made me stay. I wanted to find out what pulled me in and the story behind the making of “He Stopped Loving Her Today”, the best country recording ever, seemed like a good place to start.

MT: One of the themes that runs through the book is the question of authenticity. How do you see that playing out in today’s country music world?

JI: An authentic musician is one that feels genuine emotion when performing and arouses that same emotion in the audience. Add a twang and you’ve got country music. Of course the trick is defining “twang.” I know it when I hear it. Meanwhile, until someone comes up with a better definition, I’ll rely on former Country Music Foundation head Bill Ivey’s decades old “industry definition” of country music as “records that country radio will play and that country fans will buy.”

MT: What part do you believe nostalgia plays into the authenticity question? For example, songs, like “He Stopped Loving Her Today,” were considered too pop sounding when they were released, but are consider examples of “classic country” now.

JI: I think country fans have much more of a sense of history than other fans. In country music, “He’s not country!” is about the worst thing you can say about a singer. I never hear anybody wail, “He’s not pop!” Time is the ultimate decider of what’s country and what’s not. Does anybody still believe that Red Foley was really country?

MT: How do you think Billy Sherrill and his productions will be remembered in the future?

JI: I think Billy Sherrill is a genius and this man who named Tammy Wynette, co-wrote “Stand By Your Man,” produced “He Stopped Loving Her Today,” and made Charlie Rich a star, should rank right up there with historic figures in country music like George Jones, Hank Williams, Patsy Cline, and Owen Bradley.

MT: What are you currently working on?

JI: I’m writing a television documentary on the history of Vanderbilt University’s Peabody College. My background is in long-form television news: series and documentaries.

MT: Can you recommend some of your favorite music tomes?

JI: Although it’s scholarly and a bit hard to read, Creating Country Music: Fabricating Authenticity by Richard A. Peterson is the most mind–boggling book I’ve read about country music. It will change how you think about the subject.

Legends are more often than not made rather than born. Take Hank Williams, a man gone from us over sixty years, and yet we still talk actively about his music and his life. The Hank Williams Reader takes a historians look at the man through the eyes of writers throughout Hank’s life, and the many years after, to bring out a picture of the legend. The book is edited by Patrick Huber, David Anderson, and Steve Goodson and Mr. Goodson was kind enough to answer a few questions for us:

Music Tomes: How did the idea for the Reader come about?hank

Steve Goodson: Patrick Huber and David Anderson, my two co-editors, came up with the idea before I came on board. A number of readers were being published about important American musical artists, and they realized that Hank Williams would make an excellent reader topic because of his significance to the history of American popular music and because of the huge amount of writing that has been done about him.

MT: How did the research team come together?

SG: In 1993, I published a scholarly article on Hank Williams in a small academic journal. A few years later, Patrick and Dave published an article about Hank Williams’s father in another small academic journal. In their article, they extensively cited the article I had written. Someone told me about Patrick and Dave’s article. I found a copy, read it, and then e-mailed them at their university addresses to thank them for their use of my article. That initiated the relationship, and we then met face to face at the annual International Country Music Conference in Nashville, where they asked me if I’d be interested in joining them in writing a reader on Hank Williams. I was very interested, of course, and our book is the result.

MT: When looking for pieces to include, what criteria did you set?

SG: First, we wanted to include articles or excerpts from a wide variety of publications – biographies, memoirs by family and band members, newspapers, mass-circulation magazines, fan magazines, academic journals, etc. From these varied sources we tried to choose pieces that were significant in developing the various interpretations of Hank Williams that have evolved over the decades. We also looked for writing that was particularly eloquent and thoughtful. We couldn’t always meet all the criteria – some pieces we included, for example, are historically crucial but are not necessarily beautifully written, while we included other pieces that are gorgeously written but not necessarily crucial in shaping Hank’s image. Sadly, there were many, many outstanding pieces that we wanted to include but had to cut because of space limitations (the two articles I mentioned in answering the previous question ended up on the cutting-room floor, for instance, even though Patrick, Dave, and I had written them).

MT: What is something that surprised you in the research?

