Remembering Otto Kitsinger

Today, on my Facebook page, I posted a picture taken back in the "Old Days" (that is, in my previous 21-year career at WSM Radio and the Grand Ole Opry here in Nashville).  At the time of the photo, one of my tasks at WSM was to produce radio shows for the radio network we were running in partnership with the Westinghouse company called TNN Radio, or TNNR.  One of those shows was focused on country music oldies and was hosted by Grand Ole Opry star Bill Anderson.

In the 1989 photo I posted, which showed Bill, his fellow country superstar Eddy Arnold, me, and a guy most folks today wouldn't know--the late Otto Kitsinger.  Well, running across that picture again has given me pause to want to reflect a bit on this unique and special friend of mine.  I was also reminded that it was 20 years ago this week (in April, 1998) that we lost him.

Bill always referred to him as "The Great Otto," and to those of us who knew him, he was great.  I believe Otto was one of the kindest, funniest, most generous, friendliest, most considerate, and most intelligent men I've ever known.  His role on Bill's show, Yesteryear, was to write the show each week.  Actually, a more accurate title would be "researcher," because the show really wasn't scripted.  Otto and I would work together each week to develop a layout for the show, planning which songs we'd be featuring, and then Otto would set about gathering a multitude of facts, trivia, and other interesting tidbits from which Bill would choose the actual things he would talk about that week.

And boy, could he do that well.  With a thoroughness unknown to most, in these pre-Internet days, Otto would spend hours in the library of the Country Music Hall of Fame, the Nashville Public Library, and at home poring through books, magazine articles, recordings, and other materials, to put together the packet of information used by Bill on the show.  Most of the time, he'd end up providing more information (many times more, actually) that Bill could possibly use hosting the show.

How did he do it, you may ask?  Well, it had to do with his background.  You see, Otto's training was as an attorney.  In fact, he was an attorney.  And not just any attorney--he had spent the previous three or more decades of his career working in the New York law firm that represented the interests of famous oilman J. Paul Getty.  Otto worked directly with Mr. Getty and his staff, dealing with their legal matters.  Raised and educated in his home state of Texas, Otto had spent virtually his entire career in New York on a very fast track.

While I don't purport to intimately know the details of Otto's personal life, I can tell you what he told me:  While he was very good at what he did, made more money than he could have every dreamed (and had all the things which go with it), his career was killing his soul.  What's more, it was taking a physical toll, leading to health problems culminating in a serious heart attack.  As time went on, he longed to break away from it all.  And one day, he did.

Leaving New York and his very lucrative and impressive job, Otto ventured to Nashville to pursue his lifelong love affair with country music.  All the time he had worked as a lawyer, Otto had been nursing that love affair by collecting records, attending shows, and reading everything he could about the true love of his life--heartfelt songs, augmented by fiddle and steel, sung with the twang which had been so familiar to him growing up in Texas.

Once in Nashville, he traded his three-piece suits for jeans, a sparse lifestyle, a jalopy to drive around, and a pretty good computer for word processing.  He began assembling an impressive library of recordings, books, artifacts, and other materials to serve as the basis for his new career.  It wasn't long before his name began appearing on magazine articles, liner notes, and other writings of all kinds.  Although he had only been in town a couple of years, he seemed an obvious choice when we were looking for a researcher for Yesteryear in 1988.

During the years we worked together and beyond, Otto and I became good friends.  Apart from our work, we would spend hours talking about music and sharing stories.   I personally spent a good deal of time laughing at Otto's incredibly dry wit, which showed through in the multitude of stories, jokes, expressions, legal phrases, and other sayings delivered in the dour way which only he could.

There's much more to Otto's story, but the point I want to make is this:  Money, power, and prestige don't buy happiness.  Perhaps that seems elementary to you, but Otto's life stands in my memory as a living, breathing example of the principle.  I know both from observation and my many conversations with him that with his career change, Otto had forfeited a life of financial security most people only dream of for one few people would want.  His peace of mind, you see, came at a very high cost.  But he would be quick to point out that he was glad to do it.  He took true joy in his work, and along the way, was able to share a lot of it with people like me.  He loved what he was doing, and was comfortable with who he was.  For me, it was a good lesson.

In time, his heart condition claimed his life.  But I can tell you that he died doing what he loved.  I can also tell you that he greatly enriched my life and changed my perspective on what's truly important.

L-R:  Otto Kitsinger, Eddy Arnold, Kyle Cantrell, Bill Anderson

Albums, anyone?

