whom you've been helping to raise. What do you think of the fuss that's TAMMY'S STORY Would you care to talk about it? been made over that song. TAMMY: I know that my sister is so TAMMY: A woman is a woman regard- A TV MOVIE much better Off now that her agony IS less Of what city or country she lives in. over. never seen anybody suffer more She still has the same feelings and goes in their whole life than that woman. And through the same experiences. she had a tragiclife to begin with. She was Just a 、 A/Oman. And a Just a man, ln an automobile accident when She was and nothing ain't ever gonna change that 21. She was an absolutely beautiful girl basic truth. I feel that I can really relate to before that, and she had to have over 360 the average woman because I myself feel stitches in her face alone. She was married very average. I worked as a 、 AJaltress. I when she had the car wreck, and she was worked in a bank. I worked in a shoe fac- scared tO death that she was gonnalose her tory. I worked pickin g cotton. I worked as husband because she looked so bad. Then a receptionist. There are SO many, many she had to have thifteen plastic surgery ordinaryjobs that l've done that the ordi- nary woman makes her living doing. And operatlons. I always associate myselfwith the average She had two children—a daughter and a son—and she almost died giving birth to Annette O'Toole and Tammy Wynette woman. CR: You've been divorced four times, both ofthem because she wasn't supposed and now you're happily married to your to have any children. Then when Chris, On March 31 , CBS-TV broadcast fifth husband, George Ritchie. You seem her boy, was born, he was born with his & 側イ , 外イ側 , a tv movie based on tO be a living example of the sentiments head wide open and his stomach wide Tammy Wynette ' s best- selling autobi- expressed in your song, "Keep On Fall- open and he had no fingers or toes. Caro- 0 叩 hy of the same title, and starring ing ln Love 'Til I Get lt Right. ' lyn immediately went to work on him Annette 0 ' Toole as Tammy. the plastic surgeons built him some little TAMMY: I think that any person who's 'I- never thought that one day a gone through a divorce has in the back of fingers. They're not perfect and they're a movie would be made 0f my book , ' ' said little short, but he can use them. their mind, whether it was their fault or Tammy. "lt's a dream come true. He's a perfectly normal, healthy, intel- somebody else's, that they're gonna get it After Annette was grven the coveted ligent boy, except for his disfigurements, right some day. The song so applies to part ofTammy Wynette, she flew to Las and I don't want Chris to suffer any more. other things. Even if it's something that Vegas where Tammy was performing, He went to his first Cub Scout meeting you re working on or writing, and it went backstage , and introduced herself and he came home cryingbecause the kids doesn't come out exactly right. I think as the actress whO would portray her. wouldn't play with him. And he said to his everybody feels that way about something "She was Just great and so excited, fåther, 。 'Daddy, I don't know why they —that they'll just keep on 'til they get it Miss O'TooIe says of her first meeting didn't want to play with me. I was really right. I loved that song when I first heard with Tammy. " She ' s been wonderful , it. And I felt so strongly because I just having a good time, but they said I was and I learned a lot by being with her, knew that some 、 vhere there was a 、 'lr. different. They said I was ugly, Daddy. watching her perform, and reading her Right for me, and I found him. He's right And it was enough to have killed me. I touching book. If I can capture one real cried 'til I couldn't stand it. Anyone that there in the next roon 】 . moment Of this woman's life that will My husband's ajewel, and an absolute sees Chris has to take a second 100k. But mean something to somebody , then that he's not retarded and that's a blessing, but musical gemus. a fantastic father, is what it is all about. ' he is aware ofwhat Other kids are saying tO and he really does spoil me to death. lfl so Critics and mi_llions Of viewers much as lift a leg 0 仼 the bed, he'll say, him. I told my husband I didn't care what who saw Annette 0 ' Toole ' s perfor- it costs, l'm gonna get that child some 'Why, what do you need, Honey? ' ' He's mance ⅲ & 側イァノ側 agreed that help. Carolyn was so great and to lose her Just SO attentive, and he puts together all she indeed captured something very so young ・ .. I want to do something for my Vegas shows, and he's written halfthe special. Due tO time limitations, much Of stuff l've recorded. Ⅵ第 were friends for her little boy. Tammy s incredible life story was not twelve years , and I th ink that was the CR: Summing up, how would you say covered in the telefilm. Let's hope a se- greatest thing we had going for us even success has really changed you? quel is in the works. before we fell in love. I think you've got to TAMMY: I told the kids, "The only way everything? We wanted tO get you some- like a man as a friend first before you can success has changed us at all is that we thing, but we didn't have any money, so have a bigger house tO live in and more really love him. We've been together now we decided tO write and let you know that food, but we have less time to stay in that since August of 1977 , and it's been great ・ I wouldn't trade one minute Of it. lt's you've been the best Mommy in the house and we stilllike to live on hot dogs. ' And that is so true. Would you believe been everything l've always wanted and world. You've given us what most people never get. And Ⅵ℃ mean money, we that a hot dog is still my favorite food? lfl thought of finding. mean love. ' ' Well, thatjust destroyed me had a choice between a steak and a hOt CR: What would you describe as the dog, why l'd take the hot dog. highest moment in your life? because they were really sincere. They really wanted me to know how much they TAMMY: Strange as it may sound, thought about me on my birthday, even when you ask me what was the highest ( Ⅳ 0 襯叫な。。 ' ' Carolyn 田ん when I wasn ' t there. My kids and I have high in my life, l'd have t0 say it was when 側ールん研 m な maternal grand- had a good time growing up together, and I had a birthday and I was out oftown and な , Caro ケれ田 7 襯なアなん . I guess I have also grown up with them. the kids didn't have any money. When I But, 豆ど Carolyn 田伽ケ膨確“ / イ群劬側 Tam- CR: You had a sister who passed away at got back home they had written a poem ア , ク田 ra な記 g ん側ん混厩あん that staned off: "Dear Momrny. How do a traglcally young age after a long illness, / that t ゞ , ra 側厩側側〃 / れ化 ) you get something for somebody who has and I understand she left behind a son 30 COUNTRY RHYTHMS 2

and everything like that, I keep going own schedule, his own rhythm that he works with, and I think the trick is to find back to the obvious thing. Pacino is the that rhythm and understand it. For me, best one. Dustin Hoffman. People with l'm really pretty content if I work ten, acting expenence. 1 ' Ⅱ 1 sure if you put twelve, fourteen days. Anything more them on a stage to sing, they wouldn't be than that really starts to be a strain before as comfortable doing that as I am. But I the day ends. And then ifl can have two or think if I do enough acting, ultimately I three weeks offand then work ten, twelve, will develop my sixth sense, an internal fourteen days, then l'm OK. I like to have sense, where I can become the person. one, sometlmes t 、 MO, periods a year 、 Throughout the whole Ga 襯みを I was I have more than that off so that I can make a vacation out Of it, without feeling lucky. The part was written for me, so it like I have to go right from work to vaca- was kind ofme doing me, and l'm the one tion and right back to work. But we've ⅱ - who added the limp and added the cane, nally got into a rhythm with which I think but they were really added as—if you'll l'm comfortable. I think part ofthe e 可 oy- excuse the pun—crutches. I did it because ment Ofthis business is when you can still one Ofthe hardest things for a new actor tO look forward to going to work and during do is walk and 100k comfortable, and what your work you look forward to your tlme off—but in the middle of your time 0 仕 , you ⅱⅡ it up with a cane, you limp and you you start looking forward to going back to work. So, constantly you always have have a specific walk to do, so it was kind of something to look forward to. a crutch and it really ended up being part CR: At five years old you were perform- of the whole physical thing of this man. ing for the nurses, singing "You Are My Maybe that's how actors become actors. “ I shaved Sunshine, ' ' and they gave you a quar- They say, 。 'I feel uncomfortable in this ter—see, I never forget anything you tell part. What can I do to make me feel com- my beard, and me . fortable? ' ' Maybe I stumbled into some- KENNY: l've still got that quarter.. thing that Dustin Hoffman would have the first lady CR: But here we are, many years later, done. and as opposed to performing for four or CR: Would you like acting to become a 1 ran 1ntO five nurses ln a Texas nursing home, bigger part 0f your career? you're now playing to 15 000 or 20 , 000 thought I was a people at a time. How do you feel about KENNY: Oh, I don't know. I think that performing for that many people? DO you what it is, IS another foundation. One of brick mason, group them into one? DO you think you the key things of any successful person's perform for one person, or for a mass Of career iS kno 、 When tO move, when tO so I immediately people ? say, 。 'l've done everything there is here, KENNY: You perform to an individual. from here it's downhill. ' ' So I think you You find people in the crowd who you de- grew my always try to lay your groundwork in an- velop eye contact with, and the thing that Other area when you re at your peak in beard back. ' works for me is that I try tO entertain the one area, because success ln one field front few rows. I can't see the back rows anyhow, and you'd be lying if you said, gwes you validity in another field. lt "OK, this is for you way up there," be- doesn t glve you success. lt gives you va- cause you can't really relate tO that. You lidity. lt gives you the opportunity to try it CR: Let's talk about acting. Do you enjoy see the silhouette and that's it. But what I under the very best conditions. And ifyou that ? try tO dO is tO entertain the first eight or ten have any talent or ifyou can make it work rows and acknowledge the rest of the KENNY: I love acting—but I hate sitting at all, then you re given a shot at doing group; that's really about all you can do. around. UnfortunateIy, you can't do one that. You then have to produce, you have Conversely, ifthose front rows are not en- without the other. to be able to pull it 0 Ⅱ、 , so all l'm trying to tertained, you re ln some serl()us trouble. CR: Yes, because there's a great deal of dO now IS use the momentum that es- CR: A 10t of artists like the distance from 。 