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There are also some missteps: It was not “Don Bolan” whom Bill Anderson credits with “calling me ‘Ol Whisper’” but rather Don Bowman, whose nickname for Anderson evolved into the more memorable “Whisperin’” Bill.
There are at least a few other troublesome aspects to Brown’s book beginning with its “authorized” nature, exemplified by Jake’s conversation with Dallas Davidson. In a brief biographical sketch,Davidson says he owes his career to the actions of an “asshole judge who put me on house arrest,” giving Dallas plenty of time to teach himself guitar after Davidson was convicted of a DUI at about age 23 and, in any case, prior to his arrival in Nashville. But Brown’s publisher did not stop the presses in order to include anything about Dallas’ July, 2014 arrest in Music City on charges of disorderly conduct and public intoxication and any possible connection between Dallas' life (as suggested in a reality TV show) in the interim.
Further, depending on how much time Brown spent with the men he profiled for Nashville Songwriter (No, Music Row’s hit female songwriters did not make the cut), off-the-record asides from Jake’s interview subjects would surely reveal the resentment among hit songwriters whose success in getting their songs cut is tied, they believe, to “collaborating” with country-music artists. The latter, if truth told were told as the narrative goes, contribute very little to the writing sessions other than their physical presence, even as their being grudgingly listed as “co-writers” reduce true songwriters’ royalties.
Finally, citing Davidson’s hit copyrights, such as his performance-oriented Honky Tonk Badonkadonk and Country Girl (Shake It For Me) by example but not limitation, when considering the songs Brown lists as the best of what his interview subjects bring to the table, it is rather sad that, percentage-wise, few of these songs are “classics,” in the sense that we think of the classics of other genres of music or even the top country songs of all time, in that, with notable exceptions (which I won’t name- as Jake does- for fear of starting an argument no music fan can win), they will never be classified as “standards” nor will they otherwise be long-remembered, regardless of how many recording of these “hits” have been sold.
Steadily declining sales of country-music underscore the trend toward disposable music that music fans know, even if the industry is slow to catch on, is the inevitable outcome of pandering to those whom, it is thought, cannot distinguish between art and commerce.
S.E. Feinberg writes about the experience of Writing With P.F. Sloan (as in the book’s first chapter of the same name) by noting that “P.F. Sloan did not want to write this book” (titled after one of Sloan’s songs). Feinberg’s explanation of Sloan’s hesitance mirrors that of any memoir writer faced with the task of authenticity: Everyone has a past and if elements of that past are painful it is more natural to want to bury than to relive them.
the few Jews in his Queens neighborhood, while still a child Philip Gary Schlein, a
pharmacist's son nicknamed
uprooted and perhaps primed
for more cultural shock (despite a surname change to the less-ethnic
Sloan) when his family moved to Los Angeles.
There the "artistic, sensitive kid" relied on his creativity to tackle the "abuse, prejudice and loneliness" he suffered as an adolescent whose work ethic was first honed by taking on such mainstream jobs as babysitter and newspaper salesman.
Indeed, the young man whom Cass Elliot called "precocious" initially sold the Herald Examiner in front of the famous Schwab’s Pharmacy to that subset of customers who included movie stars such as Wallace Berry, Clark Gable and William Holden as well as a James Dean lookalike who bought 50 copies of the day’s edition of the paper (featuring an article on Dean in its entertainment section) from Sloan in a strange encounter that convinced Flip his customer was the actor who tragically died two years before.
After crashing the premiere of Around the World in 80 Days, “the only Jewish thirteen-year-old R & B artist in town,” who began his recording career at age 12, formed a band and began writing songs. Believing he had outgrown one nickname, Phil Sloan as the enterprising polymath preferred to be called, in rapid succession added the titles of music publisher, record producer and head of A & R to his résumé.
Dropping out of California State University following the (John) Kennedy assassination, the piano student who (though obviously uncredited) had already sung Dean Torrence’s parts on the 1963 Jan & Dean hit, Drag City and the Sloan-penned 1964 T.A.M.I Show theme, played his part in accelerating the musical phenomenon that became known as the British invasion (convincing Lou Adler the Beatles’ recordings could not be dismissed as “Two guys doing a bad imitation of the Everly Brothers”).
McGuire, no slouch as a songwriter himself (Barry wrote didn't
like Eve... either
Ironically, McGuire, no slouch as a songwriter himself (Barry wroteGreen Back Dollar and Green Green)
didn't like Eve... either (neither didJohn Lennon and David Crosby, for very different reasons, as Sloan explains elsewhere in this memoir) but McGuire’s recording, with Hal Blaine’s ominous drumming at the outset, changed plans not to release the recording, relegated to a “B” side until a small -town Wisconsin deejay flipped over What’s Exactly the Matter with Me, creating a momentum that resulted, not only in Barry’s having not only a signature hit, but also the dubious distinction of having recorded a protest song with lyrics so inflammatory it was banned in Boston, New York and Chicago.
