James Wayne and Eddie Ray - Borenstein's Law (A True Story)

If James “Wee Willie” Wayne is unfamiliar to you, you’re not alone. I was not acquainted with this artist until he was bought to my attention by my friend Eddie Ray just last week. He had recounted the tale to Veronica, his right hand at the NC Music Hall of Fame, and she went home to look up the details of the story. What she found shed a light on this artist which gives truth to the lyrics in the song above.

At about 1 minute and 20 seconds he sings about doing “time in California, for a crime I did not do.” And it’s true; he did serve time for an attempted burglary there in 1950. But that’s nothing compared to what happened to him later.

Born in 1920 in either Houston, Texas or New Orleans; there is no clear evidence for either; James Wayne’s early years are simply not available. At a time when African-Americans in the south were regarded as less than people, records were often not kept. And if the family had no Bible, or book learning, then there was simply no way to record the history of your own family.

His later youth can only be recalled from the stories he told about it. He claims to have been in the Army, at least through boot camp, and received training as a commando. This would be at the same time he was serving time for that burglary, which means he may not have served in Korea. But in the lyrics to the song he sings about wanting to go to Korea and let the Koreans “take a hand to me.” He follows that up with the puzzling line stating that being in Korea would be preferable to “living here in misery.” Coming on the heels of that burglary conviction I have to wonder if he meant that he would rather be a casualty of war than go on living with the Jim Crow injustice so prevalent at the time.

He seems to have no musical past before the time he served in prison, but he was fluent on guitar and even played the drums on some of his recordings. His first record is reportedly “Tend to Your Business” in 1951 on the Sittin’ In With label out of Houston. It was on the charts for 14 weeks. His biggest hit was in 1952 with the somewhat iconic "Junco Partner” also titled “Worthless Man”. That was on the Shad label out of Georgia. It was an old song which he reworked for the recording. It was considered to be "the anthem of the dopers, the whores, the pimps, the cons. It was a song they sang in Angola, the state prison farm, and the rhythm was even known as the 'jailbird beat'.”

He went on to record 4 more singles for Sitting In with, 3 credited to James Waynes, rather than Wayne. It is not known why this was down, unless it was to keep royalties from accruing to his account. At the time the labels and managers were less than honest with most o their artists; particularly in the South, where many of the artists could hardly read or write.

In the mid 1950’s he appears to have skipped from Aladdin Records to Imperial and then Old Town, befor retirning to Imperial in 1955 when he began recording as Wee Willie Wayne. “Travelin’ Mood” and “I Remember” was a double sided single of note for him. This was around the time when Eddie Ray worked with him as A and R man for Imperial. By 1961 he sort of disappeared until 1967 when he surfaced at a motel in Los Angeles. The events of that night would have a profound effect on the next 7 years of his life.

In February of 1967 he showed up at a motel in an agitated manner. He claimed to have witnessed a contract killing and needed a place to hide. The manager of the motel chased him out and fired shots at him. Wayne returned a short time later with a h soda pop bottle filled with gasoline. He tossed that on the roof of the motel and was arrested. He was convicted of arson, declared insane and sentenced to a psychiatric prison. The details of this story will shock you. But it’s not my story to tell.

At this point I am going to link you with a man named Mortimer Borenstein and his blog, “Borenstein’s Law.” Mr. Borenstein was the Public Defender who received the assignment which led to Mr. Wayne’s eventual release. But it is best to let him tell it his way.

http://borensteinslaw.blogspot.com/2006/08/people-versus-james-douglas-wayne.html

If you have read the whole story you will have to admit that is troubling. Imagine being declared insane for telling the truth about your own life. And then imagine the shock you would feel as the Thorazine kicked in and you found yourself agreeing with the lies in order to be set free! The saner he was, the more they doped him up. And, when he was truly delusional as a result of the drugs, the experts all declared that he was getting well.

They say that the truth is stranger than fiction, and the story of James Duncan Wayne proves this to be true. 

Note: There is nothing available that I could find about what happened to Mr. Wayne after the 1980's. If anyone does find out the ending to this story, please let me know. And many thanks to Mr. Borenstein who just couldn't let it rest until he got it right.

