Life is hard enough in the cold shadow of a legend, particularly one who died when you were four. Having problems with drugs and alcohol doesn't help. Neither does a disfiguring accident, or being called "Bocephus." But somehow, Hank Williams, Jr. lives on, successfully, and has managed to make his own imprint on country music.
Hank Jr.'s hard-nosed mother, "Miss" Audrey Williams, engineered her son's early success. She dressed Junior up in his father's clothes and made him sing the old hits to curious audiences. Hank eventually tired of his mother's domination (as did Hank Sr., who divorced her twice) and ditched the clone act, writing his own songs and taking his work in a less traditional direction.
Hank Jr. became an important member of the Outlaw country movement of the 1970s. Fellow newcomers like Waylon Jennings and Kris Kristofferson, as well as veteran Willie Nelson, found success bucking slick Nashville trends and appealing to freaky long-haired rock fans. Hits like "Family Tradition" and "Whiskey Bent and Hell Bound" paid tribute to Hank Jr.'s hard-partying genes and built him a devoted fan base.
Williams was seriously injured while climbing a mountain in Montana, which is an awesome way to injure yourself if you must. The recovery was long and painful, and the surgery scars necessitated his famous disguise of beard, sunglasses, and hat. This led to a great deal of confusion whenever he was in the same room as Jeff Lynne.
Like his dad, Hank Jr. has abused far too many substances and far too often. But it hasn't killed him. Hank has paid tribute to his famous father by recording many of his songs and participating in some well-intentioned grave robbing. He's also raised a singing son of his own, country/punk hybrid Hank Williams III. But the greatest tribute has been finding success on his own terms, not as a pale imitation of Hank Williams. Who was already quite pale.
TODAY'S RECOMMENDATION: "Women I've Never Had" by Hank Williams, Jr.
AVAILABLE ON: Hank Williams, Jr.'s Greatest Hits; iTunes
Friday, June 27, 2008
Thursday, June 26, 2008
SHOW BIZ KIDS: Cash Money
One aspect of rock genealogy we haven't gotten into: is descending from greatness a blessing or a curse? I suppose it depends on the talent, temperament, and media savvy of all involved. Springing from the loins of legends does not entitle anyone to stardom, but it does assist it, and acknowledging the leg up you've been given is key to levelheaded second-generation success. One artist who wields her big last name with humility is Rosanne Cash.
Rosanne is the daughter of, well, you know, and his first wife Vivien Liberto. For narrative purposes, Vivien was the dream-doubting shrew of Walk the Line, a portrayal Rosanne rejects as oversimplified. (The film's credits misspelled Rosanne's name, too.) I would argue the film simply shows Vivien as the long-suffering wife of a rotten husband, but Rosanne has a point. Vivien's mothering skills must have been considerable, since Rosanne Cash emerged as not just a major artist, but a thoughtful human being.
Is it possible for someone to have a handful of top 40 hits, plus a Grammy, and still be underrated? Rosanne Cash's '80s hits are largely forgotten today, not because they deserve obscurity but because the disgraceful condition of country radio. 25 years ago, Cash helped pioneer a new strain of country music. Edgy, soulful and intelligent, it appealed to pop and rock fans but held on to the poignant storytelling of classic country. This is mainly what you hear on country radio today, but significantly watered down by lesser talents like Kenny Chesney and Big and Rich, who think self-parody equals wit and relatability equals emotional depth. There just isn't room for Rosanne's music, and that of contemporaries Lucinda Williams and John Hiatt, when Carrie Underwood's latest is fresh from the factory.
Cash's songwriting did not disappoint her dad. "Seven Year Ache" and "Black Cadillac" are real without being hokey, with melodies that linger but don't impose themselves. She's also done fine work with the songs of others, like Tom Petty ("Never Be You") and even the old man ("Tennessee Flat-Top Box").
I have to mention Rosanne's stepmother, the great June Carter Cash, also the child of famous musicians. The Carter family were country royalty long before Johnny Cash married his way in, and eons before Rosanne kept the tradition alive. Rosanne's half-brother, John Carter Cash, is a successful producer. So, to answer the question I posed in the beginning: yes, Rosanne's Cash's lineage has been an advantage. But unlike, say, Julian Lennon, she didn't need it.
