Watermelon Wine
Remembering the Golden Years of Country Music
25th Anniversary Edition
Frye Gaillard
Introduction and Listeners’ Guide
by Peter Cooper
NewSouth Books
Montgomery
Also by Frye Gaillard
Non-Fiction
Race, Rock & Religion: Profiles from a Southern Journalist
The Catawba River (with Dot Jackson and Don Sturkey)
The Unfinished Presidency: Essays on Jimmy Carter
The Dream Long Deferred: A Community’s Quest for Desegregation
Southern Voices: Profiles and Other Stories
Kyle at 200 MPH: A Sizzling Season in the Petty/NASCAR Dynasty
Lessons from the Big House: One Family’s Passage through the History of the South
The Way We See It (with Rachel Gaillard)
If I Were a Carpenter: Twenty Years of Habitat for Humanity
The Heart of Dixie: Southern Rebels, Renegades and Heroes
Voices from the Attic
Mobile and the Eastern Shore (with Nancy Gaillard and Tracy Gaillard)
As Long As the Waters Flow: Native Americans in the South and East
The 521 All-Stars: A Championship Story of Baseball and Community
The Greensboro Four: Civil Rights Pioneers
Cradle of Freedom: Alabama and the Movement That Changed America
The Books That Mattered: A Reader’s Memoir
Fiction
The Secret Diary of Mikhail Gorbachev
Children’s
Spacechimp (with Melinda Farbman)
Anthologies
No Hiding Place: Uncovering the Legacy of Charlotte Area Writers (Co-edited with Amy Rogers and Robert Inman)
Novello: Ten Years of Great American Writing (Co-edited with Amy Rogers and Robert Inman)
NewSouth Books
105 S. Court Street
Montgomery, AL 36104
Copyright 2013 by Frye Gaillard, Introduction and Listener’s Guide copyright © 2004 by Peter Cooper. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by NewSouth Books, a division of NewSouth, Inc., Montgomery, Alabama.
ISBN: 978-1-58838-160-6
eBook ISBN: 978-1-60306-349-4
Library of Congress Control Number: 2004021676
Visit www.newsouthbooks.com
This book is adapted from an edition originally published in 1978 by St. Martin’s Press, with ISBN 0-31285-697-0.
Note: For the first edition of Watermelon Wine, song publishers granted permission to quote song lyrics in full. In this edition, no more than two lines of any songs have been quoted (except in the case of Si Kahn’s “Moose Lodge”) in order to comply with fair use interpretations of the U.S. Copyright Law: i.e., “. . . quotation of excerpts in a review or criticism for purposes of illustration or comment; quotation of short passages in a scholarly . . . work, for illustration or clarification of the author’s observations . . .”
To Nancy, Rachel, Tracy, and Chris
Contents
Introduction
1 - Commercializing the Heritage: The Grand Ole Opry
2 - The Tradition-Minded Rebels: Hank Williams, Waylon Jennings, & Tompall Glaser
3 - The Estrangement of Country & Folk: Losing Sight of the Common Ground
4 - Johnny Cash: Putting the Traditions Back Together
5 - In the Wake of Johnny Cash: New Writers & New Ideas
6 - Black, Blues, & Country
7 - Loretta & the Pill: The Changing Relationships Between Men & Women
8 - God, the Gospel, & Country Music
9 - Putting the Audiences Back Together: Willie & God & the Austin Sound
10 - Southern Rock: The New Good Ole Boys
11 - Back to Nashville: Commercialism & Creativity
12 - Vince
2004 Epilogue: The Nineties and Beyond
Listeners’ Guide
Index
About the Author
Introduction
Peter Cooper
Ask around Nashville today, and you won’t find many people—musicians or civilians—who recall much about the first pressing of Frye Gaillard’s Watermelon Wine: The Spirit of Country Music, as the book was first known.