Eddie Ray at Kannapolis Library Book Fair

Yesterday the Kannapolis Library held a book fair with local authors on hand to talk about their writing and answer questions from readers; many of whom have read some of these books and showed up to meet the authors. I’m one of those. I showed up for Eddie Ray, a local celebrity and somewhat of an icon in the world of music. His achievements are too long to list here, so I will simply direct you to two sites; the first the Wikipedia link to his life; and second to the home of the NC Music Hall of Fame, of which Mr. Ray is Vice Chairman. (The title doesn’t mean a thing – so let’s just say that he is the heart and soul of the place.)

Eddie’s book, “Against All Odds”, is an aptly titled and personal story of his life. I first became acquainted with Mr. Ray just after he had begun working on it about 5 years ago and was privileged to watch it grow from a few pages to the wonderful book which it became. Here are the two links;

http://en.wikipedia.org/wiki/Edward_Wiley_Ray

http://northcarolinamusichalloffame.org/

And here’s one more about the book itself. I like this one a lot because it has a rather prominent quote from my review and a link back to this site. (Ouch! I just hurt my back while patting it!)

http://eddieraymusicman.com/

This was not the usual type of meet the author book signing; rather it was comprised of a number of separate tables for each author to meet with readers and discuss their books with the readers in a different fashion. Instead of a long program of several hours, each author on the program above got their own space and new readers could pick and choose which ones they wanted to meet. In this way the library was able to accommodate the many local authors who wanted to attend.

Check your local libraries for these types of events. They offer a chance to meet with authors in a more relaxed setting than a book store signing. Somehow; even in this day and age; the library seems to lend them an extra level of legitimacy that cannot be found in a normal commercial environment.

NC Music Hall of Fame Gets New Home

Yesterday the NC Music Hall of Fame observed the Grand Opening of its new home at 600 Dale Earnhardt Blvd. in Kannapolis, which also serves as home to entertainment and race car enthusiast Mike Curb’s race cars. His Curb Motorsports has been at the location for several years already, just a few blocks south of the old NC Music Hall of Fame which was housed in the old Kannapolis Jail House on West A Street. The new facility combines the world of NASCAR with the world of music; both of which are hallmarks of the state's culture.

This new location; all on one floor and Handicap accessible; will give more space and light to the museums already burgeoning chest of music memorabilia. The Hall of Fame has inducted scores of     musicians, singers and composers into the ranks since opening over 5 years ago. And with each artist inducted it has obtained more items, many of which are being displayed now for the first time. Imagine how some of the instruments feel; being freed from the confines of their cases after having travelled so far and wide with their former, storied owners. “I Saw the Light” by Hank Williams comes immediately to mind.

But, the heart and soul of this museum really belongs to 2 people in particular; Eddie Ray, who is the legendary A and R man; and his Assistant Right hand Veronica Cordle; which makes them both A and R persons. These 2 are a formidable team. He thinks stuff up and she actually makes it happen.

The Hall of Fame is financed by both a grant from Mike Curb and funding from the Arts Council of Kannapolis as well as the City. They also accept donations, as well as hold an annual 5K Race each spring and an Induction Ceremony every October.

Whether your musical tastes run to James Taylor, or Les Brown, Victoria Livengood; or even Thelonius Monk; there is something here for your enjoyment. Even Andy Griffith is here, alongside such contemporaries as Clay Aiken and Fantasia Barrino. These street signs help guide the visitors to their own particular musical tastes. The Museum is open Monday through Fridays between 10AM and 4PM; and on Saturdays in the mornings only. Group visits are welcome and are encouraged you to call ahead.

Even if you have been to the Museum at its old location, you will be amazed at the difference the new layout makes. These few photos don’t really do it justice. And to those who may be worried that the change in location might be a detriment; don’t worry. What the new building lacks in quaintness is more than compensated by the layout and abundance of new exhibits. Come see for yourself. The following links will be helpful;

For the museum go to;

http://northcarolinamusichalloffame.org/

 

And, for more about the remarkable Eddie Ray visit his Wikipedia page at;

http://en.wikipedia.org/wiki/Edward_Wiley_Ray

 

Or, to purchase a copy of his autobiography, “Against All Odds”, go to;

http://www.amazon.com/Against-All-Odds-Remarkable-Story-ebook/dp/B00BRYPP2G/ref=dp_kinw_strp_1

This is the old Kannapolis Jail which formerly housed the NC Music Hall of Fame on West A Street.

NC Music Hall of Fame Induction Ceremony - 2014

Sue and I had the pleasure of attending the 2014 Induction Award Ceremony for the NC Music Hall of Fame in Kannapolis last night. The pre-ceremony dinner was at the restaurant Forty Six, which is right adjacent to the Gem Theatre where the Induction Ceremony was held.

