There is perhaps no artist, no performer in the history of country music whose impact, influence, appeal, and footprint so far outpaced the recognition he received in life and death than Gary Stewart.
What we consider as the foundational sound of the Countrypolitan or Nashville Sound era was very much sung and arranged by Anita Kerr. Along with the The Jordanaires, The Anita Kerr Singers—selected and arranged by Anita Kerr—contributed most all the chorus singing that was set behind country songs.
Country music is country music, and the best definition of what country music is, is that you know it when you hear it. It’s self-evident. But the genre has birthed many subgenres, many stylistic movements over the years, and at times has seen a splintering and Balkanization.
Amid the continuing effort to revitalize the legacy of Country Music Hall of Famer Conway Twitty and reconstitute his music in modern form for fans to enjoy, ten albums from the heart of Conway’s career have finally been released for both streaming and download.
The fourth installment of the eight-part Ken Burns documentary on country music laid out in no uncertain terms how country music became a well-ordered business in the aftermath of the death of Hank Williams, and during the rise of rock n’ roll as the most popular genre in America, putting pressure on country music.
With the passing of the 94-year-old “Little” Jimmy Dickens at the beginning of 2015, it’s a reminder for us to cherish the final living links to country music’s most legendary past who can still tell stories of how country music once was. The amount of performers who were important in forming the very foundation of country music are quickly fading away.
Bob Montgomery, most famous for being the teenage friend, songwriter, and duo partner of Buddy Holly, and for writing iconic country songs like “Back in Baby’s Arms” by Patsy Cline, and “Misty Blue” recorded by Eddy Arnold, Wilma Burgess, and many others, has died according to his son and fellow musician Kevin Montgomery. He was 77-years-old.
As recently as the middle of last week it looked as if the fate of historic Studio ‘A’ in Nashville’s Music Row district was all but sealed, and its date with a wrecking ball was a forgone conclusion despite preservationist’s best efforts. But in one fell swoop, one man came in and did what thousands of people could not do despite their best efforts: preserve Studio ‘A’.
If the unusual and offbeat of the country music realm is something you love to delve into—if the Roger Miller’s, the Shel Silverstein’s, and the John Hartford’s hold a special sway on your heart, and something just a little strange, unexpected, and funny is where you find enjoyable wrinkles in the forgotten shadows of country music’s otherwise explored reaches, then this album from Ween…
So now the question is, who, if anyone, would be in a position to purchase the property with the intent of preserving the Studio ‘A’ space, and potentially the building it occupies? As Bravo Development has stated, the building is in poor shape. All indications are that financially, the most feasible move for most any developer would be to demolish the building and build on the property footprint.
Of course country music must evolve, just as at times certain buildings must go if they have completely lost their functionality and the cost of preservation is not in accordance with the historic value. But there always has to be that measure, that attention and reverence paid to the past to where we don’t allow unchecked “evolution” to result in remorse of what was lost along the way.
It looked like the crisis for Studio ‘A’ had been averted, and a Studio ‘A’ rally that transpired Monday morning in the historic spot turned out to be less about saving Studio ‘A’, and more about saving many of Music Row’s historic buildings and properties by asking the City of Nashville to designate the area as a historic district. Now the current owners of the building have written a letter…