CMT Blog: Porter Wagoner

"I kind of always had a romantic notion about what Nashville was like," says Katy Kattleman, better known as the fashion designer Katy K. "It's funny, I thought Nashville people were going to be dressed in Western all the time and I'd find Nudie suits in thrift stores."

Beginning in the early '80s and after attending fashion school, Kattelman began making and selling her own designs at a trendy hotspot in New York. When stylish petty coats became all the rage, she found herself dressing the likes of Cyndi Lauper and Whitney Houston. She quickly found herself moving up the fashion chain and continued to hold onto her love for Western wear and '50s style. By the time the mid '90s rolled around, Tower Records was taking over her building and she began feeling the crunch of high-priced New York rent. So, she packed her bags and fashion expertise and made the big move to Music City.

From the time she opened, she's helped dress the likes of Dixie Chicks, Alan Jackson, Emmylou Harris, Nicole Kidman, Montgomery Gentry and Jack White, to name a few. "When Porter Wagoner came in last summer, I was so excited," she said. "He was just so nice and just to see somebody like that. I meet so many different people in the store and it still is a thrill for me."

Kattleman's clothing isn't simply limited to Western wear. She designs and/or sells burlesque garments, 50s and 70s influenced attire, rockabilly wear, Manuel-inspired suits, vintage apparel, children's clothing, unique boots, hats, belt buckles and custom-designed clothing. "I adapted a lot when I came down here," she said. "It wasn't what I thought Nashville was going to be but I really like it. I like the way things have turned out."

When the Whitney Houston movie The Bodyguard debuted in theaters 15 years ago (Nov. 25), Dolly Parton got a nice little boost. Not that she needed it. Parton was already a legend at the time, but Houston’s recording of “I Will Always Love You” brought one of Dolly’s classic original songs to an audience that might not have known it otherwise. Houston was originally set to sing another song in the picture, but some last-minute issues demanded a replacement. Houston’s over-the-top reading, cued by an a cappella start, spent 14 weeks at No. 1 on the Billboard pop chart. Considering the sales and radio royalties for songwriters, Parton must’ve cleared seven figures for that one little ol’ song.

Parton initially wrote it when she was struggling with a desire to break away from her role as a duet partner with Porter Wagoner, who took a commission from her work through a management contract and was rather heavy-handed in the studio as her producer. She recorded her own version of the song in 1973, and nine years later, she released a second version from The Best Little Whorehouse in Texas. Both went to No. 1 on the country chart. A third version, pairing her with Vince Gill, won a CMA award.

The years have proven Dolly’s departure from Porter to be the right decision. She’s now a financial juggernaut on her own, and her willingness to take risks with her creativity has resulted in more successes than failures. It would’ve been fitting for her to perform “I Will Always Love You” at Porter’s funeral earlier this month, though she understandably feared she couldn’t get through it. After all, she found it difficult getting through the Whorehouse version, tearing up as she recites the final line. To my ears, that’s the best recording anyone’s made of it.

Because it comes from such an authentic place, “I Will Always Love You” employs a deceptive simplicity. In actuality, it’s both a kiss-off and a tribute, and Dolly’s ability to roll such a complex range of emotions into one three-minute piece of work is brilliant. That she was able to parlay it into the Bodyguard paycheck is sheer good fortune.

It’s the day after the CMA Awards show, and I’m thinking about Country Music Hall of Fame members and Jamey Johnson and Sugarland. Thank goodness, the Country Music Association and the awards show producers had a change of heart and devoted a short segment to this year’s Country Music Hall of Fame inductees -- Ralph Emery, Vince Gill and Mel Tillis. This was the first year the formal inductions didn’t take place on the awards show telecast and some people were downright pissed off when they heard that the CMA wasn’t even planning to acknowledge the newest Hall of Fame members during the show. The quick video retrospective was efficient and much better than nothing at all.

It was good to see and hear the references to Hall of Fame member Porter Wagoner, who died recently. But as Chet Flippo points out in his latest Nashville Skyline column, why was there no mention of Hank Thompson, a Hall of Fame member who died this week? Granted, his name isn’t as familiar as Wagoner’s, but you’d think somebody at the CMA would have ensured that Thompson’s passing was mentioned.