The Gem; for those not already familiar with the theater; is one of those rare commodities these days; a stand-alone, honest to goodness movie theater, with a marquee and everything.  Not only do they show the most recent films at a reasonable price; they also showcase local community events, and the theater is also available for rent as a place to hold an occasion; from weddings to graduations.

This year’s ceremony, which followed the dinner, featured an award for Clay Aiken. Although he was not in attendance his presence was easily felt. Raleigh is not so far away that we don’t consider him to be a “local”. His mother accepted the award for him and even gave a little plug to his upcoming election bid for Congress. Nobody seemed to mind. 

Fantasia Barrino, top R&B artist and American Idol Winner in 2004 was on hand to accept an award and gave a truly charming acceptance speech. Although she did not perform she did sing a portion of her remarks acapella, much to everyone's delight. Even Ms. Barrino seemed to enjoy herself. In a form fitting white full length gown she was reminiscent of a younger Aretha Franklin.

Jimmy Capps, whose career has had him playing on so many hits that it’s hard to even list them, was also part of the show. He was truly in great form leading the audience through a series of his hits. He has also been a member of the Grand Ole Opry since 1958.

The Embers, known for their beach music sound; made for strolling on the boardwalk, were honored and then later performed. These were the original members and they still had it all together; friends for life. And that friendship translated right through to the audience, many of whom were life long fans.

Little Eva; known mostly for “The Loco-motion” & “The Turkey Trot”, was born in Belhaven, NC, and received a long overdue posthumous induction. She also got a extended ovation. The Chairmen of the Board; long known for their beach music and cross over hits such as "Give Me Just a Little More Time" also performed and brought the house down. Everybody loves these guys and they have played at several Hall of Fame events; being early Inductees themselves.  

Lulu Belle & Scotty, two artists from the 1940’s, known as the Sweethearts of Country Music were singled out for their contributions at a time when Charlotte almost replaced Nashville as the center of country music. Not only was Charlotte on the "circuit", it also boasted the most powerful transmitter in the South at the time, bringing acts such as theirs here to the Queen City for radio exposure. One of my favorite recordings of theirs was the 1974 hit "Have I Told You Lately That I Love You?" That song was highlighted in the tribute film to them, which made me very happy.

  

Talmadge “Tab” Smith, who played with Jimmy Witherspoon and Johnny Otis was also honored, as was Link Wray, renowned guitarist known for the” power chord”. As an added bonus, Link Wray's grandson's group Band of Tribes shook the theater with a power performance, which although it may have seemed a bit out of place for the program, reflected the myriad sounds which originated here in North Carolina. Their vocalist was also a powerhouse of her own.

All in all it was a fantastic show which lasted over 2 hours before everybody headed over to the museums new headquarters at Curb Motorsports down the road in Concord. The move will afford the museum about twice the space they currently have in the original location at the old Kannapolis Jail. Mike Curb is an old friend of Eddie Ray, who is the Vice-Director of Operations at the museum. You might even say that he is its heart and soul.

The evening really highlighted not only the musical roots of North Carolina, but also what fun local cultural events can be when presented by such local organizations as The NC Music Hall of Fame.
For more about them and what they do, go to their website at;

http://northcarolinamusichalloffame.org/

Also, for more about the remarkable Eddie Ray visit his Wikipedia page at;

http://en.wikipedia.org/wiki/Edward_Wiley_Ray

And to purchase a copy of his autobiography, “Against All Odds”, go to;

http://www.amazon.com/Against-All-Odds-Remarkable-Story-ebook/dp/B00BRYPP2G/ref=dp_kinw_strp_1

Marlene Dietrich - "Lili Marlene" - The Biography of a Song.

In the film "Judgment at Nuremberg", with Spencer Tracy and Marlene Dietrich, there is a song which plays in the pub scenes and alehouses. It is a wonderful melody, which belies the bleak surroundings of that bombed out city. It was also the one song which was most favored by the soldiers of both sides during the war. Ms. Dietrich used to sing this song on the Bob Hope tours. I often wonder how she must have felt, a German born star who had found worldwide fame in America, as she toured the bomb ravaged cities of her continent of birth.

The song itself was taken from an old German poem titled "The Song of a Young Soldier on Watch." It was written in 1915 by Hans Leip, who was a schoolteacher from Hamburg, and first recorded in 1939 by Lale Andersen under the title "The Girl under the Lantern".

