MUSIC ROW PROFESSIONALS' MOST WIDELY-READ SOURCE OF INDUSTRY NEWS AND INFORMED OPINION,STACY'S MUSIC ROW REPORT IS A COPYRIGHTED INSIDER'S GUIDE TO THE WACKY WORLD OF COUNTRY MUSIC. All rights reserved. Publication, broadcast, rewriting or redistribution of Stacy's Music Row Report WITHOUT EXPRESS WRITTEN CONSENT IS PROHIBITED.
Enter Stacy's Sweepstakes Here
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Stacy's Music Row Report
is moving, since Geocities is closing October 26, 2009.
Stacy's Music Row Report subscribers,
although unaffected by this move, are receiving progress reports and will be the first to be informed, though, once the move is finalized, the destination will be posted
here.
On a related note, hopefully there are very few, if any, industry readers who have sent me book, CD and DVD review materials without having seen reviews of those materials. Occasionally I have been told that such promotional items are on the way, but they don't always turn up in my snail mail.
Makes you wonder about the artists who are losers in all of this, but one thing over which I have no control is a mailing address listed on a copycat Internet site that does not belong to me. If you are sending materials to me in care of a certain Nashville post office box, rest assured it does not, and never has, belonged to me. I'll tell you who's likely pocketing your stuff, rather than returning it to sender, if this has been an issue for you.
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Enter Stacy's Sweepstakes Here ***************************************************************************
I’m not changing my email address but Stacy’s Music Row Report will disappear from this particular page when Geocities closes October 26th. The transition is a little rockier than I anticipated, due to a reliance on proprietary software that I did not appreciate until I became aware of a new learning curve, so the new site will be built slowly. (Apparently, cut and paste won’t work. Neither will my rudimentary page-building skills which don’t translate to tech support’s vision of what needs to be done.)
Feel free to contact me for further explanations, but hopefully it won’t be long before those of you who choose to access the free site will be seeing new content at stacyharris.com after October 25th. (Paid subscribers will experience no interruption as they continue to receive uninterrupted updated content 24/7.)
If you didn’t buy a copy of JOE NICK PATOSKI’s hardback An Epic Life: Willie Nelson when it was published in 2008, the sleeper is now out in paperback.
Patoski’s portrait of the Red-Headed Stranger sheds some new light on aspects of a certainly, previously well-chronicled life. Nelson’s sordid past is all there (including Willie and his wives’ retaliatory sexual affairs) but Patoski expands on a reader’s previous knowledge of the tension that sometimes existed between Willie and those who figured prominently in his life.
While many know that Willie Nelson lost a son, Joe Nick suggests the “reasons” for BILLY NELSON’s suicide. And we learn why Willie didn’t initially trust WAYLON JENNINGS.
Then again, Patoski’s account of Waylon’s trying to get EVELYN SHRIVER fired is, in reality, a story with more layers than Joe Nick was led to believe, owing to Patoski’s choice of sources. The author does have a sense of Jennings’ calculated attempts to evade the law by noting that while the singer didn’t smoke or drink beer, he was a coke-head.
Again, nothing new here, but Waylon did “so much coke that when he played poker… he kept excusing himself and going to the bathroom, though everyone knew what he was doing in there.” However, here’s where the wheels were working: When asked “Why don’t you just do your coke out here?,” Jennings replied, “Because I want you to be able to say ‘On October nineteenth, 1974, I never saw Waylon take coke.’”
And how did Willie (mostly) stay ahead of the law? At one point he mandated a “new road rule” for anyone who rode his bus… Cocaine was off-limits. Smoke all of the pot you wanted, swallow uppers or downers if you needed ‘em. But coke and $1,000-a-week habits had to stop or the Law would stop it for them.”
Further, Nelson “didn’t like the feeling of sweating like RAY PRICE at a bus auction- much as he loved to tell the story of… Price‘s marijuana-stashed bus (being) repossessed… and having to place the high bid on the bus at the auction to retrieve his dope.”
