It was mid-October 1988. Nashville was a dump. Boarded-up, lower broadway had more sex-shops and massage parlors than live music venues.
It was my first time in Music City USA and after attending the CMA Awards as a journalist, all I wanted, besides making contacts with record label promo-heads, was to see some decent live music. Both tasks were quite fruitless. What I had envisioned as a "Sing Me Back Home"-journey, was rather tone-deaf. Even so in the middle of "Music Row," I stayed mostly in my room at the old Shoney's Inn on Demonbreun, watching stupid game shows on TV and trying to order mail-order greatest hits compilations hawked off during the commercials. But my - at that time Swiss zip code - just wouldn't work either. The only highlight was a visit down the street by Step One Records and its founder Ray Pennington. He, the writer of "I'm A Ramblin' Man" didn't only load me up with the newest releases (Ray Price, Buddy Emmons, Curtis Potter, etc.) from the label, but also suggested to go and visit the by now legendary Bluebird Cafe.
A short cab ride passing all the music-publishing offices on 17th street and then 21st street took me to the half-empty place. Some people were already playing and I took a seat at the small bar towards the back. There was a guy already sitting there and we started some small talk which quickly evolved into a "change-the-world" conversation, including politics, Nashville, Europe, and general wisdom, mostly ignoring the pickers in the circle.
Then we were suddenly interrupted, one of the pickers in the circle, rose his voice and announced special guest, John Prine. The buddy I talked to for the last or so hour, turned to me, told me he that he will be right, so we can finish our conversation and stepped up on stage and started playing. After a short set of about six songs, he came back to the bar, grabbed the same chair and sat down. I felt bad and apologized for not recognizing him earlier, his last album "GERMAN AFTERNOONS" didn't really have a portrait-cover and he brushed it away: "Instead of having a meaningful conversation, you probably would have asked me stuff about me, my career and songs or songwriting, like this I had a really pleasurable night."
Sure our conversation drifted for a short while to his career, he asked me for a card, so I could promote his new album "JOHN PRINE LIVE" on the radio, but we soon found ourselves talking about the world. We were the last ones, besides the working crew to leave the Bluebird and this evening by happenstance became one of my favorite memories. Needless to say that when I arrived back in Switzerland after staying a week in Texas, I had a package from "Oh Boy" records in my mailbox, even with a zip code that worked. I probably could have written a more in-depth retrospective of his music, his career, and his genial writing, but other people have already done that way better than me - one of the best obituaries is by Holly Gleason.
So, John, tonight have a cocktail, start your band and please play one for my friend Mike, who preceded you, just a week ago. As a Vietnam vet, he was a huge fan of yours and we often listened to your songs either at the bar or while we were doing chores around the house.
I met Holly Dunn in the early 90s, after a concert, where she was opening for Charlie Rich at the legendary Austin Opry House. Standing around, outside the tour bus and being joined by a young Paula Nelson (Willie's daughter) the three of us shot the breeze and exchanged stories.
Even though I knew since March that she was diagnosed with a rare, very malicious form of ovarian cancer, her passing took me rather by surprise. Holly was only 59 years old and spent the last decade or so, in New Mexico, where she painted as an artist and where she passed away on Monday (11/14).
During our conversation over 20 years ago, she told me how she wrote her signature song, which started her career, "Daddy's Hands" for her father, a minister, as a father's day gift. Even though the song "only" reached #7 in the Country Charts in November of 1986, she was nominated for two Grammys (Best Country Song & Best Country Vocal Performance, Female) because of it. An earlier version was recorded by family trio The Whites in 85. In April of '87 she was crowned "Top New Female Vocalist 1986" by the Academy of Country Music and in October of the same year won the Horizon Award by the Country Music Association.
Daddy's hands were soft and kind when I was cryin'
Daddy's hands were hard as steel when I'd done wrong
Daddy's hands weren't always gentle but I've come to understand
There was always love in daddy's hands
Holly Suzette Dunn, born in San Antonio, on August 22nd, 1957 also told me, that their house was always open, with different musicians often coming by for a visit - Sonny James, Roy Orbison, Porter Wagoner - I recall her even telling Paula, that a young Willie used to show up too. But besides all the country music influences, she mentioned James Taylor, Carole King, The Beatles, and Barbara Streisand as influential to her music, and yes music was encouraged. Dunn already had a band during her high school years, called Freedom Folk. According to the "All Music Guide to Country," Freedom Folk was selected to represent Texas at the bicentennial celebration in 1976 at the White House. During her years at Abilene Christian University, she was also part of the USO-touring choir, the Hilltop Singers.
