> Terry). In any event, if Bare was looked at as a model by Jennings or
> others, that's news to me. I'd say that he got put in the outlaw category,
> to the extent that he did, more because of, er, lifestyle choices, an
> interest in doing material by some left-of-center writers like Guy Clark and
> the cultivation of a good-time Charlie, drinkin'n'druggin' persona than
> because he was unhappy with Chet Atkins' production.
>
This explanation from Jon sounds plausible, as does a similar one from
Joe. Jimmy Gutterman's liner notes in the "Best of Bobby Bare" had the
stuff about Bare being an influence, etc.,for the Outlaws movement. If I had
more time, I'd go look and get the exact wording. Maybe later.
>
With regard to the interplay of commercial and artistic consideration, I
> think Joe Gracey and David Cantwell have covered that ground pretty well
> already. "Let's make a hit" isn't the same as saying "let's make some sucky
> music." Yes, thinking about how to sell records shapes the making of them,
> but it generally does so in a more imprecise way; when you get in the
> studio, you want to make the best record you can given existing constraints,
> whether that's the lack of a piece of equipment you'd like to use, or the
> recognition that if you don't come up with something that's going to sell,
> you're not going to get another chance. Such factors shape, but don't
> control, what gets made.
>
> Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
This also makes sense, though I'd add that there's a continuum on this
line -- how much do I compromise in order to get listened to -- that's a
matter of degree. Some people compromise everything; some less; some don't
have to. But you've gotta admit that there's a point that you get to where
any more compromise is just going to ruin what you're trying to do. I edit
a small-town paper, and try to hold the line against conceding too much
territory to the bottom line. At the same time, you can't avoid doing it.
The trick is maintaining your own vision, while still paying the rent.
Like with anything. On the other hand, this fucking country is full of
newspapers that surrendered to the bottom line a long time ago. And I
truly believe the same applies across the spectrum of mass media.
Where does Bobby Bare come into play? Nowhere. I just didn't like Chet's
production on a few of his songs, and stand by my reasons,
notwithstanding the looney notion that a rural, working-class tune might work
just dandy with the Cleveland Orchestra providing the sonic backdrop, and
the Vienna Boys Choir doing the doo-waps. I don't find that a distressing
judgment, just common sense. -- Terry Smith