Willie concluded “The speed and the weed didn’t mix… I could handle the weed, but I just couldn’t handle the speed. I didn’t want to be around the people who were doing it, even in my band. .. I could see all the negativity in the speed.”
One would otherwise think Willie didn’t see much negativity in any substance with a potential to be abused, since his enablers included his own Dr. Feelgood. Dr. JOHN MARCUS YOUNG, an Athens Texas radiologist, received a three-year prison sentence after being convicted of “unlawful possession and dispensing of illegal sedatives and other pain-killing ills over a five-year period” to Nelson, Willie’s (former) wife, CONNIE, Jennings, JESSI COLTER, SAMMI SMITH, STEVE FROMHOLZ, and (Willie’s erstwhile son-in-law) JOHNNY RODRIGUEZ.
Perhaps CHARLIE LOUVIN was partial to ROY ACUFF’s original recording of Blue Eyes Crying in the Rain, for Joe Nick quotes Louvin, upon hearing Willie’s version of FRED ROSE’s classic, as telling BILL MACK, during a live radio interview, “I can’t understand it. That thing wouldn’t even make a good demo.”
And what else needs to be written about, Willie Nelson, American taxpayer? Well, regardless of whether one want to blame Willie or his accountant, the fact remains that Nelson filed for extensions between 1974 and 1977, he just didn’t pay Uncle Sam a penny during that time frame.
When Willie and Connie renewed their vows at STEVE WYNN’s home on June 10, 1978 (Connie was the third of Willie’s four wives), there were no perfect couples present. Best man Steve and his wife, ELAINE, the Nelson’s matron of honor would later divorce before renewing their own vows. Witnesses that day? MARIANNE (GORDON) and KENNY ROGERS. (Marianne was the fourth of Kenny’s five wives.)
Waylon and Willie’s WASPiness becomes apparent in their language as it relates to blacks and Jews. Willie is quoted as having asked at one point “How soon can you build me a bus, all mahogany-niggered from front to back?”
Nelson and Jennings apparently held a stereotypic “appreciation” for “Jewish lawyers,” but for all of the trash talk about Jews, Willie’s professional “family” included NEIL RESHEN, MARK ROTHBAUM and JOEL KATZ. Go figure.
Speaking (writing?) of Patoski and Rodriguez, PBS’s Latin Music USA documentary, features commentary from Joe Nick but, in a segment on Latinos’/Chicano' contribution to country music, the focus is on FREDDY FENDER without so much as a mention of Johnny.
I had similar feelings while watching the rock music segment, deservedly dominated by my pioneering fave, RITCHIE VALENS. But why did producers fail to include CHRIS MONTEZ?
Shame on THE TENNESSEAN- a paper that harps on the First Amendment right to freedom of speech- for censoring/refusing to post my remarks on its online feedback page. My reaction addressed the newspaper's refusal to provide a balance to its rah-rah music industry reporting, referencing indirectly, as an example, PETER COOPER's recent KYLE YOUNG interview. (My comments were prompted by the interview, but I mentioned neither Peter nor Kyle's names, as my comments were not directed toward them since neither sets newspaper policy. I did not slander, libel, use profanity nor violate any of the newspaper's guidelines, including its own ethics policy; a pledge that was mysteriously removed from the newspaper's Web site sometime back.)
Moving from matter of opinion to matters of fact, will the New York Times print my correction to BILL FRISKICS-WARREN's SHELBY SINGLETON obit?
Column’s congrats to JOHN O'DOWD! O’Dowd, an author, who has worked with country-music personalities DIANE JORDAN, PAT DAISY, CONNY VAN DYKE, JODY MILLER, and SAMI JO COLE on their life stories -- as well as with Dukes of Hazzard actress LINDSAY BLOOM, 1950s B-movie starlets SALLY TODD and YVETTE VICKERS, and Hollywood male model BILL RAMAGE -- will be attending a fundraiser at Webster Hall in Manhattan as the guest of veteran stage, TV and film actress LANE BRADBURY.