Move to Nashville & MTM years
Still in college, "Out of Sight, Not Out of Mind," a song she had written with her brother, Chris Waters was recorded by Cristy Lane on her "Love Lies" album. After graduating Holly decided to move to Nashville. Besides odd side jobs, she started singing demos and later writing songs for the same publisher, CBS Songs, as Chris. One of her songs, she co-wrote with her brother and Tom Shapiro, "I'm Not Through Loving You Yet" became a Top Ten Hit for Louise Mandrell, others were recorded by Marie Osmond, Sylvia, and lesser-known artists, some from Sweden and Canada. Often singing the demos, the trio wrote, Holly was still hoping for a singing career on her own.
In 1984 she got signed by Tommy West to MTM Records and released her debut "HOLLY DUNN" a year later - her first single (not available on any album) "Playing For Keeps" (Dunn, Waters, Shapiro) with a pop new-wave arrangement, stalled at #62 of the country charts, two other singles "My Heart Holds On" (#64 Hugh Prestwood) and "Two Too Many" (#39 Dunn) didn't leave much of an impact and then "Daddy's Hands" was released and gave her a first Top Ten Hit. In January of '87 a duet with Michael Martin Murphey, "A Face In The Crowd" (Karen Staley, Gary Harrison) from his "AMERICANA" album was released and not only gave her another Top Five hit (#4) but also another Grammy nomination in the duet category, which they both lost to Ronnie Milsap and Kenny Rogers.
Her second album "CORNERSTONE" gave her the Top Ten Singles "Love Someone Like Me" (Radney Foster, Dunn #2), "Only When I Love" (Waters, Shapiro, Dunn #4) and "Strangers Again" (Waters, Dunn #7). Her third and last album for MTM, the self-produced (with Waters & Warren Peterson) "ACROSS THE RIO GRANDE" had the hits "That's What Your Love Does To Me" (Chick Rains, Bill Caswell #5) and "(It's Always Gonna Be) Someday" (Waters, Shapiro, Dunn #11). After that parent company, MTM Enterprises was sold to a British TV conglomerate with the record label part being spun off, acquired, and embedded into RCA.
In 1989 Holly Dunn was added as a regular cast member of the Grand Ole Opry during the Opry's 64th birthday celebration.
Warner Brothers years
Being picked up by Warner Bros, with her old catalog going there too, Holly was able to finally celebrate her two #1 singles “Are You Ever Gonna Love Me” (8/26/89 - Dunn, Shapiro, Waters) and “You Really Had Me Going” (11/17/90 - Dunn, Shapiro, Waters) from "THE BLUE ROSE OF TEXAS" and "HEART FULL OF LOVE" respectively. "BLUE ROSE" also had the Joe Diffie (w/Lonnie Wilson, Wayne Perry) penned "There Goes My Heart Again" which hit the Top Five (#4) and on which Diffie sang background vocals. Dolly Parton did the same on her cover of "Must Of All, Why." The self-penned "Anniversary For Being A Fool" stalled at #63. while the title track of "HEART", a Kostas composition, reached the Top Twenty (#19), It was Holly's last Top Twenty hit.
A duet she recorded with Kenny Rogers "Maybe" (Bill Rice, M. Sharon Rice) from his album "SOMETHING INSIDE SO STRONG" reached #25 in 1990.
With her career stalling, Warner Bros. decided to release "MILESTONES," a Greatest Hits compilation, combining her hits for MTM, with her chart singles for Warner Brothers. Talking about bad timing, the self-written single out of the collection, "Maybe I Mean Yes" came out right at the wrong time, when the subject of date rape and the outcry "No Means No" were gaining traction due to some prominent lawsuits. With its refrain stating "When I say no, I mean maybe, or maybe I mean yes" it caused controversy. The label and Holly had to pull the single of the radio market after it reached #48. Another single from the album, written by brother Chris "No One Takes The Train Anymore" failed to chart.
The last album for Warner Brothers, "GETTING IT DUNN" was released in June of 1992. Instead of co-producing, brother Chris Waters was replaced by guitarist/producer Paul Worley (later of Martina McBride, Dixie Chicks & Lady Antebellum fame). But none of the three singles "No Love Have I" (Mel Tillis #67), "As Long As You Belong To Me" (Dunn, Waters, Shapiro #68), and "Golden Years" (Sam Hogin, Gretchen Peters #51) cracked the Top 40 anymore, and Holly Dunn was let go.