British tabloids referred to Sloan (who played guitar on California Dreamin’)
as the “Prince of
who, at one point, became the Mamas and the Papas lead
in-studio arranger, also wrote The Turtles’ celebration of
independence, Let Me Be (and
their recording of You Baby), The Grass Roots’ Where
Were You When I
Needed You and
scores of songs he tells the stories behind in a chapter
"The P.F. Sloan Songbook."
all of his
accomplishments, P.F. Sloan was deprived of his earnings and bore the
scars of mental illness. While he names names, he indicates
he has forgiven the white collar music industry thieves that were a
source of his frustration- and explains why and how he is able to do
But Phil Sloan's catharsis is only one selling point of a memoir that, for all Sloan's reluctance to write it, is the best book I've read in 2014- so far.
Small wonder this is an unconventional memoir.
Christened Harold Ray Ragsdale, the oldest of two sons born to Willis Harold and Frances Stephens Ragsdale on January 24, 1939. Unlike José Argüelles, who was born the same day and year, Ray’s birthplace is Clarksdale, Georgia (population 550).
credits Capitol Records’ Ken Nelson with
creating the singer’s
stage name, Ray’s stage surname resulting from a slight change of
spelling of his mother’s maiden name.
As a boy Ray loved playing baseball, like his mill-worker father, but his mother wanted to raise a well-rounded son so her six-year-old’s music education began with piano lessons.
In the years following the birth of Ray’s brother, John on June 30, 1944, the boys’ father reaped the benefits of a post-war economy in the form of a promotion that enabled he, his wife and sons to move to Albany, Georgia where Ray learned to play clarinet, “then tried baritone, trumpet, drums and even tuba” before forming his first band, The Barons.
Ray parlayed his band’s popularity into a job as a cohost of a local radio “record hop” but the high school junior was jolted by news of his dad’s second promotion which meant Ray’s being uprooted once again as he would spend his senior year in the Druid Hills section of Atlanta in a new high school.
Big city life brought new opportunities, such as membership in a high school fraternity. Being a frat boy was not all for the good, however, as Ray learned when he became an accessory to an incident resulting in Ray’s spending a night in the drunk tank when he hadn’t even been drinking!
Meeting Bill Lowery not afterward, Ray received an introduction into the world of publishing and recording; the rest as they is history.
Ray parlayed his alliance with the famed music publisher into session work, both as a musician and producer, attending Georgia State University along the way. As his career expanded, Ray’s personal life was equally successful with the marriage to his first and only wife, Penny, who became the mother of the couple’s two daughters.
On a roll, with a regional hit, and later the first of his national hits behind him, by 1962 Ray called Nashville home. In Music City, Ray got to know and work with many of the big name acts, producers and arrangers.
Since comedy has been so much a part of Stevens’ recording success and his stage performances, readers may be surprised that Ray doesn’t consider himself a comedian.
Rather, Ray has a finger in many pies; not just those detailed above but also, for example, Ray’s carving a spot for himself in Branson, Missouri at a time when his idea to establish and centralize competitive music theatre stages in Nashville was perceived as a threat to Opryland.
After Ray, the beneficiary of Andy Williams’ television audiences and Williams’ record label, landed and had a decent run with his own network TV series, Stevens increased turned his increased visibility into drawing power in Branson, that along with realizing concession profits not even he envisioned.
Ray reveals that among the many offers that came his way was involving an amusement park. Ultimately, Stevens passed on the establishment of Ray Stevens' Fun Land, despite the fact that offer included a guaranteed $1 million dollar each year, Ray would realize simply in exchange for the use of his name.
If you wonder, as this writer does, why Stevens is not (yet) a member of the Country Music Hall of Fame, Stevens doesn’t. He explains: “I’m no more country than Taylor Swift.”
It’s that kind of candor that endears Ray to his legions of fans in his newest capacities: author (with the assistance of C. W. “Buddy” Kalb and Don Cusic) and book publisher.
These chapters close with acknowledgments to special people in Stevens’ life and captioned photo inserts from Ray’s personal collection.
Sales of this hardback ought to justify the issuance of a paperback version of this book and, if that is the case, suggested changes include the unfortunate updating of the reference to Phil Everly (name-checked in the hardback in the present tense) and the corrected spelling of Bob Seger’s surname.
A London-born, Dublin-raised freelance Parisian writer (and now author), Gareth Murphy has documented the history of America’s recording industry including the changes brought on by consolidation and, most recently, technological advantages that have altered the decades-old distribution process to the point of unprecedented industry business model fragmentation.