Widely acclaimed in 1978, but soon thereafter remaindered and gone, the book’s commercial life was a lot like the careers of numerous troubadours whose experiences disprove one of Nashville’s central myths: “Great singers, great pickers and great songs can only stay beneath the surface for so long.” It’s a Music Row mantra, but it’s also a lie. Twenty five years after Watermelon Wine’s initial publishing, a roll call of Nashville’s finest would include Kevin Gordon, Mack Starks, Jeff Skorik, Gwil Owen, Amy Rigby, Tom House, Richard Ferreira, Tommy Womack, and Lonsome Bob Chaney. These are writers of consciousness-bending songs. And, more often than not, these are people with day jobs.
I moved here at the turning of the century, and became quickly amazed at the circumstances through which one might meet his heroes. There was Rodney Crowell, sitting in a coffee shop. There was John Prine, hanging out at Brown’s Diner. There was David Halley—a Texas-reared songsmith whose “Rain Just Falls” song first stunned me when I heard him perform it from the grand stage at San Francisco’s Fillmore Auditorium—drilling holes into my dining room wall, then affixing a shelf he’d built.
The good guys still win occasionally, but at best the music business is a crap shoot, with dice both scuffed and suspect.
“I went to see one of my favorite singer/songwriters last night,” reported Amy Rigby, who found herself temping at Vanderbilt Medical Center and pouring Coca-Cola’s at Bobbie’s Dairy Dip several annums after she’d been named Spin magazine’s songwriter of the year. “A quarter of the audience was drunk, while the other three of us were working on it.”
All this is to say that, in a way, Frye Gaillard got some things—well, something—wrong. Sure, Watermelon Wine stands with Peter Guralnick’s Lost Highways and other master-works as a vivid, incisive and compelling book about the purveyors of American roots-and-twang. In that sense, the whole thing was a stunning success. It wasn’t Gaillard’s reporting or his writing (“It was a rainy Nashville night, the dregs of winter, as Vince Matthews and his Budweiser stumbled down a back-alley stairway and ducked into the automobile of a friend”) that we may now call into question. No, the trouble was his prognostication.
Gaillard, after all, was both a perceptive reporter and a hopeful proponent. At book’s close, he was writing about Vince Matthews—the same Vince Matthews of whom most new-millenium observers have never heard—when he concluded the tome with, “As he grinned and went trudging off into the Nashville rain, humming off-key and wobbling toward the fog-shrouded honky-tonk, you had the feeling, somehow, that country music just might survive its current bout with success.”
The problem is that the kind of country music Frye was describing didn’t survive. It shifted into gross and glossy self-parody with the Urban Cowboy scene of the early 1980s, and by the time a hopeful Neo-Traditionalist movement began a few years’ later, some of the greatest pickers and singers had fallen by the wayside. Johnny Cash’s country chart run was over, as was the great Tom T. Hall’s, and Kristofferson was just another Hollywood actor.
It’s not that the good stuff was all gone, for brilliance is still regularly achieved by the best of Nashville’s musicians. It’s just that the mainstream has grown more timid, and the kinds of idiosyncratic so
ngs Frye spotlighted in his book (Guy Clark’s “Instant Coffee Blues,” Waylon Jennings’ “Are You Sure Hank Done It This Way,” Charlie Daniels’ “Long Haired Country Boy,” etc.) don’t do so well in demographics testing. Like political frontrunners in the last week of a campaign, many country performers are concerned with keeping their hard-earned, well-stocked apple carts from being upset. Only a few of the most famous, most secure performers (Alan Jackson and The Dixie Chicks come immediately to mind) dare take chances with material that challenges listeners in meaningful ways. A challenge can be a hassle, and a hassle can lose a fickle fan.
The safety-first ethic applies to realms beyond song-choice, as well. One notable aspect of Watermelon Wine is that the people Gaillard interviewed spoke their mind on subjects including race, politics and musical tastes. It’s difficult to imagine a modern-day country star speaking as Charlie Daniels did in Frye’s book: “We don’t have to worry about nobody knowing that we drink or smoke dope. I don’t give a fuck, you know? The kind of people we appeal to don’t give a damn. I ain’t worried about the Baptists banning us, because they don’t come to see us anyway. We’re kind of a hard-livin’ bunch of people.” In fact, it’s nearly impossible to imagine Charlie Daniels himself speaking that way, anymore.
