Saturday, October 27, 2012

Traditional Country Music Hall of Fame

The website offers little explanation of the Hall, including when it began or if it is even still operational, but acknowledges is neither has a building nor gives actual tangible awards to inductees. Categories include artists, songs, session players, writers, publishers, sidemen, background vocals, producers, and humor. Inductees in the “artists” category are listed below.

See other Hall of Fames.



  • Moe Bandy
  • Bobby Bare
  • Jack Barlow
  • Joe Berry
  • Eddie Bond
  • Johnny Bond
  • Owen Bradley
  • Jim Ed Brown
  • Jimmy Bryant
  • Jimmy Buffett
  • Pearl & Carl Butler
  • Johnny Bush


  • Archie Campbell
  • Glen Campbell
  • Bill Carlisle
  • The Carter Family
  • Anita Carter
  • June Carter
  • Maybelle Carter
  • Wilf Carter
  • Johnny Cash
  • Tommy Cash
  • Guy Clark
  • Roy Clark
  • Jack Clement
  • Vassar Clements
  • Patsy Cline
  • Jerry Clower
  • Hank Cochran
  • David Allen Coe
  • Tommy Collins
  • Jessi Colter
  • John Conlee
  • Earl Thomas Conley
  • Spade Cooley
  • Wilma Lee Cooper
  • Carolina Cotton
  • Floyd Cramer
  • Billy “Crash” Craddock


  • Vernon Dalhart
  • Lacy J. Dalton
  • Jose Daniel
  • Charlie Daniels
  • Mac Davis
  • Skeeter Davis
  • Jimmy Dean
  • Kathy Dee
  • Delmore Brothers
  • Iris Dement
  • John Denver
  • Al Dexter
  • Hazel Dickens
  • Little Jimmy Dickens
  • Col. Buster Doss
  • Pete Drake
  • Roy Drusky
  • Dave Dudley




  • Larry Galtin & the Gatlin Brothers
  • Crystal Gayle
  • Geezinslaws
  • Don Gibson
  • Kenny Gill
  • Mickey Gilley
  • Johnny Gimble
  • Glen Glenn
  • Vern Gosdin
  • Claude Gray
  • Jack Greene
  • Lee Greenwood






  • Uncle Dave Macon
  • Rose Maddox
  • Fred & Maddox Brothers
  • Barbara Mandrell
  • Grady Martin
  • Hack Martin
  • Troy Martin
  • David Mayfield
  • Leon McAuliffe
  • O.B. McClinton
  • C.W. McCall
  • Joe Manuel
  • Del McCoury
  • Mel McDaniel
  • McGee Brothers
  • Ron McMunn
  • Roger Miller
  • Ronnie Milsap
  • Bill Monroe
  • Patsy Montana
  • Bob Moore
  • George Morgan
  • Col. Robert Morris
  • Moon Mullican
  • Anne Murray


  • Ken Nelson
  • Willie Nelson
  • Jimmy C. Newman
  • Juice Newton
  • Roy Nichols
  • Nitty Gritty Dirt Band


  • Oak Ridge Boys
  • Molly O’Day
  • Old Joe Clark
  • Osborne Brothers
  • Bashful Brother Oswald
  • Paul Overstreet
  • Buck Owens
  • Vernon Oxford




  • Jeannie Seely
  • Billy Joe Shaver
  • Jerry Shea
  • Jean Shepard
  • T.G. Sheppard
  • Billy Sherrill
  • Ricky Skaggs
  • Cal Smith
  • Carl Smith
  • Connie Smith
  • Margo Smith
  • Sammi Smith
  • Warren Smith
  • Hank Snow
  • Red Sovine
  • Joe Stampley
  • Stanley Brothers
  • Statler Brothers
  • Ray Stevens
  • Wynn Stewart
  • Cliffie Stone
  • George Strait
  • Marty Stuart




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First posted 10/27/2012; last updated 5/5/2022.