Behind-the-scenes stories about legendary industry figures and performers alike serve as the backdrop to this chronological tale of luck meeting opportunity, egos oversized and in check and all of the other nuances that make such a treatise entertaining.
Among Murphy’s observations: The Doors’ arrangement resulting in the fact that “Despite the fact that Jim Morrison and Robby Krieger were the main songwriters,” the group’s entire revenue stream- whatever the source- was equally split and “all copyrights were listed in the name of the entire band.”
In another instance, readers can visualize the tension as Murphy describes CSN&Y trying to record amid rivalry between band mates Stephen Stills and Neil Young: “In one recording session, when Stills and Young locked horns over who should play guitar solo, Young had a seizure in the control room.”
Murphy informs readers of an only slightly lower key incident involving Ahmet Ertegun’s perceived snub that resulted in David Geffen forming Asylum Records.
For those who appreciate statistics as much as anecdotes, Murphy offers Tom Silverman’s state of the marketplace; an eye-opener in the form of an acknowledgment that while independent labels now account for 34.5% of all single and album sales combined, indies represent only 10% of commercial radio airplay.
Thus, Silverman says, “There’s a huge discrepancy between what people want to buy and what gets played on radio that can only be explained by a problem in the system.”
Of course, record-buyers and radio’s music listeners noticed this trend long before researchers and other industry “experts,” but that the subject for another book!
In the meantime, Gareth Murphy has fulfilled his mission as a music historian of chronicling the events described in a way that will be of special interest to Nashville’s music industry as he mentions such historically familiar names as Alan Lomax, John Lomax, Mary Martin and an index-full list of big name performers.
In the wake of George Jones’ death, several books have been, or are about to be, published about The Possum.
Of these, Bob Allen’s George Jones: The Life and Times of a Honky Tonk Legend is the first and only paperback to hit bookstores (or, at least, those brick-and-mortar outlets that have survived the age of online book-buying) that is actually a second updated version of an earlier title.
Allen’s original hardcover, titled George Jones: the Saga of an American Singer, was published in 1984. A decade later, George was a little more than a decade into marriage to his fourth wife, the former Nancy Sepulveda. Indications that Nancy was a transformative influence on her husband, so a book publisher was persuaded, suggested a story of unprecedented (for Jones, anyway) stability and sobriety meriting a biographer’s reconsideration.
Two decades thereafter, absent a title change from the 1994 version, a chapter-length (30-page) postscript has been added to what, in its latest incarnation, is a 337-page paperback.
Titled Veneration, the aptly-titled postscript summarizes the last two decades of Jones’ life, recounting the very public funeral that didn’t miss a beat in its glorification of all things posthumously Possum.
While this presumably marks Allen’s final update and revision of his original Jones biography, should time prove otherwise a correction to the postscript is in order: Allen’s recounting of George Jones’ nearly-fatal March, 1999 accident on “Highway 96, just east of Franklin, Tennessee” is placed under “The Franklin County Accident” subject heading.
While there is a Franklin County, Tennessee (and a Carroll County, Tennessee, the inspiration for the title of the Porter Wagoner hit, The Carroll County Accident), the city of Franklin is in Tennessee’s Williamson County.
Despite the a book sprinkled with such names as Sonny James, Gene Autry, Doc & Merle Watson, Emmylou Harris, Kris Kristofferson, Johnny Paycheck, Juice Newton, Lyle Lovett and Chris Hillman,Off My Rocker: One Man's Tasty, Twisted, Star-Studded Quest for Everlasting Music is not a country-music book.
Rather, Kenny Weissberg has produced a coming-of-age music memoir that opens with the then-University of Wisconsin sophomore at the front of the line on December 10, 1967 to buy a $3 ticket for an Otis Redding concert. Redding, of course, never made the 6:30 p.m. concert, perishing when his private plane plunged into a lake three miles from the Madison airport.
Weissberg, a (mostly) nice Jewish Jersey boy, who spent much of the Summer of 1967 as a hospital orderly at Newark's Beth Israel Hospital, would not let his summer job deter the "quasi vegetarian" from journeying to Woodstock where, during the Summer of Love, Kenny was among those who bought a ticket before the music fest was turned into a free-for-all.
introduction to promiscuous sex, illegal drugs (Weissberg got high on
mescaline, his drug of choice) and the new cultural norm of rock 'n'
roll colored Kenny's politics. The sociology major, who was
enjoying his student deferment in 1970, was just short of graduating
college in the Vietnam era when he learned there was no deferring his
delay the indignity but he knew how to fail the physical, rewarded with
the 4-F status he coveted.
