Lorrie Morgan on her latest album and her views on today’s country music

                                  Pioneering Country Singer Lorrie Morgan                                  Photo Courtesy of Lorrie Morgan – All Rights Reserved

August 3, 2016 – by Elliot Stephen Cohen

Ask veteran country music star Lorrie Morgan her opinion of its current state, and her answer will be as forthright as her music.

“Oh, country music absolutely sucks right now,” she proclaims. “I hate it. There’s a few artists that I think will always be awesome, like Alison Krauss and Miranda Lambert. I don’t even listen to the radio any more.  I couldn’t even tell you one Luke Bryan song or what Bro-country is. I prefer to listen to great Faron Young, Ricky Scaggs, Keith Whitley, Tracey Lawrence ... people like that.”

Considering her long tradition of keeping the spirit of old-time country music alive, and especially her pedigree ... being the daughter of Country Music Hall of Famer, George Morgan, her comments are understandable.

Born Loretta Lynn Morgan on June 27, 1959 in Nashville, Tennessee, she’s had a very successful recording career, but is perhaps equally known by her fans for her well-documented personal life. In addition to relationships with Kenny Rogers and ex-football star Troy Aikman, her six marriage partners have included three popular country music singers Sammy Kershaw, Jon Randall and the legendary Keith Whitley who died in 1989, at age 34, from alcohol poisoning.

Now Morgan has recently released her first new solo album in five years, Letting Go Slow and is out touring this summer with fellow singers Joe Diffie and Mark Chessnut.

Elliot Stephen Cohen: Who were some of the first singers you heard on the radio that really impressed you?

Lorrie Morgan: There were Dionne Warwick, Tammy Wynette, Patsy Cline... The Supremes really had a big, profound influence on me.

ESC: ... What about the first ones you actually saw in person?

LM: Well, as a little girl, I went to the (Grand Ole) Opry every week with my Dad to see these big stars like Barbara Mandrell, Jeannie Seely, Dottie West and Dolly Parton. They were all a big inspirations to me.

ESC: Being the youngest performer to ever make her debut at the Opry, you must have been very nervous playing at such a prestigious venue.

LM: Oh, at the time, I was only 13, and I didn’t realize how prestigious it really was. Yes, I was very, very nervous about performing there. That was where my Dad and all of his friends, who were my idols, would be by the side of the stage, watching me. I wanted to do a good job for my Dad. I’m green, and I was a total nervous wreck.

ESC: Did you do anything to calm yourself down.

LM: Well, what I remember doing ... was just focusing on one spot in the auditorium. I couldn’t bear to look at anybody’s faces because I was afraid I’d mess up my words and forget them. So, there was a whole lot going on in a young girl’s mind right there.

ESC: What are you fondest memories of your father?

LM: Oh, my God,  everything was special about him. He always made Christmas special. He and I did a lot of hanging out together. It seemed like I was his running mate. I was young girl and me and my brother would go out fishing with him. He was just the picture of a perfect Dad, husband –cornerstone of the family.

ESC: Losing your father at 16 must have been very traumatic.

LM: It was very traumatic. I think it really affected me more than I realized it did. He was the love of my life. You know, every little girl loves her daddy, but he always made everyone feel special in his presence. He was the one who made you feel you weren’t the awkward kid. He was just the best.

ESC: ... and what a great artist.

LM: Oh, he was. You know, my Dad was the first country artist in Nashville to record with a symphony orchestra. He did a beautiful album called Golden Memories which is just him and an orchestra, singing Irish songs. He really loved Irish songs, and it’s one of his most beautiful pieces of work. That was really the kind of music my Dad was meant to sing, and it really shows off his incredible vocal talent.

ESC: Let’s talk about your new album. You’ve been reunited with your former producer, Richard Landis.

LM: It’s just come true for me. There’s nothing like working with Richard. He’s truly one of the greatest producers I’ve ever had the pleasure of working with. I truly believe he’s a modern-day genius, like a Mozart. He’s had a heart attack, and I just want to say, “God bless his soul.” We’re all praying for a fast recovery.

ESC: On the album, you do Bobbie Gentry’s “Ode To Billie Joe.”