'down time' ' while they're setting up tablished in rnuSlC tO give me a chance tO the end of the stage to the first row, which cameras and everything. But what about do something in another field. may be another 30 or 40 feet. But you like 7 ん Ga 襯房砿 ? You came off real well in to be out among the people, and you work that, and I imagine you enjoyed doing it. End 、 0 、 in the round. KENNY: I loved doing it. You known KENNY'S 外イ OS CANDID / ル 7 沢 - KENNY: Oh, if I had my way l'd walk when I went intO it, my whOle go 記 was not up and down the aisles. lt's unfortunately 好 E ル to be embarrassed. I think a good actor gotten tO the point where I can't dO that, and it really saddens me. One ofthe most could have done a 10t more with it than I のン襯れ 0 KE ルル Y ' S 外イ OS 第 impressive and exciting things that we've did , but I was happy with the way it C ル D / の / ル TE レ 7 刃 : ん K リ done as far as creating excltement was on turned out. 沢 og / んゞ 0 砒んな″ 00 んな襯 0 肪グ a tv special, and I started from the back CR: But ifthey had said, 。 'Kenny, you lay 側イ旅んな田旅 , んな阨 t 肝孕な側イ襯 of the audience and sang a song as I 0fffor a mmute, 、 want t0 ln an ac- 厩ん砿 / 厩 g をな . 力な co 襯襯 g ど walked down the aisle to the stage and I tor thatyou want tO dO this role, Other than 〃爺怩 ofCOUNTRY RHYTHMS. loved that. I loved shaking hands with you, Kenny Rogers. ' ' Ⅵ市 0 would that 〃イ m / ん第 ( ル〃砒んどあ 0 ん砒 7 ' 〃 E people going along there, but it's gotten so be? Ⅵ市 0 would you have suggested to do HOUSE ん 4 KE. ルル Y 召 OUG 〃 T ー frantic now that it's Just. . it's ing, first of , and it' s not fun to do that that part? the 房お学ど記グ第砒イん襯石んんな - anymore, because the risk factor is high. KENNY: Well, for the physical likeness ヮ t ん United S / 64 COUNTRY RHYTHMS

A PATSY CLINE DISCOGRAPHY (The letters following the titles Of in- dividual songs recorded by Patsy Cline referto the albums on which the songs appear. Because Patsy's songs have been re-packaged SO many times, one particular song might appear on as many as SiX SONGS Ain't NoWheeIs On This Ship A-H-N ・ Always E-W Anytime C-S A Church, A Cou 「 t 「 00m and Then BIue Moon Of Kentucky E Home F BiII BaiIey Won't You PIease Come BackIn Baby's Arms D-G Crazy Dreams F-M Crazy Arms E Crazy E-D-G-S Come On ⅲ (remake) J-L-P-R Come On ⅲ Goodbye K-R-V Cry NOt For Me J Dear GOd N-P Does Your Heart Beat For Me? E-W Don't Ever Leave Me Again A-I-KOO-U Faded Love E-G-S-W Fingerprints A-I-K-R Foolin' 'Round B-D-W G0tta L0t Of Rhythm My SO M-Q HalfAs Much C-S Have You Ever Been LoneIy? B He CaIIed Me Baby F-S He Will Do は Fo 「 Me N-P The Heart You Break May Be Your Own H-N-O-P-R Heartaches C-D-S Hidin' Out J-N-R Honky Tonk Merry-Go-Round J-M-Q How Can ー Face Tomorrow M-T Hungry For Love A-H-L-P-lJ-r ー Can See An Angel H-L-P ー Can't Forget A-H-L-P-U ー Can't HeIp は ()f l'm Sti 旧 n LoveWith You) C ー Cried AII The WayTOThe AItarJ-M- O-P-R ー Don't Wanta ー Don't Wanta (remake) A-H-K-U-V ー Fall To Pieces B-D-G-S-W ー Love You Honey I-N-V ー Love You So Much は Hurts Me B-D-W 「Ⅱ Sail MyShipAIone E-W l'm Blue Again F-K-R-V l'm Moving AIong F-M けー Could See The World H-T けー Could Stay Asleep J-L-O lmagineThat D-S Care Öf The BIues A-H-N-O-T-V l've Loved And LOSt Again I-L-O-P-T Just A Closer Walk With Thee L-D-T-V Just Out Of Reach H-K-O-T-V Leaving On Your Mind D-G-S Let The Teardrops FalI J-L-Q Life's RaiIway TO Heaven L-P-T-R Lonely Street C Love Lettersln The Sand F Love Me Love Me Honey DO F-K-O Lovesick Blues F-K Lovin'ln Vain F Never No More J-N-P-Q Pick Me Up On Your,. Way Down J A P00 「 Man's Roses 0 「 A Rich Man's GO I-K-P-R Jo Ann Thomas Remembers Patsy Cline T ん襯の , んゲな豆〃 g 砿劔′〃″例な レな r イり , 伽多 / ( 9 イ 0 図外のん訪側 0 れ , 例なツん側五 COUNTRY RHYTHM S ( 0 磁なイ み , 側 d ゞん g 側どん砿砒 0 ル ct あ研厩歩 The first time I met Patsy was at a fair ⅲ Rhine- holds, Pa. , and the next time was at a country music park near Reading, Pa. This was in 1958. This was before I met my husband , Gus Thomas , but Patsy had lown him, because his band used to back her up on the Jimmy Dean tv Show, which was broadcast from Washington D. C. and covered about five states. One time backstage at a fair I heard Patsy tell the musicians that she had no idea what key she was ⅲ when she was smgmg ・ I could not imagme that someone with such a powerful VOice wouldn't know anything about music. Gus and I were married and were livmg Georga, and one day we got a phone call 伝 om CharIie Dick, Patsy ' s husband. He wanted to know when we were comrngto Nashville. Gus was leaving for Korea in September 1960 , so he said we'd see them in August. Charlie insisted we stay with him and Patsy or we wouldn't be friends anymore. 44 COUNTRY RHYTHMS We stayed at their home in Madison , near NashviIIe. They had friends visiting from Texas, the house was んⅡ , and it was really hectic there. Patsy was on the Opry that weekend, and Charlie was a wheelchair because he ' d broken his pelvic bone ln an autO accident. When we went tO the Op that night, Gus was pushing Charlie's wheelchair backstage, and we were laughing 1 e abunch ofkids. I went to theladies' room with Patsy and helped her hair. That same night, Hank WiIIiamsJr. made his first appearance at the Op . That Sunday Patsy made a casserole for everyone. When she took the dish out of the oven Ⅱ to the floor and broke into a million pieces. She stood there and cried. She said she didn't have any more Od tO make , SO Gus and I went out and bought them a bag ofgroceries. They were having real financial problems at the time. The next day we checked into a motel, and Patsy was really hurt about that. We tried to explain that Gus was gomg tO Korea and we