The California dreamin' South Orange native was then off to Santa Barbara, with a girlfriend along for the ride. The move was off to a rocky start when, following a traffic stop, Kenny was arrested for predictable reasons and jailed. Subsequently, after he reluctantly plea-bargained, Weissberg was convicted of public intoxication, receiving a suspended sentence and a $250 fine.
Barbara for greener pastures that briefly brought him to Orange,
Boulder, Colorado and Madison, Wisconsin before Kenny returned back
KRNW-FM’s owner, left in the lurch, offered 23-year-old Kenny an air
shift, affording Weissberg the opportunity to play Kenny’s favorites
(ranging from Otis Redding to Kristofferson), from an equally eclectic,
underground radio station collection. Two
weeks later, when Weissberg ’s friend and colleague, Jason Sherman,
told Kenny he was leaving KRNW for a better opportunity at a
Six years later, though still in the “pre-AIDS era of the early 1970s," after adventures including indulgencing in sexual trysts and drugs while on-air and “juggling” his “expansive harem” while in “perpetual coital motion,” Kenny met Helen.
Helen’s adulterous relationship with Weissberg was the impetus for Kenny’s settling down with her.
Professionally, Weissberg's radio career expanded. He was still spinning records, but now, this master of networking was also interviewing artists (including Jim Croce and a drunken, Gram Parsons- accompanied by Emmylou Harris) on his show and even writing record and concert reviews for Denver’s underground newspaper when he wasn’t writing magazine articles, including an assignment from Rolling Stone, notable because it was “bumped.” (Weissberg subsequently achieved greater success as a music critic, writing for a thousand magazine and newspaper reviews for CREEM and 16 other publications) .
1973, Tom Waits was
another of the budding print journalist’s interview subjects and four
years later, when KNRW had
“morphed into” KBCO-FM,
Kenny hosted a
six-hour Sunday evening music/talk show while continuing his print
journalism career as a weekly music columnist for a
By 1978, Weissberg was fronting Kenny and the Kritixs (a gig that lasted three and a half years). As the group's popularity peaked, the experience overlapped a less euphoric period in Kenny's life; Weissberg having “quit or got fired from four part-time jobs in 1980.”
1985, Kenny had
spent time in
1986 Kenny decided to break with an unscrupulous “boss,”
not only his “cocaine binges” but 19 years of illicit drug use. In
returned to radio, this time as the host of music Without
KiFM was sold and Kenny landed at KUPR Radio in
career punctuated by his short radio stints, Kenny began the first
years of the 21st century
absent a part-time
radio job until
Borders… aired on five different
In 2006, having produced, promoted and purchased talent for shows featuring such headliners as Whitney Houston, Emmylou Harris, Ray Charles, Jerry Lee Lewis, Fats Domino, Roy Orbison, Chuck Berry, James Brown and Aretha Franklin, Weissberg ended yet another phase of his multifaceted career (the concert promotion and production portion marred by some admitted “box office chicanery”)with the satisfied realization that his 23-year “career as a concert producer was bookended by Miles Davis and Joan Baez.”
Realizing that “The party is over,” Kenny, “down to a single key to my house and a smart key to my Lexus,” spent the much of 2007 “disoriented.”
Eventually, Kenny resurfaced erratically; first as a music business consultant, then turning down job offers and, as his own boss, when he would so chose, becoming professionally “invisible.”
Having lived to tell the tale, Kenny proceeded to do so and Off My Rocker is the gripping, celebrity-anecdotal result.
Buck ‘Em is being publicized and, in some sectors, reviewed as though it were indeed just that, but the reality is not quite that simple.
Buck wanted to tell his own story in his own words and deliberately set about preparing to write his autobiography over a period of several years by making audio tapes of his memories as they occurred to him. There was also never any doubt that he would work with a collaborator and, over the years, several writers expressed interest in his life story.
Kathryn Burke’s paperback titled The Dust Bowl, The Bakersfield Sound and Buck, touted as authorized biography, was published in 2008, Eileen Sisk notably had Owens’ confidence to a point, but that working relationship disintegrated to the point where Eileen’s massive research revealed such a gap between the facts and Owens’ narrative that, fearing retaliation, Sisk did not feel she could safely publish what became her warts-and-all title Buck Owens: The Biography until Buck’s passing.
Randy Poe got the green light from
Owens’surviving family members because he was ultimately agreeable to a
task more akin to that of a stenographer, under the watchful eye of the Buck Owens Private Foundation, Inc.,
shares the Buck ‘Em copyright
Randy admits to making grammatical changes to his transcriptions of the tapes, as well as a bit of profanity editing. Save for those stylistic quibbles, and a misspelling of Charley Pride’s name, Poe does a great job of organizing Buck Owens’ reminiscences, enlisting additional reflections from Owens’ devotees Brad Paisley (who wrote the foreword) and Dwight Yoakam (who contributed the preface).
