Nathan Rabin's "Nashville or Bust series

How did I miss this? Shame on me.

Ever since Dre linked to his "Year of Flops", Rabin's been my role model.

It's pretty good so far, but I can't wait 'til he hits his stride. The kickoffs are always a bit awkward.

It'll be interesting for sure, and I'm liking ricin beans' comments so far.

Love Rabin. And his memoir is coming out in July! Really excited for that one.

I've never really understood the hate that country gets on the internet as a whole. There's always this dismissive air I detect when the subject of country pops up. If we're talking about modern country which is more pop than anything else thats fine. There's only a few artists who I really respect in todays country world i.e. Vince Gill among others.

But seriously traditional country whether it fall more under bluegrass, rockabilly, or blues is a musical heritage as rich great classic rock from the 60s and 70s. Johnny Cash and Patsy Cline are my personal heroes in that world.

If you really want to get some great modern day country music get These Days by Vince Gill. Its a masterpiece.


Also I'm getting sick of American idol constantly dragging the genre through the dirt.

Echo the Rabin love. Fascinating idea for a series. As a Hip-Hop kid myself, having my mind opened up to the country sound was a (recent) shocking surprise. (In the South, music comes with a lot of baggage---after years of being blasted with images of hicky douches wearing Hank Jr shirts, ya have to block out a lot to appreciate the cool of Waylon & Willie or Dwight Yoakam) Led to brief obsession chasing the golden era.

I can't wait to see if Rabin develops a taste.

It's easy for a lot of people to be dismissive of it at first glance, because as was said earlier, a lot of people are only exposed to the poppy detritus rather than the more interesting/challenging/lesser-championed works of other artists. That coupled with people generally looking down on country as music for "salt-of-the-earth" idiot trailer-dwellers doesn't make for a very open discourse on it.

As far as I'm concerned Toby Keith can stay far away from country arena. He makes my skin crawl.

Its funny you would think I would be into country earlier as my dad was a part of MCA records country devision for the 90s and while I've loved Cline and Cash and Loretta Lynn from a young age for some reason it wasn't until the O Brother Where Art Thou Soundtrack that really opened my eyes. That was a brilliant album.

Rabin's not the only ace writer they have; it's probably worth everyone's time to read all of the ongoing music and movie features at the AV Club. Noel Murray did a fantastic job with his Popless series last year.

Rabin's approach is ideal for most of us who come at country through rock. The plan is to move gradually throughout the year from hard-to-dispute legends like Cash, Nelson, Parsons, and Williams, Sr. to country stars with a bit less critical cred. Makes sense to me.

Its a great series and Rabin's a great writer. I've admired AV Club for a long time. I particuraly love Tasha's Book Vs. Film series whenever it pops up.

There's just something about Rabin's approach that really speaks to me. I wish I could better describe it, but it's basically that his main goal seems to be understanding, not judging.

While my interest in country music is quite small, I'm looking forward to this if only for Nathan Rabin's writing. Thanks for pointing this out, because I'd not noticed it until now.

What Dave said about Popless. I've never really MISSED a series of articles until that one went away.

Love Popless.

Anyway what Dave said if anyone here hasn't really read AV Club I highly reccomend it it's one of the better written and more interesting entertainment sights on the Web.



Also I know I said it earlier but if you want some good modern country I can't reccomend Gill's These Days enough. Its 4 Discs and they're great.

Really digging it. I wonder how far he's going to go with it regarding the lesser known modern country artists like Hank Williams III, Those Poor Bastards and Sons of Perdition.

Those three artist I can't recommend enough. Hank III sounds just like his grandpa with a bit of punk/rockabilly twist, Bastards have a more doom/gothic sound and Sons of Perdition, think Nick Cave at his creepiest.

Those kinds of artists are easy for rock fans, though, since they have the attitude. The real challenge for guys like Rabin (and me and perhaps you) lies in finding the virtues of Shania Twain, Garth Brooks, and that guy who came in between Grandpa Williams and Hank III. And he says he's going to end up there eventually.