As a teenager, Lane originated the character of Dainty June in Broadway's classic production of Gypsy, and she and the legendary actress JULIE HARRIS will be among the honored guests at the October 19 fundraiser for The Abingdon Theatre Company.
The evening's theme will be a recreation of a 1930s era Dance Marathon, and according to publicity for the event, "TOMÉ COUSIN and PETER GREGUS will direct and choreograph a cast of more than twenty performers as they jitterbug and jive to the sounds of a bygone era." John is currently working with screenwriter LINDA BOROFF on adapting his 2007 biography of tragic Hollywood actress BARBARA PAYTON for a feature film project. Both John and Linda have options with producer BARRETT STUART in Los Angeles.
There is much discussion in political circles, and lately, again, in the entertainment world, about the intersection of personal and professional morality.
Some say the two are mutually exclusive. I think not.
I'll expand on that argument to anyone who is brave enough to email me about it, but here's an example of a personal experience.
I'm going to keep this pretty general in order to protect the guilty, but a country-music figure whom I know mostly by reputation, as s/he does me, and I live in parallel universes that bring us together on a more rare than occasional basis.This person has achieved much success within a certain segment of the country-music industry, but is virtually unknown in the larger realm. Wishing to expand, this industry figure approached me several years ago with some ideas of how I could help widen that circle.
I was flattered that a potential client had read up on me and knew my skill set, but my guard was up when, in the course of chatting me up, my would-be associate let slip that the spouse to whom I was introduced was actually first the third party to a prior adulterous marriage my "friend" had made so. (Typical groupie beds the star scenario- in this instance breaking up the marriage- except that said snuff queen/king, in this instance- atypically- becomes Spouse #2.)
Some years went by and I heard from this person again. Hey, I'll talk with anyone, especially someone so flattering. Apparently a longtime associate was leaving my "friend"'s employ and I was the potential replacement. The associate was not full-time and I would not be either.
The idea was that my association with this person would provide street cred among the crowd to be impressed and I would assist with special projects such as one that was coming up.
Given my experience, the person wasn't sure I was affordable even before the subject of money was specifically broached, and the means to the objectives was a little scattery. So, I told my friend (as I always do when anyone wants to form a business partnership), "You draw up a contract, I'll take a look at it and I hope to sign it." (I do believe, given the opportunity, some people will turn their lives around.)
Great idea, I was told.
And that's pretty much where the story ends. But given my premise that if a person is a cheater in their personal life they'll likely lack a moral compass professionally, you can see this scenario occurred before and will likely occur again so long as I give those who fit this description, at least in theory, the benefit of the doubt.
I'm not complaining- it could have been worse, since many signed contracts are not worth the paper they're printed on, let alone the legal bills incurred to enforce them, assuming there’s even enough money involved for a lawyer to take the case.
SCOTT SIMAN has sold his Green Hills home to RODNEY LEWIS for $795,000.
Thanks to CLAIRE COOK For the invitation to “Join us Monday, Oct 12 for SHEL’s show at the Rutledge in Nashville. SHEL is a band of four sisters, who are all classically trained musicians...they are completely unique!!... BRENT MAHER discovered and produced these girls- they are amazing!”
The October issue of Country Music People features an arrestingly-colorful cover photo of REBA McENTIRE.
Interviewed for the magazine’s cover story, McEntire confides to DOUGLAS McPHERSON “The one thing I hate is to be embarrassed.”Reba adds, in a conversation that occurred as the announcement of the pending parting between KIX BROOKS & RONNIE DUNN was just beginning to register, “It would be wonderful to write more with Ronnie and do a duet or two with him. We could be the CONWAY (TWITTY) and LORETTA (LYNN) of the new millennium.”
Thanks to KAREN BYRD, DAN HAYS, NANCY CALDWELL, JILL CRABTREE and all of the International Bluegrass Music Association friends and family for allowing me to be a part of the IBMA’s latest World of Bluegrass convention and FanFest.