Buck ‘Em’s whopping 135 chapters suggest a book much longer than this one’s 333 pages (including a much-appreciated index), but these numerically “titled” excerpts run only a few pages at most in what is largely an episodic presentation punctuated by rare photos, mostly from Buck's and his family’s private collection.
Alvis Edgar Owens, Jr. was a Texas-born sharecropper’s son, fascinated to learn that his mother was older than his father. Buck, who explains the unremarkable derivation of his nickname, came to a darker family-related realization as, one by one, Owens' family members succumbed to various forms of the dreaded disease from which Buck himself was not able to escape: cancer. (Though Owens underwent cancer surgery, Buck's actual cause of death was a heart attack.)
Owens' tapes reflect his feelings about his many professional accomplishments of which his decades’-long recording career (that launched a television career, beginning with local TV appearances leading to a Buck’s hosting the syndicated Buck Owens Ranch show and making appearances on network series that came to the attention of Hee Haw’s producers, who tapped Buck as a natural choice to team with Roy Clark, later joining Clark as a Country Music Hall of Fame inductee) was but one.
Without the benefit of much formal education, Owens took pride in his street smarts and ability to amass a multimillion-dollar fortune as a result of his entrepreneurial skills.
Buck found weaknesses in his recording and TV contracts that he was successfully (an in a few instances unwittingly) able to variously exploit or otherwise negotiate to his benefit.
as a hit songwriter,
entertainer, and philanthropist, Buck was also a music publisher, owner
of radio and TV stations, the owner of
For monogamy, as Buck tells us in his own words, was not his strong suit: “I can safely say that at least ninety percent of the troubles I’ve had in my lifetime had to do with… trying to have too many women at the same time.” It was easier for Owens to demonstrate loyalty toward business associates like his longtime booking agent and manager, Jack McFadden whom Buck championed after Jack, having made big promises, closed the sale, not only by keeping his commitments but also by doing so in a manner exceeding Owens’ expectations.
relationships were with Merle Haggard and Roy Clark. Owens
there were of issues of greater consequence in his relationship with
the Hag than Merle’s marrying Buck’s ex-wife, Bonnie Owens. Similarly,
claims his relationship with
Owens’ strongest personal relationships were reserved for his family of origin, his band leader and lead guitarist Don Rich (lesser-known as a fiddler, Rich was the only one of Buck’s Buckaroos whom Buck regarded as a blood brother) and, to a lesser extent, Owens’ sons, Mike and Buddy.
After Rich’s death, Buck fell into a depression. Owens’ infidelities and attempts at reconciliation proved to be too much for at least one of his wives; after Phyllis’ release from an involuntary commitment to a psychiatric ward, where she landed after a Valium overdose, she wanted out of the marriage.
These lesser-known bits of tabloid fodder preceded a well-publicized year in Buck Owens’ life during which Buck moved in with Jennifer Joyce Smith (whom readers are told was the love of Owens’ life), a few months before marrying Jana Jae, the mother of two.
Then, as always, Buck knew how to extricate himself from the mess he created, though not before his indecisive actions of filing for an annulment from Jana Jae, trying to retract the annulment and then appealing (publicly) for Jana Jae to return to him.
As it happened, Buck won back both Jana Jae and Jennifer Joyce. Two years later Buck married Jennifer and still later they renewed their vows.
Owens’s attempts to settle down seemed to succeed only after he quit recording, touring and writing songs. But an improbable relationship with Dwight Yoakam resurrected Buck's career which he was once again able to enjoy, having reduced the pace, on his own terms.
In many respects, Buck Owens had a hard life. But his talent for excusing himself when the going got rough served him well in the end. He died just as we might all wish to: in his sleep.
For instance, who knew that Rickie Lee Skaggs is the name on the birth certificate of the boy whose misspelled first name was inspired by his mother, Dorothy’s love of the I Love Lucy TV series- and of Dorothy Skaggs’ love of Desi Arnaz’ character, Ricky Ricardo?
A child prodigy, Ricky Skaggs came from a musical family who recognized and encouraged their son’s talent early on. Christianity was also woven into the Skaggs’ family fabric and Ricky became born again at age 13.
Skaggs’ teenage years were highlighted by his meeting Keith Whitley. The boys were close in age and their common interest in, and ability to play and sing, bluegrass became an early lifelong bond for the young collaborators who became friendly rivals.