I can't wait for him to hit Bob Wills and the like. I know they're way more digestible than, say, McBride, MacIntyre, Brooks, Black or Keith or any of the other gang, but he and The Playboys still end up portrayed as somewhat hokey even though they originated Western Swing. Hell, even Cole Porter gets kind of an odd treatment, and he's great.

Also, Buck Owens, the "Bakersfield sound", and its influence on our favorite Crank doctor Dwight Yoakam should be pretty cool if Rabin decides to go that route.

The Hank Jr. bit will be interesting too, mostly because people will still be trying to reconcile his weirdness during the last election/his hokey Monday Night Football schtick with most of the quality stuff he did back in the day.

I hope he gets to Big & Rich and throws up his hands in disgust.

A friend mailed me their CD a few years ago and was endlessly enthusiastic about it, so I ripped it to my HD and gave it a go.

They're the only artist I've deleted from my last.fm playlist out of pure embarrassment.

That's true, though I wouldn't say it for the Sons of Perdition, while there is that gothic feel them they seem to border more on the traditional country (the Nick Cave comparison comes more from lyrics and vocals).

Outside of the Old 97's a lot of the modern pop country doesn't do it for me, I'd rather listen more of the outlaw stuff like Cash, Williams Sr., George Jones, Haggard, Jennings etc... But I am interested in seeing what he has to say about the virtues of Shania Twain, Garth Brooks and whoever.

Old 97s are more alt. country, with some power-pop thrown in than straight up country. The guitar player, Murry Hammond, released a solo album last year that is far more traditional country sounding, and it's great. It's on emusic for anyone who needs to kill some downloads. Alt. country (or whatever you want to call it) is great stuff. If anyone wants to familiarize themselves with alt country, I'd suggest starting with Uncle Tupelo's Anodyne or Whiskeytown's Stranger's Almanac.

Having lived in Nashville most of my life, I hated country for a long time. Went to school with the kids of some country music people and it was always kind of a burden anytime I went out of town to explain "no I don't like country." But I've come around on it. Yeah the CMT stuff mostly sucks, but Willie, Waylon, Kris, Johnny, Hank, George, even Hank Jr. have more than their share of great stuff. I mostly stick to the alt. country stuff though.

Really I grew up in Franklin TN next to Nashville. My dad worked in Nashville.

Buck Owens is underloved -the man was a fucking hit machine in his heyday (too bad he sort of lost his fire after Don Rich died).

Obviously the "hipster cred" country people like Cash, Waylon, Willie are gold - Merle Haggard has some grit to him as well. Hank Jr kinda went downhill once he quit drinking/got the MNF theme.

Anyway, what's interesting is the "Outlaw" movement were kinda the country equivalent of the CBGB's punk scene - Waylon and Willie had tried to play by Nashville's rules and got roughly nowhere. So they said "to hell with it, we're just gonna do what we want to do; if someone likes it, great; if they don't, fuck 'em." And people LIKED it. Which they should, because it's damn good stuff.

Others that deserve a shout-out who haven't been mentioned are David Allen Coe (everyone knows "You Never Even Called Me By My Name" but "Would You Lay With Me (In a Field of Stone)" or "Jack Daniels If You Please" are terrific as well) and Steve Earle. Randy Travis is maybe a bit more of a countrypolitan type songwriter, but if all he'd ever done had been "On the Other Hand" his career would be justified.

Definitely stoked to read Rabin's series. If it's half as good as Popless, it'll be fucking awesome.

Steve Earle is great. I'm not a fan of the stuff he's done since Transcendental Blues...the production has gotten weird and the lyrics in some cases very bad...but Guitar Town and Copperhead Road are classics, and I Feel Alright (his comeback record after being released from jail) is possibly his best. His son, Justin Townes Earle, has a great covers album out called Midnight at the Movies. It's a more traditional country sound than his dad usually does, but it's great.

Speaking of Townes, Townes Van Zandt is a little more folk than country, but he spent most of his time in Nashville and Texas around country performers. His self-titled album is a masterpiece. Steve Earle is about to release an album of Van Zandt covers called TOWNES.

Cash's version of Coe's "Field of Stone" is downright beautiful.