needed tim e tO be alone, but Pat- sy had a hard time believing us. OnJuIy 25 , 1962 , I got a phone call 伝 om Patsy. She said she was working at the Richland Fire Company on Saturday, July 28 , and wanted to stay with us , and get picked up at the ai 甲 0 ⅲ Harrisburg. On the way back from the airport we got tied up in traff1C for quite a while because ofa train wreck. Patsy and I counted thirteen ambu- lances , and we were kind of shook up. Patsy said , "PIease be careful, l'd rather be late for the show than be in an accident. The RichIand Fire Company is one ofthe oldest carnivals ⅲ the state Of Pennsylvania. We were kind of late getting there, and they were worried that we wouldn ' t show up. They had close to seven thousand people there that night— they charged 50 cents a head, and children got in for free. Patsy earned $ 1025 that night. That Sunday Patsy and I went out to my parent's farm for dinner. My mom outdid herself with a ham and chicken dinner, and my daddy wouldn't leave Patsy alone. He kept following her 1 e a puppy. I told Patsy that I was sorry for the way my father was acting, and Patsy said, "Don't you ever be ashamed 0f your daddy—at least he stayed with your family and took care of them. I come from a family of seven, and my father 厄 when I was small, and I had to sing on street- corners for coins that people threw at me and take the money home for my mom to get food with. On the way back to the ai 甲 0 in Harrisburg, we stopped at a fruit market and Patsy got a bag of cherries. We ate the cherries and kept throwing the pits out ofthe car window. Patsy said, "I'II do one thing before I die and plant cherry trees from Her- shey to Harrisburg. ' I remember telling her not to talk like that because it made me feel creepy. I took one last picture of her at the airport. I felt real strong that I would never see her agarn. My husband was in Virginia when he heard about Patsy' s death on the radio , and he called me from a pay phone on the highway to tell me about it. I actually got sick ⅲ my stomach when I heard the news. ln 1964 , Gus and I were in Nashville, and Charlie insisted that we stay at the home that he and Patsy had lived ⅲ , ⅲ Goodlettsville. I was agamst staying there, but Charlie wouldn ' t take no for an answer. Patsy had just bought that home and was so proud of it—l don't think she lived there ayear. She bought awhite saun couch forthe living and above it was a large picture 0f her, the same one they had on her closed casket. I didn't feel good in the house. Charlie had a hard time accepting her death. Her clothing was still in the closets , and her make-up , hair spray, etc. , was still in the bathroom. Charlie had kept the living locked since her death , but he opened the door for me t0 take pictures. I couldn ' t take it—l felt like Patsy was ⅲ the house. CharIie sold the house soon after tO the country singer Wilma Burgess, and she said the house made her nervous, and that she would hear Patsy singmg in the h . I don't know if she still lives there. Maybe because l've been ⅲ show business for years I don't get t00 excited over Other enter- tamers. I haven't met anyone tO compare with Patsy, and I don't think I ever will.

Complicating things still further, the prestigious Country Music Founda- several Nashville acts began imitating the tlOn states: pop- country mixers , and in no tlrne it was The argument is not so much against practically impossible t0 hear the dif- country-pop as a country music sub- ference between Larry Gatlin, Barbara category. lt's more against the MandreIl, The 0 Ridge Boys, Tanya tendency of this industry, especially Tucker, CharIy McCIain, or Dolly Par- radiO and network T 、ア , to ton singles and those ofthe L. A. and New constantly bombard the public with York pop acts. Then along came a bunch な particular sound , tO the extent Of ' country performers that Other impoftant country musrc 、 music takes country muSlC rntO sub-genres, such as bluegrass, are Bill Anderson: previously unexplored territory. Some of completely ignored.... How many these, like Rosanne Cash, Carlene country stations will play Bill Mon- “ These people want Carter, E 1 Scruggs' sons, David Allan roe's latest bluegrass release, in spite Coe, and Joe Sun, have established of the fact that bluegrass music festi- to come 1n and take Nashville reputations or bloodlines. vals are popular all across the country Others, like Gail Davies, LacyJ. DaIton, and... on the college campus circuit! our muslc away. Alabama, and The Amazing Rhythm Aces, come 伝 0n1 outside the country WesIey Rose, who nms Acuff-Rose Publishing, one of the biggest and most numbers. Entertainer Billy Walker is par- mamstream. There iS association formed in reac- ticularly vocal about these “ outsiders. respected music publishers ⅲ M usic C ity , tion to of this called ACE (Association "This used to be a very simple, trust- agreed with Pinson ⅲ a 沢んれ 0 沢 0 of C ountry Entenainers). A book has interview last April : worthy town, ' ' he told a Memphis been wntten on the topic already , Everett newspaper. " Then these people came in I can ' t believe that when someone J. Corbin's Stom 仇ルのん″な C ど pushed the country music button and prostituted our business and watered ス ga 豆外イ oden ~ CO り外イな . The Nash- they do so NOT to hear country down our music. This was done by big ville Mu sic Association (NMA) en- money on the East and West Coast. ' music. I think they push it because courages the recording of pop, Jazz, and Singer/songwriter Bill Anderson said, that's what they want to