Ricky reveals that his adolescence was marked by his failure to graduate from high school- Skaggs left school, one credit short of a diploma, to pursue his musical career. During the years that followed, Ricky partook of road life, memorably taking his first drink as a member of Ralph Stanley’s Clinch Mountain Boys band.
The period was also eventful as it marked Ricky’s introduction to The Whites. Though it would be several year before Ricky married into the White family, personally and professionally, Ricky reveals that his future wife, Sharon White’s sister, Cheryl dated Keith Whitley during that time.
the same time
that Ricky was romancing Ralph Stanley’s daughter, Brenda (whom Skaggs
met while performing at a campaign rally when Ralph was running for
that point, Ricky
wanted to earn more money and to move to
Ricky and Brenda married, Brenda continued to work in
Ricky quickly returned to music. He worked as a fiddler with The Country Gentlemen, sat in with The Seldom Scene and did session work before meeting Emmylou Harris (and passing on an offer to play fiddle in Harris' band).
Finally, in 1974, a job offer from J.D. Crowe enabled Ricky to embrace music as an economically-justifiable career when Skaggs became a featured member of Crowe’s band, The New South, singing harmony and playing mandolin for $500/week.
After leaving Crowe’s band, Ricky worked with Boone Creek, leaving Boone Creek when the opportunity arose to replace Rodney Crowell, who was leaving Emmylou Harris’ Hot Band. (Skaggs refused Harris’ first offer because it was for a musician, not a musician and vocalist.)
It was Emmylou Harris who coined the phrase “Picky Ricky” in order to describe what from then on became an oft-quoted, concise summary of Skaggs’ meticulous approach to music.
As Ricky and Brenda became parents, the births of Mandy and Andrew put further strain on family life that was already punctuated by Ricky’s constantly being on the road.
could not be contained even as Ricky’s professional career was taking
off, allowing him to move from the small, Sugar Hill record
label to Epic
major label on
No sooner had Ricky changed labels than Emmylou Harris told her Hot Band they were on their own (as she was electing to prolong her conventional maternity leave to spend more time with her growing family) and Brenda served Ricky with divorce papers..
The product of a family that did not believe in divorce, Ricky Skaggs tried to rationalize that shared value with his reality. His sorrow led him to rekindle his friendship with Sharon White. Sharon, also a Christian who had married and divorced since she and Ricky first got to know each other, began to see Skaggs as more than a friend and, amid the couple’s awareness of its shared background and values, romance was on Ricky’s mind as well.
Ricky and Sharon married and produced a daughter (Molly) and son (Luke) of their own.
As newlyweds, Sharon and Ricky’s new-found happiness was challenged by the news that seven-year-old Andrew Skaggs, a passenger in his mother’s car, had been shot by a trucker in a substance-induced act of road rage.
Ricky Skaggs gives an honest and detailed account of that period in his life, devoting equal attention to the circumstances, and effect, of Keith Whitley’s sudden death.
Along the way, Ricky also formed his own band, Kentucky Thunder.
Readers will be interested in Skaggs’ discussions of his moves between bluegrass and country music and the reaction from his fans as well as the feedback from those Ricky admires. Skaggs is similarly candid about his evangelizing from the stage, the ruckus it that has created, and as a result, Ricky’s attempt to find a balance between what he believes to be his mission and how to best fulfill it.
Eddie Dean’s success in capturing Ricky’s distinct voice wavers a bit in these pages, at times reading like Ricky, at other times reading like Eddie.
Dean also might have also noted- and stylistically remedied- the contradiction in the words Ricky uses to express his love of his mother’s lard-laden fried chicken: “Oh, my Lord, Mama’s fried chicken could bring peace to the Middle East.”
Maybe so, Eddie should have parenthetically noted, but only in the highly unlikely event Israelis abandon the dietary laws.
Further, while Ricky’s narrative about his mostly-successful attempts to avoid temptation while on the road sounds sincere, this book makes no mention of- let alone any effort to perhaps set the record straight about- at least one suggestion to the contrary: a photo (in Phil Kaufman’s 1993 book, Road Mangler Deluxe) of Ricky ogling a nude woman.
There is also Dean’s identification of Oakley Stanley as “Ralph’s first or second cousin.” The precise relationship of Oakley Stanley and Ralph Stanley, if in doubt, could have been easily researched.
But my chief beef with this book is that it has no index.
Hopefully, the paperback version will remedy that.
Book of Facts: 2013 is
the latest annual edition of "
Since 1868, this ready reference has chronicled history, geography, economics, science, education, entertainment, sports and other, sometimes highly statistical, areas of interest to the delight of those ranging from researchers to trivia fans.
In the Internet age, when anyone can post any "information," sourced or not, with a frightening, sometime real, expectation that it will go viral and thus achieve authenticity, it is reassuring to know that, be it in the hardback, paperback or the Kindle edition, The World Almanac® and Book of Facts: 2013 has survived even the demise of bookstores that stocked previous editions.