SG: I’m not sure that I was surprised by anything I learned about Hank Williams – I knew going in that he had been the subject of a lot of excellent writing by a broad array of people. I was more surprised by more mundane matters such as how much some publications wanted to charge for reprinting their material, and on the other hand how kind and generous some individuals were (like noted southern author Lee Smith) in allowing us to use their work free of charge. I guess I was also a little surprised by how much my co-editors and I disagreed about a few of the pieces we considered for the reader. One of us might have seen a particular writing as deserving to be in the reader while the other two failed to see its value. So a lot of negotiation went into deciding what would make the final cut.

MT: What are you currently working on?

SG: I am a professional historian, and I am working on one project that has nothing to do with music. It involves an attempted lynching that occurred in 1901 in the city in which my university is located. But I also have plans for a volume of essays about various aspects of Hank Williams’s life and work. I have been fascinated by him since I was a child – I grew up near Montgomery, Alabama, which he considered home – and I think I still have a lot I’d like to say about him.

MT: Can you recommend some of your favorite music tomes?

SG: One of my favorite nonfiction books about music is Jonathan Gould’s Can’t Buy Me Love: The Beatles, Britain, and America. But my very favorite music tomes are probably novels such as The Commitments by Roddy Doyle and The Mambo Kings Play Songs of Love by Oscar Hijuelos. For me, novels can capture the elusive magical quality of music in a way that nonfiction books by their very nature often can’t.

In the new book Buck ‘Em! The Autobiography of Buck Owens, Randy Poe helped Buck Owens posthumously tell his own story. With the intention of writing his own story on Owens, Poe met with the family and was instead asked to us tapes left behind at the death of Owens to assemble an autobiography. The result is a fantastic telling of the life of one of the biggest stars in country music, in his own words. Randy was kind enough to answer a few questions for us.buck em

Music Tomes: In the intro to the book you talk about meeting with Buck’s family about doing a biography and then being presented with the idea of turning it into an autobiography. First of all, what made you want to do a biography of Buck Owens?

Randy Poe: I wanted to do a book on Buck because I felt he was a phenomenal country artist who was incredibly under-rated, if not forgotten to a certain extent. It was much the same reason I wrote Skydog: The Duane Allman Story. Buck and Duane are both extremely important figures in American music, and up to this point very little has been written about either of them. In fact, Skydog was the first book ever written about Duane Allman, even though he’d passed away over thirty years before my book came out. So, I like to write about musicians who I feel deserve more attention than they’ve gotten, and to me, Buck Owens definitely qualifies as one of those.

MT: What kind of complications are there in creating the autobiography of someone who is no longer around to answer new questions or clarify anything?

RP: You bring up an excellent point. I can’t tell you the number of times I regretted not having the opportunity to ask Buck follow-up questions. On the tapes I was working with, he told so many great stories about his life. But, since he was just sitting alone talking into a cassette recorder, there was nobody there with him to get him back on track if he changed stories in mid-stream, or if he didn’t finish a sentence. Luckily, Buck’s office had kept literally thousands of newspaper and magazine articles that quoted Buck, so many times I was able to find him telling the same stories in greater detail than he’d told them on the tapes. Like I said at the beginning of the book, writing this thing was like trying to put together the most complicated jigsaw puzzle ever created.

MT: Owens worried that Hee Haw would damage his legacy, but, of course, the payday was too good to pass up and people told him he was wrong. Then when he died, that was the most common identifier used by the media. After he left Hee Haw” do you think he tried to rebuild his reputation as a performer?

RP: First of all, when I wrote Buck’s obituary for Sing Out! magazine, one of the things I said was that I hoped all of the other obits wouldn’t focus primarily on his Hee Haw years. To tell you the truth, when Buck ended his long run with that show, I don’t know if he was even giving much thought to his reputation. By then he was a businessman with so many other interests. I think he began to pay more attention to his legacy later in life. It was certainly on his mind by the time he started recording his life story in the mid-1990s. As you know, it wasn’t until his days on Hee Haw had been over for a few years that he got back into recording and performing, thanks primarily to the encouragement of Dwight Yoakam. For people listening to country radio in those years, “Streets of Bakersfield” was the last major recording of his that they heard. Those who wanted to see him live got to see him performing concerts from the late-1980s on through much of the rest of his life. And for those who first discovered Buck’s music via “Streets of Bakersfield,” a lot of them were probably too young to even know he was ever on Hee Haw.