In 1995 Dunn signed with River North Records and released "LIFE AND LOVE AND ALL THE STAGES" which yielded her last single cracking the charts "I Am Who I Am" (Dunn, Waters, Shapiro #56). "LEAVE ON BRIDGE STANDING" followed two years later and by that time Dunn had joined WWWW (W4 Country) in Detroit as morning disk-jockey co-host. 2001/02 she worked for The Nashville Network (TNN) sitting in for Bill Anderson on "Opry Backstage." In 2003 Dunn released a gospel album "FULL CIRCLE" for OMS and her own company Holly Dunn Enterprises. She also announced her retirement from the music business
“I left the business because it was clear that radio had moved on and wasn’t interested in anything new from me. Without radio’s support, it just gets harder and harder to keep the wheels turning in a music career. Hit records are the engine that drives the train,”
Dunn explained to Christian magazine "Hallels" in June. Her move to Central Texas and later to Albuquerque also got her expunged from the cast of the Grand Ole Opry, a move criticized by many fans. In an interview with "the 9513" blog, Holly Dunn was quoted:
"I knew they’d been adding people since I left. But it hurt. Because I loved the Opry. And I still love the Opry."
Living in New Mexico, she started to paint, inspired by her surroundings either the Southwest or her home state, Texas (as this ruby chested hummingbird visiting the state flower, the bluebonnet.) They were offered through the Pena-Dunn Gallery in Santa Fe.
According to the New York Times, she is survived by her wife, Melissa Taylor, and her three brothers, Chris, Jerry, and Rodney. Funeral services were held on Saturday (11/19) and Holly is to be buried at the Salado Cemetery in Central Texas.
Sources: Image (Publicity Shot), Painting - her Facebook Art Page, HollyDunn.com (unfortunately her facebook page and her website were immediately eliminated after her death), Hallels, Billboard, BMI, 9513, The New York Times, lpdiscography.com, opry.com,
As with other legends, there will be a ton of obituaries celebrating the creative workload and the life of Prince. For me it's somehow ironic that in the first four months of this year, we lost three legends, and I'd would rather use that terminology very strict. But what Bowie, Merle and Prince created can only be explained with the passing of Bach (1685 - 1750), Mozart (1756 - 1791) and Beethoven (1770 - 1827) in the time span of four months, instead of roughly 1 1/2 centuries.
This is how Billboard Magazine reported on their website
That's how the Recording Academy president Neil Portnow commented on the passing of Prince
The videos below show the true musical genius, that Prince was - first in his official video for his fantastic groovy song "Cream" and a full live concert from 1982
We all knew it would happen. The pancreatic cancer was back and Ray refused to go through another strain of chemo and decided to die peacefully in hospice care in his Texas house in Mount Pleasant. A rushed statement by his son made him die premature, but this afternoon 4:43pm he did pass away.
I'm sure there will be many (better and extensive) obituaries covering his six decades in the music scene. I thought I will just remember him with some anecdotes, trivia and personal experiences.
Ray Price single handedly changed country music a decade before Willie and Waylon started their outlaw waves in the music business. After being a disciple (actually room mate) of Hank Williams, his early albums were pure Hank influenced, songs right on the edge between sin and salvation. With the emergence of Rock'n'Roll, Ray changed the old solemn sounds with his signature hard driving, jazz-influenced 4/4 shuffle into a highly dance-able Honky Tonk sound which up to this day still exists in every "true" Texas jukebox. Just listen to "Home In San Antone" from his album "San Antonio Rose" - you may have to do that several times to get actually get the different layers - first just listen to the tight rhythm work of the drums and the bass, add the "classic" fiddlin' by Tommy Jackson, then indulge in the mastery of Jimmy Day on the steel guitar and then give a listen to Ray vocal acrobatics. Piece the pieces together and the sum is way bigger than it's parts. And please be warned this stuff is addictive.
Yes I'm bluntly honest - some of his next invention, the cosmopolitan Nashville sound turned me off, all the strings were layered so thick and smooth, that at the time it was barely listenable to. I did change my mind in retrospect. And the BS (yes that stands also for a musician) crap that Nashville is now releasing, elevates these tunes like gems in a field of burnt coal pieces.
When he was introduced into the Country Music Hall of Fame in 1996 I was there at the Grand Ole Opry working the event for several European radio stations and will never forget his quip "Well It's About Time." And right he was, having changed the sound of country music twice. In substance he was the Tony Bennett of Country Music, where George Jones was Frank Sinatra.