hear. lfthey black music ⅲ Nashville now , as well as " These people want to come rn and take wanted to hear pop , they would push the city's traditional country. Prominent the pop button. . if they are going our muSlC away. muSIC industry figures have issued Most observers put the responsibility tO call themselves a country station statements on opposite sides Of the pop- for the country-pop trend on the shoulders they should play country music. versus- country controversy. The b attle Of the artists, themselves. The late singer lines are being drawn ⅲ Nashville; and Radio is seen as the mam culprit by George Morgan once tOld a pre ss con- some of the opening shots have already Nashville ' s most outspoken AC E mem- ference, "What we're against is people been fired. On one side are the tradi- bers. Vic Willis has even suggested to having a hit in the country field and then tionalist fans and artists whO grew up with イ耘 City ルどゞ that "As a last resort, we denying on a network TV show that the old country music way oflife. On the would file a complaint with the FCC to see they're country. ' ' Outspoken singerJean Other side are the sophisticated musrc if we are being discriminated agalnst. Shepard was astounded to hear the likes of business people with pop or rock musrc Others lay the blame at the feet of the Donny and Marie Osmond on country backgrounds. One wants country muSlC outsiders WhO have been C01 lng tO radio ⅲ 1977. "Now they're beautiful tO stay as it has been; the Other either ac- Nashville record labels in mcreasing children, and they're very talented, ' ' she tively dislikes the nasal whine of old-style country, simply doesn't care about it one A Gallery Of "New Wave ” Country Stars way or the Other, or is actively pursuing big-money crossover success. 、 'Some of the trends that are gomg on now could be the death knell of country music, ' ' Opry star Vic Willis told ルのんル / magazine in 1977. To the N ashville newspapers he elaborated , "There's no varlety ofmusrc anymore. lt sounds the same. Turn the dial and radio stations sound alike. ' ' Hall of Fame member Hank Snow believes, 'Crossover muSlC, POP muSlC, middle- of- the-road or whatever you call it has come ln and drowned the b asic country aftist. ' ' He further to 旧 newspaperman BiII Hance that, "The country music fans want country muSlC and dammit we're gomg t0 see that they get it! ' ' These folks are hopping mad about the small number of records that are played on the radio, and about the country-pop flavor of nearly all the ones that are. B0b Pinson, of David AIIan Coe LacyJ. Dalton Rosanne C ash C arlene Carter Rodney C roweli COUNTRYRHYTHMS 25 Gail Davies 翁 00

“ ln DelMar, CaIifornia, I had my first bra-thrown-on-stage ・ lt Just went flying by me. I didn't know what it was! When you get on the stage and hear all the screammg, you don't think about being a sex symbol. You think about how nice it is that so many people go wild. stays completely out 0f the public eye. His method of breaking into the Nashville country scene as well. After servmg ume in New Jersey nightclubs, Rabbitt packed his bags and headed for. . . New York! He recorded his "New York country songs' ' there. "When I was up in New York, 20th Century Fox was gomg into the country business. And I had one record there that didn't do anything. I was one of the few country wrlters up there.... the record was like a songwriter's demo [demonstra- tion tape] made into plastic, ' ' he laughs. "This was in the mid -1960 ' s. Then there was another one-shot deal on a la 1 called Date. NO contract to do singles-and-an- album or anything like that. Just a song ・ 。 I put ou t another thing called 。 The Bed. ' ' ' (This tune was later recorded by Tom Jones on his 〃どなゲ album). 'l'rn not afraid to mention these records, ' ' Eddie offers, "but I don't con- sider them legltimate recording deals. ' He sums hiS unusual career as 、・ e 、 York City country act by saying, "You know, Nashville is 6 million miles away from New York. The Partnership However unusual, it ) な「 a begmmng; so when Rabbitt hit Music City he did have some expenence under his belt. .. er some success a country 、 rriter , he formed a partnership with two other "left-field heroes, ' ' Even Stevens and David Malloy. The former was a little songwnter from Ohio; and the latter was an apprentice recording studiO engmeer barely out 0f his teens. Together, the three created the unique Eddie Rabbitt sound. They have created records that sound like no others in coun- try music, and certainly like no Others produced by the usual Nashville assembly-line method. Even early Rabbitt hits 1 e "Rocky Mountain Music,' "Two DoIlars in the Jukebox, ' ' and "Drinkin' My Baby Offa My Mind' ' had rhythm and drive combined with the airy Rabbitt harmonies that made them distinctive. With such smashes as "Hearts on Fire, ' ' "You Don't Love Me Anymore, "I Can't Help Myself," ' Pour Me Another Tequila, ' ' “Ⅵ Can't GO On Just Want TO Living Like This, ' Love You, ” and "Gone Too Far, ' ' the rene gade trio catapulted Eddie t0 country stardom. Then "Suspicrons, ' Every Which Way But Loose , ' ' " Drivin ' My Life Away, ' and "I Love a Rainy 36 COUNTRYRHYTHMS Night' ' brought their unique country sound t0 the pop muSIC world as well. Rabbitt believes this was possible because Of an unusual clause in hiS recording con- tract : “ NO record company executive has picked out our singles. That decision never leaves our hands. lt'S in our con- tract: Nobody else will pick out the singles. ' ' The three were SO sure that