Religious holiday observances have kept me absent from some WOB events this year and last (this year I missed out on PETE FISHER’s keynote address, among other events of the day), but the WOB calendar is set a few years in advance and the High Holy Days are not on the same (Julian) calendar days each year. Between that and the fact that the observances begin the evening before the days listed for them on the Julian calendar, the IBMA was verklempt (how’s that for a juxtaposition?) when it first recognized the situation last year.
In any event, I enjoyed myself, as always, despite missing out on some seminars, not only due to the religious conflict, but due to my volunteer work. Kind of a funny store there, too: I volunteered to work the IBMA booth from 1:30 to 3 p.m. on Tuesday. I neglected to write down the names of the folks who were assisting me and, running late from the Nashville Music Garden press conference (see below), my only concern was arriving on time at the Nashville Convention Center and the IBMA booth in the Convention’s exhibit hall. I got to the IBMA store at 1:30 where I was introduced to SARA BAKER (whose name I remember because she seemed to be the one in charge and because her name is the same as one of my childhood friend’s).
Along about 3 p.m. I was wondering where our relief was but, not wanting to make a scene, I kept silent until 3:15 p.m. I still didn’t make a scene, though I was running late for my next “appointment,” I asked Sara(h) if the next volunteers were running late. Her reply? “Our shift doesn’t end until 4:30.” (I should have known something was up when Jill Crabtree came by the booth area and asked me “What are you doing here?” My answer? "Spreading the love and mission of IBMA.")
As it turns out, whoever advised me that the IBMA store booth was the same as the IBMA booth was mistaken. I told MARY BURDETTE, who had recruited me, when I met her the next evening (during the wonderful Leadership Bluegrass alumni party at BMI where I chatted up Nancy’s wonderful mother as we waited patiently for her daughter to arrive), who had recruited me, that I was sorry if she got the impression I had stood her up.
The reception prior to the IBMA Awards provided a wonderful opportunity to see JOHN McEUEN and STEVE MARTIN.
Martin seemed to be wondering why I was speaking with him about GARTH BROOKS, for when I started speaking about how Garth’s earliest “concerts” had only a loyal handful of attendees, Steve interrupted “Well, we’ve all experienced that.”
I conceded the point, adding that Garth’s brigade banded together after he hit it big and reminded Brooks as he played venues as large as stadiums and amphitheaters of who they were. My point, I said, was that while Steve had a taste of what would become his success on Saturday Night Live at the time of our first meeting, I was one of those gathered at what was somewhat less than a packed house when Steve played Nashville’s Exit In a few decades ago.
Martin was impressed with that!
Whether it was getting a checkup at the IBMA health fair (which, I am told, MusiCares will probably NOT sponsor next year), spinning the Martha White Wheel and winning some MW swag in the exhibit area, attending the Grand Master’s Fiddling Contest and song circles, or sitting in on one of the tons of official IBMA and unofficial hotel jam sessions, this year’s World of Bluegrass and FanFest was another opportunity to have fun and meet some wonderful people from literally all over the world.
The Nashville Music Garden Collection’s Inaugural Class list distributed to media in advance of the garden’s dedication contained a list of 67 songs and performers for which roses were named and eight others to be honored with daylilies bearing their names.
But the ongoing venture is so extensive that the list contained a disclaimer indicating that the list was not final. “More roses may be added…”
And so it was when an eye-popping number of celebs gathered for a VIP reception in the main lobby of Hilton, preceding the ribbon-cutting, garden dedication, with speeches followed by a photo session from the Hall of Fame Park stage.
Press moving into the VIP area received two pages of instructions alone. (“`Audio feeds: There will be direct boxes…”) I scanned a section on the decorum of artist interviews including the one in boldface “Under no circumstances are you to approach an artist or participant directly for an impromptu interview.” (This was in place because, following the ceremony, there was to be “press conference with celebrity honorees on the second floor of the Hilton.")