That’s not to say that today’s Nashville would be better off if Alan Jackson developed a drug habit, but it is to say that there’s now an insistence that country stars’ images be as airbrushed as their publicity photos. Save for a few unrepentants like Willie Nelson and Guy Clark, most of the circa-1970s icons have taken a cue from Hank Williams Jr.’s “All My Rowdy Friends Have Settled Down,” in which “Corn bread and iced tea took the place of pills and 90 Proof/ And it seems like none of us do things quite like we used to do.”
“It’s outdated,” Frye once said of Watermelon Wine. “So much of what I was writing about is just not there anymore.”
Hindsight shows us that’s exactly what makes this book so important. At some point—not many years after its publication—Watermelon Wine concluded its service as a penetrating commentary and began a second life as a history book.
It is, thankfully, the best and most enjoyable kind of history book: one that captures the oddity and the importance of a time now past. The fact that the time in question—the early to middle 1970s—has been under-studied in most country music texts makes Gaillard’s depictions all the more significant.
The “Outlaw Movement” ushered in by Willie Nelson, Waylon Jennings, Tompall Glaser and others has been more-or-less suitably chronicled, but the years that preceded (in fact, that enabled) the Outlaw boom are often under-played. Artists like Mickey Newbury, Tom T. Hall, and Kris Kristofferson—men whose lives and songs actively belied every wrong-headed characterization of country music as a musically homogenous, lyrically unsophisticated, politically conservative, culturally bereft folly of the Dixie-fried proletariat—transformed Nashville music. In Gaillard’s pages, these men are portrayed as people nearly as colorful and conflicted as their songs’ characters.
“Because of the pressure of Kris Kristofferson, Tom T. Hall, Shel Silverstein, Johnny Cash, and a few dozen more, the early seventies were a watershed era for strong country music,” Frye wrote. “Interspersed among the usual commercial pap were countless songs of hope and tragedy—of human, hard-living people grappling with nearly everything life can throw at you. There were songs of soldiers and winos, street singers and prostitutes, divorced daddies and homesick drifters, prodigal sons and unwed mothers. And there was even a Shel Silverstein opus entitled “Rosalie’s Good Eats Café,” which managed in the course of eight soul-racking minutes to be about nearly all of those things.”
The book first captured me in 1988, when I was a college freshman in Upstate South Carolina. The Wofford College library’s copy of Watermelon Wine was (probably still is) plain and blue, as its dust jacket had been separated from the book proper. Familiar with the Tom T. Hall song from which the title is taken (“Old Dogs, Children, and Watermelon Wine”), I checked the book out, took it back to my dorm room and proceeded to ignore whatever work it was that my professors intended me to do that night.
The thing is, I knew of Nashville. But I had never imagined Frye Gaillard’s Nashville. Here was a place where Kris Kristofferson used voice and rhyme to blow away an all-star crew assembled in Joni Mitchell’s motel room. Here was a place where Johnny Cash and Earl Scruggs teamed with Bob Dylan and Joan Baez to usher in a Southland folk boom. Here was Tootsie’s Orchid Lounge, where a waitress spills beer all over a high-powered newspaper editor’s lap, then asks, none too worriedly, “Oops, did I get it on your dick?”
And here, in Frye Gaillard, was a writer who could understand why Johnny Russell could sing a powerful story of interracial companionship called “Catfish John” one moment, and a barroom anthem like “Red Necks, White Socks and Blue Ribbon Beer” the next. More importantly, here was a writer who understood why both songs are on-target explications that simultaneously drew from and spoke to the Southern experience.
When he wrote Watermelon Wine, Gaillard was a general assignment reporter for the Charlotte Observer. But he’d logged significant time in Nashville, having attended college at Vanderbilt University in the 1960s and having returned to Music City to write for the Associated Press and, later, for a journal called The Race Relations Reporter. I’ve never asked him about this, but I’d imagine that he was drawn to Nashville in large part because it was the last town where the poets and the honky-tonkers were one and the same.
