A Southern Journey from the Summer 2019 issue. In the Tampa exurbs, splashed across the side of a half-occupied strip mall, is a vast mural depicting the Victorian art critic-cum-philosopher-cum-political economist-cum-painter-cum-social reformer John Ruskin. He gazes out at an expanse of… | Jun, 2019
Notes on the songs from our 19th Southern Music Issue CD featuring Kentucky.
This faculty, to be attuned to one’s surroundings and the ways in which they’re unique, to be rooted in the local, to be of a certain place—no matter if one permanently leaves it, like Richard Hell, or stays forever, like Rachel Grimes—is an elemental theme running through the Oxford American’s 19th Southern Music Issue, devoted to Kentucky. It’s manifest in every one of the songs and stories gathered here: the Commonwealth produces a particularly grounded cast of artists, writers, and musicians.
Take Sturgill Simpson. Sturgill (can I call you Sturgill?) is a Kentucky rascal, born in the heart of the Appalachian mountains. Jackson—population around twenty-one hundred. He comes from a family of coal miners. He was in the Navy. He worked on the railroad and played music and sang, and his wife reassured him he was good and should keep doing it. Sturgill Simpson’s first album, High Top Mountain, was self-funded, self-released in 2013, and the first track is “Life Ain’t Fair and the World Is Mean.” In 2017, Sturgill’s first major-label album, A Sailor’s Guide to Earth, won the Grammy for Best Country Album and was nominated for Album of the Year while being largely ignored by country radio and the country music awards.