For some reason I overreacted and thought that we media types were forbidden to so much as speak with the artists during the reception. So you can imagine that I was freaking out when MARTY RABON playfully grabbed me and laid one on my cheek. (Marty and I have probably not seen each other in over a decade.)
I was likely not quite not so frantic as I would have been had SHELLY MULLINS not been the event producer, but I still told Marty “You’re going to get me in trouble,” explaining why.
Then, wouldn’t you know it, in somewhat rapid succession, LYNN ANDERSON (whom I hadn’t seen in an equally long time but, who, like Marty also remembered me) and BRENDA LEE also, to paraphrase a country song, laid a little lovin’ on me.
By then, I was a little more relaxed, having read what I had previously skimmed. Approaching DONNA FARGO, whom I pretended not to notice when she waved at me, earlier on, I apologized, explaining that if I seemed to be unfriendly there was actually something else going on at the time. I was specific and she understood.
JOHN CARTER CASH received a similar explanation joking “I’ll talk to you.”
By this time I had no problem approaching GUNNAR NELSON (representing his late dad, RICK NELSON) and renewing acquaintances with him. (I reminded Nelson that he and I had met at a Tower Records CD signing “though your hair was considerably longer then.”).
Gunnar was impressed when I told him that the first concert I went to was his dad’s at the Minneapolis Auditorium in 1960. He expressed skepticism that I was that old (how sweet!) until I told him how young I was and that my “date” (my dad) had to explain to me why all of the older girls were screaming.
Gunnar was evidently so impressed about that and some other things that provided common ground for discussion that he and I may be collaborating on a project.
I must have been one of the “first 500” since I received a rose in celebration of the wonderful day.
What a thrill it was to meet PATTI PAGE and to be able to inform her (like she cares) that Doggie in the Window was the first record (though, on further reflection, it may have been second to I Want To Be A Cowboy’s Sweetheart or Wringle Rangle) Mom and Dad ever bought me!
The news conference was equally fun, but a little strange. Usually, it is (naturally) frowned upon if questions are asked about matters other than the event publicist’s agenda for the day, at least until all such questions have been asked. On this occasion, the lead questioner (not me) asked about something totally unrelated to the Music Garden.So- I took it upon myself to ask an event-related question, requesting that each of the “panelists” (seated left to right) respond from their personal perspectives. First up was one of honoree DeFORD BAILEY’s representatives, his granddaughter, who responded with a lengthy explanation of who she was and who her grandfather was- and that was about it. (But who could blame her? Dedication Master of Ceremonies RALPH EMERY admitted to having “lost my place” during the introduction of rose and daylilies honorees and recipients, resulting in his having to make a nice recovery, when, after many minutes, Emery finally realized he had excluded the Bailey family from the acknowledgments. This was particularly painful to the only African-American nominee’s family who had never been shy about the failure to include DeFord, until his induction eventually came to pass, Bailey in the Country Music Hall of Fame.)
The funniest/scariest moment (of the second of two news conferences- the first group of honorees was ushered out to make room for the second) occurred when BARBARA MANDRELL, whose lips I couldn’t read, was whispering something to me and shaking her finger at me as I cowered in the front row just before the press conference was called to order. Barbara and I go back to an interview we did sitting on the grass at Fan Fair when she was visibly pregnant with JAIME, but I hadn’t seen her since shortly before her retirement. More recently I had seen a family member backstage at the Grand Ole Opry who obviously didn’t know to whom he was speaking (not that it should have mattered) when, in passing, he made some anti-Semitic remarks.
After he repeated those remarks I wasn’t sure I had heard correctly when he said them the first time, I decided it was time to leave but, before I did so, gave him a business card, jotting on it to whom he was speaking and the less than colloquial meaning of terms such as “Jew you down.”
This is what came to mind when my eye caught Barbara’s, but as all eyes by this time were on me I stepped forward as Barbara became more insistent. What a relief it was when Mandrell reached out to tell me how glad she was to see me after so long! (Her words had been "I know you!")
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