MT: What are you currently working on?

RP: Right now the only thing I’m doing writing-wise is focusing on promoting Buck ’Em! I began this project five years ago, watched it fall apart (a story that’s way too long to tell here), wrote another book called Stalking the Red Headed Stranger while I waited for the Buck book to get back on track, and then went back to work on this one literally the day after I finished Stalking the Red Headed Stranger. As with most authors in the modern world, I have a day job. Mine is in the music industry, so it’s fun and challenging, but it means my writing hours are usually from midnight to 4:00 a.m. At this moment I have no idea what my next project will be. Over the years I’ve written a half-dozen books on that schedule. Who knows? Maybe my next project should be a book on how to be productive when you suffer from extreme insomnia.

MT: What are some of your favorite music tomes?

RP: As far as my favorite music tomes are concerned, I could go on forever. First of all, absolutely anything written by Peter Guralnick. He’s the music tome writer all the rest of us worship at the feet of. Also near the top of the list would be Nick Tosches’ Dino: Living High in the Dirty Business of Dreams. Then there’s Life by Keith Richards, The Incompleat Folksinger by Pete Seeger, A Pirate Looks at Fifty by Jimmy Buffett, Straight Life by Art and Laurie Pepper, It Shined: The Saga of The Ozark Mountain Daredevils by Michael “Supe” Granda, and Hound Dog: The Leiber & Stoller Autobiography. (Full disclosure: I’ve run Leiber & Stoller’s music publishing companies for the last 28 years, but it’s one of my favorites because the whole book is the two of them going back and forth telling the story of their songwriting years together, interrupting each others’ sentences exactly as they did in real life.) I’m also a huge fan of books about radio. Among my favorites are Air Castle of the South: WSM and the Making of Music City by Craig Havighurst, Border Radio by Gene Fowler and Bill Crawford, and Have Mercy! by Wolfman Jack.

If you’re a fan of Buck Owens and/or country music, you’ll want this book. Enjoy an excerpt and find out how you can win a copy of Buck ‘Em! The Autobiography of Buck Owens.

The following is an excerpt of Buck ‘Em: The Autobiography of Buck Owens by Buck Owens with Randy Poe, publishing be Backbeat Books, an imprint of Hal Leonard Performing Arts Publishing Group. Reprinted here with permission of the publisher.


The Buck Owens Sound

I got signed to Capitol Records in 1957. By that time, I’d been playing in bars and honky-tonks for over a decade. When I signed that contract with Capitol, I thought, “Man, this is it! After all these years workin’ my ass off in all those dark, smoky clubs and taverns, I’ve finally got it made.” Well, it didn’t take very long for me to find out just how wrong I was.

Things got off to a really bad start because my first few singles didn’t even hit the bottom of the charts. On those early records, the producer had insisted on including all these damn background vocals—lots of guys and gals singing “oohs” and “aahs” under my stone country vocals. It sounded ridiculous. As a matter of fact, those singles came out sounding a whole lot like the kind of stuff they were recording in Nashville back in those days—and the last thing I wanted was for my records to sound like those pop-country things they were doing down there.

The next time I went into the studio, the producer let me do things my own way, which turned out to be a pretty good idea since we ended up having a little success with a song I wrote called “Second Fiddle.” The record came and went pretty fast, but it made it to No. 24 on the charts—high enough for Capitol to want me to keep recording for ’em.

At the next session, I cut a song called “Under Your Spell Again.” We had a Top Five hit with that one, and all of a sudden things were starting to look pretty good for ol’ Buck.

When “Under Your Spell Again” hit the charts, I was living up around Tacoma, Washington. After those early singles had flopped, I’d left Bakersfield and gone up there to work at a radio station, and to play in a band with a fellow by the name of Dusty Rhodes. A few months after I moved to Washington, Dusty found the band a teenaged fiddle player named Donald Eugene Ulrich. Since nobody knew how to pronounce his last name right, I did him a favor and changed his name to Don Rich.