If anyone can top this segue in this thread, I will send them five dolla. FIVE DOLLA!

Where do we put Lucero? I regard them as "the best bar band EVER" (well, maybe not, but that would their genre) and they have that mix of rock/country/blues that goes down like a ice-cold beer...much in line with the Allmans or George Thorogood (though George has a lot less country in him).

And since you mentioned progeny, Shooter Jennings has been ripped for embracing his father's legacy AFTER he failed as a rocker, but his song "Fourth of July" is great hot-day-with-the-windows-down-in-your-black-Smokey and the Bandit-Trans Am drivin' music.

Shooter Jennings was actually one of the progeny I went to school with many years ago. He was five years older than me, but I remember walking into the school music room and watching him randomly break into the X-Men animated series theme on piano. "Fourth of July" is indeed a great song, but yeah, he veers a little too close to the Kid Rock style southern rock on some of his stuff.

Lucero is probably my favorite band going right now. They may not be the best, or most innovative, but they're just a great fucking band. I guess I'd just call them rock n' roll (which is something different from "rock" these days). There's elements of Stones, Ida, Springsteen, Earle, Cash, Replacements, Petty, Waits, and god knows who else. Whatever it is, it kicks ass. Unfortunately, I've seen them live about 7 times and the audience veers younger and douchier every time.

I guess Hank III tears into Shooter at every available opportunity. And even though I think Kid Rock is a roach and Sheryl Crow is a bit of an opportunist, I have to list "Picture" as a semi-guilty pleasure.
There's much to be said about someone doing what they do and doing it well (which DaveB has backhand-complimented many a band as "they do what they like and they like what they do"). Not every act as to re-invent the wheel to be good.

I'm gonna go out on a limb and guess you're in your late 20s - that's where most realize "hmmm, all these people about 3-5 years younger than me are real assbags....dammit, that was ME, wasn't it?"

That's true, but like you said there's that pop element to them and I was just saying they are about as poppy as I get regarding country. I also, dig some of Rhett Miller's solo stuff too.

And speaking of progeny, I was just trolling my hard drive (BTW, Shooter Jennings DOES dance the line between homage to parent and Kid Rock-style pandering...not quite sure which side he falls on) and my eyes fell upon the name "Roseanne Cash"....

...and she isn't quite the "outlaw/alt" type artist people on the net revere, but she's had a very long, productive, and interesting career. Career aside, I'd say it's pretty apparent that she's immensely talented. For my dollar (or five dolla!), the best version of "I Still Miss Someone" you'll find.

The only stuff from Shooter that I actually dig is the stuff from the Waylon Forever album that came out last year ("Outlaw Shit" is pretty great).

Great call.

Throw in a mention of Rodney Crowell too. Fantastic songwriter. He was part of one of the greatest country bands ever--Emmylou Harris and The Hot Band.

Ecclectic; both earthy and cosmic, Emmylou's catalogue is pretty powerful.

I've heard great things about Lucinda Williams, but haven't gotten into her stuff yet.

I say this with absolutely zero insight into the minds of the principals....


....but I think Emmylou Harris might be Neko Case's role model.

Oh man, you WERE drinking yesterday, huh?

All ribbing aside, seconding the David Allan Coe and the Steve Earle shoutouts. Both are great, even though Earle gets shit for being one of the more progressive-minded country artists (at least in my hometown - I don't know how many times I got whined at about listening to him during the Bush years. Fuck you guys, he's one of the musicians that helped me retain my sanity...).

Also, Chris LeDoux doesn't get enough cred, IMO. He's done some pretty great songs ranging from the morose to songs that are just great foot-stomping tunes (Cadillac Ranch, guys).

And even though he's put out some stinkers, Alan Jackson still kills when it comes down to the wire.

Other than that, I've mostly stuck to a lot of the Texas gang throughout the past few years, mostly because I've been practically surgically removed from the country element here in L.A. - Jack Ingram's early stuff, Roger Creager, Jerry Jeff Walker, and even Pat Green (yeah, I went there, I like the guy) have been staples, even though I don't listen to them as often as I used to.