what they were dOing was "right' ' that even as beglnners they insisted on control. Now that he is a superstar, Eddie Rab- bitt has continued to break the molds: To put it simply , he does not act the least bit like a man who has the world by the tail. ln conversation, he repeatedly praises his partners and draws attentlon away 伝 0n1 himself toward them. "I don't think any of this would have happened for me if it hadn ' t of been for the mag1C of this creative friendship , he says. Even Stevens adds that Eddie displays no star's temperament when they're working together: "We've never had a major fight. Any ofus. ' Let's face it. Eddie Rabbitt is a national sex symbol ; and you ' d think that , alone , would give him at least a ん bit of a swelled head. But here, again, he's not a typical star. On stage he has none of the vulgarity or swagger ofan Elvis or a Tom Jones, much less the excess Of rock stars like Mick Jagger or Rod Stewart. He j u st looks happy. If he's a sex symbol, it's not because of any bumps and grinds, it's because of the twinkle in his eyes and his lrish charm. "I read and hear about me being a sex symbol just like you do, ' ' he "I never thought l'd have to comments. worry about that. ln DelMar, California, I had my first bra-thrown-on-stage. ltjust went flying by me. I didn't know what it was! When you get out on the stage and hear that screammg, you don't think about being a sex symbol. You think about hOW nice it is that SO many people go wild. lt's like walking into a party where everybody knows ya. I t feels good ; the music pumps; there's energy. What's Next? What's the next logical step for a country-pop superstar? Movies and television, right? Wrong. Our left-field hero has SO far resisted the temptations Of Hollywood glamor. " I have been offered ⅳ parts and movie parts and things like that, ” he admits, "and I don't want tO sound big-headed or anything like that, but theypst weren't 〃 g ん . I was offered a p 田ⅲ "CharliesAngel's," the male guest- starring lead , and I didn ' t want to do it. I was also offered to appear in Clint Eastwood'sAny ル Can and I passed on that t00. He did put together a highly-praised television special last year that featured Jerry Lee Lewis, Emmylou Harris, and his fine road band Hare Trigger. "On the whole I was real happy with my television special. I tried to cut through a lot ofwhat you see on Other tV ShO 、・ the bad writing, the canned laughter, and all that kinda stuff. We had a meeting and I told the producers and directors Look, a 10t ofyou don't know me well, and t0 be honest with you I don ' t know you. But we're here to do this thing and l'm here t0 do it well. lt's a Special and I want it to special. I don't want it to be sketch-song- sketch-canned laughter-song-sketch-can- ned this 'n' that. lfit's an hourofthat kind ofstuff, then we ain't gonna dO it. ' ' ' Pret- ty gutsy for a Nashville country singer t0 talk to the Powers of H ollywood ! Rabbitt Just comments matter-of-factly. "That was my bottom line. I said I ' m gonna compromise a bit tO your ideas, but you re gonna have tO compromise t00 tO what I think is right. ' lt's hard, ' ' he sighs, 'You know you're dealing with an awful lot of money and awful 10t of people and studios in H ollywood and a certarn way things are done, and a certain kind of wnting commumty out there. But on the whole I liked it. B ecause it a little dif- ferent. ' ' 妬〃 0 田 0 沢孕 , and the ム . 襯ぉ agreed with good reuews of Rabbitt's fißt 910 ouung. He's still cautlous about the tv indus- try, though. "Some people have talked about a tv senes, and l've nixed 肪厩 idea com.勲ななケ, ” he reports. "lfyou work on a senes every 、 veek, the first t 、 VO or three will be quality, and then the rest are 'Here-we-go-rolling-out-the-hamburg- er. ' There's a burn-out factor ⅲ a ⅳ senes... That set c 田 1 chew you up 田 spit you out ⅲ Las Vegas! ” Yet another thing that sets him apart from other country stars is his method of workmg. MOSt country records are made in three-hour recording session blocks of tlme where studio mu SlClans learn the songs, work out th&rangements, and record , With VOices and Other instruments being added to the basic tape later. A country album can easily be made in a week this way. Eddie's are made entirely differently. He takes five months 0 仕 each year to get together with Stevens and 、 1 oy to write songs and make recording trips. 'We go in all together as a team,

Charlie Daniels ' Seventh AnnuaI AII StarJam Sensation ln Nashville Volunteer Jam-— A Night Remember A sell-out crowd ofover 10 , 000 turned Band played a two hour set , and then took and fans came from over the United up this year at Nashville's Municipal utates and C anada. The concert was tO the stage numerous times in the even- Auditoriu m to he ar more than 25 top ing tO accompany their musical guests. broadcast live on SiX radiO statlons in Ten- musical acts, ranging from Roy Acuff t0 They finally closed the show after two nessee and taped for later broadcast on Ted Nugent to Billy Joel. Organized by a. m. as they led a lengthy musicaljam on more than 250 stations ofthe King Biscuit Charlie Daniels, the Volunteer Jam songs like "C. C. Rider, ' ' "Kansas network. The concert was recorded , and started out as a local rnuslcian get-to- City, ' ' and "Tennessee Waltz. ' ' On segments will appear in a specialJam Vll gether, and has grown into a celebrated some Of these numbers, as many as 23 album to be released on Epic Records. national event. muSlClans JÖined in. C OUNTRY RHYTH M S is pleased t0 present these highlights ofthe show ・ Early in the show, the Charlie Daniels Tickets to theJam sold Öut ⅲ two hours, Charlie & Company: Masterblasters jammin' Ⅱ n 0. C. D. . Acu on "Wabash Cannonball. Above: Shakin' Stevens p 3 English on "Marie, Marie. '' Right: Delbert McClinton, BillyJoeI, Dave Hludeck, Ted Nugent and M ickey G 迅 0 50 COUNTRYRHYTHMS

