again CKBY repeated the benefits. Then it was the “Hair Country” of Shania Twain as the music crossed over to Pop radio. For the international Country scene it was an incredible money bonanza, but ironically, for the local scene, it spelled disaster. Despite their talent, artists like Terry Carisse and Neville Wells couldn’t match the slickness or video appeal of the New Country artists, and most Country bands in the valley started doing more cover versions of hits than originals. Tuning in Country radio these
days, it’s almost inconceivable that this is the same style of music that was so precious to the people of the Ottawa Valley in the 50s and 60s. The heritage, the stories and the heart of the music is gone, trampled by a style created and performed to make money. Tellingly, the wonderful Ottawa Valley Country Music Hall of Fame seems to be stretching to find new inductees, and that speaks volumes for the current state of the local industry. There are still great, professional Country singers and Bands in the Valley, but most are just studying the videos and playing the current hits to make a living. I asked Mark Papousek what he
thought about todays so-called “Bro Country”. He said, “Unfortunately people are forgetting about how it used to be. There is no heart in the music now. It’s just what sounds good, and it’s geared now to 18 – 25 year olds. I have a rough time listening to it.” With the money rolling in and
concerts selling out, there is no way the trend towards commercializing Country music will reverse itself. Now it seems the last enclaves for roots Country are in Valley bars and, ironically, hipster Ottawa clubs where young musicians are discovering the simple beauty of Hank Williams and Johnny Cash. Thankfully we have a fantastic
online site paying homage to the music of the Ottawa Valley and its’ biggest stars. It’s at http://www.
ottawacountrymusichof.org.
www.bounder.ca
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BOUNDER MAGAZINE 47
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