The radio played George Jones at the barbecue joint where I ate lunch. I was eating Saint Louis ribs. Overhead, George Jones sang “He Stopped Loving Her Today.”
Whenever George sings the opening lyrics to this tune, a chill dances up my spinal column and I get sentimental. Immediately, I remember sitting in my father’s truck cab, wearing my Little League uniform, listening to the staticky AM station.
I glanced around the barbecue joint to make sure I wasn't being watched during my musical moment. Then I dabbed my chin with a napkin and helped George remember the words.
I write a lot about old country music, and I’m sure the subject gets tiresome. But I do this for an important and well-planned reason:
Because I don’t have to do any actual research.
But also, because if you and I don’t keep these timeless melodies alive, who will?
As a boy, my family drove great distances to support the cause of Minnie Pearl and Roy Acuff. We paid good money to watch Roy tear up his
apple-tree fiddle and crack jokes alongside Sarah Cannon. Ernest Tubb was still making appearances at the Opry when I was a babe. And I don’t want to let all that go.
The idiocy they’re cranking out on the radio today simply cannot compare to the country tunes of yore.
Classic country is folk art. Plain and simple. It is subtle lyricism based on a two-beat bassline, a steel-stringed rhythm section, and bottled malt beverages. This music was the poetry of stick welders, sharecroppers, and coal miners’ kids. And it’s ours.
When Loretta Lynn sang “Blue Kentucky Girl,” you weren’t merely listening to a radio. You were listening to one of your own take the microphone. This is why whenever Willie sang “You Took My Happy Away,” your daddy’s allergies always acted up.
I don’t mean to be critical, but new country is an embarrassment…