Wednesday, October 24, 2012

Today in Music (1962): James Brown is recorded live at the Apollo

Live at the Apollo

James Brown

Recorded: October 24, 1962

Released: May 1963

Charted: June 29, 1963

Peak: 2 US

Sales (in millions): 1.0

Genre: R&B


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to charts.

  1. Introduction by Fats Gonder – Opening Fanfare [1:48]
  2. I’ll Go Crazy (James Brown) [2:05] (2/22/60, #73 US, #15 RB)
  3. Try Me (I Need You) (James Brown) [2:14] (11/10/58, #48 US, #1 RB)
  4. Instrumental Bridge [0:12]
  5. Think (Lowman Pauling) [1:45] (5/2/60, #33 US, #7 RB)
  6. Instrumental Bridge [0:12]
  7. I Don’t Mind (James Brown) [2:27] (5/15/61, #47 US, #4 RB)
  8. Instrumental Bridge [0:11]
  9. Lost Someone (James Brown/Bobby Byrd/Lloyd Stallworth) [10:43] (12/18/61, #48 US, #2 RB)
  10. Medley: [6:27]
    • Please, Please, Please (James Brown/Johnny Terry) (4/7/56, #95 US, #5 RB)
    • You've Got the Power (James Brown/Johnny Terry) (5/2/60, #86 US, #14 RB)
    • I Found Someone (aka “I Know It’s True”) (James Brown) (2/22/60, B-side of “I’ll Go Crazy”)
    • Why Do You Do Me (Bobby Byrd/Sylvester Keels) (3/56, single)
    • I Want You So Bad (James Brown) (4/20/59, #20 RB)
    • I Love You, Yes I Do (Henry Glover/Sally Nix/Eddie Seiler/Guy Wood)
    • Strange Things Happen (Roy Hawkins) (album cut from 1959’s Try Me!
    • Bewildered (Teddy Powell/Leonard Whitcup) (2/18/61, #40 US, #8 RB)
    • Please, Please, Please (reprise)
  11. Night Train/Closing (Oscar Washington/Lewis P. Simpkins/Jimmy Forrest) [3:26] (4/14/62, #35 US, #5 RB)

Note: chart peaks are for studio versions.

Total Running Time: 27:23


4.510 out of 5.00 (average of 24 ratings)


“There is no more exciting document of live performance in the history of R&B.” – Barney Hoskyns,


(Click on award to learn more).

About the Album:

“There is no more exciting document of live performance in the history of R&B.” AZ James Brown is now widely acclaimed as “The Godfather of Soul,” but at the time of this album’s release, he was “still widely unknown outside the African-American community.” JD On top of that, his studio albums failed to do “justice to his dynamic performance style.” NRR Brown asked his record label to record one of his shows. When they refused, he bankrolled the project himself, TL knowing “his live performances contained electricity unable to be reproduced in the studio.” RV

“By the end of these thirty-two minutes, no one will doubt that James really was the hardest working man in show business (and this without even seeing him dance!).” AMG The setting was Harlem’s Apollo Theater, “the ultimate shrine of black American music.” AZ “The Apollo audience, hysterical with adulation, plays as big a part in Live at the Apollo as Brown himself.” AZ

This “seminal live recording [now stands as] a time capsule documenting the latter days of the Chitlin’ Circuit and an album that influenced countless artists across genres. It’s equal parts Saturday at the juke joint, Sunday sermon and last dance of the night.” PM “Hearing Brown’s emotive style and soulful crooning elicit both fevered screams and intense concentration from the Apollo audience showcases the raw power of ‘Mr. Dynamite’ at his dynamic best.” PM

He “puts on a flawless show of dynamism that lost nothing in the transfer to vinyl.” TL The band “is in stellar form, tight as a fist (especially the horn section) and supporting their leader with both strength and subtlety,” AMG moving “like a single organism, with the horns ‘answering’ Brown’s guttural moans and bone-rattling wails, the bass and the rhythm guitar prompting an impossible-to resist swaying of the hips, and the tight snare drum hits on two and four sweeping us up, hypnotizing us, and virtually reprogramming our heartbeats in time with Brown’s.” JD Through it all, though, “Brown is truly the star of this show.” AMGLive at the Apollo left no doubt in anyone’s mind that he was a live performer without peer, and that his talent could communicate just as strongly on tape as in person.” AMG