A section titled Country Music
Artists of the
Past and Present will be of special interest to country-music fans who
will be interested to know if their favorite(s) made senior Sarah
Janssen's uncharacteristically subject list that ranges from A (as in Roy Acuff) to Z (as in Zac Brown Band). The
Acuff entry includes
the dates of
Another section devoted to televised awards shows by no means lists them all. In fact, of all the exclusively country music awards shows, the only televised production that made the cut was the 2012 Academy of Country Music Awards (ACM).for 2012
There's also the perennial issue of what is left out. The Farewell section (which acknowledges Kitty Wells' passing) includes the mention and photos of only 23 other celebrities who died in 2012. If there had not been such a rush to make the December 4, 2012 publication perhaps the Christmas Eve deaths of Jack Klugman and Charles Durning, as well as other celebrities who died in December, 2012, would also have been noted in this evidently exclusive list.)
(Can you spell space limitations? After all, the paperback edition runs 1,008 pages!
For a project that, by definition, will never be all things to all people, year in and year out, The World Almanac® and Book of Facts... does an impressive job. Any area of interest I do not readily find by simply flipping through the pages, if it is included, will be easily found by utilizing this reference's impressive index. (Compiling a readily searchable index, especially for a project of this size, is a monumental task; one reason, to the consternation of book readers and especially book reviewers, many publishers abandon these often expensive- if compiled correctly- assists altogether.)
As I get older, the The World Almanac® and Book of Facts...' print seems to get smaller. But if Baby Boomers don't mind springing for a magnifying glass, reading glasses or the like, they won't find a resource with which to entertain themselves and/or to impress their family and friends.
Luck or Something Like It: A Memoir is the autobiography
(rather than a memoir) Kenny
Rogers says that, in the course of committing himself to his
previously-published books, Kenny resisted offers to write for years.
Unfortunately, the book suffers from that assembly line approach.
When the book’s first ghostwriter, Patsi Bale Cox died, literary agent Mel Berger, working with Kenny’s friend, writer Kelly Junkermann (co-author of Kenny’s book, The Toy Shoppe) and editor Lisa Sharkey, “found a guy named Allen Rucker” to complete the book. Reviews of Cox’s previous books noted that she was error-prone (Tanya Tucker’s autobiography was a prime example) and given to falling short of a ghostwriter’s biggest challenge: to write in the “voice” of her/his subject (Loretta Lynn’s “voice” is uniquely the singer’s own). Rucker’s previous work (most demonstrably portions of Gretchen Wilson’s autobiography) is notable for Allen’s lack of curiosity and/or inability to ask the natural follow-up question.
The limitations of both ghostwriters’ work are evident in Kenny Rogers’ latest book (Check out the butchered spelling of veteran record label promotions director and sales executive Frank Leffel’s surname), though it should be equally emphasized that the two have done an impressive job of including so much material about their subject in a mere 294 pages; and that doesn’t even include the accompanying eight pages of photos (some of which are from Junkermann’s, Rogers’ and his sister’s personal collections.)
For his part, Kenny is effusive in his praise of both Patsi and Allen and the transition from one ghost to the other is seamless. However, the first clue that this book is not what it should be comes with a glance at the cover art and dedication (more about those in due course).
In the hands of an author such as myself, (i.e., one who also reviews books and who has been published by HarperCollins’ Collins Books imprint), the contract would have mandated that this HarperCollins’ William Morrow imprint include an index.
An index is imperative when keeping track of Kenny Rogers’ various recordings, family members, famous friends, escape from imminent bankruptcy, travels and busy career as an actor, singer, songwriter, sports enthusiast, raconteur, restaurateur and philanthropist.
spite of such
Kenny’s candor in sharing details of his hardscrabble childhood, adolescence (which included an arrest for joyriding) and strained relationship with his alcoholic father (whose personality, his son emphasizes, was anything but one-dimensional) make for an interesting read as does Rogers' early professional work as a rock, jazz and folk singer and musician.
instance, Kenny’s earliest rock group, The Scholars’ experiences
playing clubs included a pre-Kennedy assassination stint at one of the
multi-matrimonial adventures began with a brief, shotgun marriage to
Janice Wray, the mother of
This book's dedication, which includes the names of Kenny's other children, omits that of his only daughter. While there is no direct explanation for the omission, readers are informed that, following Kenny’s divorce from Janice and Wray’s remarriage, Rogers reluctantly agreed to allow Janice’s new husband to adopt Carole. While Kenny says he allowed himself to be convinced that the adoption and, going forward, his absence from his daughter’s life, were in Carole’s best interest, any connecting of the dots rings hollow.
