Redtree Times

Over the last couple of weeks, I watched the documentary series, Country Music, from documentary filmmaker Ken Burns. As is the case with most of Burns’ work, it is extremely well done and deeply researched. I can’t say I learned a lot of new info from it but it was fun to again see many of the old films from the early legends.

Every documentary takes a position and holds its own perspective on its subject in telling its story. This one certainly did and I imagine a lot of fans of the current country music scene, which to my ear is more akin to the pop/rock music of the 1970’s and 80’s, were disappointed that Burns didn’t focus on their contemporary heroes. But Burns showed the continuum of country music, which carries that expression of authenticity that marked country music in its truest earlier form, moving into the genre we today call Americana. As a fan of that raw expressive quality found in the real traditional country music of years ago, I was glad to see this observation from Burns.

One of the lessons I learned from this series is that if a majority of people in the country music industry tell you to not do something, you must really be on to something big. Two of the primary artists they focused on, Johnny Cash and Willie Nelson, both fell into this category. I’ve talked about my affection for Cash many times here, including his amazing late in life work that was the result of working with Rick Rubin, a rap/hard rock producer who encouraged Cash to be true to his authentic self in these late recordings. Cash’s family and many in the country music field warned him not to work with Rubin but Cash went ahead and made several successful, both commercially and artistically, albums. I believe they are as close to real art as you will find in country music and they remain an incredible final testament to his life.

A great songwriter with an unusual vocal delivery, Willie Nelson was always a poor fit with the country music industry in Nashville. In the 50’s and 60’s, he tried to conform but it just never came out right. He was the perfect round peg in square hole world. He wrote a number of songs that became hits for others but he himself released a series of mediocre, standard country albums that did not sell well or open any eyes anywhere.

So he retreated to Texas and just began to be Willie, recording and performing in a completely natural manner without any thought as to how he should look or sound compared to others. His work from that time on had that authentic feel that’s the defining quality of real country music.

I’ve been a fan since The Red Headed Stranger, sparse concept album that, with its cinematic feel, tells the story of a cowboy who kills his wife and her lover then goes on the run in a search for redemption. It came out in 1975 and there wasn’t anything that was like it in any way. His songwriting and choice of material was pitch perfect and he harnessed that unusual voice in a way that perfectly captured feeling and emotion of the songs.

Since that time he has continued to make great music, even now in his mid 80’s. He’s worked with a wide variety of artists from many different genres of music and has released a number of great albums including one of my favorites, Teatro, from 1998.

This is really just a long excuse for me to play one of my faves from that album, Darkness On the Face of the Earth. Oh, what the heck, let me throw in Can I Sleep In Your Arms from The Red Headed Stranger. I can just shut up now and, if you like, you can give a listen. If you get a chance, take a look at Ken Burns’ documentary on the PBS site. Have a great day.