LM: I’ve always been a big fan of hers. She’s always been one of my idols since I was a little girl. I’ve always wanted to meet her, but she’s become kind-of a recluse. I was still a little girl when the movie about the song came out.

ESC: Why did you choose such an iconic song to cover. Did you think you could do it better?

LM: No, I never thought I could outdo the original. I love Bobbie Gentry. It’s just my tribute to her. It’s just my way of saying, “Man, I’ve loved this song for a long time. I think it’s cool, and I’m gonna do it.“

ESC: For over 50 years, people have been speculating what the two main characters in the song were throwing off the Tallahatchie Bridge. What do you think it might have been?

LM: Probably pot. (Laughs.) No, I’m just kidding. That was a joke. I have no idea. I’ve always thought it was a baby, or it could have been one of her baby dolls. She grew up that summer... They made love ... I just don’t know.

ESC: You also cover Patsy Cline’s “Strange.” Why did you that particular song of hers?

LM: Well, I love Patsy, but it’s also really hard to do a Patsy song because people compare you to her. It’s just my tribute to her, but the main reason for my doing “Strange” was not because of Pasty, but because of Mel Tillis who wrote the song. I love his songwriting, and that’s one of my favorites of his.

ESC: If Patsy were alive today, and you could speak to her, what you say?

LM: How do you think I’m doin’ ... as both a singer and an artist.

ESC: Did you pick the song “I’ve Done Enough Dying Today” because the theme is autobiographical in many ways to your life?

LM: Yes, absolutely. Almost all of the songs I chose for the album are autobiographical.

ESC: Would you say that all of the things you’ve experienced, like losing our Dad and your husband, Keith Whitley ... both at a relatively young age, has had a profound effect on your singing?

LM: Definitely. You know the pain of losing them and other people I’ve lost will never go away. Real pain like that puts a hole in your stomach that never really fills up. There’s a hole in your heart that can’t be filled up either. It’s a real deep rooted sadness. My pain comes across in my music. It’s true pain. It’s hurt, and it’s deep. My music is my therapy and helps me survive. It’s my best friend, whether I’m singing it or just listening to it.

ESC: As someone who has been recording for a long time, how do you feel about some of the younger singers who use things like Auto-Tune, both in the studio and also actually in concert?

LM: To me, that’s one of the worst things any performer has ever done. I can remember working with one particular artist, and every time we worked together, because I was such a fan, I would be at the side of the stage, but when they’d start singing, I’d be like, “Oh, my God. How awful that sounds!” Then the next time we worked, I thought, “How great that is!. Woa, somebody found Auto-Tuning!” I don’t think that’s fair. People like Vern Gosdin, George Jones, Johnny Cash, Waylon Jennings never used that crap. You know, sometimes a little bit of imperfection is what makes country music perfect. I mean, who wants to listen to a machine? I don’t. I think it’s BS.

ESC: How vital do you think your looks and sex appeal has been to your success, and have you ever gotten flack from some of your record labels over your sexy album covers?

LM: Oh, heavens, yes. One of them once called in my manager, who was a female, and said, “Lorrie has got to cover up her breasts.“ My manager pulled her shirt wide open and said, “You want me to talk to her about that?” I believe a woman should be a allowed to be sexy and pretty. I went against the grain long before Shania Twain came on the scene. There’s also a different kind of beauty that you have to focus on when you get older. Things change and things shift, but I still believe I’m at a great place at my age. I’ve been very fortunate that God blessed me with some good genes.

ESC: I understand you’re a very committed dog lover.

LM: One of my dogs is a rescue, and the other one was given to me by a friend. This is another story but, not that long ago, my band and I were in Wisconsin. As our bus was pulling in, I noticed this street bum with a little Chihuahua on a leash. He picked up the dog and threw it down the street. I got out of the bus and said, “Did you just throw that dog?” He said, “No.” If I see anyone mistreating a dog, I’m gonna take it.

ESC: So, did you take the dog?

