The Big City Is Good for Country Music
April 30, 2015 - fall Denim
Three years ago, a country-music star Jason Aldean had a No. 1 strike with a strain “Fly Over States,” an fervent paean to a heartland. Written by dual Nashville vets, Neil Thrasher and Michael Dulaney, a strain starts with lines about “A integrate of guys in initial category on a moody / From New York to Los Angeles / Kinda creation tiny talk, murdering time,” and afterwards runs with a thought that residents of a coasts don’t caring about what’s going on in a center of a country. Too bustling creation income on Wall Street, conversion process inside a Beltway, and building disruptive program in Silicon Valley, they don’t have time for a heartland or for a music.
The law is a bit some-more complicated. For years, until 2006, KZLA-FM, in Los Angeles, billed itself as “America’s many listened-to nation station.” The city was quickly though a nation hire in 2007 (it has a vital one now), though that same year saw a attainment of a Stagecoach Festival, an annual entertainment of a genre’s tip performers, hold in a dried south of L.A. Put on by a same savvy folks who classify Coachella, Stagecoach was a highest-grossing country-music festival in 2014. At this year’s event, hold final weekend, Tim McGraw, Miranda Lambert, Blake Shelton, and dozens of others serenaded some fifty thousand fans.
I grew adult outward of New York City in a seventies, and each time we got in a automobile with my father he had a radio tuned to WHN, a city’s nation station, during 1050 on a AM dial. In a early eighties, Willie Nelson’s “On a Road Again” became a anthem as we trafficked to Shea Stadium on Sundays during a tumble to watch a Jets self-immolate. WHN has a abounding history. One of a city’s oldest stations, it went on a atmosphere in early 1922, a few months before a dictatorial Arkansas fiddler named Alexander (Eck) Robertson and his Civil War maestro friend, Henry Gilliland, stepped into a Victor Talking Machine Company’s studio in New York City and achieved “Sallie Gooden” and “The Arkansas Traveller” (rendered on a hoop itself as “Arkansaw Traveler”), a world’s initial country-music recordings.
WHN itself took a bit longer to welcome a music, branch to a format really early in a morning of Feb 26, 1973, when a determined d.j. Jack Spector—introducing himself as a Kosher Cowboy from Coney Island—spun a aptly patrician George Jones classical “The Race is On.” The hire foundered for a initial dual years as a nation outlet, until Ed Salamon, a twentysomething programmer from Pittsburgh, was called in. He overhauled a proceed to a strain by doing divided with what Nashville was compelling and branch to a station’s listeners—proving himself forward of a bend on crowdsourcing.
WHN lasted as a nation hire until 1987, and following a city was though one for seventeen years. Despite this, New York didn’t remove a ambience for a genre. In 2011, some-more nation albums were bought in a city than in Nashville or Dallas, or anywhere else. Two years later, in 2013, nation strain returned to internal airwaves, as Nash FM started broadcasting hits by Lady Antebellum, Miranda Lambert, a Dixie Chicks, Tim McGraw, and a like. New York City has always been a stop for furloughed nation artists, and this summer it is removing a initial vital country-music festival: FarmBorough, that is bringing Luke Bryan, Brad Paisley, Dierks Bentley, and many others to Randall’s Island in late June.
America’s dual coasts aren’t merely places where country-music fans live. It’s also where some of a excellent artists, like Taylor Swift, make their homes. The joke, of course, is that everybody knows Swift is no longer nation (except, perhaps, a industry, that can’t seem to stop immersion her with honors and awards). I’m thinking, in particular, about people like a thespian and songwriter Laura Cantrell. A internal of Nashville, Cantrell changed to Manhattan to go to college, took her tastes in strain to a airwaves (hosting “Radio Thrift Shop” on WFMU each Saturday afternoon from 1993 to 2005, where she showcased her favorite classical nation and singer-songwriter tunes), and has given expelled half a dozen albums, many featuring a sensuous Nashville sound of yore.
In 2000, on a pretension lane to her début record, “Not a Tremblin’ Kind,” Cantrell suggested her interpretive powers. She remade an problematic singular created dual decades progressing by George Usher, a internal musician, from a intermediate power-pop series into something transcendent. Her voice is clear, clearly ethereal though indeed wiry, and a lyrics she sings (“I competence be a refugee though I’m not using blind / I’m not a tremblin’ kind”) could be her motto.
Some of her work has detoured toward pop, though many of it possesses a religious proceed to a strain of her home town. (“Kitty Wells Dresses: Songs of a Queen of Country Music,” from 2011, is a primary example.) But her seductiveness in tradition doesn’t hamstring her. Quite a opposite: her latest album, “No Way There From Here,” is a sprightly set of undying originals, some co-written with her crony Amy Allison. Starting on May 5th, Cantrell, who lives in Jackson Heights, is holding a theatre during Union Hall, a renouned bar in Park Slope, Brooklyn, with a tiny opening space in a basement, for a month-long weekly residency. Here’s an outtake from a recording sessions for “Nothing Came Easy though a Tears,” a sensuous and cathartic take on a vicissitudes of a bad romance, created by Cantrell and Allison.
California has had an critical purpose in a expansion of nation music. Buck Owens put a Bakersfield sound on a map in a sixties, jolt adult a business with a honky-tonk hardheadedness. Merle Haggard was innate in Bakersfield, did time upstate, in San Quentin, and returned to his home city to file his outlaw-country charge. In a eighties, during a start of his career, a luminary Dwight Yoakam had to go to Los Angeles to get any traction. Now a latest nation performer to arise from city is a crooner Sam Outlaw.
Outlaw, who was innate Sam Morgan in South Dakota and lifted in Southern California, had a road-to-Damascus impulse with nation strain when he was in his early twenties. Home sick, examination television, he held a sounds of Emmylou Harris and George Jones on CMT. By a time he strike thirty, he had taken his mother’s lass name, and traded a career as successful ad-sales male for a hurl of a bones as a musician. He’s been personification Los Angeles clubs for a past few years, and recently connected with Ry Cooder, who, along with his son, Joachim, constructed his stirring album, “Angeleno.” A pedal-steel-powered set of unhappy waltzes and prevalent nation fare, a recover is discriminating and Southern Californian in a sensibility. But Outlaw’s clarity of amusement gives his work an edge.
At a new showcase during Rockwood Music Hall, on Allen Street, Outlaw, all ten-gallon hat, parsimonious dim blazer, and denim jeans, played his initial songs ever in New York City. Backed by his band, he non-stop his set with “Jesus Take a Wheel (And Drive Me to a Bar),” a tongue-in-cheek defence for a boundless celebration buddy. The room was full of media and music-business people, who were a bit too still when Outlaw was done. He didn’t skip a beat. “We were educated to do usually a hits,” he said, that pennyless adult a crowd. After a rousing Eagles-like crescendo during “Diamond Ring,” a room was alive and a assembly his. A few songs in, Outlaw indispensable to cold down, and he took off his blazer. He was wearing a 1992 Garth Brooks debate shirt that he had bought secondhand in Sydney, Australia, during a new run of shows there. “I don’t know if we remember Garth Brooks, though he had a genuine good run in a eighties,” he said. The throng ate this up. Later, he suggested that he’s in a happy relationship, that was “great for all though essay good nation songs.” Then he pennyless out “She’s Playing Hard to Get (Rid Of),” an comparison tune. “Angeleno” is due for recover Jun 9th, and here we have a video of Outlaw and his rope behaving a proposal ballad “Love Her for A While” in their home town.