TODAY'S RECOMMENDATION: "Dreams Are Not My Home" by Rosanne Cash
AVAILABLE ON: Black Cadillac; iTunes
Rosanne is the daughter of, well, you know, and his first wife Vivien Liberto. For narrative purposes, Vivien was the dream-doubting shrew of Walk the Line, a portrayal Rosanne rejects as oversimplified. (The film's credits misspelled Rosanne's name, too.) I would argue the film simply shows Vivien as the long-suffering wife of a rotten husband, but Rosanne has a point. Vivien's mothering skills must have been considerable, since Rosanne Cash emerged as not just a major artist, but a thoughtful human being.
Is it possible for someone to have a handful of top 40 hits, plus a Grammy, and still be underrated? Rosanne Cash's '80s hits are largely forgotten today, not because they deserve obscurity but because the disgraceful condition of country radio. 25 years ago, Cash helped pioneer a new strain of country music. Edgy, soulful and intelligent, it appealed to pop and rock fans but held on to the poignant storytelling of classic country. This is mainly what you hear on country radio today, but significantly watered down by lesser talents like Kenny Chesney and Big and Rich, who think self-parody equals wit and relatability equals emotional depth. There just isn't room for Rosanne's music, and that of contemporaries Lucinda Williams and John Hiatt, when Carrie Underwood's latest is fresh from the factory.
Cash's songwriting did not disappoint her dad. "Seven Year Ache" and "Black Cadillac" are real without being hokey, with melodies that linger but don't impose themselves. She's also done fine work with the songs of others, like Tom Petty ("Never Be You") and even the old man ("Tennessee Flat-Top Box").
I have to mention Rosanne's stepmother, the great June Carter Cash, also the child of famous musicians. The Carter family were country royalty long before Johnny Cash married his way in, and eons before Rosanne kept the tradition alive. Rosanne's half-brother, John Carter Cash, is a successful producer. So, to answer the question I posed in the beginning: yes, Rosanne's Cash's lineage has been an advantage. But unlike, say, Julian Lennon, she didn't need it.
TODAY'S RECOMMENDATION: "Dreams Are Not My Home" by Rosanne Cash
AVAILABLE ON: Black Cadillac; iTunes
Wednesday, June 25, 2008
SHOW BIZ KIDS: He Can Drive It Home
The release of Jakob Dylan's new album, Seeing Things, as well as some solo dates he's playing this summer, signals the death of the Wallflowers. The band has been hemorrhaging members here and there over the years, with keyboardist Rami Jaffee being the latest escapee. It's a shame, too, since the Wallflowers were one of the bright spots of the 1990s rock scene. Since their second album, Bringing Down the Horse, stormed the charts in '96, they've churned out more than a few memorable tunes.
Bringing Down the Horse brought us the classic single "One Headlight," which we all got sick of a decade ago, but there was a reason we listened to it so many times: Jakob, son of Bob, knows how to write a hook. Their music may not be chock-full of surprises-- it has that Counting Crows quality of being familiar without being directly derivative-- but Jakob inherited some solid songwriting genes. "6th Avenue Heartache," "Sleepwalker," and "When You're On Top" all deserve to stand alongside the Tom Petty and Bruce Springsteen songs they vaguely remind you of.
"Wallflower" is the name of an obscure Bob Dylan song from the '70s. This may have been the source of the band's name, though I doubt it. Jakob has never shared the stage with his dad, and they don't discuss each other publicly. Still, I suspect Bob is proud of his only musical offspring, and he has every reason to be. When you have someone who looks just like you working in your own profession, they'd better be good.
TODAY'S RECOMMENDATION: "Sleepwalker" by the Wallflowers
AVAILABLE ON: Breach; iTunes
Bringing Down the Horse brought us the classic single "One Headlight," which we all got sick of a decade ago, but there was a reason we listened to it so many times: Jakob, son of Bob, knows how to write a hook. Their music may not be chock-full of surprises-- it has that Counting Crows quality of being familiar without being directly derivative-- but Jakob inherited some solid songwriting genes. "6th Avenue Heartache," "Sleepwalker," and "When You're On Top" all deserve to stand alongside the Tom Petty and Bruce Springsteen songs they vaguely remind you of.
