Grand Ole Opry members Brad Paisley (l) and Little Jimmy Dickens (r) unveil the refurbished 6-foot circle of wood (taken from the historic Ryman Auditorium when the show moved to the Grand Ole Opry House in 1974) that was damaged in the May 2010 Nashville flood. Photo courtesy of the Grand Ole Opry.

When Nashville was flooded in May, the tragedy was best symbolized for the world by the Grand Ole Opry House. Muddy water from the Cumberland River stood nearly four feet over the Opry stage, and the manager of the Opry literally surveyed the damage by kayaking through the venue.

The Opry House reopens Tuesday, September 28 with an all-star Opry edition that airs on GAC at 9/8c as Country Comes Home: An Opry Live Celebration. The lineup features a ton of artists, including Trace Adkins, Keith Urban, Josh Turner and the two men who helped put a famous wooden circle back in the restored Opry stage: Brad Paisley and Little Jimmy Dickens.

The wood is a six-foot section of oak taken from the stage of the Ryman Auditorium, the previous home of the Opry, when the Opry House originally opened in 1974. At the Ryman, that wood supported the likes of Patsy Cline, Hank Williams and Johnny Cash. But the Opry has now been at the Opry House for 36 years — longer than any home it’s previously occupied.

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Grand Ole Opry members Brad Paisley (l) and Little Jimmy Dickens (r) unveil the refurbished 6-foot circle of wood (taken from the historic Ryman Auditorium when the show moved to the Grand Ole Opry House in 1974) that was damaged in the May 2010 Nashville flood. Photo courtesy of the Grand Ole Opry.

It’s a six-foot piece of circular wood, scuffed and nicked and grooved, but it’s a monumental symbol. Brad Paisley and Little Jimmy Dickens joined four construction workers Wednesday in installing a major piece of oak into the center of the stage at the Grand Ole Opry House.

The moment was captured by a herd of reporters and photographers as Nashville continues its recovery from a devastating flood in early May. At that time, water from the Cumberland River swamped the historic venue, piling 46 inches of liquid on top of the stage. The waters were so significant that mud was hurled onto the ceiling and Opry VP and general manager Pete Fisher literally floated a kayak through the house.

Dirt and construction dust still litter the grounds around the Opry House, but the placement of the circle back onto the stage was a hardy symbol for the restoration of the Opry and its history. The circle was cut from the floor of the Ryman Auditorium and installed at the Opry House when it opened in 1974, providing a physical link between current generations of Opry members and some of the late performers who stood behind the mic stand on that same wood — people like Hank Williams, Patsy Cline, Roy Acuff and Marty Robbins. It was damaged during May’s floods, but not so much that it couldn’t be repaired. Its resilience embodies as well as ever the durability of the Opry and its legend.

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Hank Cochran photo courtesy of So Much Moore Media.

Hank Cochran, a legendary songwriter who had hits in four decades, died Thursday after battling pancreatic cancer. A longtime member of the Nashville Songwriters Hall of Fame, his words and melodies were significant in the careers of such signature artists as George Strait, Patsy Cline, Keith Whitley and Eddy Arnold.

Hank was part of the first generation of Nashville’s full-time songwriters. Born in Mississippi, he was living and performing in California when he signed his first songwriting contract in 1959 with Pamper Music, a publishing company owned in part by Ray Price. In January 1960, he moved to Music City, where he became a regular at Tootsie’s Orchid Lounge, a legendary music-business hangout. Tootsie’s provided an informal meeting room for country’s artists and writers, including Harlan Howard, Mel Tillis, Marty Robbins and Willie Nelson, who Hank first met there. He helped Willie get signed to Pamper and even gave up a raise to make sure the company could afford Willie.

Hank’s legend was practically cemented when he and Harlan co-wrote “I Fall To Pieces,” a landmark Patsy Cline song with a nicely contoured melody and deftly direct lyrics. It was not just a great calling card. The National Endowment for the Arts named it one of 365 culturally significant recordings in a new-millennium list of the Songs of the Century.

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Loretta Lynn photo courtesy of Interscope Records.

This fall will mark a whopping 40 years since Loretta Lynn hit radio waves with “Coal Miner’s Daughter,” but the song is enduring enough that it made news in not just one, but two different ways on Wednesday.

For starters, the book that carried the same name, Coal Miner’s Daughter, will be reissued in September by Vintage Books, which will market the autobiography as a paperback, an e-book and an audio book, narrated by Sissy Spacek. Sissy is, of course, a natural for that job, since she won an Oscar for portraying Loretta in the movie that was built around the book and even got a Grammy nomination for her own recording of “Coal Miner.” The movie, in fact, is celebrating its 30th anniversary this year.

