Sorrow on the Rocks
Committed to Parkview NASHVILLE, Tennessee (AP) -- Porter Wagoner was known for a string of country hits in the '60s, perennial appearances at the Grand Ole Opry in his trademark rhinestone suits, and for launching the career of Dolly Parton.
Like many older performers, his star had faded in recent years. But his death from lung cancer Sunday, at 80, came only after a remarkable late-career revival that won him a new generation of fans.
The Missouri-born Wagoner signed with RCA Records in 1955 and joined the Opry in 1957, "the greatest place in the world to have a career in country music," he said in 1997. His showmanship, suits and pompadoured hair made him famous.
He had his own syndicated TV show, "The Porter Wagoner Show," for 21 years, beginning in 1960. It was one of the first syndicated shows to come out of Nashville and set a pattern for many others.
"Some shows are mechanical, but ours was not polished and slick," he said in 1982.
Among his hits, many of which he wrote or co-wrote, were "Carroll County Accident," "A Satisfied Mind," "Company's Comin'," "Skid Row Joe," "Misery Loves Company" and "Green Green Grass of Home."
The songs often told stories of tragedy or despair. In "Carroll County Accident," a married man having an affair is killed in a car crash; "Skid Row Joe" deals with a once-famous singer who's lost everything.
In 2002, he was elected to the Country Music Hall of Fame.
In May, after years without a recording contract, he signed with ANTI- records, an eclectic Los Angeles label best known for alt-rock acts like Tom Waits, Nick Cave and Neko Case.
Wagoner's final album, "Wagonmaster," was released in June and earned him some of the best reviews of his career. Over the summer, he was the opening act for the influential rock duo White Stripes at a sold-out show at New York's Madison Square Garden.
"The young people I met backstage, some of them were 20 years old. They wanted to get my autograph and tell me they really liked me," Porter said with tears in his eyes the day after the New York show. "If only they knew how that made me feel -- like a new breath of fresh air."
To many music fans, Wagoner was best known as the man who boosted Parton's career. He had hired the 21-year-old singer as his duet partner in 1967, when she was just beginning to gain notice through songs such as "Dumb Blonde."
They were the Country Music Association's duo of the year in 1970 and 1971, recording hit duets including "The Last Thing on My Mind."
Parton's solo country records, such as her autobiographical "Coat of Many Colors," also began climbing the charts in the early 1970s. She wrote the pop standard "I Will Always Love You" in 1973 after Wagoner suggested she shift from story songs to focus on love songs.
The two quit singing duets in 1974 and she went on to wide stardom with pop hits and movies such as "9 to 5," whose theme song was also a hit for her.
Wagoner sued her for $3 million in assets, but they settled out of court in 1980. He said later they were always friendly, "but it's a fact that when you're involved with attorneys and companies that have them on retainer, it makes a different story."
At a charity roast for Wagoner in 1995, she explained the breakup this way: "We split over creative differences. I was creative, and Porter was different."
He said in a 1982 Associated Press interview that his show "was a training ground for her; she learned a great deal and I exposed her to very important people and the country music fans."
She was present at the ceremony in May 2007 honoring Wagoner on his silver anniversary with the Opry. At the time, he called Parton "one of my best friends today." She also visited him in the hospital as he battled cancer.
Wagoner, who had survived an abdominal aneurysm in 2006, was hospitalized again this month and his publicist disclosed he had lung cancer. He died at 8:25 p.m. CDT Sunday in a Nashville hospice, said Darlene Bieber, a spokeswoman for the Opry.
Country singer and Opry member Dierks Bentley visited Wagoner in the hospice over the weekend and said Wagoner led them in prayer, thanking God for his friends, his family and the Grand Ole Opry.
"The loss of Porter is a great loss for the Grand Ole Opry and for country music, and personally it is a great loss of a friend I was really just getting to know," Bentley said. "I feel blessed for the time I had with him."
Pete Fisher, vice president and general manager of the Opry, said the Opry family of musicians and performers was deeply saddened by the news. "His passion for the Opry and all of country music was truly immeasurable," Fisher said.
Wagoner was born in West Plains, Mo., and became known as "The Thin Man From West Plains" because of his lanky frame. He recalled that he spent hours as a child pretending to be an Opry performer, using a tree stump as a stage.
He started in radio, then became a regular on the "Ozark Jubilee," one of the first televised national country music shows. On the Opry since 1957, he joined Roy Acuff and other onetime idols.
At one point his wardrobe included more than 60 handmade rhinestone suits.
"Rhinestone suits are just beautiful under the lights," he said. "They've become a big part of my career. I get more compliments on my outfits than any other entertainer -- except for Liberace."
While he continued with the Opry, and even had a small part in the 1982 movie "Honky Tonk Man" starring Clint Eastwood, his recording career dried up in the 1980s -- until his return this year.
"I stopped making records because I didn't like the way they were wanting me to record," he said. "When RCA dropped me from the label, I didn't really care about making records for another label because I didn't have any say in what they would release and how they would make the records and so forth."
But before we kick it off, I had one last post I wanted to make. Over the weekend, I had the chance to see The Assassination of Jesse James by the Coward Robert Ford. If you’ve never heard of this movie, you’re not alone. Warner Bros. has gone out of their way to not market this film, even though it stars Brad Pitt, one of the biggest movie stars in the world. What little promotion they have done makes the film look like a shoot-em-up western. This film is anything but. The film is akin to Terrance Malick’s beautiful mood pieces like The New World and Days of Heaven—it is slow and contemplative, full of meandering plot. Yes, something 
mainstream audiences won’t like. But those are the types of films I love and Jesse James will become a forgotten masterpiece. Roger Deakins is without a doubt the finest cinematographer working in film today. His compositions and lighting are some of the most beautiful I’ve ever seen in a movie. The myths and legends of the Old West are obliterated in the film—though the sweeping shots of the prairie and wide open sky are beautiful, this is really a character film and a reflection of American society from over a century ago. There is deep loneliness in the characters—they are haunted by their past and by what they had once aspired to become. And they are obsessed with fame and how they will be remembered. If you are in the mood for essentially a tone poem on film, check this movie out. It’s definitely not for everyone’s tastes, but it earned a solid A from me.
One of the standouts of the film was the gorgeous score by Nick Cave and Warren Ellis. Cave already dabbled in westerns, writing last year’s The Proposition, and is a perfect choice for this very literary film. Cave’s songs read like brilliant and dark short stories. His delicate and brooding score should at least get him nominated for an Oscar. The score comes out November 13, but here’s a preview of three tracks.