In my business--playing music on the radio--we're always talking about new music releases by one artist or another. In this day and age, they tell me, most people are buying tracks off the Internet (iTunes and the like) and downloading them. However, artists still make albums for those folks who want more than just a random track, or for people who want to purchase physical CDs.

I'm often getting into trouble when I talk about new albums (using that term) with certain listeners who enjoy pointing out mistakes those of us who speak publicly make. They say (and you can hear the large grin and the "Ah ha! I caught you!" coming right through their emails) "You meant to say 'CD,' didn't you?"

Well, I certainly make my share of mistakes--and I don't mind criticism, especially the constructive type--but my hackles get up on this point. Because no, I didn't "mean" to say "CD." "Album" is what I said, and I meant it.

Let me tell you where I'm coming from. The term "album," used in this sense, means "a collection of songs." That collection of songs can exist as a group of files on your computer, tracks on a CD, or the songs on an LP record (which is the thing most of these people think of when they hear the word "album").

Albums first came into being in the early days of recorded music, long before computers, CDs, or even LPs were thought of. In those days, music was distributed on 78 RPM records, with (usually) one song on each side. Some ingenious person (who knows who it was) came up with the idea of packing several 78s by the same artist in hard-backed book full of record sleeves which resembled a photo album. The record album was born.

Before long--and I think this really gained steam in the 1940s--record companies were using albums to package together songs that, well, went together--collections of songs on related themes, for instance. The next natural step in this progression was for artists to begin recording songs for albums deliberately. Instead of having their labels choose records to package into albums, some artists began recording songs that were intended to be sold in the same package. The 78 album pictured on the left is an early example of a country concept album.

In the late 1940s, recording technology was undergoing rapid change. RCA introduced the 45 RPM record, which sounded better, stored easier, and was less likely to break than the brittle 78. In a short time, it replaced the 78 as the perfect format for delivering single records to the public. 45s were also packaged into albums, just like their faster-spinning older siblings had been.

Meanwhile, Columbia Records, RCA's arch competitor, introduced the 33 1/3 RPM Long-Playing record (the "LP"), first as a way of more efficiently marketing classical music with its longer musical selections, and later as a medium for the collections which had been packaged up to that time as albums.

78 and 45 albums continued to be produced for some time, but it wasn't long before the LP replaced them all as the medium of choice for albums because it, too, sounded better (even better than the 45, although RCA wouldn't say so), was virtually unbreakable, and was a much cheaper and more efficient way for the public to get several songs at once. Over the following 35 years, the terms "LP" and "album" became synonymous in the eyes of the public.

When recording technology changes went into overdrive in the 1980s with the introduction of digital audio and the compact disc (CD), music that had previously been delivered on LP, naturally, moved to the new format. Many people, following years of habit, continued to refer to their LPs as "albums" as a way of distinguishing them from their CDs. But in reality, an LP is no more exclusively an "album" than a CD is. Heck, if you want to be really picky on this point, it's been nearly 60 years since any record "album" was made, because that's about when they quit packaging single records in album-like books. All those years of LP albums, though, give us strong precedent for applying that term to today's technology.

So the next time you pick up a favorite CD, go ahead--call it an album. You have my permission. More importantly, you'd be correct.

New Program Schedule

Now that Bluegrass Junction is heard on both the Sirius and XM platforms, we've revised the schedule for the feature programming you've been hearing on both services. The idea is to make sure the shows you're looking for air at user-friendly times. Here's the rundown:

The Studio Special series now airs at 8 AM ET on Fridays and Saturdays and 9 PM ET on Sundays and Mondays.

Track-By-Track, as I mentioned in my earlier post, now airs weekly at 11 AM ET on Wednesdays and Sundays and 9 PM ET on Tuesdays.

Grassroots, our classic bluegrass show, has been expanded from two to three hours and renamed Truegrass (the name under which it aired on Sirius Bluegrass). Hosed by award-winning broadcaster-artist Chris Jones, it airs from 3-6 PM ET Fridays and 6-9 PM ET Sundays.

Hand Picked with Del, a show hosted by Del McCoury on which he shares some of his favorite music every week, airs Saturdays and Mondays at 11 AM ET and Thursdays at 9 PM ET.

Finally, Gospel Grass is now called The Gospel Train and airs Sundays from 8-11 AM ET and Wednesdays from 9 PM-Midnight ET.

TBT Goes Weekly

One of your favorite "irregular" features on Bluegrass Junction--judging from your comments--is Track-By-Track, where we play all the songs on a current bluegrass album, in sequence, with the artist in the studio to add his or her comments.