It was also a place where popular culture had been integrated on the sly, long before anyone held a march or a sit-in: while country music seemed a “For white folks, by white folks” kind of thing, Watermelon Wine makes clear the extent to which the blues are an essential underpinning of Nashville’s sounds. That may not have been a universally acknowledged truth in 1978, but it was nonetheless the truth. As Hank Jr. often says, if you take away the blues from his famous father, you have no famous father to talk about.
“Country was the music of the redneck soul,” Frye wrote. “And though the hopes and failures that gave it is power were inescapably intertwined with those that nourished the blues, the entire history of the South—at least until very recently—has been an attempt to deny that fact.”
A quarter century later, no one is denying the blues’ impact on other forms of music. Lots of musicians and producers are, however, working hard at diluting that impact. The dose of blues and Southern Soul that empowered Hank Sr., Kristofferson, Waylon Jennings, and so many others is now administered in portions small enough to be safe for public consumption.
Hank’s anguish has largely been replaced by a bland sterility, as radio stations have determined that genuine sadness and heartache can inspire some of the listening audience to change the channel, while “Eagles-lite,” white bread mediocrity generally keeps people bored but present. Author Bruce Feiler wrote about this in an excellent book called Dreaming Out Loud, and it’s all terribly scientific and terribly disturbing. Radio programmers operate under the theory that music that inspires people to think or feel deeply is bad for business.
The goal is to make advertisers happy, and the way to make advertisers happy is to keep people listening up to, through and after the commercials. So now the songs are produced to sound like the Chevy truck commercials, which are produced to sound like the songs. If a “10” is inspiring and a “0” is “horrible,” programmers now shoot for a “5.” Thus, the Number One song in the country music nation may be thought of as the single most mediocre country song on the market. Such is the modern state of the mainstream.
And so it is that each morning in Nashville, the most successful songwriters attend pre-scheduled appointments with others of the most successful songwriters, churn out material until everyone is happy, tired or somewhat satisfied with the results, then head off somewhere for lunch. The more writers per song, the more publishers per song, the
more people will be pushing the song for inclusion on a major label album.
Nowadays, few writers attempt to get by as one hundred percenters, those adventurous people who still set out to write songs by themselves. Jamie O’Hara, who wrote a staggering song called “50,000 Names” that George Jones recorded, Jim Lauderdale (“You Don’t Seem To Miss Me,” “Where the Sidewalk Ends”), and Dixie Chicks’ favorite Darrell Scott (“Long Time Gone,” “Heartbreak Town”) are a couple of the exceptions. And in an affront to the conventional wisdom of the radio programmers, it’s worth noting that Alan Jackson’s albums have grown in sales and in critical acclaim as Jackson began writing the bulk of his songs by himself.
That’s not to say that good or great songs aren’t sometimes written by more than one person, or that the three-heads-are-better-than-one theory cannot ever be correct. But songwriting by committee is most often like doing anything else by committee, in that the brashest, edgiest notions are usually the first to be dismissed. There is now a glut of pretty good office-written country songs, and a dearth of truly great material to emanate from the system. Many of the compositions that drew Frye Gaillard to country music—Johnny Cash’s “San Quentin,” John Hartford’s “Gentle on My Mind,” Billy Joe Shaver’s “Ride Me Down Easy,” Loretta Lynn’s “Don’t Come Home a’Drinkin’,” or Vince Matthews’ “This Is My Year For Mexico”are one-person jobs that could only have suffered from the modifications of others.
Of the changes that have taken place in country music, some are lamentable, most were inevitable and few are correctable. Time marches like a pill-fueled foot soldier, and time capsules like Watermelon Wine may be studied, marveled and commended, but never used for transport.
Fewer and fewer of the book’s main players are left to tell the old stories and carry on the old ethics. Sam McGee, Maybelle Carter, Minnie Pearl, Tootsie Bess, Waylon Jennings, Mickey Newbury, John Hartford, DeFord Bailey, Johnny Russell, Conway Twitty, Shel Silverstein, Ray Charles, Vince Matthews, Johnny Cash, and Chet Atkins comprise a partial list of the now departed.
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