Apollo “predates the brittle but powerful funk grooves which would later make Brown the most sampled man in show business and focuses on his earlier and (relatively) more conventional hits, the building blocks of his pioneering sound are all here in high-octane live versions.” AMG

“Deftly swinging from up-tempo grooves to romantic ballads (albeit delivered with Brown’s typically abundant enthusiasm),” JD Apollo “captures the sound of Brown baring his soul with an almost unbearable intensity, which drives the audience into a manic chorus of shouts and screams.” AMG

“The album seems like one continuous medley – Brown follows hit after hit with staggering verve.” RV “The set contains only six full songs, and most of those clock in at under two minutes. The entire performance is linked by instrumental bridges as the band builds up to the big medley – a six-minute merger of bits and pieces…then hurtles through the frantic farewell of Night Train.” JD

“Some listeners have suggested that the length of the recording and the effect of alternating the pounding, up-tempo grooves with the seductive slow jams evokes an expert session of lovemaking…One thing is for sure: The tone of the banter between Brown and the audience (especially the women) is positively orgasmic at times, as during the languorous, drawn-out version of Lost Someone.” JD “The song builds with intensity until the bottom drops, a…move that sends the audience into hysterics.” RV and “is one of the most heart-stopping moments in soul.” AZ

“Only a few thousand copies of the original were pressed, but demand became so great (it ultimately sold well over a million) that DJs played the album in its entirety.” TL It ended up on the Billboard charts for more than a year, peaking at #2 and becoming “a watershed album, both for James Brown and for the burgeoning soul music movement.” AMG It has also gone “down in history as one of the best live albums ever made.” JD

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First posted 10/24/2011; last updated 6/5/2024.

Monday, October 22, 2012

Kendrick Lamar’s Good Kid, m.A.A.d City released

Good Kid, m.A.A.d City

Kendrick Lamar

Released: October 22, 2012

Peak: 2 US, 11 RB, 16 UK, 2 CN, 23 AU

Sales (in millions): 3.0 US, 0.3 UK, -- world (includes US and UK)

Genre: hip-hop


Song Title (date of single release, chart peaks) Click for codes to singles charts.

  1. Sherane a.k.a. Master Splinter’s Daughter
  2. Bitch, Don’t Kill My Vibe (3/18/13, 32 US, 9 RB, 4x platinum)
  3. Backseat Freestyle (10/22/12, 29 RB, 79 UK)
  4. The Art of Peer Pressure
  5. Money Trees (with Jay Rock)
  6. Poetic Justice (with Drake) (1/15/13, 26 US, 8 RB, 2x platinum)
  7. Good Kid
  8. M.A.A.D City (with Mc Eiht)
  9. Swimming Pools (Drank) (7/31/12, 17 US, 3 RB, 57 UK, 99 CN, 67 AU, 4x platinum)
  10. Sing About Me, I’m Dying of Thirst
  11. Real (with Anna Wise)
  12. Compton (with Dr. Dre)

Total Running Time: 68:23


4.339 out of 5.00 (average of 19 ratings)

Quotable: “Lamar is the James Joyce of hip-hop” – professor Adam Diehl, Georgia Regents University

Awards: (Click on award to learn more).

About the Album:

All Music Guide’s David Jeffries called this the “biggest debut since [Nas’] Illmatic.” AMG It wasn’t really Lamar’s first outing. His Section.80 was independently released through Top Dawg Entertainment in 2011. A series of mixtapes followed which caught the attention of Aftermath and Interscope, leading to a major label record deal.