Because of your interest in the show, Track-By-Track is becoming a weekly series as of tomorrow morning. And we kick off the weekly version of the show with a rebroadcast of the show we did with Dan Tyminski back in September built around his album, Wheels.

Every week, we'll debut a different show on Wednesday mornings at 11 AM ET. Rebroadcasts will follow on Sundays at 11 AM ET and Tuesdays at 9 PM ET.

Future shows on the schedule will feature the Cherryholmes (that show airs next week), Kristin Scott Benson, Michael Cleveland, and more!

Mornings at the Junction

Well, it's been an extremely busy few days behind the scenes for me, but I'm pleased to report that I'll be back on the air tomorrow morning.

That's right--I said morning. Every now and then, I think it's a good idea to freshen things up, so I'm moving my show from afternoons to mornings from 7-11 AM ET.

This will be a "returning" of sorts for me, because I used to be on in the mornings on Bluegrass Junction a couple of years ago. I'm looking forward to it.

By the way, there will be some other schedule changes starting tomorrow. More on that later.

The "Where's Kyle Jam"

The final track on CHHR2, the album we're featuring on our Track-By-Track with Carrie Hassler, is a tune called "Where's Carrie Jam." While I'm not sure of the exact origin of that piece, by substituting my name in the title I can definitely relate to its sentiment.

If you have been wondering as to my whereabouts, I'm here--but I'm not. I mean, I'm in the office, diligently working on programming assignments (bor-ing!), but I'm not on the air, where I belong. In fact, Marty Fitzpatrick will be in for me on Grassroots again this week, and I'll miss another request show this coming Monday.

There's not a whole lot I can say at the moment about my activities behind the scenes, except to say that I hope to be back on the air in a couple of weeks. Meanwhile, Studio Specials, etc. will continue to air as usual. Actually, the work I'm doing isn't really boring--it's quite interesting--I just miss getting to interact via my shows on the channel.

Thanks for your patience.

By the way, Track-By-Track with Carrie Hassler airs again tomorrow [Wednesday] afternoon at 4 PM ET. Don't miss it!

Marty Fitzpatrick does Grassroots

Marty Fitzpatrick is pinch-hitting (great baseball metaphor, huh?--after all, the World Series is airing on XM!) for me this afternoon on Grassroots because I'm currently on assignment working on programming-related projects.

I'll likely be away for the request show on Monday as well. Look for more details on an updated programming lineup for Bluegrass Junction soon.

Thanks for your understanding.

Studio Special with Jerry Douglas

Jerry Douglas recently brought his fine band to our studio to play on the Studio Special, and that show debuted this morning.

If you heard the show, it's no doubt apparent that what the guys played wasn't middle-of-the-road bluegrass. But wow! The spirit and musicianship were definitely present. I'm truly blown away and amazed at the ability of Jerry to seemingly become one with his instrument. In fact, after the show, Jerry and I talked off the air about how the dobro has a "voice" of its own, and even augmenting a vocal number it becomes another voice alongside the one that's actually singing.

The band Jerry brought along with him was fantastic as well, and their song selection, while progressive, was great and drawn from Jerry's new album, Glide.

The next airing of this show is tomorrow [Saturday] at 11 AM ET. For other air times, follow this link: Studio Special Air Times.

Ramblers Choice Rides the Studio Special

What a week this has been--Just when you think you have everything under control, "Zoom!" It's gone.

Such has been the case with my week. Here we are on a Friday, and it didn't occur to me until I was driving in this morning and heard it on the radio that I hadn't written anything about Junior Sisk & Ramblers Choice's appearance on the Studio Special.

These guys make traditional bluegrass music at its finest, and it starts with the fine vocals turned in by Junior himself. For my money, he has one of the most expressive country/bluegrass lead voices in the industry. I've been a fan of his since hearing him with Wyatt Rice & Santa Cruz several years back, and we first had him on the Studio Special when he was still in Blueridge with Alan Bibey about two years ago. Since then, of course, Blueridge has disbanded and Junior has formed this fine new unit.

The song selection is fabulous. The songs they do on the show are taken from the new CD, Blue Side of the Blue Ridge, and listen for them to perform the title track, "How Could I Explain," and "You Let the Dog Off the Chain." They're standouts, although all the songs are excellent.

Junior Sisk & Ramblers Choice on the Studio Special airs again tomorrow [Saturday] morning at 11:00 ET. Other air times can be found by following this link: Studio Special Air Times.