It was also good to see Jamey Johnson win the song of the year award with co-writers Buddy Cannon and Bill Anderson. After his acceptance speech for co-writing the George Strait hit, “Give It Away,” Johnson will be known as the guy who thanked his ex-wife for being such a good mother to his kids. Johnson released a fine album on BNA Records in 2005, scored a hit single with “The Dollar” and then got dropped from the label shortly thereafter, so it must be gratifying to win his first CMA trophy. He’s selling his new album, That Lonesome Song, via iTunes and his MySpace page.

And when Sugarland’s Jennifer Nettles and Kristian Bush accepted their vocal duo award, you’d think they’d have thanked Kristen Hall, the singer-songwriter who was part of the act when their first album was released. I contend that Hall was largely responsible for their win in this particular category. Hell, if she hadn’t left the band, Sugarland wouldn’t even be a vocal duo in the first place.

Sitting at Porter Wagoner’s funeral the other day and pondering his legacy, one thing became very apparent to me: The last great hillbilly is gone. My old Austin pal, the writer Dave Hickey, once said that Porter was the last of the great hillbillies, and I am proud to steal that from him. Dave also said that you need to recognize and appreciate the value and the difference between a genuine rhinestone and an imitation pearl. Porter was the genuine rhinestone. If Porter could have discovered Nashville’s lost rhinestone mines, what a different place this world would be.

Porter was a true hillbilly from the Ozark Mountains in Missouri. He was a rawboned farmboy with plain musical tastes. He was a man as plain and simple as dirt. Early on in his career, he was a singing butcher, warbling on station KWPM in West Plains, Mo., while working as a butcher. He went on to become a master of simple, direct, homespun music, combined with an unerring taste for hillbilly flash and dazzle. My boss at CMT recalls the years when CMT was headquartered at Opryland and we shared the Opry’s backstage parking lot. On late Friday afternoons, my boss would see Porter arrive for work, stepping out of his latest big, gaudy pimpmobile, with his dark sunglasses, puffing on a cigarette, with his garment bag holding a couple of flashy suits slung over one shoulder. Porter’s appearance signaled that all was running on schedule in the country music world.

“Hillbilly” has had an interesting history in country music. Once considered a denigrating term, it seems to have regained some integrity as a word defining traditional taste in old-time, rural country music. The first country music records, back in the 1920s, were referred to as “hillbilly” records. The first country music record chart was launched by Billboard magazine in 1939 and it was called the “hillbilly” chart. Over the years, the term hillbilly became a truly denigrating putdown. But things change and the word became more or less neutralized. Porter made it seem a desirable thing at last.

It’s hard to define a true hillbilly, but you know one when you hear one. There’ve been only a few truly great hillbillies over the years. Uncle Dave Macon, Charlie Poole, Roy Acuff, Ernest Tubb, Hank Williams, Faron Young, Webb Pierce, Lefty Frizzell, Porter … you pick the rest. But there aren’t any more of the great hillbillies left. And there won’t be any more.

What a week! I have been in Nashville for about 12 days. We have the CMA parties tonight, and then I'm on the plane and back in Texas by 3 tomorrow. Mexican food, here I come. Hehehe!!

Seriously, though, I have had such a great time. I played the Ryman Auditorium TWICE in a 48-hour period. That was a breathtaking experience. We played at the Americana Music Honors on Thursday night and at the Grand Ole Opry on Saturday! The AMA show had so many people on the bill that I had "back"-stage fright. As I was getting ready to go on, Emmylou Harris, Ricky Skaggs and Rodney Crowell were standing right beside me. I got to hang with some of my old friends that I haven't seen in a while and I got the ultimate chance to gherm too. The girls from Uncle Earl and my Memphis friend, Amy Lavere, were all there.... Gurf Morlix, Bruce Hornsby, Old Crow Medicine Show, Todd Snider, Patty Griffin, Jim Lauderdale, The Greencards, Darrell Scott, Elizabeth Cook, Tim Carroll, Lyle Lovett, Joe Ely, Verlon Thompson and Guy Clark, and the list goes on…. Buddy Miller, one of the best songwriters, singers, and guitar players in the world played guitar and sang harmonies with me. I KNOW!! It was totally awesome! Here are some photos from the ceremony.

There were showcases all over town, and some of the shows I've seen a million times, but with others, I was completely blown away! There's a guy that plays bass with Shooter Jennings named Ted Russell Kamp. He's ROCK AND ROLL, baby!! Anyone that knows me knows that I pretty much only listen to country, but I got every CD he has made, and was sitting there with my jaw on the floor during his entire set. He was unbelievable!