While “Under Your Spell Again” was still going strong, I got a call from Capitol to hurry up and come down and make another record. It was just before Christmas of 1959. I decided to take Don to the studio to play fiddle for me on the four songs I planned to cut.

Dusty Rhodes didn’t play on my records, but he’d co-written one of the songs I was going to be doing on the session, so he volunteered to drive me and Don to Los Angeles in his ’57 Cadillac.

It’s over a thousand miles from Tacoma to LA, so we were doing anything we could to keep from being bored out of our minds. At some point after we’d crossed into California, I started singing “Above and Beyond”—one of the songs we were going to record. As I was singing the song, Dusty said, “Hey, Don, why don’t you sing along with him?”

So there we were—riding along in this big ol’ Cadillac—with me in the front seat playing the guitar, Don sitting in the back seat, and Dusty driving. I started to sing the song again, and Don started singing right along with me. I couldn’t believe my ears. Our voices blended and matched perfectly. Somehow, he knew exactly the way I was going to sing every word. He came in at exactly the right times. If I slurred a word, he slurred the same word in harmony with me. He had the greatest ability to anticipate that I’d ever heard in my life. I swear to you, somehow he could tell—even that very first time we sang together— what I was going to sing and how I was going to sing it.

Now, a lot of folks talk about this thing called the Bakersfield Sound, and a lot of ’em seem to think they know exactly who and how and when it all started. The problem is, everybody’s got their own definition of what the Bakersfield Sound is. Your definition might be different from mine, so I’m not going to try to tell you when the Bakersfield Sound started—but I can tell you exactly where and when the Buck Owens Sound started. The Buck Owens Sound kicked in right before Christmas of 1959, in a 1957 Cadillac, on a long, lonely stretch of California highway. But I didn’t create it alone. Don Rich was as much a part of that sound as I was.

When me and Don finished singing “Above and Beyond,” I knew right then and there that I had found the sound I’d been searching for. I knew “Above and Beyond” was going to be a hit. I knew Don was going to be my musical partner for life. I knew that the two of us would be having hit records together for years to come. And believe me, we did. From 1960 to 1974, hardly a week went by that we weren’t on the charts. And during that time, twenty of those singles went all the way to number one.

Then—in the blink of an eye—it was all over.

The Buck Owens Sound ended just the way it began—on a long, lonely stretch of California highway.

buck emBackBeat Books has been gracious enough to give me one copy of the book to give away to one of you great readers. All you have to do to enter is leave a comment with your favorite Buck Owens song or memory. A winner will be randomly selected from those entries and announced on Wednesday, Nov. 13. Good luck!

Craig Maki and Keith Cady take a deep look at the country music history of a city not often associated with country in Detroit Country Music: Mountaineers, Cowboys, and Rockabillies.The book tells in-depth and well-researched stories of musicians that got their start in Detroit, those that went on and those that stayed there to fan the flames of a burgeoning scene. Today the authors talked a bit about the book:

Music Tomes: What inspired you to write the history of a specific genre in a specific place?DCMcover

Craig Maki: In terms of culture, Detroit and its history has been our rock. As teen-agers, we both started collecting records. With guidance from other collectors, we discovered some great 1950s rockabilly and country on Detroit labels such as Fortune, and Happy Hearts. During the 1990s, we interviewed (independently) country musicians who were active in Detroit during the 1950s while producing our own broadcasts for radio. We shared stories, pictures, music, and our concepts of the Detroit C&W scene with friends, and they all concluded: The history of country music in Detroit needed to be told. Our scope focused on the 1930s through the 1960s, when migration of workers from the South and country music activity in Detroit reached their peaks.

MT: Detroit isn’t often associated with Country music. How did you first discover the amount of Country music Detroit had to offer?

CM: The moment I realized Detroit supported a decades-old country music scene was in 1995, on the night I first saw musician Eddie Jackson’s wall of vintage photos – five decades of images pinned up behind the bar in his basement. I was 24 years old, and understood only an inkling of what I would research during the next dozen years. Before then, I hadn’t associated the city with country music, except for its annual Downtown Hoedown festival.