LM: Well, what happened was: one of my guys and my son run around this building where the guy was. He was so gross and drunk and said, “I’ll give you the dog for $200.“ I said, “I’ll take the dog for $20,” and he said, “OK.” So we adopted the dog right there. He now lives with my guitar player and goes to all his recording sessions. The dog’s name is Petey. He takes A bath and has a diamond collar. He’s just the happiest little dog you’ve ever seen in your life. I mean, this dog really hit the big time. He’s a part of our country music family now.

ESC: So, what is your opinion of our two presumptive presidential candidates?

LM: I’m going to be very honest with you... All I can say is, “Go, Donald!”

ESC: Because ...

LM: Because we need a change, and somebody who’s not a politician and not worried about being “politically correct,” who doesn’t have to have Congress in his back pocket. I’ve been very disappointed in this current administration. I’ve always backed all of our presidents, whether they’re Democrat or Republican, but this one I’ve had a very hard time with. My belief is that he is guy to best run this country and know how to get workers back to work and for America to be successful ... that’s why I’m for Donald Trump all the way.

ESC: From your long career, what have been you proudest accomplishment?

LM: Well, being made a member of The Grand Old Opry is the ultimate because that’s where I was raised and always dreamed about. I guess, second would be recording with so many of my idols like the Beach Boys, Johnny Mathis, Frank Sinatra, Andy Williams ... I mean, as a child, I could never have even dreamed of that happening, or even prayed for.

ESC: How important has your religious faith been to you?

LM: I’m a very religious person. I was raised Roman Catholic. I’m a rosary girl and I’m very much a believer in God but, even if I wasn’t, my spiritual side has given me the view that we have to be grateful for every morning we get to look at.

© 2016 – Elliot Stephen Cohen – All Rights Reserved

Speaking with Peter, Paul and Mary’s Noel Stookey

 

Noel Paul Stookey – Photo Courtesy of the Artist

By Elliot Stephen Cohen - All Rights Reserved

"I think I understood early on that folk music’s full capacity wasn’t just three chords,” says Noel Stookey. “You could also express social concerns and different nuances of love and spiritual concerns. There’s a redemptive quality to the music. Suddenly we chance to talk about the ethical landscape of America.”

Born Noel Paul Stookey on December 30, 1937, he adopted the moniker “Paul” in 1962 , as part of the iconic musical trio Peter, Paul and Mary. Along  with Peter Yarrow and Mary Travers, the group achieved massive fame in the ‘60s for such recordings as “Blowin’ In The Wind,” “Puff (The Magic Dragon),” “Don’t Think Twice, It’s Allright,” “If I Had A Hammer,” “I Dig Rock and Roll Music” and “Leaving On A Jet Plane.”

The group disbanded in 1970, but re-formed eight years later and stayed together until Mary’s passing in 2009. All three members also pursued solo careers, and Stookey and Yarrow still occasionally perform together.

A born-again Christian since 1968, Stookey’s music has been highly influenced by his religious beliefs. The royalties for his best-known composition, “The Wedding Song” (There Is Love) have been administered by the Public Domain Foundation, which has raised nearly $2 million for various charities.

His most recent work, a CD/DVD At Home: The Maine Tour, is a “live” 24 song document of a month long tour of his adopted home state.

Stookey will be joining Peter Yarrow at Englewood, New Jersey’s BergenPAC theater on Thursday.

He says, “It will certainly be a fun show. I think the hallmark of Peter, Paul and Mary was always that certain degree of unpredictability. That, of course, also keeps it fresh for me and Peter when it comes to the selection of material and presentation.”

Elliot Stephen Cohen: In Peter, Paul and Mary, you were the one who came from a rock and roll background, but I understand you were not a big Elvis fan.

Noel Stookey: You know, I never really paid any attention to him until I watched the television special he did towards the end of his career, the one where he was wearing black leather and sitting around in a square with the other musicians. That did it for me. I became a fan. It was still a little schlocky, a little forced, but still, it was a much more casual access to the man. I had much more interest in his music from that point on. I tend to look more at the substance of a lyric than the charisma of a performance.

ESC: So, as a teenager, you were more attracted to the black R&B vocal groups like The Moonglows and The Charms than solo performers like Elvis, Chuck Berry or Buddy Holly.

