Watermelon Wine: The Spirit of Country Music

by Frye Gaillard, Dave Paulson (Introduction), Peter Cooper (Introduction)

Originally published 25 years ago, Watermelon Wine was praised for its honest, unsentimental examination of the compassion as well as the passion behind authentic country music. Author Frye Gaillard looked at the commercialization of the Grand Ole Opry; the tradition-minded rebels such as Hank Williams, Waylon Jennings, and Tompall Glaser; the growing divide between country and folk music; how Johnny Cash inspired new songwriters and new ideas; how the changing relationships between men and women were affecting the music; the role of God and gospel; and Southern rock’s increasing influence. A quarter-century later, the essays in the book seem prophetic and in many cases have become even more relevant. A new introduction by Nashville music journalist Peter Cooper and a new afterword by the author update the book’s themes and show what has happened to its personalities.

Genres: Music

216 pages, Paperback

First published January 1, 1978

Reviews

[Andrew · Rating 4 out of 5]

Gaillard's book, published in the mid 1970s, is a short and informative survey of the state of American country music as it was at that time. With an underpinning focus on where the genre had been, where it was then and where it was going, 'Watermelon Wine: The Spirit of Country Music' is an entertaining and informative text. One can readily understand why he comes to many of the conclusions that he writes of in his book, and looking back on what Galliard says it is fascinating to observe how truthful, how accurate his observations are. Whilst neither comprehensive or completely prescient this is a worthy read for anyone who wants to understand country music, and by association, the USA.

Perhaps the central motif of 'Watermelon Wine: The Spirit of Country Music' is how the Seventies saw a growing interest in the country music community in both increasing the commercial power of the music and the problems that came about as a result, and the rejection of this trend by artists who were keen to reconnect the genre with its roots, with the people. Gaillard opens with a chapter on the move of the Grand Ole Opry from its home of the Ryman Auditorium to its (then new) Nashville theme park, and it is here that he sets the agenda for the rest of his narrative. The shift away from the Ryman may have reflected the increasing commercial and political power of country music at the time, but it also represented a drift away from what made it so unique and so powerful as a genre.

From hereon Gaillard looks at the divide that existed (and arguably still exists) between the industry of country music and the culture of country music. Ranging across several issues, including race, gender, the relationship of country with the blues and folk, the political spectrum represented in country and the need to get back to the 'roots' of country Gaillard does a very good job in exploring these challenges and opportunities for the genre. In the process he gives the reader some insights into some of the most interesting artists who were emerging when 'Watermelon Wine' was published, but are now seen as stalwarts of the genre. Nelson, Jennings, Parton, Cash, Haggard, Walsh, Hall, Kristofferson, Harris, Pride, Prine etc are all discussed and there is a palpable level of optimism in Gaillard's text. The author presents with the challenges the genre was facing when he wrote the book, and then offers numerous country musicians as the solutions to these issues.

As someone who has had a schizophrenic relationship with country I found the most valuable aspect of 'Watermelon Wine' was how Gaillard makes an attempt to both prove how good country music was, how important it was culturally, artistically and socially, and that it was capable of continuing to be productive and interesting and entertaining. It seems to me that Gaillard is presaging the Americana movement in this book, and it is in this sub-genre of country music where the future he wrote for has become true. It is those who produce and perform this more roots inclined country that sustain the best attributes of country music.

Oh, there is one point in the text that I was not entirely sold on, though I understand it. Gaillard is not that willing to acknowledge the achievements of Olivia Newton-John as a Grammy award winning country musicians, and to be honest what he says is right. However, Olivia could not be faulted for being so successful in her early career at covering and performing country pop songs, and it might've been interesting if she had found a greater connection with the genre.

So who will want to read 'Watermelon Wine: The Spirit of Country Music'? Fans of the genre no doubt, and those interested in how Americans have found meaning and success in and through country. Outside of that audience there will be few other potential readers which is a shame, because this is a very solid snapshot of country, its culture, traditions and performers at a time when things were changing drastically.

[Tim Armstrong · Rating 3 out of 5]

It was okay. Some very interesting anecdotes from the world of country music in the late 1970s. I enjoyed reading it a lot but I had hoped to learn more from it and I didn't.

[Ian Hamilton · Rating 2 out of 5]

Reads like B-list version of a Peter Guralnick or Nick Tosches book.