In 2000 Ray made a trip to SXSW (music fair) to perform a free concert at Waterloo Park. Despite a cold front who dropped the balmy afternoon temperatures 30 degrees into the 40s, there were more than a thousand attending and enjoying that show (which also featured the Derailers and Hank Williams III).
Still remember dancing on the lawn of the park - mostly to stay warm - when someone poked me in the back - they were some old friends of mine, members of BR5-49 who also attended the music fair and came out that night to check out and pay tribute to the Cherokee Cowboy.
This is from later years, but pretty much sums up the experience at Waterloo Park - two Kris Kristofferson penned hits for Price - "Help Me Make Through The Night" / "For The Good Times"
By 2007 I was struggling, living out of my car - but Ray announced two concerts in Austin, together with Willie Nelson, Merle Haggard and Asleep At The Wheel as part of the "Last Of The Breed"-Tour. Sure glad I was able to work "parking" these two magical nights and seeing that show twice.
After the show we all rushed to Poodie's (Willie's former road manager's place - RIP) to see who would show up for the after party, some of the Cherokee Cowboys did, but it never became that much wished for Jam-Session for all the musicians involved. Nevertheless Ray stole the show these two nights.
A year later he returned with "Time" actually touching some of the old shuffle themes who made him so famous. "You Just Don't Love Me Anymore" became an instant favorite.
We all knew it would happen. The pancreatic cancer was back and Ray refused to go through another strain of chemo and decided to die peacefully in hospice care in his Texas house in Mount Pleasant. A rushed statement by his son made him die premature, but this afternoon 4:43pm he did pass away.
I'm sure there will be many (better and extensive) obituaries covering his six decades in the music scene. I thought I will just remember him with some anecdotes, trivia and personal experiences.
Ray Price single handedly changed country music a decade before Willie and Waylon started their outlaw waves in the music business. After being a disciple (actually room mate) of Hank Williams, his early albums were pure Hank influenced, songs right on the edge between sin and salvation. With the emergence of Rock'n'Roll, Ray changed the old solemn sounds with his signature hard driving, jazz-influenced 4/4 shuffle into a highly dance-able Honky Tonk sound which up to this day still exists in every "true" Texas jukebox. Just listen to "Home In San Antone" from his album "San Antonio Rose" - you may have to do that several times to get actually get the different layers - first just listen to the tight rhythm work of the drums and the bass, add the "classic" fiddlin' by Tommy Jackson, then indulge in the mastery of Jimmy Day on the steel guitar and then give a listen to Ray vocal acrobatics. Piece the pieces together and the sum is way bigger than it's parts. And please be warned this stuff is addictive.
Yes I'm bluntly honest - some of his next invention, the cosmopolitan Nashville sound turned me off, all the strings were layered so thick and smooth, that at the time it was barely listenable to. I did change my mind in retrospect. And the BS (yes that stands also for a musician) crap that Nashville is now releasing, elevates these tunes like gems in a field of burnt coal pieces.
When he was introduced into the Country Music Hall of Fame in 1996 I was there at the Grand Ole Opry working the event for several European radio stations and will never forget his quip "Well It's About Time." And right he was, having changed the sound of country music twice. In substance he was the Tony Bennett of Country Music, where George Jones was Frank Sinatra.
In 2000 Ray made a trip to SXSW (music fair) to perform a free concert at Waterloo Park. Despite a cold front who dropped the balmy afternoon temperatures 30 degrees into the 40s, there were more than a thousand attending and enjoying that show (which also featured the Derailers and Hank Williams III).
Still remember dancing on the lawn of the park - mostly to stay warm - when someone poked me in the back - they were some old friends of mine, members of BR5-49 who also attended the music fair and came out that night to check out and pay tribute to the Cherokee Cowboy.
This is from later years, but pretty much sums up the experience at Waterloo Park - two Kris Kristofferson penned hits for Price - "Help Me Make Through The Night" / "For The Good Times"
By 2007 I was struggling, living out of my car - but Ray announced two concerts in Austin, together with Willie Nelson, Merle Haggard and Asleep At The Wheel as part of the "Last Of The Breed"-Tour. Sure glad I was able to work "parking" these two magical nights and seeing that show twice.
After the show we all rushed to Poodie's (Willie's former road manager's place - RIP) to see who would show up for the after party, some of the Cherokee Cowboys did, but it never became that much wished for Jam-Session for all the musicians involved. Nevertheless Ray stole the show these two nights.
A year later he returned with "Time" actually touching some of the old shuffle themes who made him so famous. "You Just Don't Love Me Anymore" became an instant favorite.