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VOLUME ONE Business and Editorial Offices: COUNTRY RHYTHMS Magazine 475 Park Avenue South New York, N. Y. 10016 ( 212 ) 689-2830 Publishers NORMAN JACOBS KERRY O'QUINN As sociate Publisher RITA EISENSTEIN Exec. Circulation Director RICHARD BROWNE Editor DANNY FIELDS Art Director CHEH NAM LOW Managing Editor STUART MATRANGA Music Editor LENNY KAYE Movie Editor DONALD LYONS Records Editor GARY KENTON Nashville Editor JOHN LOMAX III } { iS torlan ROBERT K. OERMANN Los Angeles Correspondent JOYCE ESTRIN Rodeo Editor JOHN GOFF Associate Art Director BOB SEFCIK Art Staff LAURA O'BRIEN AMY BERGENFELD Advertising Director CHRIS LASSEN ON THE COVER: Willie Nelson photo- graphed by Michael Abramson. COUNTRY RHYTHMS is published by COUNTRY RHYTHMS INC, 475 Park Avenue South, New York, N. Y. 10016. This is VOLUME ONE. Content is ◎ Copyright 1981 by COUNTRY RHYTHMS INC. AII rights reserved. Reprint or reproduction in part or ln WhOle without written permission is strictly forbidden. COUNTRY RHYTH MS accepts no re- sponsibility for unsolicited manuscripts , photos , art , or Other materials , but if freelance submittals are accompanied by a self- addressed , stamped envelope , they will be seriously considered if returned. Products are not necessari- endorsed by COUNTRY RHYTHMS, and any view express- ed in editorial copy are not necessarily those of COUNTRY RHYTHMS. Subscripton rates: $ 9.98 for one year ( 6 issues) delivered in the U. S. and Canada. Foreign subscriptions: $ 12.25 in U. S. funds 0 ⅲ y. New subscriptions send directly to COUN- TRY RHYTHMS, 475 Park Avenue South, New York, N. Y. ー 0016. Notification of change of address or renewals : send to COUNTRY RHYTHMS Subscription l)ept. P. 0. Box 4 , Mt. Morris,IL. 61054. Printed in the U. S. A. 4 COUNTRY RHYTHMS 題 YT ーー漑 $ 0 ☆ Prom 血師 t ☆ WeIcome to the premiere issue of COUNTRY RHYTHMS, the magazine aimed at covering the 例尾 world Of the true music Of Amer1ca, and the men and women who make it. The last few ye ars have seen an extraordinary growth in the popularity of country muSlC—on radiO and tV, in the and the recording in- dustry, in clubs and concert halls from North to South and East to West. What was once considered a musical style indigenous to one reglon of the United States is now a nationwide phenomenon—you only have to be Amencan tO love country and it that most dO. With its emphasis on melody, emotion, humor, reality, heartbreak and love, it is no wonder that country music has won the affection ofthe people of this land, and it is those basic values to which COUNTRY RHYTHMS is dedicated. ln each issue of COUNTRY RHYTHMS, we will try to bring you, our readers, what you want tO know and see about the marvelously talented people who write, sing and play this music—the stories of their careers, their private lives, what they think, what they do, and 田り they are 田ん they are. ln addition, we want to present and analyze the broader aspects Of the entertamment industries in which these performers function, and the lifestyles which they influence and affect. Just as country music belongs to the people of America, COUNTRY RHYTHMS belongs to you. We would like to know what you want to read about, know about, see pictures of—and we promise to continue to have the finest wrlters and photographers gather and present this information. Ⅵ are eager for your criticism, your praise (naturally), and your curiosity. So please write down your thoughts and send them to us, c/o The Editors, COUNTRY RHYTHMS, 475 Park Avenue South, New York, N. Y. 10016. We will be paying close attention to what you think and want to know— meanwhile, enJOY this first issue, of which we are very proud, and join us again when COUNTRY RHYTHMS # 2 arrives on your newsstand in October. Yours in the spirit of the muSIC we love , The Editors っ 0 》、 ~ 0 0 0 0 0 ナ 部 0

BOOTS A boot with a proper fitted GOOD BOOT heel will always a little SHOULD HAVE : hard to put on and 0 A sili- cone spray ()t and Hush are A STEEL SHANK . good) , applied above the heel 、 Vood will not give you area, will ease the way enough arch support. Most without damagmg the leath- of the better bOOts are made er. And remember: Don't try with steel, but if you are not to pull o a boot 伝 om a situng sure Of what you are gettmg, position; stand up and step ask your salesman. down intö it , and you will not A PEGGED SHANK. have to work quite so hard. Another must for proper arch HEIGHT: The height of support. Make sure the pegs yourheel always affects the 旅 are set close together and that of your boot, and you will there are plenty of them or find that a high-heeled (two the steel shank will wear right inches or over) bOOt can be through the sole. Wooden 、 narro 、 and shorter pegs are best, but since they than a low-heeled one. Be- expand in Ⅵ , 第 . Ⅵ℃ ather and cause a high-heeled boot con- contract in cold, they are usu- centrates your weight on the ally reinforced with brass ball of your foot and keeps nails. that foot fairly rigid, your A LEATHER LINING. toes need very little r00n1 tO flex. timate the tightness or the looseness Ofthe Man-made fabrics are not very compati- H owever, when you wear a