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Nashville’s Grand Ole Opry – The Old Violin

When you reach the Nashville city limit sign from any direction, it says “Music City Metropolitan Nashville Davidson County, Home of the Grand Ole Opry”. See Nashville is proud of its country music heritage today, but that wasn’t always the case. Back in 1925, when Edwin Craig first started WSM Radio, Nashville’s “old money” didn’t want anything that would paint the city as backward or redneck. The early years were a relentless battle with Nashville’s conservatives, who were very protective of Nashville’s image as the “Athens of the South.” They told Craig “you should be educating those rednecks, not pandering to them”.

WSM began with a studio on the top floor of the National Life and Causality building. They chose the nickname “Southern Sky Castle” because they are on the top floor of the building, which has 5 floors. They built a large one-room studio with a grand piano and very elaborate red curtains to make it appear to be a fairly formal place, mainly for the big dance bands and opera artists of the time.

WSM’s fortunes changed in early November 1925 when they hired George D. Hay, a young announcer leaving Chicago’s mighty WLS, as their manager. George Hay made a name for himself, being known on the radio as “the majestic Ole Judge” even though he was only 30 years old at the time. He picked up the nickname as a child, when relatives would say of the no-nonsense Hay: “He’s as serious as a judge”. Hay had listened to and liked a range of local folk music in his early years and thought it would be a good “mass” attraction for new media radio. He hired Uncle Jimmy Thompson, a 78-year-old violinist, to play one night when a regular gig failed. The response from the audience was so strong that Hay announced that next month WSM would play an hour or two of old time music every Saturday night, dubbing the show WSM Barn Dance. Hay, as “serious Judge Ole”, will be the original announcer.

In December 1927, after a Saturday night performance of “Music Appreciation Time” featuring the classic, “WSM Barn Dance” opened with Deford Bailey, whom Hay called “the Harmonica Wizard “. “Pan American blues,” Hay declared, “for the past hour we’ve been listening to music mainly from the Grand Opera House. From now on we will be presenting the Grand Ole Opry.

Seventy years later, in 1997, I was back on stage at the now infamous Grand Ole Opry for the first time. Over the next few years, I would be a regular backstage performer at the Grand Ole Opry on Saturday nights countless times. My kids grew up backstage at the Opry on a Saturday night, which is normal, but it wasn’t. Every attendance is an opportunity to watch history.

In my memory, such an incident happened in 1998. It was a typical night at the Opry, except for one thing. Johnny Pechek was sick for a while in Ohio. Tonight will mark his return to the Ole Opry. Backstage at opry’s is usually pretty buzzing these days, with people dropping by and doing what the old-timers call “shake and say hello,” greeting each other and everyone else backstage. Sometimes it’s even hard to hear what’s going on ahead. But tonight, when Paycheck steps up to the mic and his violinist plays that iconic phrase, you can hear a pin drop to the ground. Paycheck sings against that famous mic with its triangular stand cover. “I can’t remember one time in my life when I felt as alone as tonight and I felt like I could just lay down and never get up again, it was a damn feeling, I’ve never felt like this before .I felt tonight, like an old violin that was quickly put away and never played again.

I wonder if this reverence is a sense of agency from the older generation of country music, acknowledging that their time has passed. But is there really? Won’t you live forever? I think so. I think the very fact that the Grand Ole Opry is still considered the mother church of country music is proof in itself that the foundations of country music are never lost. Times and sounds will of course change. The artists of the 70s were very different from their predecessors of the past 50 years, but they had their own homage to the great artists of the past. Each new generation of country singers brought their own style, but if you listen carefully, you’ll find influences all the way back to Deford Bailey. Every now and then, each new generation pulls out an old violin, reminding us that the sweetest sounds come from the oldest instruments, tested by time.

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