I had a chance to go see The Friday Night Opry last night, which was broadcast live from the Ryman, the first time since 1974 that the Opry had been broadcast from the 'Mother Church of Country Music' as Ralph Emery and a host of other Goo-Goo-Cluster peddling WSM DJs reminded us through the night. I don't much about the Opry. When a friend told me she had a ticket for this show, I agreed to go, without knowing anything about the significance of the event. I mean, I knew the Opry had moved out to Opryland but I thought the trips to the Ryman might be an annual event or something. I had no clue that this was the first live broadcast since the Opry had abandoned downtown. I'll briefly recount the show, then I have some questions at the end that I hope y'all will be able to help me with. The show began with Porter Wagoner in a lavender, rinestoned knit leisure suit, bright fuchsia shirt and a short wide tie. I felt myself sink a little lower in the chair -- a pew -- but Porter hammed it up with crowd, posing for pictures, calling for clapping at the first line of each old star's song, shaking hands and generally keeping all the ladies around where I was sitting giggling for a full 30 minutes. The bluegrassers were the best part of the show to me. Del McCoury Band, Ricky Skaggs, Jim & Jesse. Being mostly ignorant of the Opry, and knowing that little bluegrass gets played on commercial country, I was happily surprised to hear bluegrass, cajun, Texas Swing (Charlie Walker) all on the stage with some names from the country past. Del McCoury band was great fun, watching all the members of the band move around the microphone is perfect synchronization. John Berry was announced as a surprise guest and he came out and nailed an accapella rendition of the hymn "Blessed Assurance." The crowd grew hushed, I was sitting in a pew, and it did feel very much like church. I had never heard Berry before but he evidenced a lot of charisma in his short visit. Del Reeves sang a song that reminded me alot of 'Looking at the World through a Windshield' the only song I know of his (thanks to Son Volt). It was something about a Southern Belle (a pun on Southern Bell, the previous name of the phone company here?) Anyway, he did a dialog in the middle of the song and a pretty impressive imitation of Johnny Cash: mannerisms, speaking voice, and singing voice. The crowd ate it up. I see a Del Reeves disk in my future. Recommendation? Vince Gill was the biggest current star on the bill last night. He sang two songs, "Don't Come Cryin' to Me" and a song he introduced as an old song that the crowd went even crazier about. It began with a line about slipping a ring on/off someone's finger. I admit to being pretty ignorant of Gill. I did get "The "Key" back when a few people were raving about it here, but then wondered what all the fuss was about, although I was too chicken to complain. But Gill was spunky, witty and reverent to the traditions of the Opry. He repeatedly mentioned the importance of "real country music." The crowd's biggest response was to a comment he made after saying that he made it a priority to perform at the Opry because it *was* country music. "I performed here 40 times last year, which is more than most of my contemporaries combined." The crowd went ballistic. Anyway, I was impressed enough that I think I'll give "The Key" another chance. All-in-all, it was a fun show, and the kind of once-in-a-lifetime music happening that I was hoping to stumble into when I moved to Nashville. I think I'll consider listening to Opry now on Friday and Saturday nights and see if I remain entertained. Now, a few questions for the listening audience: - Who decides who becomes a member of the Opry and who doesn't? For instance, there was a big deal made of the guests (Daryl Singletary, John Berry, Sherrie somebody from Australia) as opposed to the members. - Can someone tell me something about the Jim Ed Brown? Of all the old timers last night, he seemed to me the one who had weathered the best. His voice was good, smooth, and he carried himself with an undeniable dignity (unlike Bill Anderson and Porter, who seemed to me caricatures of themselves). I vaguely remember Brown on country radio when I was child but nothing concrete immediately comes to mind. Is he someone who's career is worth reviewing? - Although Porter's showmanship was unquestionable, his (and many of the older stars, Jeanne Pruett, Skeeter somebody, John Connally) voice were pretty poor (I certainly heard as many bad notes last night as I have heard at a Freakwater show :). Not intending to stir up a hornet's nest, but how do I resolve these performers' much-less-than-perfect vocal skills (admitted degraded skills) with the argument that country is medium/genre in which performance skills are central? - Do the regular performers keep repeating the same songs and same jokes? I had fun, but I don't think I'd have fun if the show was mostly the same every week except for the big name guests that show up and sing two songs. There was a lady sitting a couple rows behind me that loudly whispered just about every punchline of the oldtimers' jokes. That would grow stale quickly. - I admit I left the show with much more respect for those old stars than I had at the beginning, but I still have to ask: what's with the hair? The guys still with their real hair have those almost pompadour 'dos and the guys without hair look pretty silly in those obvious hairpieces, obvious even from 30 rows back. Bob