low-heeled instep by the width of the throat. If your ble with leather. They do not expand and bOOt, your weight is distributed over your 応 ot slip s into the throat t00 easily , chances contract at the same rate as leather and entire arch area , and your 応 Ot flatten s are the instep is tOO 100Se and you need a will eventually seperate from the boot and out. You then need extra length and width narrower bOOt. tear. tO accommodate your spreading toes. SMOOTH MESHING OF HEEL BALL: The ball of your foot must TOES: Your toes are in the right posi- AND TOE. If there is a gap at the point always rest on the ball (the widest part) 0f tion ifthey touch, 0 ん砒立 the where they join—beware! The heel may the last. lfit sits t00 far forward ()s it will if inner wall of your boot when you stand. loosen and f 1 0 you wear t00 short a bOOt) , your toes will LENGTH AND WIDTH: “ Of the SOLID WORKMANSHIP. You can be crammed intO the toe bOX and will fitting sins, the short fit is the most harm- tell a 10t about a boot by the way it is develop corns from rubbing against the ful and the most common. The longer stitched and sewn. If the quality is poor inner lining of the boot. What's more, your 血 , ' ' says Sam Lucchese, "the better the stitching on the face and on the outer your toes will hang over the welt, push the 0 仕 you are. A longer, narrower fit will sole will be uneven, the stitching on the in- boot out of shape, and shoften its life. overcome pressure on the big toe and sole will stand up, and the pull straps will HEEL: Don't expect the heel of a you more support in the arch and the 心 - loose or asymmetrical. Western boot to hug your foot when you lmportant metatarsal area. walk—it will always slip a bit. This slip- IN GENERAL: A properly fitted boot page may be quite pronounced when the HE BOOT SHOULD does not reqmre a breaking-in period. If bOOt is new and the SOle is stiff and un- FIT THE FOOT: your boot does not feel good the moment yieldin g, but after several wearin gs , the you put it on, it isn't right for you. sole will begin to flex, and most ofthe slip- COWBOY BOOTS are not only great to look at, they're incredibly comfortable. page will disappear. Doubt it? One good 旅 will make a be- lfyou try on a boot that has no slippage liever ofyou. Here's how to get it. (With a whatsoever, it is either t00 short for you or ん 0 襯 The Cowboy CataIog り Sandra K little help from Tony lhma. ) t00 tight in the instep , and will raise blis- Co 加〃′◎ 7980 り & haK れ側 . TheCow- boy Catalog な洫ろな五 om Crown ~ 励騰んグゞ , 3 イ INSTEP: Because it has no laces, ters on your heel. If you try on one that E んん膨 . , v 例ルノクノ 70 . S 例イ straps, or zippers tO bind it tO the fOOt, a slips excessively , it is t00100Se in the instep 22.50 0. 丐 r 加が .50 r Western boot will not be secure unless it and you need a narrower width—not a “れイん g. fits snugly in the instep. Often, you can es- shorter bOOt ! 70 COUNTRY RHYTHMS PARTS OF THE BOOTS PULL STRAP QUARTERLINING PIPING F 0 、 TQUA 1 FANCY STITCH DESIGNON QUARTER VAMP LINING VAMPING STITCHING VAMP SIDESEAM BACKQUARTER FOXING STITCHING FOXING TOE MEDALLION BOXTOE RAND HEELBASE HEEL LIFT - ー - ーーー - ORTOPLIFT HEEL COUMER OUTSOLE STITCHING OUTSOLE WELT INSOLE OUTSOLE SHANK PEGS PAD SHANK

COUNTRY The Battle ls On ave you looked at the Pop Music charts lately? There are country acts all over the place on them these days! On weeks when the likes of Dolly Parton and Eddie Rabbitt aren't in the Top Ten, someone like Kenny Rogers or Anne Murray cooking up another country- pop smash hit. Ronnie Milsap, Don Wil- liams, T. G. Sheppard, Terri Gibbs, The Bellamy Brothers, Crystal GayIe, and WaylonJennings are no strangers to that kind of success either. And if Barbara Mandrell and Larry Gatlin haven't had a big pop music hit yet, it isn't for lack of trying. Why, with this big-money pop muSlC crossover success, fOlkS down ln Nashville mu st be j ust about dancing ln the streets with JOY, right? by Robert K. Oermann ⅥⅡ , not exactly. There is a large seg- ment Of the Music City community that regards thiS country-to-pop crossover suc- cess With considerable suspicion, if not downright hostility. These people con- tend that the mentality geared toward making country records acceptable to pop music buyers IS country muSlC. "Real' ' country music, they say, is being pu shed aside by the country-pop sounds. Little skirmishes have been fought on this issue for several years. Nashville put itself on the as a muSlC center in the 1960 ' s with an aggressive CMA cam- paign tO get radiO staUons tO switch tO country music. At the same tlme, croon- ers 1 慊 e Eddy Arnold , J im Reeves , and Ray Price smoothed over the rough edges Of country honky-tonk music tO make it A Gallery Of Country Crossovers Don Williams 24 COUNTRY RHYTHMS Ronnie Milsap Bellamy Brothers Terr* Gibbs T. G. Sheppard Ann Murray easier for pop music listeners tO take. NOt everybody 山 ou ght this was a great idea, however; and by the 1970 ' s people like WiIIie NeIson and WayIonJenningswere saymg, in effect, “ Screw this. Let's get back to basics. Next, 慊 s without country muSlC backgrounds g turning up regularly on the country 田 a れ s. Anne Murray, Kenny Rogers, Don Williams, Linda Ronstadt , Debby Boone , and others displaced many of the Op favorites. Country fans and D.J. 's welcomed them because they felt that this made country music something to proud of. The hunger for pop music respectability reached its peak in 1974 when Olivia Newton-J0hn andJohn Dever won maJor CMA Awards on natiofial television. DoIly Parton 第第第はま義イ