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Lady Antebellum on stage at the Ryman Auditorium during the Music City Keep On Playin' benefit concert. Photo credit: Photo by Ed Rode/edrode.biz.

The stars came out in a big way, as did a number of companies and the American people when GAC presented Music City Keep On Playin’ — A Benefit For Flood Relief.

Brad Paisley, Keith Urban, Lady Antebellum and Dierks Bentley were among the artists who delivered nearly 20 songs during Sunday’s three-hour live special from Nashville’s Ryman Auditorium. The event raised more than $1.7 million as of midnight CT and counting.

Music City Keep On Playin’ was the first national fundraiser organized to aid victims of a devastating flood that engulfed much of Nashville two weeks ago. In a scant 48 hours, the city took in over 13 inches of rain, more than the Middle Tennessee ground could absorb. The Cumberland River swelled over its banks, damaging some of the city’s landmarks, including the Grand Ole Opry House, LP Field, Bridgestone Arena and the Country Music Hall of Fame.

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Willie Nelson photo by David McClister, courtesy of Lost Highway.

When fans talk about classic-country sounds in 2010, they more often than not are thinking about music by the likes of Merle Haggard, George Jones, Patsy Cline and Willie Nelson.

Who did those artists consider classic? Well, you get a bit of an answer to that question on Willie’s latest album, Country Music. Released Tuesday, it includes covers of songs first made famous by the likes of Porter Wagoner, Al Dexter, the Louvin Brothers and Merle Travis.

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Johnny Cash

Saturday marks three years since the tragic fire that destroyed the former Tennessee home of Johnny Cash and June Carter, a moment that had a huge impact on Nashville’s music community.

A number of country artists — Marty Stuart, T.G. Sheppard and several Oak Ridge Boys, among them — could only watch helplessly as flames engulfed the structure, which had been purchased from the Cash family by the Bee Gees’ Barry Gibb. A couple of songwriters, Monty Holmes and Leslie Satcher, were inspired by the blaze to write “House Of Cash,” a Patty Loveless duet that appeared on George Strait’s award-winning Troubadour album. And Larry Gatlin turned the disaster into a statement about the changing nature of country music, “Johnny Cash Is Dead (And His House Burned Down).”

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Country Music Hall of Fame inductees Charlie McCoy, Barbara Mandrell and Roy Clark gather at a reception before the Medallion Ceremony at the Hall of Fame in Downtown Nashville on May 17, 2009. Photo credit: John Russell / CMA.

Vocal ability, good songs, a little bit of showmanship — some of the traits that can be important for a career as a country artist are obvious.

One that’s not so apparent goes back to the old adage “loose lips sink ships.” The ability to maintain a secret has some important ramifications, and it’s a challenge to artists at every range of a career, whether you’re a newcomer like Tyler Dickerson or a well-established star like Roy Clark.

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Gretchen Wilson photo courtesy of artist.

Gretchen Wilson may have sung “Here For The Party,” but John Rich owns a house that’s the perfect place for it. He loaned it out to Gretchen Thursday for an exclusive soiree to toast Tuesday’s release of I Got Your Country Right Here, the first album on her own Redneck Records label.

The home? Mt. Richmore is like a giant cube on the top of a hill with steel balcony railing and 12-foot glass windows that provide a view of the Vanderbilt campus and downtown Nashville’s skyline. It takes an elevator to get you to the third floor, but there was plenty of time to get a shot of whiskey on the way up at the bar in the elevator. Really.

The smell of cigars, plucked from John’s private humidor, wafted through the room as Gretchen showcased music from the new album, a few songs from the writers who contributed to it and some rather prominent covers, including versions of Foreigner’s “Hot Blooded,” Led Zeppelin’s “Rock And Roll” and Patsy Cline’s “Leavin’ On Your Mind.” Those choices underscore the musical core that Gretchen’s demonstrated since her national arrival in 2004.

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Elvis Presley image used by permission, Elvis Presley Enterprises, Inc.

In a bittersweet ceremony the day before a make-or-break court proceeding, four sets of session musicians received new awards Thursday at the Musicians Hall of Fame in Nashville. The players — who collectively backed such artists as Patsy Cline, Elvis Presley, the Beach Boys and Johnny Cash — are among those recognized in the structure, which is likely to be demolished to make way for a new convention center.

“To have it all torn down,” said Elvis’ drummer D.J. Fontana, “is a damn shame.”

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