NS: Absolutely. Pontiac, Michigan had a great rhythm and blues store with a big guard dog who kept an eye on things. (Laughs.) Yeah, I would leave the store with records that really nobody else in my high school knew about because they weren’t fans of that music. My band and I went on a talent show on WXYZ and won a talent show with our version of The Cadillacs’ “Humdinger.”

ESC: What was the make-up of your group?

NS: We had a sax player, a bass player, a drummer and three vocalists plus myself and my guitar. We were actually a pretty good band. We were called the Birds of Paradise, and we were as black as white kids could be in the mid ‘50s.

ESC: Was hearing R&B records on the radio your first real exposure to black culture?

NS: Yes, because at my school, we had just one token black kid. I’ll bet there’s not one musician you talk to who doesn’t give thanks to this great language that cuts across all racial barriers. You know, music is just what it is. You either like it or you don’t. It has nothing to do with what you look like.

ESC: When you entered college, it was a very turbulent time in America, when President Eisenhower had to call in the National Guard, just so black students could enroll in a college. Did you see a lot of that firsthand at your school?

NS: No. Michigan State had a very diverse student body. Everybody hung out with everybody else. I was never aware of any racial lines that had to be drawn. It was the same as when I arrived in Greenwich Village in the (early) ‘60s. Richie Havens was a painter living down the hall in the apartment building. We used to hang out... As a matter-of-fact, when Peter, Paul and Mary joined the march on Washington (in 1963), it was kind-of like, “You mean everyone doesn’t think like us?” I grew up pretty colorblind. Actually, I am literally colorblind. (Huge laugh.) I don’t know if that has anything to do with my heart space.

NS: As someone who has always been very political, marching against the Vietnam War and endorsing Eugene McCarthy and George McGovern for president, how do you feel about the two presumptive presidential nominees?

NS : Well, I really hate to say anything about Trump because he is such a distorted, ugly caricature of an American success story. Someone who has built a career on a persona of putting personal gain ahead of everything. I loved Bernie, his accessibility, the fact that he spoke to a younger generation, and I loved his graciousness. There are not a lot of politicians who still have that old-school regard and respect for one another. That’s another reason it’s very difficult to be respectful of Trump, who in a sense demands that we treat him in kind. I don’t have any quarrel with Hilary. I think she’s the best-qualified to lead our country in the next four years.

ESC: What was life like for you in the Village of the early ‘60s.

NS: Well, I was working as a standup comic and master of ceremonies at The Gaslight, which was one of the pivotal coffee houses in the Village. I say pivotal because Dylan passed though there, also Len Chandler, Tom Paxton ... and many other really talented people.

ESC: It seems the Village was such a Renaissance place, not just for musicians, but also for comedians like Woody Allen, Dick Gregory, Mort Sahl, Bill Cosby and others, plus it was such a hotbed for social activism.

NS: Absolutely, and nobody stood on principle. Everybody was really pleased to have somebody else sing their song or play their guitar style. Nobody considered it thievery. What do they say, “Imitation is the sincerest form of flattery.”

ESC: What is the story behind the formation of Peter, Paul and Mary?

NS: I had met Albert Grossman who was known as the quiet man who could get you gigs at important places. One night after a show, he called me over to his table and said, “Have you ever considered being in a group?” I was a little ... I wouldn’t say crestfallen, but I was forthcoming with him. I said, “No, but I have some stuff I want to do on my own first.”

ESC: So, where do Peter and Mary come in?

NS: Peter said that I could continue to work solo, but also that Albert was willing to invest money in a trio. So, we pulled together about a half dozen songs and played them for him and his partner, John Court. I remember John saying, “If nothing happens, you’re gonna happen.” I thought that was almost like a guarantee, and yet we were all totally surprised when the reactions from audiences kept getting bigger and bigger.

ESC: At that time you were still known as Noel.

NS: Yes. We were still looking for a group name, and The Willows was one of the contenders. Then Albert said to me, “If you’re willing to change your name to Paul, we can call the group, Peter, Paul and Mary.” I said, ”I’ll take it as a middle name, but I’m not gonna change my name.” Little did I know, Elliot, about a year later, when the success started, that my middle name had overtaken me. At that point, there was really nothing I could do about it.