If you guys like Hank III, check out Wayne Hancock - Hank III covered his songs "Thunderstorms and Neon Signs" and "87 Southbound" on his "Risin' Outlaw" album. Good stuff.

Probably to the extent that Harris is unavoidable if you're interested in melding rock, folk, and country, but Neko tends to go much bigger in scope. Despite her down-home manner in terms of attitude, she's kind of a diva by virtue of her voice and the songs she writes. Harris is more understated. Plus, Case is best-known for her original material, while Harris is primarily a fine collaborator/interpreter. I'd say Patty Griffin and maybe Gillian Welsh are probably more Harris types, although both of them are probably more prolific, songwriting-wise.

No doubt. They're the type of band that makes you realize why you ever like rock n roll in the first place.

I can say beyond a shadow of a doubt that I have never once participated in a mosh pit...and that's what was taking place at this Lucero show. A mosh pit.

I only intermittently enjoy Willie...Rabin's overview of music exec's puzzlement is right where I am on it - I put on Red Headed Stranger and while I certainly can appreciate the artistry of it, I sit there going "hey, where's the hard-drinkin' dope-smokin' hellraiser?"

Rabin's pretty much right on the money. Think the legend is, Waylon had to use all his clout--even threatening the execs- in order to get "Red-Headed Stranger" released. The feel of it is very "Basement Tapes"-y. Pulling off the concept/ story arc makes it awesome. (Perhaps the culmination of the whole W & W "outlaw" movement and image; like "gangsta" rap of the 90's, the kids ate it up:

The yellow-haired lady came down to the tavern,
An' looked up the stranger there.
He bought her a drink, an' he gave her some money,
He just didn't seem to care.
She followed him out as he saddled his stallion,
An' laughed as she grabbed at the bay.
He shot her so quick, they had no time to warn her,
She never heard anyone say:

Don't cross him, don't boss him.
He's wild in his sorrow:
He's ridin' an' hidin his pain.
Don't fight him, don't spite him;
Just wait till tomorrow,
Maybe he'll ride on again.

The yellow-haired lady was buried at sunset;
The stranger went free, of course.
For you can't hang a man for killin' a woman,
Who's tryin' to steal your horse.
This is the tale of the red headed stranger,
And if he should pass your way,
Stay out of the path of the ragin' black stallion,
And don't lay a hand on the bay.

The brilliance is the wry, folksy humor; undercuts the violence and misogyny. Like Biggie you sense he's laughing a little bit and playing around with the ridiculousness of his own image)

*He does a "Red-Headed Stranger" medley on "Willie & the Family Live" that is arguably preferable--at the very least, the band adds blusey fire

I love "Yesterday's Wine" a lot. Such a cosmic record.

Oddly, like Rabin said, despite being about break-up and divorce, "Phases and Stages" is the most fun. 'Sister's Coming Home/Down at the Corner Beer Joint' is bouncy and raucous.
(Love the outtake version of 'Bloody Mary Morning' from live at the Texas Opera House with the searing electric guitar solo. Willie rocks out!)

Goes without saying, all three albums are great to get baked to.

There's a guy who goes under the name Phosphorescent that recorded an album of Nelson covers called "To Willie" (a reference to Nelson's Lefty Frizzell album, "To Lefty"). Recommended if you're a fan of alt. country Will Oldham type stuff.
http://www.myspace.com/phosphorescent

Well, we're through Gram Parsons, now. I'm seriously loving this series, as country music is something I'm trying to get a little more of in my life. I've purchased "Red Headed Stranger" and both of Parsons' really damn good solo albums. How long before I buy some Merle Haggard? How long before I go broke?

Haggard's late 90's box set has all the essentials.

Rabin is some kind of mad genius; linking Merle and The Coup! Can't remember ever reading the progressive case for the man.

It's kind of funny how everyone thinks "country = redneck/red-state conservatives" but some of the giants really bucked the status quo in their day (Cash and Loretta Lynn in particular).

Well yeah, considering where it was with guys in the 'outlaw' scene and now with the shit that dominates the genre it's easy to make that assumption with most people.