Thanks to “cool and compelling lyrics, great guests,…and attractive production” AMG Good Kid, m.A.A.d City “would be a milestone even without the back-story.” AMG The album is Kendrick’s “story of growing up in Compton, surrounded by gunfire, gang warfare, police brutality, drugs, liquor, dead friends.” RS’20 He had “a film director’s eye for narrative but the voice of a poet;” RS’20 this was “like a West Coast answer to Martin Scorsese’s Mean Streets.” RS’20

“It spawns a kind of elevated gangsta rap that’s as pimp-connectable as the most vicious Eazy-E, and yet poignant enough to blow the dust off any cracked soul.” AMG Lamar “goes for emotional detail instead of gangsta bravado.” RS’20 XXL’s Jaeki Cho called the album “one of the most cohesive bodies of work in recent rap memory.” WK

It was “potent and smart enough to rise to the top of the pile” AMG both commercially and critically. It sold 242,000 copies in its first week and debuted at #2 on the Billboard album chart. It also landed four Grammy nominations, including Album of the Year and was named to many end-of-year lists, topping lists from BBC, Complex, New York, Pitchfork. WK In 2014, the album was studied as part of a Georgia Regents University composition class alongside works such as James Joyce’s novel A Portrait of the Artist As a Young Man. WK

PopMatters’ David Amidon said the album offers a “sort of semi-autobiographical character arc.” WK Exclaim!’s Del F. Cowie says the album follows a transformation of Lamar’s character “from a boisterous, impressionable, girl-craving teenager to more spiritual, hard-fought adulthood, irrevocably shaped by the neighbourhood and familial bonds of his precarious environment.” WK

That environment is Lamar’s native Compton. He has a “Springsteen-sized love for the home team,” AMG but is willing to address his “city’s plagued condition” WK and “harsh realities” WK through songs about “economic disenfranchisement, retributive gang violence, and downtrodden women while analayzing their residual effects on individual and families.” WK

Swimming Pools (Drank) is a “cautionary tale” AMG about addiction which is “as hooky and hallucinatory as most Houston drank anthems.” AMG It “breaks off into one of the chilling, cassette-quality interludes that connect the album, adding to the documentary or eavesdropping quality of it all.” AMG

“Soul children will experience déjà vu when Poetic Justice slides by with its Janet Jackson sample sounding like it came off his Aunt’s VHS copy of the movie it’s named after.” AMG

The closing Compton is a “journey through the concrete jungle” AMG which “is worth taking because of the artistic richness within, plus the attraction of a whip-smart rapper flying high during his rookie season” AMG which also features Dre “in beast mode.” AMG “Any hesitation about the horror of it all is quickly wiped away by Kendrick’s mix of true talk, open heart, open mind, and extended hand.” AMG

Notes: The deluxe edition added bonus tracks “The Recipe” with Dr. Dre, “Black Boy Fly,” and “Now Or Never” with Mary J. Blige. The iTunes deluxe edition also added “Collect Calls” with Kent Jamz and the single version of “Swimming Pools (Drank).” The Target deluxe edition and UK deluxe edition each included the first three tracks plus “County Building Blues” and the Black Hippy Remix of “Swimming Pools (Drank).” The Spotify deluxe edition included the first three tracks plus a Black Hippy Remix of “The Recipe” featuring Black Hippy.

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Other Related DMDB Pages:

First posted 10/13/2020; last updated 4/22/2022.

Friday, October 19, 2012

Modest Mussorgsky’s Pictures at an Exhibition performed for first time: October 19, 1923

Check the Dave’s Music Database Facebook page for daily music-related posts. Also check out books by Dave Whitaker, including the collection of past blog entries, No One Needs 21 Versions of “Purple Haze”…And Other Essays from a Musical Obsessive.

Modest Mussorgsky composed “Pictures at an Exhibition” in June 1874 as a piano suite However, Maurice Ravel redid it for orchestra, premiering its first performance on October 19, 1923. Proving that any good work can be reinterpreted multiple ways, the piece resurfaced as “one of the seminal documents of the progressive rock era” BE when Emerson, Lake, & Palmer put their stamp on it.

Mussorgsky’s original work was inspired by a memorial retrospective of some 400 drawings and watercolors by Viktor Hartmann. Hartmann was a St. Petersburg artist, architect, and stage designer, who was friends with Mussorgsky.

