We all know that Hank Williams Jr has some pretty strong opinions. But what did he think about the Urban Cowboy movement? Remember: Heâs a country plowboy, not an urban cowboy!

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@amandamartinez
We all know that Hank Williams Jr has some pretty strong opinions. But what did he think about the Urban Cowboy movement? Remember: Heâs a country plowboy, not an urban cowboy!
Current obsession is finding songs that are a response to the âUrban Cowboyâ craze in the early eighties - after the movie came out in the summer of 1980.Â
Because only country music could create a song this weird: "I'm Gonna Hire a Wino to Decorate Our Home"
Of all the intricate ways Americans manage to segregate themselves from one another, segregation by musical taste can be one of the most uncompromising, if least harmful. People who enjoy Bach and Beethoven wonât listen to Tony Bennett or Frank Sinatra. People who worship Charlie Parker and Dave Brubeck canât abide the Jefferson Airplane or the Rolling Stones. People who like Joni Mitchell and Joan Baez loathe Kiss and Shaun Cassidy. And for many years it was fashionable for the adherents of all these above-named schools to dismiss country music as nothing more than nauseatingly insipid nasal plaints about the lives of perfectly dreadful people.
Molly Ivins, in the 1979 NY Times article, âCheatinâ and Hurtinââ. (via amandamartinez)
Personally owned Rustler blue jeans by Country Music legend, George Jones. Included is a Letter of Authenticity signed by Georges widow, Nancy Jones
ATTN!! You can buy a pair of George Jones's Rustlers on Etsy.
Canât wait to go see this movie!
A thanks to Billy Sherrill
Time and again, I remind myself that early seventies country is my favorite type of country music. And this, in large part, is thanks to the producing genius of Billy Sherrill. Tanya Tucker, George Jones, Tammy Wynette, Charlie Rich, Johnny Paycheck, and more: The list is long of the greats that Billy Sherrill made greater.
Sherrill passed away today, and it is with immense sadness that Iâm processing this news. His influence on country music was as profound as some of the genreâs greatest artists themselves.
Sherrillâs signature countrypolitan sound helped prove that pop and other genresâ influences can only make some country music better. In fact, the younger Sherrill grew up disliking country music, instead growing up on jazz and blues â and itâs clear that this experience served to benefit him in producing country music.
What may make me most upset about Billy Sherrillâs passing, though, is that the world may never know the thorough stories of his career. I hate that his life and stories will not have the opportunity to be documented straight from him. He was notorious for avoiding the media and any sort of interviews, and was to said have become a bit of a hermit in recent years. But it was still one of my greatest goals to talk with him one day.
A few years ago I did research reanalyzing the reception of Tammy Wynetteâs âStand By Your Man,â which Sherrill produced. Iâve always thought Wynetteâs career, (though, in part, was made on this song), was unfairly tainted because of it, branding the singer as a backwards, anti womenâs rights artist. As Wynette frequently said, she âspent 15 minutes writing it, and a lifetime defending it.â Because, as both she and Sherrill maintained, the song was meant to be no more than a pure love song. Still, the timing of the songâs release (October, 1968) â the same month a group of womenâs liberation supporters marched in protest of the Miss America Pageant, adding great fuel to the feminist movement â could not have come at a better time for gender rights activists to target it. Years later, in 1981, Sherrill would recount the recording of Wynetteâs greatest hit by saying:
âAfter being barraged by womenâs lib and the Equal Rights Amendment, I wanted it to be a song for all the women out there that didnât agree, a song for the truly liberated woman, one who is secure enough in her identity to enjoy it. To some skeptics it may hint of chauvinismâŚthey can like it or lump it. Because âStand By Your Manâ is just another way of saying âI love youâ â without reservations.â
Whether these thoughts were indeed true as âStand By Your Manâ was being recorded, we may never know. After all, in all likelihood, it was Sherrill who encouraged Wynette to coast on the success of the song with followup anti feminist songs, such as âDonât Liberate Me, Love Me,â and âSinging My Song.â
Though Sherrill may be a bit of a mystery in the public eye, itâs clear that this is how he chose it to be. And thatâs ok, because what heâs left behind is his most important legacy: his music. He managed to bring out the best in some of countryâs best voices of all-time, and for that, I, along with countless others, will be eternally grateful.
At her first headlining shows in Nashville in a dozen years, Parton turned the Ryman Auditorium into the Church of Dolly.
No surprise here: I love Dolly Parton. And really, who doesnât? Liberal or conservative, rich or poor, Iâve never heard of anyone disliking Dolly. But too often I get a little fed up with the myth the public (and, letâs be honest, Dolly herself) has turned her into. More frequently than not sheâs presented as little more than a caricature whoâs fun to look at, leaving her greatness overlooked. Here, Ann Powers reminds us why Dolly is so awesome, and how she continues to inspire us all to be happy and proud of who we are.
Also, oh, how I wish Iâd been at this show.
Woo wee! Near the top of things I want most in life is a pair of these guys.
Terrible news. Two days after losing Buddy Emmons, we've lost another country great with the passing of Lynn Anderson. With a hit like "Rose Garden," Lynn was true country royalty. She was also the daughter of the great songwriter Liz Anderson, and was once married to the equally great songwriter Glenn Sutton.
Ashley Monroe has the strong support of a lot of country fans these days. Sheâs recorded successful duets with big names like Blake Shelton and Train. Even after divorce, sheâs still bringing Miranda Lambert and Blake Shelton together. Her new album was produced by Vince Gill, and is much stronger and more matured than her previous Like a Rose release. Still, most of todayâs country fans havenât listened to her, or even heard of her. Itâs not right! To Monroe or country listeners. Her new album, The Blade, is really knocking me out -- her traditional leans sort of remind me of something by Lee Ann Womack, except Ashleyâs voice is a bit more relaxed, and her sound is a little more adventurous than Womackâs.
It's not Thursday, but I don't care because I don't even throw things back on Thursdays anyways! Here's a throwback pic of some awesome Okeh catalogs I archived at the LoC.
ALSO. How amazing is this!!! Just found this clip in the October 22, 1955 edition of Billboard magazine, describing âItâs the Girl Who Gets the Blame.â Yes.
Nothing fires me up like finding songs like this recorded by country women, say, fifties and prior. Hereâs The Davis Sisters doing âItâs The Girl Who Gets the Blame.â What beautiful music they made.
This is an awesome new documentary from CMT about Gilley's and the cultural impact of the film Urban Cowboy. It gives a good background on the founding of Gilley's nightclub, the Esqurie article on Gilley's that Urban Cowboy was based upon, and the impact the movie had on not only the nightclub, but country music and pop culture overall. Lots of great interviews, too. Very well made, highly recommended! Also pumped that CMT is doing cool stuff like this.
Dog bless @samoutlaw and all my fellow #socalcountry fans! What a fun night. (at Silverlake lounge)
Hereâs Tex Wiliams speakinâ the truth again (jk) with âNever Trust a Womanâ:
â...Though women are handy around the house, they can't be trusted by man nor mouse It's a shame the way they drag a good man down It's a well-known fact they talk too much and they dig up dirt about the neighbors and such And Paul Revere the gossip all around town...!â