"Wallflower" is the name of an obscure Bob Dylan song from the '70s. This may have been the source of the band's name, though I doubt it. Jakob has never shared the stage with his dad, and they don't discuss each other publicly. Still, I suspect Bob is proud of his only musical offspring, and he has every reason to be. When you have someone who looks just like you working in your own profession, they'd better be good.
TODAY'S RECOMMENDATION: "Sleepwalker" by the Wallflowers
AVAILABLE ON: Breach; iTunes
Tuesday, June 24, 2008
SHOW BIZ KIDS: A Father and a Son
In 1998, two promising second-generation singers toured together to support their debut albums. One was yesterday's spotlight, Sean Lennon. The other had a less famous surname but came from an even richer musical gene pool. Rufus Wainwright would soon earn great acclaim for his operatic art pop, and keep the Wainwright name in the musical press.
Rufus' dad, Loudon Wainwright III, is known either for his 1972 hit "Dead Skunk" or from his recent contribution to the film Knocked Up, in which he also appeared. He was once proclaimed the Next Next Dylan, but was perfectly content to be something far original. Mixing Randy Newman's wit and Jackson Browne's naked emotion, he carved himself a nice little fan base, and even snatched the ultimate songwriter's prize when Johnny Cash sang one of his songs ("The Man Who Couldn't Cry").
Rufus is also an original, but in the opposite direction. While Loudon's music never strays far from his folk roots, Rufus' music isn't so earthbound. His opulently arranged baroque pop is grand and splashy, often beautiful and just as often bordering on camp. Of his six albums, I most visit 2003's Want One. It has a muscle and boldness lacking from Rufus' earlier work, and the focus his recent output has lacked.
The large and musical Wainwright family has had its share of dysfunction. Loudon divorced Rufus' mother, folksinger Kate McGarrigle, when the children were young. Rufus' sister Martha recently wrote a song called "Bloody Mother Fucking Asshole," which she has openly suggested is about her dad. "Dinner at Eight," from Want One, tells of a bitter dispute between Loudon and Rufus over the latter's higher profile.
Still, there is some affection between father and son. While his son was breastfeeding, Loudon penned the lighthearted "Rufus is a Tit Man." (Though the song grew an unintended ironic layer when Rufus turned out to be gay.) Rufus has admitted, in "Want," that he doesn't want to be an iconic songwriter like John Lennon or Leonard Cohen. "I just want to be my dad," he sings, "with a slight sprinkling of my mother." But I think Rufus' version of Loudon's "One Man Guy" best expresses the fragile unity of the gifted, explosive Wainwright clan. It's nice that Rufus recorded his dad's song, but if you look at the lyrics, it's all about the joys of time alone. Ouch.
TODAY'S RECOMMENDATION: "One Man Guy" by Rufus Wainwright
AVAILABLE ON: Poses; iTunes
Rufus' dad, Loudon Wainwright III, is known either for his 1972 hit "Dead Skunk" or from his recent contribution to the film Knocked Up, in which he also appeared. He was once proclaimed the Next Next Dylan, but was perfectly content to be something far original. Mixing Randy Newman's wit and Jackson Browne's naked emotion, he carved himself a nice little fan base, and even snatched the ultimate songwriter's prize when Johnny Cash sang one of his songs ("The Man Who Couldn't Cry").
Rufus is also an original, but in the opposite direction. While Loudon's music never strays far from his folk roots, Rufus' music isn't so earthbound. His opulently arranged baroque pop is grand and splashy, often beautiful and just as often bordering on camp. Of his six albums, I most visit 2003's Want One. It has a muscle and boldness lacking from Rufus' earlier work, and the focus his recent output has lacked.
The large and musical Wainwright family has had its share of dysfunction. Loudon divorced Rufus' mother, folksinger Kate McGarrigle, when the children were young. Rufus' sister Martha recently wrote a song called "Bloody Mother Fucking Asshole," which she has openly suggested is about her dad. "Dinner at Eight," from Want One, tells of a bitter dispute between Loudon and Rufus over the latter's higher profile.