Keith Cady: While learning how to play music in my teens, I pal’d around with several veteran musicians. Over time, I realized these men and women knew fascinating stories of an era when Detroit and its suburbs overflowed with country music. I met Craig because we shared similar interests, and we both hung out with retired musicians who had amazing stories and music careers that, in some cases, not even their families knew about. In 2000 we decided to collaborate in documenting stories of these pioneers that otherwise would have been lost to history.

MT: How can a scene thrive today, a time when regionalism is in danger of being erased, in some ways, due to the increased accessibility of music from around the world?

CM: The best way for a regional music scene to thrive is for the community to generate it and support it. Detroit’s factories attracted hundreds of thousands of people from the South during the 20th century. Country music thrived in its neighborhood bars, as well as in showcases such as weekend barn dances, TV, and radio. During the 1950s and 1960s, a stream of musicians coming and going between Detroit and Nashville kept things exciting. Despite the changes in Detroit since then, we believe there will always be a place for local music in any community, whether it’s made in churches, schools, nightclubs, or back porches.

MT: Share with us one of your favorite discoveries as you researched the project.

CM: Besides finding music I never heard before … The connections of Detroit entertainers to musicians and groups from all over the country brought exceptional vitality to Detroit’s country music scene. Finding these associations was a blast, because it made one realize how important Detroit was to the national scene. The biggest surprise for me was learning of Chief Redbird’s multi-faceted background and accomplishments, including working with the first cowboy band (true cowboys based in Oklahoma) that ever broadcast on radio.

KC: I was surprised by how connected Detroit musicians remained through the years. Many of them had bands and regular venues they played, but they also visited each other, not only to sit in and promote themselves, but to support and enjoy each others’ music. The caliber of musicianship rated extremely high, and you can trace the best pickers circulating in the most popular bands in Detroit. There was competition, but also friendships that lasted a lifetime.

MT: What are you currently working on?

CM: For the past year, we’ve posted updates at, where we’ve expanded the research presented in the book. (The book could have been twice as long as it is.) The website has also introduced us to people who were related to, or knew (sometimes still know) musicians within the scope of the project.

MT: Can you recommend some of your favorite music tomes?

CM & KC: Nick Tosches: Where Dead Voices Gather, Country, Unsung Heroes Of Rock’n’Roll, Hellfire, Save The Last Dance For Satan. Cary Ginell: Milton Brown And The Founding Of Western Swing. Bill C. Malone: Singing Cowboys And Musical Mountaineers. Charles K. Wolfe: Kentucky Country. Nathan Gibson: The Starday Story. Martin Hawkins and Colin Escott: Good Rockin’ Tonight. Rich Kienzle: Southwest Shuffle. Susan Whitall: Fever – The Fast Life And Mysterious Death Of Little Willie John. Peter Guralnick: Last Train To Memphis. Linell Gentry: A History And Encyclopedia Of Country, Western, And Gospel Music. Lars Bjorn and Jim Gallert: Before Motown – A History Of Jazz In Detroit, 1920-1960. Martin Hawkins: A Shot In The Dark – Making Records In Nashville, 1945-1955. Barry R. Willis: America’s Music – Bluegrass.

While I’ll always enjoy reading about the history and exploits of name artists like Johnny Cash and Bob Dylan, or bands like Led Zeppelin, the Rolling Stone, and The Beatles, all of which receive at least a book a year, it seems, What I really enjoy reading about are the adventures of the musicians who work behind the big stars. In a lot of cases their stories flesh out the narratives of the big names, and can often offer some historic perspective on the music and the business. But let’s face it, the problem is these books don’t sell widely and the musicians don’t have the name recognition of a Cash or Dylan. Luckily, there are publishers that will release these books, like Schiffer Publishing has done with Don Davis’ Nashville Steeler: My Life in Country Music.

Nashville SteelerDon Davis is probably not a household name, unless you are an avid reader of liner notes. Davis was born in Alabama in 1928 and fell in love with music at a young age. Trading a bicycle, which was a hot commodity in war time, for a guitar he began to take lessons on how to play Hawaiian guitar, placing a piece of metal beneath the nut to raise the string off of the fretboard. From there he moved to a Sears electric steel guitar and by age thirteen he was playing around town in a variety of bands helping to support the family making $1.75 a night.