It was edited for publication in 1886 by Rimsky-Korsakov. Over the next century, more than a dozen versions surfaced, “but none that challenge the finesse, subtlety, and cumulative impact of Maurice Ravel’s (1875-1937).” RD In 1913, Ravel, “France’s foremost living composer,” RD was commissioned to score what had been omitted from Rimsky-Korsakov’s version. BD He went on to lead “the world and American premieres (the latter with his Boston Symphony in 1926).” RD

Prog-rock group Emerson, Lake, & Palmer performed it live in 1971. The performance was released as an album and “made its way into the collections of millions of high-school kids who never heard of [Mussorgsky or Hartmann].” BE “It wasn’t the first treatment of a classical piece in this manner by any means…but it was the first to reach a mass audience or get heavy radio play (at least of excerpts), and introduced the notion of ‘classical rock’ to millions of listeners.” BE

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Thursday, October 11, 2012

Today in Music (1962):The Beatles “Love Me Do” charted in UK

Love Me Do

The Beatles

Writer(s): John Lennon, Paul McCartney (see lyrics here)

Released: October 5, 1962

First Charted: October 11, 1962

Peak: 11 US, 11 CB, 13 GR, 11 HR, 1 CL, 4 UK, 6 CN, 17 AU, 6 DF (Click for codes to charts.)

Sales (in millions): 2.0 US

Airplay/Streaming (in millions): 1.0 radio, 23.4 video, 100.0 streaming


Click on award for more details.

About the Song:

In 1958, a 16-year-old Paul McCartney skipped school and wrote most of the song “Love Me Do,” with his friend John Lennon helping out. SG After they formed the Beatles in 1962, they were signed to Parlophone Records in the UK on June 4. Two days later, they recorded “Love Me Do” at their first session.

Producer George Martin was curious about the group and, as he said, “I spent an evening, afternoon, and evening with them in Abbey Roads Studio. I fell in love with them.” TC However, he said they didn’t yet show signs of being great songwriters. “The best they could offer me were pretty ordinary songs. I thought ‘Love Me Do’ was the best.” TC

That first version had Pete Best on drums and didn’t see release until the Anthology collection in 1995. On September 4, the Beatles recorded the song again with new drummer Ringo Starr. Martin wasn’t satisfied and on September 11 they recorded again with session drummer Andy White while Starr played tambourine. In the UK, the Ringo Starr version was released as a single, but in the U.S. the single version and the one on the Please Please Me album was the one featuring White.

“Love Me Do” marked the Beatles chart debut in the UK, reaching #17. When reissued 20 years later, it hit a new peak of #4. In the United States, when Beatlemania took off in 1964, the song charted as an import via the Canadian branch of Capitol Records. By May 30, the song had climbed to the pinnacle of the Billboard Hot 100.

The song “has a tough R&B feel with a delicious pop melody” TC and sports “unearthly Everly Brothers-style Lennon/McCartney harmony singing” SG Its “hooks seem to bubble up naturally, as if they’d always existed. And it hinted at a future where this band would be perceived as something more than just a soundtrack to teenage-girl screaming.” SG The song is “a graceful lope, a sunny front-porch jam that would’ve sounded at home on the radio next to, say, Buck Owens’ speed-freak California country.” SG

The harmonica – which John Lennon shoplifted in 1960 in Amsterdam – “is one of the things that makes the song,” SG echoing McCartney’s melodies. Lennon was inspired by Delbert McClinton’s playing on Bruce Channel’s song “Hey! Baby.” FB


  • DMDB encyclopedia entry for The Beatles
  • FB Fred Bronson (2007). The Billboard Book of Number One Hits (4th edition). Billboard Books: New York, NY. Page 148.
  • TC Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Thunder’s Mouth Press: New York, NY. Page 348.
  • SG Stereogum (6/18/2018). “The Number Ones” by Tom Breihan

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First posted 6/23/2022; last updated 9/19/2023.