ESC: How did the group first become aware of “Blowin’ In The Wind?”

NS: We were working at The Village Gate, and Albert brought us an acetate demo with two songs. One side was “Blowin’ In The Wind,” the other was “Don’t Think Twice ...” We immediately loved them both. Dylan hadn’t really happened. So, we were really probably six months or a year ahead of Dylan, in terms of public recognition.

ESC: What did Dylan think of your recording of those songs?

NS: Oh, I knew Dylan from way before we were doing his songs. My first meeting with him was introducing him at The Gaslight. This was not all that impressive because at that time he was just doing everybody’s else’s music, mostly traditional stuff. When he came back about a half a year later, he sang a variation of a talking blues that was so funny and such a clever parody on the concept of the original piece that I realized, “Hey, there’s something really amazing going on with this guy.” He had the ability to go beyond the usual folk paradigm and take the structure and create contemporary thought with it.

ESC: In 1963, Peter, Paul and Mary were huge in terms of record sales, but the following year the Beatles’-led British Invasion changed everything for most American artists. However, in 1965, the American musicians responded with a new genre, folk-rock. Dylan went electric, as did Simon and Garfunkel and other folkies like Roger McGuinn, David Crosby and John Sebastian. As your record sales were falling way behind these artists, did you and Peter ever consider trading in your acoustic guitars for a couple of electrics and latching on to the folk-rock bandwagon? Was it a matter of integrity?

NS: No, because that implies that we had a choice. It was really more a matter of taste. I think if we did switch to electric guitars, it would have been a lot harder for Peter than me (laughs), but I don’t think the idea was to be relevant, as much as timeless. I made the choice for a deeper significance. What we were talking about didn’t need amplification. In many cases, the message would have suffered because then it wouldn’t have been as intimate. I think our audiences always felt that they were a part of the process. Playing acoustic makes everything much more invitational and accessible. That’s not to take anything away from the amazing musicianship of rock and roll artists, then and now.

ESC: What memories do you have of touring with Mary those last few years after she was diagnosed with Leukemia.

NS: She was actually pretty much on top of things, except for maybe the last couple of months. She referred to the breathing apparatus dangling around her neck as “my new jewelry.” Amazingly, even with it, she could still hold a long note. I think in her later years she became a softer, lovelier, more caring and giving person. Those were attributes that were very hard to come by for Mary because she had a very hard life, particularly a very rough childhood. So it was grand to see her in a more accepting, loving mode than I’d ever seen of her before.

ESC: I’ve asked this question of Peter before... Of course Mary can’t be replaced, but do you think a lot of people coming to see both of you in concert wonder why there isn’t another female singer to better replicate the classic Peter, Paul and Mary sound that so many of them grew up on?

NS: No, I don’t think that the audience who comes to our concerts are in any way disappointed. I think, they’re kind-of surprised at how much the absence of Mary suggests her presence by and large, when they sing Mary’s parts. We’ve had a wonderful season, a wonderful run, and we’d really like to be remembered for who we are, not for who we might be if we had another voice added.

ESC: Of all the great Peter and Paul recordings, could you name your three or four personal favorites?

NS: I would have to say I loved Mary’s answer to that, which was, “All of the songs are favorites. They’re like children. It’s just that some of them behave better on some nights than others.” I always thought that was a very smooth answer.

ESC: ... and what you’re most proud of, from your long and distinguished career?

NS: I suppose just being transparent. I ain’t totally there, yet. I’m a student of transparency. If I can be remembered for the love that shone through it, then I’ll be a really happy puppy.

Elliot Cohen A native of New York City, Elliot Stephen Cohen has been a regular contributor to such noted music magazines as Record Collector, Bass Player, Vintage Guitar, Relix and many others. A freelance music journalist for 30+ years, Elliot keeps his finger on the pulse of the current music scene, as well as demonstrating a keen appreciation and knowledge of Classic Rock and the iconic artists who created it. You may contact Elliot with any comments or questions at talking.with.music.stars7@gmail.com .