This has been a long, long week, but it's been a great time!! Saturday night, on the Opry (yes, as in the Grand Ole), I was singing an old country song, and I look over and Vince Gill is in the wings on stage left, looking at me, and Ralph Stanley was in the wings on stage right. Talk about nervous. I was about to DIE! They turned the whole performance into a Porter Wagoner tribute, so at the end of the show, everyone (Vince Gill, Amy Grant, Patty Loveless) went out on stage and sang "Go Rest High on that Mountain" for Porter. It was a beautiful sight and sound. I had chill bumps pretty much the entire night!

I’m sending out good wishes to my labelmate, Taylor Swift for tonight's CMA awards show! She's nominated for the Horizon Award, and I'm betting zero to nothing that she's taking home the grand prize. GO GIRL!

Guacamole and queso are calling my name!!

“You know, I’ve been a guest in a lot of great places in my lifetime: New York City, Carnegie Hall; Grand Ole Opry, Nashville, Tennessee; West Plains, Missouri, hometown.  And I was committed to Parkview. Hope I never have to go there again.” – Porter Wagoner

This undeniably grave and sullen song depicts troubled and disturbed individuals that inhabit the Parkview asylum. These unsettled souls are all seeking treatment for various reasons, looking to overcome an inner personal struggle. Wards include an ex-drummer trying to overcome Benzedrine, a homeless man from down on Broadway, a singer-songwriter continually wrestling with his constant thoughts of suicide, and even Porter Wagoner himself. These lost souls are searching for ways to resist their haunting inner demons.

Johnny Cash, also a former patient of Parkview, wrote this song for Porter Wagoner years ago. Cash gave the song to his Cash Band member Marty Stuart in the early ‘80s to deliver to Wagoner. However, Stuart forgot the piece until last year when he produced what turned out to be Wagoner’s last album, Wagonmaster. The song does not explain why Wagoner or Cash both sought treatment, but really, “why” is beside the point.

Instead, this song is a descriptive tale of how we all, no matter the severity, struggle with life’s perpetual quandaries. Perhaps we are all “Committed to Parkview” at some point in our lives, if even only in our minds. Though this song can be viewed as depressing, sad or even pitiful, I feel hopeful that I too can overcome whatever burdens loom in the shadows. Cash and Wagoner faced inner tribulations, but nonetheless, still conjured strength to prevail, and to ultimately leave a mark in country music history.

One facet of Porter Wagoner’s death on Sunday worth cheering is the fact that he enjoyed his place as a Country Music Hall of Fame member during his lifetime. In fact, next Tuesday (Nov. 6) marks the anniversary of his official 2002 induction. He spent the last five years of his life knowing his achievements were recognized and deemed substantial enough to provide a permanent place in the Hall.

Critics of the voting procedures -- and there are plenty -- charge that the CMA should take greater care to make certain that those who deserve membership get inducted quickly enough to gain satisfaction from the honor. Indeed, it’s tragic that Tammy Wynette, Roger Miller, Lester Flatt, Conway Twitty, piano player Floyd Cramer and songwriter Boudleaux Bryant weren’t around long enough to witness their big moment. Based on speculation about Faron Young’s suicide in 1996, perhaps he would not have killed himself had he known that his contributions were, in fact, remembered.

On the other hand, invoking sentiment isn’t really a fair means to gauge when people should make their way into the Hall of Fame. If an artist’s ego is so fragile that he needs several hundred anonymous voters to keep it propped up, he or she has problems that a simple ceremony likely won’t cure. Since the CMA currently limits the number of inductees each year, it’s also unfair -- not to mention morbid -- to sweep one person in over another who is more deserving simply because he’s more likely to die soon.

There are lots of ways the Hall of Fame voting procedures could be changed but the most important thing is to make sure the honor is never cheapened. Bestowing such an award should be decided solely on merit -- never on age, and never as a simple kindness because people in the business really like an individual on a personal level. Either you earn it or you don’t. That said, it’s still nice that Porter -- a spokesman for the Grand Ole Opry, a TV ambassador for country music and a man who was flamboyant both in stage attire and song choice -- did get to enjoy his status. It was certainly merited.

Several of Porter Wagoner’s friends have shared their thoughts on his passing. Here are some we wanted to share with you:

Dolly Parton: “I went over on Sunday afternoon and spent his last few hours with Porter and his family, so I was able to say goodbye. I sang for him and prayed with him. It felt good that I had the opportunity to say goodbye properly. His family is very grateful to everyone for all their help.”

