What Country Music Are You Listening To?

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For those who don't know:


Country Music Star Keith Whitley Died May 10, 1989

NASHVILLE, Tenn. — Keith Whitley, who battled a drinking problem while becoming one of the brightest young stars in country music, was found dead at his home here Tuesday of accidental acute alcohol poisoning, officials said. He was 33.

"This is an accidental death," Davidson County Medical Examiner Charles Harlan said after an autopsy. "Mr. Whitley died as a result of drinking alcohol."

Harlan said Whitley's blood alcohol content registered .47, nearly five times the legal definition of intoxication. Traces of cocaine and a Valium derivative were found in his urine.

"The drugs could have contributed to his death, but the alcohol level was high enough to produce his death by itself," Harlan said.

In an interview with UPI in 1988, Whitley acknowledged that he was fighting a drinking problem, and he said his family had a history of alcoholism. He said he believed that he had overcome the problem.

Whitley's body was found by his brother-in-law on the bed of the singer's home in suburban Goodlettsville, police said.

Whitley, a Kentucky native weaned on bluegrass music, became a star in country music in 1986 with the hit songs, "Miami, My Amy" and "Ten Feet Away."

His last two singles, "I'm No Stranger to the Rain" and "Don't Close Your Eyes," both reached No. 1 on the Billboard country chart.

He was married to country music singer Lori Morgan, the daughter of the late Grand Ole Opry star George Morgan. Whitley and Morgan had one child, Jesse Keith Whitley, who was born in 1987.

"Keith lived and loved his music," said Joe Galante, of RCA Records in Nashville. "All of us at RCA feel the loss of a special friend and talent."

Whitley, whose honky-tonk style and deep voice made him a classic country singer, took a 10-year detour through bluegrass music before moving to Nashville and signing with RCA.

Born in Sandy Hook, Ky., on July 1, 1955, Whitley came from a family of musicians who played bluegrass and mountain music. As a child, he listened to his mother's collection of Lefty Frizzell, Hank Williams and George Jones records, and those sounds influenced his own style.

"I don't remember ever not singing," Whitley said in a 1987 interview. "It's just as natural as breathing for me. Even when I was 3 or 4 years old, I'd go out riding in the car with mom and dad, and I already knew all the songs off mom's Hank Williams and George Jones records by heart. I remember just sitting in the back seat and singing them at the top of my lungs."

[razzgospel]

Is this heaven, or what?

[earleg]

Steve Wariner - [No More Mr. Nice Guy]

It is a favorite here. Another instrumental one out of print is Steve Wariner's "No More Mr. Nice Guy".
Chet guests on a cut there along with Nolan Ryan.

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Chet Atkins & Les Paul "Avalon"

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George Strait

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The Stanley Brothers = Worried Man Blues

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Sam and Kirk McGee

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Steve Earle - Copperhead Road

[dadfad]

Steve Earle is sometimes difficult to put in a niche. I like a lot of his stuff, and I've seen him play a couple of times. Probably my two other favorite Earle-tunes (in addition to "Copperhead Road") are "Galway Girl" and "Trancendental Blues." (Which again are pretty different from each other.)

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Steve Earle - I Feel Alright



Amazon.com

A little bit country, a little bit rock & roll, Steve Earle has bounced between those extremes for years, producing great albums of nearly-straight country and totally-hard rock. On I Feel Alright, though, Earle finally finds a way to blend the styles seamlessly. Whether begging for a forgiveness he probably doesn't deserve on the deceptively sweet "Valentine's Day," or steadfastly refusing even the idea of forgiveness on the Stonesy "Unrepentant," Earle rocks and twangs in equal measure--and never more thrillingly than on "You're Still Standing There," his grateful duet with Lucinda Williams. Earle's best work, at least so far. --David Cantwell

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Son Volt - Looking at the world through a windshield

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Ran into this group at the Bristol Rhythm and Roots



