My review of Roy Orbison's Black & White Night 30 (audio portion), his legendary 1987 concert, expanded and upgraded, out on CD/DVD February 24th.
The 2016 Country Music Hall of Fame inductees were announced the other day, and there's not an iota of controversy in any of them. Each represents a vital part of the music's past, two of them remarkable performers and in one case, for the rise of a number of iconic artists. They're worth looking at in detail.
I've said it in my podcasts, on this blog and elsewhere. A fair amount of today's contemporary country music is really not country in any defined way. That does not mean, whether I like it or not, that it's not valid. A lot of what I hear falls into the category of something I call Nashville Pop. I'm thinking of acts like Sugarland and Little Big Town in particular, as well as newer groups like Old Dominion who have little connection with country under even the most liberal definition. My opinion, nothing more.
The notion of Nashville Pop, however, goes back nearly 70 years, and encompasses some of the most beloved recordings in American pop or rock music. Some are on this select list. Bob Dylan's Nashville recordings (Blonde On Blonde, John Wesley Harding, Nashville Skyline, Self Portrait) also fit this profile. I've finished with the best known of thost Nashville recordings.