Marty Stuart: “Losing Porter is going to take a whole lot of getting used to as he’s been a part of my life for so long. I grew up watching his television show in Mississippi and it was as if he were a member of our family. After I got to know him, he was. He was a masterful showman, who understood the art of the final act. He left the world on top. Some of the things that soften the blow of his passing are all the memories from the past year. We made a wonderful record together that got him lots of acclaim, he celebrated his 50th anniversary with the Grand Ole Opry, he had a new generation of kids in love with him and his music, the awards were coming, the Martin Guitar Company had named a guitar in his honor and he was asked to light the nation’s Christmas tree at the Pageant of Peace celebration in Washington, D.C. next month. One of the last things he said to me was, 'You’re gonna have to call the President and tell him I won’t be able to sing him any Christmas songs this year. Maybe next year.'”

Patty Loveless: “Porter was my mentor in the early years of my musical journey and over the years became like family to me. He encouraged me and helped me to fulfill my dreams and was truly an inspiration. I love him and I miss him already."

Dierks Bentley: “I visited him in the hospital on Tuesday, and Porter led us in a prayer. He thanked God for friends, family and the Grand Ole Opry. This is a great loss for country music and the Grand Ole Opry. It’s also a great loss for me personally because he was a friend I was really just getting to know. I feel blessed for the time I did have with him.”

I want to start this blog by saying what a privilege it was for me to actually get the chance to meet the rhinestoned Porter Wagoner. The last time I sang on the Grand Ole Opry in August, Porter was the one introducing my segment of the show. A photographer there asked, "Is it OK if I snap pics of you while you are onstage?" I assured her it was fine with me, as long as she would email them to me. Well, turns out it's probably one of my most favorite pictures ever, because it's right after Porter introduced me and was walking over to stand on the side of the stage during my performance. It's my main picture on my MySpace page. It looks Photoshopped, it's so perfect.

I just got to Nashville this morning for all the happenings that are The Americana Music Association, and I'm doing some songwriting while I'm up here as well, but on Wednesday night, there was already a tribute that was going on to Porter. I'm sure it will become a celebration of life now, and make sure that everyone knows exactly what he contributed to country music and the Grand Ole Opry. For those of you that don't know, Porter is one of the sole people to get Miss Dolly Parton started in the music biz. I am walking onto the Grand Ole Opry stage again this coming weekend, and now more than ever, I really want to do country music proud. I'm dedicating my performance to him! I know he will be greatly missed. My thoughts and prayers are with his family and friends.

In recent weeks, some columnists have taken issue with this year’s CMA Entertainer of the Year nominees. There are no females, a trend that’s become pretty much annual, and the writers are unhappy. This is an interesting moment to consider how far women have come.

During this week in 1967, country was clearly in the dark ages. On Sept. 22, Jan Howard’s briefcase was stolen after she taped an appearance on the syndicated Bill Anderson Show. And on Sept. 23, Norma Jean married a furniture salesman, an event tied in to her decision to leave The Porter Wagoner Show, making room for Dolly Parton. The events themselves aren’t quite that enlightening, but it’s the way in which Howard and Norma Jean were labeled that demonstrates the change: They were considered by the industry to be "girl singers" -- mere appendages, if you will, to the men that hosted those shows.

That same week in 1967, a young lady named Faith Hill was born. Her 40th birthday on Sept. 21 is a milestone in itself, but it’s worth noting that in her current tour with husband Tim McGraw, the idea of calling her a “girl singer” is absolutely ludicrous. Thanks to Reba McEntire, Loretta Lynn, Shania Twain and others, it’s clear that the beliefs of the ‘60s -- that women can’t sell records or that female fans are turned off by a successful woman on stage -- are simply false.

With that in mind, however, the arguments about women being nominated for entertainer don’t entirely wash. The Dixie Chicks, who used to be a lock, were bounced from the business for being vocal Democrats. Twain hasn’t toured for several years and McEntire is likely a victim of familiarity. Some critics think Hill and McGraw should be finalists simply because they sold more tickets than anyone, though most voters probably cast their ballots, as they should, with an eye toward creative accomplishments more than sheer numbers. There’s a case for Martina McBride, but voters likely see her more as a singer than as an entertainer.

At any rate, people are having the discussion. It’s also good to consider the subservient position that women were formerly placed in, and to recognize that what barriers might exist at the moment are nothing compared to the stupidity of the past.