The Dreaming Fields —❝Well as somebody always said: If you can’t say anything nice about anybody, come sit by me!" ☈"Talking about music is like dancing about architecture.”♚ So just listen: audio✖video(-。-)y-～゜゜゜
Vince Gill & Patty Loveless - Go Rest High On That Mountain [Live][George Jones’ Funeral]
“It’s my belief they don’t make those shoes anymore.” Amen, Vince. This performance broke my heart.
ETA: Video of the performance has been uploaded by the official Opry channel:
Vince Gill and Patty Loveless perform “Go Rest High On That Mountain” at the funeral service of George Jones on May 2, 2013. With special thanks to the Jones family and artists involved, the Opry is authorized to post this moving performance from the service. (x)
Patty Loveless joins the Time Jumpers for a surprise performance and delighted the sold out show at 3rd and Lindsley on April 8, 2012.
She’s amazing. Honestly, I can’t think of anyone in Country, or just music, who’s singing at her level. Her voice has only gotten better with age, and the emotional weight it carries is overwhelming.
One of the best things about going to a show at one of Nashville’s many small clubs or intimate venues is that you never know who will show up.
When The Time Jumpers, whose members include Vince Gill and Riders in the Sky’s Ranger Doug, hosted their annual Monday night show at 3rd & Lindsley last night (Apr. 8), the audience was a who’s who of country and rock VIPs. And while Elton John’s right-hand man, Bernie Taupin, producers Emory Gordy (Patty Loveless) and Tony Brown (Vince Gill), and Opry legend Jeannie Seely remained seated in the crowd, Patty Loveless and Rodney Crowell hopped up onto the stage to perform with the band of Nashville’s finest musicians. The band played two hours of Western swing from Bob Wills to Ray Price, stopping for a few minutes between sets to visit with fans.
It was sure nice to see the band’s Dawn Sears, who was recently diagnosed with stage 3 lung cancer, front and center with the band, sounding like an absolute angel.
❝We are kind of in a sense their children, you know, folks like Ralph Stanley, Bill Monroe, and Earl Scruggs. Patty and Ricky grew up in that same part of the world that Ralph and Clinch Mountains. I had to go there to discover and learn it, you know, and Ricky and Patty were born into it - it’s a big difference. Luckily I got big fat ears to kinda hear the same things they did.❞ — Vince Gill
Alison Krauss (& Union Station), Patty Loveless, Vince Gill: “Workin’ on a Building” (Grammy Tribute to Bill Monroe | 1997) video upload by dahliacorona
“As long as I’ve known my good friend Reba she’s credited her gut with getting her out of sticky situations, and providing clear direction whenever she felt lost. Reba says that internal voice is really God’s whisper. Reba’s parents, Jackie and Clark, taught Reba that hard work pays. She’d rise before the sun with her dad to brand cattle and feed the steers. When she wasn’t running from those rattlesnakes, Reba was probably helping her mom in the kitchen too. Reba’s childhood gave birth to a grit and determination that she’s fostered and drawn from her entire life. Whether she was barrel racing for prize money at an Oklahoma rodeo or singing for gas money at a Honky Tonk in Texas, Reba always gave it her all. Country music was strictly a man’s world when Reba arrived in Nashville in 1975, but that didn’t dampen her drive. After years of performing smoky clubs and listening to other people’s advice about what songs she should record. Reba took control of her musical course. She scored her first #1 “Can’t Even Get the Blues.” She’s been going strong ever since. The red-haired rodeo girl from the Oklahoma Hill Country has rightfully earned her place among Country music royalty, and yet you still kinda wonder what in the world that ole Okie is gonna do next. Reba’s talented and beautiful, inside and out, couldn’t be more proud of her.” –Vince Gill
Garth Brooks summoned the big guns to usher him into the Country Music Hall of Fame Sunday evening (Oct. 21) in Nashville, and they flocked to his cause like farmers to a barn-raising. James Taylor, Bob Seger and George Strait each took his turn at paying tribute to the best-selling solo recording artist in history by singing one of his hits to an audience that packed the Hall of Fame’s Ford Theater. The cheering sections for Brooks’ fellow Hall of Fame inductees — Grand Ole Opry star Connie Smith and the enduring A-team session pianist Hargus “Pig” Robbins — were not too shabby, either, featuring as they did Ronnie Dunn, Crystal Gayle, Gene Watson, Ronnie Milsap, Lee Ann Womack, the Whites and the Quebe [pronounced KWAY-bee] Sisters Band. This annual event is officially known as the “Medallion Ceremony” because an engraved Country Music Hall of Fame medallion is placed around the neck of each recipient as the final step in his or her induction. A crowd of fans gathered behind police barriers on Demonbreun Street to witness the arrival of celebrities and dignitaries that started at 4 in the afternoon. Unlike previous ceremonies, which began with a two-hour cocktail party, this edition scheduled the party after the inductions. Even so, there were uniformed waiters offering glasses of red and white wine to guests and artists as they arrived. Inside the theater, while the first few guests wandered in to find their seats, Merle Haggard stood at a lectern beside the stage, adjusting to the Teleprompter and running through the remarks he would give later on to welcome Smith. “I feel a close kinship with her because we’ve recorded each other’s songs,” he uttered to a mostly empty room. Haggard then wandered over to chat with steel guitarist Paul Franklin, who sat waiting for the other band members to assemble. On the opposite side of the room, Gayle and her husband-manager Bill Gatzimos eased down the stairs unobtrusively and disappeared into the green room. Strait, a last-minute substitute for George Jones, who was originally designated to induct Brooks, sauntered out to the lectern to be led through his paces. Once done with that, he stepped over to greet Haggard, clapping him companionably on the shoulder. Seger emerged from the green room and took his seat at the end of the fourth row.
❝We are kind of in a sense their children, you know, folks like Ralph Stanley, Bill Monroe, and Earl Scruggs. Patty and Ricky grew up in that same part of the world that Ralph and Clinch Mountains. I had to go there to discover and learn it, you know, and Ricky and Patty were born into it - it’s a big difference. Luckily I got big fat ears to kinda hear the same things they did.❞ — Vince Gill
George Jones, right, leads this song with Marty Stuart, second from left, Patty Loveless, Vince Gill, and others on the finale number of the MCA Records show during Fan Fair at the State Fairgrounds. (6/11/1991)
Somehow through the day I don’t give in I hide the tears that wait within Oh, but through these sleepless nights I cry again Why did you go? Why did you go? Don’t you know, don’t you know I need you? Through the sleepless nights I cry for you And wonder who is kissing you Oh, these sleepless nights will break my heart in two
“I just love her so much as a person. I wouldn’t even care if she couldn’t sing good, I’d still like to hangout with her and work with her just because I think so much of her as a person. She’s arguably one of the greatest singers that’ll ever draw a breath, and she’s unique. She possesses the thing that’s lacking in a lot of the young artists these days: definition.”—Vince Gill.
☈"Talking about music is like dancing about architecture.”♚ So just listen: 