Listening to his heroes on the Grand Ole Opry on clear-channel WSM and over XERA border radio, he began to pick up more nuances in his playing and at the age of 16 got an audition with Pee Wee King and the Golden West Cowboys. Leaving school, his home, and his family, Davis became a professional musician and began to tour with King, along with artists like Minnie Pearl and Cowboy Copas. He began to appear regularly with King on the Grand Ole Opry playing instrumental breaks as the show went into commercials and also gaining the opportunity to back other artists who didn’t have their band with them.

In 1947 King decided to get off of the road and settle in Louisville to work regionally. Davis took the opportunity to move to Memphis to work with Eddie Hill and the Louvin Brothers on a radio program on WMPS. Opportunity knocked again and Davis left Memphis for the West Coast to tour with another of his heroes, Tex Ritter. Aside from touring Davis was recording with Ritter and Gene Autry on a regular basis. He also began recording with nearly any artist who could get studio time because the American Federation of Musicians was going on strike on January 1, 1948 banning all recordings with instrumental accompaniment  This meant a bit of a mad-rush to record so that artists would have a stockpile of recordings available to release during the strike (the strike lasted until December 1948 and helped give birth to the 33 1/3 and the 45 record formats).

The following year Davis returned to Nashville to join the band of Ernest Tubb and began also recording at the Castle Recording Company, founded by moonlighting WSM engineers in 1946. Staying off the road for a bit he recorded with artists Little Jimmy Dickens, Hank Williams, Leon Payne, and others. Itching to get back on the road again he began to tour with George Morgan where he remained until Uncle Sam came calling in 1950. Just before that he became reacquainted with an old friend, Anita Carter. Soon after returning from the service he and Carter married. The country music business was changing and Davis and Carter moved to Alabama where Davis began a television show with a new band of musicians.

In the mid-1960s he returned to Nashville to be near his children after he and Anita had divorced. He began a career in song publishing with the great Harlan Howard, plugging songs and hanging out with writers Roger Miller, Willie Nelson, and Shel Silverstein. Following this he did some producing, including Johnny Cash’s last #1 solo hit, “One Piece At A Time.” In the 1980s he worked for Waylon Jennings and in the early 1990s retired in Alabama.

Nashville Steeler is filled with great stories about the people Davis played with, sharing road stories and history of both Nashville and Country Music. These are the stories of someone who lived the musicians life when travel was on two-lane roads in large sedans. When shows were in small venues and a career in country music was out of love of the music and performing. Davis and co-writer Ruth B. White have put together a great set of stories full of humor, insight, and history.


This review originally appeared on the earlier version of this site, but in an effort to bring the most pertinent info, I’m re-running it with a little expansion.

yoakamSince finding out about “Dwight Yoakam: A Thousand Miles from Nowhere” by Don McCleese I had been excited to dive in. Right off the bat I was pleased to find two things: 1) The book was less biography and more an exploration of Yoakams’ art and 2) that McLeese was a longtime fan of Yoakam.

These were two important things for me because I am less interested (and increasingly so as I grow older and more curmudgeonly) in the details of his time with, say, Sharon Stone, and more interested in the music and the process of how it came to be. Especially with an artist as distinct as Dwight Yoakam.

There is, of course, a bit of biography throughout, to set context or, occasionally, intent. The book features extensive interviews with Yoakam and with long-time guitarist/producer Pete Anderson. These are keys to the proverbial kingdom in this narrative as these are the two figures who loom most promiently in the story. Since their split, there hadn’t been much from either on the subject. Without one or the other, the tale could seem one-sided. But if you are looking for snark lobbed from one side to the other, you’ll not find it here. Both men offer their insights and are complimentary to each other while offering

I was familiar with McLeese from his days at the sadly defunct No Depression and have always enjoyed his writing, so I waded in with at least some idea of what to expect. Here he does a great job of balancing journalist/critic and fan allowing the participants such as Yoakam, Anderson, and others, to flesh out the bulk of the story while inserting interesting and important cultural mile markers with which to see how Yoakam fits into the Country music story.

If you are a fan of Yoakam, I can’t recommend this highly enough. And if it doesn’t make you dive headlong into Yoakam’s catalog, nothing will!