Customer Reviews

Robert Johnson meets Bill Monroe September 17, 2010
By R. Plemmons

What a shame that this band lost Chris Stapleton. Not only can the guy sing with more power and soul than just about anyone else in any music genre today, but he is apparently a great songwriter as well. He co-wrote most of the tunes in this collection with Steeldrivers guitarist/mandolinist Mike Henderson (who's no slouch himself). I liked the first Steeldrivers CD so much that I was sure "Reckless" would be a disappointment, but was I ever wrong. There's really not a bad cut on the CD, but standouts include "Peacemaker" and "Ghosts of Mississippi." Mike Henderson's bottleneck playing on a National steel combines perfectly with the rest of the band in kind of a Robert Johnson meets Bill Monroe sound that absolutely rocks! Tammy Rodgers on fiddle and harmony vocal and Richard Bailey on banjo are stellar as before. Rodgers' voice blends perfectly with Stapleton's and she favors bluesy sounding harmonies that really transform the songs. The banjo playing is also imaginative and remarkably free of cliches. If you like your bluegrass with a side of blues , you will love this CD.

[Steven B]

I really enjoyed that one. It had been a long time since I heard the song and I don't think I ever saw this video. It did knock a few cob webs loose and I can't help but offer these comments.....

#1 - I don't recognize the bass player. Although he did an excellent job with the bass line I'm surprised that Earl, Doc, or Ricky didn't get on him pretty bad. A - he's supposed to be playing an upright, acoustic bass on that type of music. B - It was not a Fender bass. I couldn't see the head stock clearly enough to determine the name, but it looked as if it could've been an Alembic? It was more suited to be on stage with Deep Purple, Kansas, or some of that "hard rawke" music. C - Finally, if you are a bass player and working in a bluegrass context......you are supposed to use fingers only to strike the strings. This feller was using a flat pick and just hitting down strokes. I'm surprised the boy wasn't "tarred and feathered" for his actions. 

#2 - Most folks (me included) always say and think that Jerry Douglas is the king of dobro.....(which he is!). I'm almost positive this dobro player is/was Rob Ickes. Rob had some "mean" dobro licks in this tune. I can imagine "Flux" setting at home, watching this video, and saying...."I'll be dayum------that'air boy is gittun wid it".

#3 - Mr. TJ.......in all due respect....I have heard you flat-pick before. Back in the day, you could've made Doc play rhythm behind your lead work on that song. Ain't trying to blow up that head and ego of yourn.....just saying.

Now that I've got all that out of the way, time to grab a bite to eat. Us fat people have to eat regular, ya know!

Thanks for posting.
Steve

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Feb 24, 2014 12:34:18 GMT -5 Steven B said:

I really enjoyed that one. It had been a long time since I heard the song and I don't think I ever saw this video. It did knock a few cob webs loose and I can't help but offer these comments.....

#1 - I don't recognize the bass player. Although he did an excellent job with the bass line I'm surprised that Earl, Doc, or Ricky didn't get on him pretty bad. A - he's supposed to be playing an upright, acoustic bass on that type of music. B - It was not a Fender bass. I couldn't see the head stock clearly enough to determine the name, but it looked as if it could've been an Alembic? It was more suited to be on stage with Deep Purple, Kansas, or some of that "hard rawke" music. C - Finally, if you are a bass player and working in a bluegrass context......you are supposed to use fingers only to strike the strings. This feller was using a flat pick and just hitting down strokes. I'm surprised the boy wasn't "tarred and feathered" for his actions. 

#2 - Most folks (me included) always say and think that Jerry Douglas is the king of dobro.....(which he is!). I'm almost positive this dobro player is/was Rob Ickes. Rob had some "mean" dobro licks in this tune. I can imagine "Flux" setting at home, watching this video, and saying...."I'll be dayum------that'air boy is gittun wid it".

#3 - Mr. TJ.......in all due respect....I have heard you flat-pick before. Back in the day, you could've made Doc play rhythm behind your lead work on that song. Ain't trying to blow up that head and ego of yourn.....just saying.

Now that I've got all that out of the way, time to grab a bite to eat. Us fat people have to eat regular, ya know!

Thanks for posting.
Steve

I gotta agree with you on the bass player...shucks, everybody knows thar hain't no amplifier things in a bluegrass band. The bass player has to learn to ride that ol' upright bass! And it needs a little slap bass on the breaks!

As far as me playing with ol' Doc, you do know my name is "Usta"...I usta play a little, and I usta do a little pickin' and grinnin' around the old honky tonks in Nashville and around. But that was a long time ago...and I 'preeciate the fine remarks but I never was no Doc or Sam McGee or Lester.... Heck, I don't think I could even carry their geetar case up those ol' Ryman stairs without tremblin!