It appears that the Germans first used this song when they occupied Yugoslavia in 1941, when Yugoslavia's "Radio Belgrade" became "Soldatensender Belgrad", tasked by the Germans with entertaining the German troops.

There have been many versions of this song recorded, both before and after Ms. Dietrich's, which was recorded sometime around 1943. But hers remains the penultimate rendering of this timeless classic. Maybe it's because she was completely anti Nazi and had been ordered by Adolph Hitler to return to Germany as far back as 1935. Her refusal to return resulted in her films and records being banned from the country of her birth.

When the war broke out and the USO tours began, Ms. Dietrich was one of the first to join up in an effort to entertain the troops. And "Lili Marlene" was a natural for her to do. It was German, as was she, and by doing this song, which was also being used by the Germans in their own propaganda; it was like kicking sand in the Fuhrer's face.

At any rate, her performance and recording of this song have made it synonymous with her name. Not a bad legacy at all.

If you are looking for an in depth history of this song you can do no better than this link;

http://280th-usasa-berlin.com/BA%20002%20101%20Lili%20Marlene.html

Note: These are the best translations of the song lyrics I could find. The poem was drastically altered from the original, yet still maintains its integrity. You will notice a great discrepancy in the lyrics, from artist to artist, depending on the various arrangements and styles of singing.

"Lili Marlene" by Hans Leip (altered for Ms. Dietrich about 1942)

Outside the barracks by the corner light,
I'll always stand and wait for you at night.
We will create a world for two.
I'll wait for you the whole night through.
For you, Lilli Marlene.
For you, Lilli Marlene.

Bugler tonight, don't play the Call To Arms,
I want another evening with her charms.
Then we will say goodbye and part.
I'll always keep you in my heart.
With me, Lilli Marlene.
With me, Lilli Marlene.

Give me a rose to show how much you care,
Tied to the stem, a lock of golden hair.
Surely tomorrow you'll feel blue.
But then will come a love that's new.
For you, Lilli Marlene.
For you, Lilli Marlene.

When we are marching in the mud and cold,
And when my pack seems more than I can hold.
My love for you renews my might.
I'm warm again, my pack is light.
It's you, Lilli Marlene.
It's you, Lilli Marlene.

My love for you renews my might,
I'm warm again, my pack is light.
It's you, Lilli Marlene.
It's you, Lilli Marlene.


(This is the original 1937 recording)

"Lili Marlene" by Hans Leip (Original 1937 lyrics)

Underneath the lantern,
By the barrack gate.
Darling I remember
The way you used to wait.
'Twas there that you whispered tenderly,
That you loved me,
You'd always be,
My Lili of the lamplight.
My own Lili Marlene.

Time would come for roll call,
Time for us to part.
Darling I'd caress you
And press you to my heart.
And there neath that far off lantern light,
I'd hold you tight,
We'd kiss good night.
My Lili of the lamplight.
My own Lili Marlene.

Orders came for sailing,
Somewhere over there.
All confined to barracks.
'Twas more than I could bear.
I knew you were waiting in the street.
I heard your feet.
But could not meet.
My Lili of the lamplight.
My own Lili Marlene.

Resting in our billet,
Just behind the line.
Even though we're parted.
Your lips are close to mine.
You wait where that lantern softly gleamed.
Your sweet face seems
To haunt my dreams.
My Lili of the lamplight.
My own Lili Marlene.
My Lili of the lamplight.
My own Lili Marlene.

And this is the translation of the original poem, from which the song was composed;

"Lili Marlene"(Semi-literal Translation of original poem)

In front of the barracks, at the large entrance gate
Stood a lamplight, and if it’s still standing there,
We want to see each other there again
We want to stand at the lamplight
As before, Lili Marlene, as before, Lili Marlene.

Our two shadows appeared as one
That we were so much in love, one saw immediately.
And everyone should see it
When we are standing by the lamplight
As before, Lili Marlene, as before, Lili Marlene.

The sentry had already called out: They are sounding curfew.
“It can cost three days.” “I’m coming momentarily, comrade.”
Then we said goodbye.
How much I wanted to go with you,
With you, Lili Marlene, with you, Lili Marlene.

It [the lamplight] knows your footsteps, your graceful walk
Every evening it is burning, but it forgot about me long ago.
If harm should come to me,
Who will stand at the lamplight,
With you, Lili Marlene, with you, Lili Marlene?