Still, there is some affection between father and son. While his son was breastfeeding, Loudon penned the lighthearted "Rufus is a Tit Man." (Though the song grew an unintended ironic layer when Rufus turned out to be gay.) Rufus has admitted, in "Want," that he doesn't want to be an iconic songwriter like John Lennon or Leonard Cohen. "I just want to be my dad," he sings, "with a slight sprinkling of my mother." But I think Rufus' version of Loudon's "One Man Guy" best expresses the fragile unity of the gifted, explosive Wainwright clan. It's nice that Rufus recorded his dad's song, but if you look at the lyrics, it's all about the joys of time alone. Ouch.
TODAY'S RECOMMENDATION: "One Man Guy" by Rufus Wainwright
AVAILABLE ON: Poses; iTunes
Monday, June 23, 2008
SHOW BIZ KIDS: All You Need is a Trust Fund
Show business kids
Making movies of themselves
You know they don't give a fuck
About anybody else
-Steely Dan, "Show Biz Kids"
A few years ago, Rolling Stone ran an interesting cover story about the offspring of famous musicians. It detailed the highs and lows, both natural and chemically induced, of life with a rock star parent. Some second-generation pop stars reside in their parents' shadows; others achieve success greater than their celebrated moms and dads. This week we take a look at noteworthy singing scions.
Every Beatle had at least one musical child. Dhani Harrison co-produced his old man's last solo album, James McCartney has earned a couple of co-writing credits with Sir Dad, and Zak Starkey has sufficient chops to drum for the Who and Oasis. Nice work, and they can get it, but the Lennon boys have had it a little rougher. Julian (born 1963, to Cynthia Lennon) barely knew his absent father. Sean (born 1975, to Yoko Ono Lennon) enjoyed John's doting presence, but only until he was five, when John was murdered.
Julian Lennon is best remembered for his hit "Too Late for Goodbyes" and his uncanny vocal resemblance to his father. Half-brother Sean has had a lower-profile but more diverse musical career. In addition to releasing two albums of his own, he's played with the cult alternative band Cibo Matto and hip-hop heroes Jurassic 5. He's also been known to sing his father's songs, which he does beautifully.
Sean's voice is high and thin, sounding like his dad's only when executing a graceful, Lennon-esque vocal turn. He's a natural at crafting melodies, and his second solo album Friendly Fire is a fine collection of bittersweet breakup ballads. So next time you think about badmouthing Yoko, just remember: she managed to raise a surprisingly normal kid in the most tragic of circumstances. You can still badmouth her, though.
TODAY'S RECOMMENDATION: "Parachute" by Sean Lennon
AVAILABLE ON: Friendly Fire; iTunes
Making movies of themselves
You know they don't give a fuck
About anybody else
-Steely Dan, "Show Biz Kids"
A few years ago, Rolling Stone ran an interesting cover story about the offspring of famous musicians. It detailed the highs and lows, both natural and chemically induced, of life with a rock star parent. Some second-generation pop stars reside in their parents' shadows; others achieve success greater than their celebrated moms and dads. This week we take a look at noteworthy singing scions.
Every Beatle had at least one musical child. Dhani Harrison co-produced his old man's last solo album, James McCartney has earned a couple of co-writing credits with Sir Dad, and Zak Starkey has sufficient chops to drum for the Who and Oasis. Nice work, and they can get it, but the Lennon boys have had it a little rougher. Julian (born 1963, to Cynthia Lennon) barely knew his absent father. Sean (born 1975, to Yoko Ono Lennon) enjoyed John's doting presence, but only until he was five, when John was murdered.
Julian Lennon is best remembered for his hit "Too Late for Goodbyes" and his uncanny vocal resemblance to his father. Half-brother Sean has had a lower-profile but more diverse musical career. In addition to releasing two albums of his own, he's played with the cult alternative band Cibo Matto and hip-hop heroes Jurassic 5. He's also been known to sing his father's songs, which he does beautifully.
Sean's voice is high and thin, sounding like his dad's only when executing a graceful, Lennon-esque vocal turn. He's a natural at crafting melodies, and his second solo album Friendly Fire is a fine collection of bittersweet breakup ballads. So next time you think about badmouthing Yoko, just remember: she managed to raise a surprisingly normal kid in the most tragic of circumstances. You can still badmouth her, though.
TODAY'S RECOMMENDATION: "Parachute" by Sean Lennon
AVAILABLE ON: Friendly Fire; iTunes
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