Re: Live at the Ryman: A visit to the Mother Church (long)
Howdy, Always late Bob Wray was talking a few days ago about his visit to the Ryman and mentioned Jim Ed Brown. Specifically, he said: 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? Jim Ed has indeed weathered better than some of the other Opry regulars. I don't know how much having a regular performance schedule helps out in that cause, but Brown does have a Branson-type theater show over here in the Smokies. (Of course, there are also artists out there who perform just as regularly as Brown, but don't seem to be weathering well at all, so that's likely not the key ingredient...) For what it's worth, I mentioned in a post a month or so ago that Brown and partner Helen Cornelius were buying Dolly's music theater up in Pigeon Forge and would be starting a new show in the larger theater this spring. Rumor at this point says the deal has fallen through, so I don't know what the future holds for Jim Ed at this time. When I find out more, I'll happily invite Bob (and anyone else) to join me for a fun-filled day at Dollywood and a trip to the Jim Ed Brown show. Again, for what it's worth, RCA has a Jim Ed Brown disc in their "Essential" series. Curiously, for a collection of "essential" Jim Ed Brown songs, none of his duets with Helen Cornelius is included. Was a second disc released focusing purely on that subject? The aforementioned disc includes duets with his sister, a Louvin tune "I Take the Chance," "Pop-A-Top," "Send Me the Pillow That You Dream On," and others. Although lacking in Helen Cornelius duet material it's still a good disc to start with. I don't think he's released a new disc of material since maybe the Carter Administration. You may be able to find a greatest hit album of his duets. I don't know if any of that has been helpful at all. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED] NP: Elvis Costello, My Aim Is True
Re: Live at the Ryman: A visit to the Mother Church (long)
Date: Sun, 17 Jan 1999 13:01:40 -0500 From: "Jon Weisberger" [EMAIL PROTECTED] - Who decides who becomes a member of the Opry and who doesn't? "Opry management" decides who becomes a member; if you manage to pierce that veil, let us know. Ahha! So that's why they can snub Jimmy Martin and no one person gets held accountable. Even more interesting considering that the hierarchy of members and guests is mentioned so frequently during the show, or at least on this one. 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? Well, there's a two-part answer to that, the first part of which is that there are a lot of people in and around country music who complain regularly about the degraded skills of some performers; see, for instance, periodic discussion on bgrass-l (let me observe, too, that a number of the performers - John Conlee being a good example - have their good days and their bad; I have heard him absolutely kill some stuff in the last year or two, and heard some pretty bad performances as well). The second part is that there are some outstanding musicians in the bands, including the house band. Overall, though, I'd say that going to the Opry, or going to see some of these stars, has a lot to do with - well, I'm in a rush, so this bad phrase will have to do - nostalgia, not with the musical quality of all the acts. Hmmm. Can we talk about this one a bit more? (maybe I am entering into more of an discussion than I wanted to?) If I make an admittedly over-simplified summary of some of the debates we've had here in the past, one of arguments has seemed to be: musical proficiency is central to country, especially to a *country* audience (as opposed to say a punk audience). However, here are some folks, enjoying country music -- I don't think anyone would want to argue that the Opry isn't country and the audience a country audience ? -- but that music isn't performed (or at least sung -- I'd agree 100% that the anonymous musicians on stage were crackerkjack) with anything close to perfection. I would readily agree that there might be two country audiences -- an *old* country audience and a *new* country audience, with different expectations from a performance. Or maybe just an Opry country audience? But these differentitions seem to create more problems than they solve? Especially since those audience expectations have evidently evolved over time? I agree with the notion that a large segment of the audience and ther performers are all participating in a form of nostalgia -- that's what makes seeing old men like Porter Wagoner and Bill Anderson so painful as they try to project a long-gone sexual aura (IMHO) -- but it does cut at the heart of the argument that one of the essential expectations of a country audience is near-perfect musicianship. Or am I missing the boat here? -- maybe there are many more people complaining about the performers than were evident after the show Friday? - Do the regular performers keep repeating the same songs and same jokes? Some do, some don't. Watch or listen a few times and you'll figure out which; when you can identify the subject of the "Willie Nelson after taxes" line, you'll be there g. Little Jimmy Dickens. That's one of the lines my neighbor blurted out while Little Jimmy was pausing for comedic effect :) Bob
RE: Live at the Ryman: A visit to the Mother Church (long)
Bob Wray asks: - 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. Sherrie Austin (and BTW, Singletary spells his name Daryle). "Opry management" decides who becomes a member; if you manage to pierce that veil, let us know. - 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? Unless you have a blanket objection to smooth, absolutely. Started out with his sisters as The Browns, then had a reasonably successful solo career; he's the source of Mike Ireland's "Pop A Top," he did "You Can Have Her" that Crowe'n'em have been doing for years, had some great countrypolitan duets with Helen Cornelius. RCA has a tolerable Essential Jim Ed Brown The Browns comp. - 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? Well, there's a two-part answer to that, the first part of which is that there are a lot of people in and around country music who complain regularly about the degraded skills of some performers; see, for instance, periodic discussion on bgrass-l (let me observe, too, that a number of the performers - John Conlee being a good example - have their good days and their bad; I have heard him absolutely kill some stuff in the last year or two, and heard some pretty bad performances as well). The second part is that there are some outstanding musicians in the bands, including the house band. Overall, though, I'd say that going to the Opry, or going to see some of these stars, has a lot to do with - well, I'm in a rush, so this bad phrase will have to do - nostalgia, not with the musical quality of all the acts. - Do the regular performers keep repeating the same songs and same jokes? Some do, some don't. Watch or listen a few times and you'll figure out which; when you can identify the subject of the "Willie Nelson after taxes" line, you'll be there g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Live at the Ryman: A visit to the Mother Church (long)
. It began with a line about slipping a ring on/off someone's finger. "Pocket Full of Gold", CD same name, sing it every gig by request from my drummer. NOW ONLINE, www.TwangCast.com TM RealCountry netcast 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.net For the best country artist web hosting, www.RealCountry.net