If, despite Rogers’ paying $80/week in child support payments, Kenny’s visitation with Carole was limited to only a couple of hours per week, as People magazine indicated in an article published in 1980 (in which it was also stated that, after visiting the-then 22-year-old Carole only once in 15 years, Kenny attempted a 1979 reconciliation by flying “Carole and her mother in for a visit and a Hawaiian vacation,”) then the failure to mention Carole (with whom, to his day, Kenny says he has “never bonded”), when given such a great opportunity over three decades later to extend yet another olive branch, speaks volumes.
In the hands of a more inquisitive ghost, there would have been followup questions, providing (greater) context, to such statements in the book as Kenny's indicating that he dated Anita Bryant and that, later in life, he was a pallbearer at Vincente Minnelli’s funeral.
would also have corrected
is hardest on his third wife, Margo.
As Kenny’s first three marriages are chronicled, so are his professional accomplishments to that point. Briefly a college student, who was more interested in playing jazz with the Bobby Doyle Three, Rogers went on to be mentored by the leader of the Kirby Stone Four before finding folk fame with the New Christy Minstrels.
Most impressively, Kenny explains his next musical transformation, that of an aging rocker who found unlikely acceptance as the lead singer of the First Edition. Sporting rose-tinted glasses, a gold earring and long hair, Kenny details his First Edition years in greater detail than he volunteers the less pleasant aspects of his life.
the group’s early signature song, Mickey Newbury’s psychedelic Just
Dropped In was
first “promised” to
Sammy Davis, Jr.
Kenny does not mention, let alone explain the reason for, The First
Edition being subsequently known and billed as Kenny Rogers &
First Edition (perhaps
modestly assuming it is obvious),
Readers learn that when Thelma left the group, Karen Carpenter was among the singers who auditioned to replace Comacho. While First Edition fans may know that Thelma’s replacement was Mary Arnold, they may not have known until now that Kenny introduced Mary to her future husband, Roger Miller.
some detail that he also separately introduced The First Edition to
both a rather rude Tom Jones and to “Ringo Starr’s
the element of “luck” referenced in the title certainly applies to this
bit of trivia: Johnny Cash’s recorded Don Schlitz’ The
Kenny did and, as
short of a
decade since its formation, with only a few changes in personnel in
between, Kenny Rogers & the First Edition disbanded. At
Kenny’s road from jazz to folk to rock took him
admittedly jumped aboard the country-music bandwagon, Kenny continued
to be managed by Ken Kragen, though only after a deal that
did help Kenny
find backup musicians, but
Kenny tried to
musically reinvent himself, he had a stroke of luck when Ken Kragen
booked him on Hee-Haw. On
the set of the TV series,
Predictably, Marianne became Kenny’s fourth wife and the mother of their son, Christopher.
attention to detail is evidenced in a Jerry Seinfeld anecdote. After
tale Kenny indicates that “Someday I would honestly love to hear his
side of the story.” Of
Likewise, if Kenny Rogers Roasters was more than a footnote in the expansion of Rogers’ business interests, as would seem to be the case given the pulling out all of the stops level of promotion the restaurant chain received from Kenny at the time of its launch, the period of Rogers’ involvement with the business deserves more then the passing mention it gets here.
partnerships with Kim Carnes, Dolly Parton, Sheena Easton and even Suzy
Bogguss are detailed here. as is Kenny’s acting career. The
Luck struck again when, after The Commodores passed on the unfinished version of Lionel Richie’s Lady, Rogers encouragement led to Richie’s not only completing the song, but in Lady becoming yet another #1 hit for Kenny.
There are great stories here about those who have underestimated Rogers, including an otherwise unnamed RCA Records head honcho (presumably Bob Fead), as well as an amusing story about Kenny's level of success convincing him that he needed an entourage.
This, of course, is not Kenny Rogers' first book. One of several others, Making It With Music, which contained elements of autobiography, was the book Rogers once said would suffice as his life story. But it's not that book, nor Kenny's cookbook, but rather his photography books, notably, Your Friends and Mine, Rogers’ coffee table book of celebrity photos, about which Kenny is seemingly the most proud. For the singer's photography books are another lucky byproduct of Kenny’s passion for photography.
Additionally, while airbrushed celebrity photos are so common they are seldom any longer noted, in light of the disastrous results of Kenny’s surgery, it seems ironic that not only is Kelly Junkermann’s cover photo of Rogers airbrushed- the apparently decades-old photo isn’t even “pre-plastic surgery” recent!
insight into the reasons for his divorce from fourth wife, Marianne
other than an obvious trigger in the form of the phone sex scandal that