Clint Black and Charlie Daniels Band to Provide Musical Entertainment at September’s Balloon Rally
- When: Friday, September 24, 2010, time TBA
- Where: Hot Springs Memorial Field airport on Highway 70 West, Hot Springs, AR
- Cost: Free
- Age limit: Not available
- Categories: Community, Country, Music (other)
Clint Black and Charlie Daniels Band to Provide Musical
Entertainment at September’s Balloon Rally in Hot Springs
HOT SPRINGS NATIONAL PARK, Arkansas — Grammy-winning country music legends Clint Black and The Charlie Daniels Band will provide the musical entertainment for Hot Springs’ September 24 – 25 Legends Balloon Rally.
Black will perform Friday night, September 24, and The CDB will perform Saturday evening, September 25, according to Steve Arrison, CEO of the Hot Springs Convention and Visitors Bureau.
Both concerts will be free and open to the public. The balloon rally, featuring 25 of the top hot-air balloon pilots in America, and the musical events all will take place at the Hot Springs Memorial Field airport on Highway 70 West.
“Clint and Charlie are going to provide the best entertainment we’ve ever had at the Legends Rally,” Arrison said. “They’re both legends themselves, and we’ll have a great family event that is absolutely free to the public.”
Arrison said a new feature this year will be two balloon-glows after sunset.
“The balloon-glows are spectacular,” he said. “All 25 balloons will be gathered behind the stage, and the sight of them glowing from the inside is really something to see. This has been one of the most popular events at our previous rallies, and we’re doubling up this year.”
Arrison said the CVB is look for sponsorship partners to take advantage of one of the great free events in Arkansas. He said 25 sponsorships will be available and interested individuals and businesses should contact Chrissy Egleston as soon as possible at 501-321-2027 to secure one.
In 1989-90 Clint Black became a lightning rod for the electricity in a new jolt of country talent.
He went on to record dozens of hit songs, including the No. 1 hits, “A Better Man,” “Killin’ Time,” “Loving Blind,” “Nobody’s Home,” “No Time to Kill” and “Good Run of Bad Luck.”
He was in the vanguard of the "new-country" army that was then marching over the pop-music horizon. Roughly six months after Black’s emergence, Garth Brooks released the first of a series of chart-toppers. The following January Alan Jackson issued “Here in the Real World” to launch a multimillion-selling career. In 1991, Brooks & Dunn began their trip to the top as country touring champions.
There were many in the movement. But no one else had Clint Black's distinctive quality as a tunesmith, the ability to twist a melody into a serpentine delight, the talent to invest lyrics with multiple shadings and innuendo. Black has the rare gift of being able to craft songs that are both artful and commercial, hits that can be taken either as audio candy or as insightful poetry.
The first album, “Killin’ Time,” went Triple Platinum and each successive release also became a million-seller. By the end of 1990 Black was headlining his own concert tour and collecting CMA, ACM, ASCAP, TNN and AMA honors by the shelf-full. That December, he played a triumphant hometown show in Houston at The Summit. Backstage, he met Houston-bred actress Lisa Hartman.
Clint was developing quite a reputation. Observers couldn't help noting his unflagging energy, professionalism, friendliness, magnetism and media cooperation. "I wanted to be the perfect artist," he recalls. "I'd do three hours of media interviews a day, going to every radio station I could squeeze in. I'd sign autographs after the show until everybody left." That dedication would practically exhaust him in years to come, but in 1991 Clint was still in the warm limelight of new stardom.
That was the year he joined the cast of the Grand Ole Opry and began collaborating with country legends like Merle Haggard and Roy Rogers. In September he and Lisa announced their engagement in Nashville at the glamorous, black-tie ASCAP awards banquet. When they wed on his farm outside Houston in October, magazine photos were circulated around the world.
But fame and success carry a high price. In early 1992, a flurry of lawsuits with his ex-manager threatened to topple his career. RCA made a commitment to continue with him, but the mess of legal action delayed the release of “The Hard Way” and stalled his progress. This was particularly disheartening since the collection was the first he'd co-produced himself. But Clint dug in his heels, issued "We Tell Ourselves" as his comeback single in June and launched a touring extravaganza that put him in front of 1.5 million people during the next six months. The show utilized 54 crew members, six buses and five tractor-trailers and featured his famed "earthquake" arch effect.
In 1993 Playboy named his "Black and Wy" national tour with Wynonna its Concert of the Year. Their summer duet, "A Bad Goodbye," became an omnipresent radio hit and paved the way for the back-to-back successes of "No Time to Kill" and "State of Mind." Clint and Lisa became the first entertainers to visit U.S. troops stationed in war- and famine-ravaged Somalia. He rounded out the year by singing the theme song for TV's "Harts of the West" and contributing "Desperado" to the “Common Threads” Eagles tribute, named Album of the Year by the CMA.
Billboard magazine named Clint Black the Most-Played Country Radio Artist of 1994.
That was the year he staged his acting debut in TV's "Wings" and the movie “Maverick.” "A Good Run of Bad Luck," performed for the Maverick soundtrack, became Black’s first directing job on a music video. He made history with his next two by creating them as the first clips shot on large-format, 65mm film. He sang for a TV audience of 50 million at the National Memorial Day Celebration in Washington, then for a viewership of one billion at Super Bowl XXVIII. But instead of following the industry trend of bigger and more spectacular concerts, he stripped things down to an "Up Close" series of performances that put him in intimate theater settings for intensely personal two-hour showcases.
Charlie Daniels is partly Western and partly Southern. His signature “bullrider” hat and belt buckle, his lifestyle on the Twin Pines Ranch (a boyhood dream come true), his love of horses, cowboy lore and the heroes of championship rodeo, Western movies, and Louis L’Amour novels, identify him as a Westerner. The son of a lumberjack and a Southerner by birth, his music - rock, country, bluegrass, blues, gospel - is quintessentially Southern. In fact, even his bent for all things Western is Southern, because his attire, his lifestyle and his interests are historically emblematic of Southern working class solidarity with the “lone cowboy” individualism of the American West.
It hasn’t been so much a style of music, but more the values consistently reflected in several styles that has connected Charlie Daniels with millions of fans. For decades, he has steadfastly refused to label his music as anything other than “CDB music,” music that is now sung around the fire at 4-H Club and scout camps, helped elect an American President, and been popularized on a variety of radio formats.
Among his signature hit songs in a career that has seen the CDB twice named as the Academy of Country Music’s Touring Band of the Year: “Uneasy Rider,” “The Devil Went Down to Georgia,” “Long Haired Country Boy” and “The South’s Gonna Do It.”
