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Nashville’s Grand Ole Opry – The Old Violin
When you come to the Nashville city limits sign coming from any direction, it says “Music City Metropolitan Nashville Davidson County, Home of the Grand Ole Opry”. See Nashville prides itself on its country music heritage these days, but that wasn’t always the case. In 1925, when Edwin Craig first launched WSM radio, Nashville’s “old money” wanted nothing here that would portray the city as backward or crestfallen. The early years brought endless battles with Nashville’s conservative establishment who were very protective of Nashville’s image as the “Athens of the South”. They told Craig “you should educate these hicks, not pander to them”.
In the very beginning, WSM had studios on the top floor of the National Life and Causality building. They chose the nickname “Air Castle of the South” because they were on the top floor of the building, all 5 floors. They built a large one-room studio with a grand piano and very elaborate red curtains, making it quite a formal venue and intended primarily for large dance bands and opera performers of the day.
WSM’s fate changed in early November 1925 when they hired a young announcer, George D. Hay, away from the mighty WLS in Chicago as manager. George Hay had made a name for himself and was known on air as the “Solemn Ole Judge” despite being only 30 at the time. He had earned the nickname as a child when relatives said of the serious Hay, “He is as solemn as a judge”. Hay had heard and loved a range of local folk music earlier in life and thought it would be a good “mass” appeal for the new medium of radio. He hired a 78-year-old fiddler, Uncle Jimmy Thompson, to play on a night when a regular number didn’t show up. Listener reaction was so strong that Hay announced the following month that WSM would air an hour or two of early music every Saturday night and call the show WSM Barn Dance. Hay, as “Solemn Ole Judge” would be the original announcer.
In December 1927, after a Saturday night performance of the “Music Appreciation Hour”, which featured the classics, the “WSM Barn Dance” began with Deford Bailey, whom Hay called “The Harmonica Wizard”. After Bailey’s rendition of “The Pan American Blues” Hay announced “for an hour, we’ve been listening to music drawn largely from Grand Opera. From now on, we’ll introduce you to the Grand Ole Opry.
Seventy years later, in 1997, I first stepped back on stage at the now infamous Grand Ole Opry. Over the next few years, I would become a backstage regular, attending the Saturday night show at the Grand Ole Opry countless times. My kids grew up feeling that a Saturday night backstage at the Opry was normal, but it wasn’t. Each presence was an opportunity to see history in the making.
Such an event happened in 1998, to the best of my recollection. It was a typical night at the Opry, except for one thing. Johnny Paycheck had been sick for a while and in Ohio. That night would mark his return to the Opry. Now the backstage of the opry is usually bustling with people visiting and doing what the elders call “shake and howdy”, greeting each other and everyone backstage. Sometimes it’s even hard to hear what’s going on in front. But that night, when Paycheck walked up to the mic and his violinist played that signature lick, you could have heard a pin drop. Paycheck leaned over this famous mic with the triangular stand cover branded WSM Grand Ole Opry and sang. “I can’t remember, once in my life, I felt as lonely as tonight, I feel like I couldn’t lie down and couldn’t get up, that’s the most crazy, I’ve never felt it before. Tonight I feel, like and Old Violin, soon put away and never played again.
I wonder if the reverence wasn’t some kind of vicarious feeling of the older generation of country music acknowledging that their time had passed. But did he really have it? Won’t he live forever? I think it’s okay. I think the very fact that the Grand Ole Opry continues to this day to be considered the mother church of country music is proof that the foundation of county music will never be lost. The weather and sounds will of course change. The artists of the 70s were very different from their predecessors of the previous 50 years, but they had their own kind of respect for those great artists of the past. With each new generation of country singers, they bring their own style, but if you listen closely enough, you’ll hear influences that go all the way back to Deford Bailey. From time to time, each new generation pulls out the old fiddle and reminds us that the sweetest sounds come from the oldest, time-tested instruments.
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