From the quiet place, out of the earthly ground
I am lifted as in a dream to your loving lips.
When the evening mist swirls in
I will be standing at the lamplight
As before, Lili Marlene, as before, Lili Marlene.

This post is for Eddie Ray.

Nina Simone - Triple Threat Artist

Today is Nina Simone's birthday. I first became aware of her in 1967. I was 13 years old at the time and living in Brooklyn, New York. The radio behind the lunch counter was tuned to a jazz station and the sound of Ms. Simone's voice seemed to pierce right through my teenage reverie. Not only was her voice interrupting my thoughts, but also the words were grabbing my attention as she searingly sang an indictment of racism and strife born of the Civil rights struggle.

That song, "Backlash Blues", was the work of  Langston Hughes; the poet of Harlem Renaissance fame; who was on his deathbed even as Ms. Simone sang his words. His last request to her was that she never stop singing it. And, as far as I know, she never did. I also know that I have never stopped listening to it. It's on my I-pod and even on a CD in my car. It is as important a song as "Bitter Fruit" by Billie Holiday; or even "Black and Blue" by Louis Armstrong. It also marked Ms. Simone as an activist in the struggle for Equality then sweeping the nation. This is the version of the song that leapt from the radio that day;

http://www.youtube.com/watch?v=2Pj9AucSc9Y 

But before that, Ms. Simone was already a major artist in jazz, blues and even pop circles. Even her 1959 rendition of "Little Girl Blue" would be covered over a decade later by Janis Joplin. The woman was a triple threat; she sang, wrote, played piano; all while covering genres which ranged from classical to Jazz, Blues, Folk, R and B, Gospel and even Pop music. She literally knew no boundaries.

Born in Tryon, North Carolina on February 21, 1933 as Eunice Kathleen Waymon, she was the 6th child born into a Preacher's family. Her original goal was to be a classical music pianist but her goal changed when she was denied a scholarship to the Curtis Institute of Music in Philadelphia. That denial was based purely on race. It was while singing in local clubs in Philadelphia to make up that deficiency of funds that she began to sing.

By 1958 she had begun her recording career with the single "I Loves You Porgy" and an album called "Little Girl Blue." She made nothing off of these recordings beyond the initial $3,000 for which she asked at the time, releasing her royalties forever. Those recordings went on to make millions.

Her recording career lasted from 1958-1974. Most known for her fusion of blues and gospel with clasical music, Ms. Simone was an enigma at first. She never fit neatly into any of the "slots". Her recordings almost all have a classical element in them somewhere. If not in the composition itself, then in the vocals arrangements.

Her early years playing gospel in church helped her to have an instinctive feel for her audience. She knew which crowd would understand her more jazz like renditions of her hits, and which ones wanted to hear the record. She measured them all up with a discerning eye,  sometimes being mistook as too much of a "purist." But whatever label you put on her, you could never deny that she was a force to be reckoned with.

By the early 1960's she was embracing the Civil rights Movement openly, which was still a risk until the later part of the decades. Careers could be smashed over this divisive issue. Her earliest taste of racism came when she was 12 years old and her parents were asked to move to the rear of the concert hall where she was making her first recital. We can only imagine how much that must have hurt. Ms. Simone refused to pay until her parents were restored to their seats. Imagine the courage which that took! This is a woman who would never know stage fright!

Her mother was the preacher in the house; she was a Methodist Minister and a housemaid. Her father worked as a handyman, after having tried his hand in business. His health was not always the best, making Ms. Simone's mother the main wage earner. Her mother's employer actually set up a fund for Ms. Simone to continue taking piano lessons, having heard something of promise in her. With some of that money she was able to attend Allen High School for Girls in Asheville. She then went on to the Curtis Institute where she was rejected. It must be noted that the Institute had already begun accepting African-American applicant as early as the 1940's. The first such graduate was George Walker in 1945. He would go on to earn a Pulitzer Prize. Ms. Simone went to New York and studied at Juilliard.

It was while attending school in New York that she became "Nina", performing in Atlantic City to pay for school. She took the last name Simone for Simone Signoret, the French actress, whom she admired. In later life Ms. Simone would go to live in France, where she was even more highly regarded than here at home.

Another signature Civil Rights Era song which Ms. Simone wrote has become almost an anthem, "Mississippi Goddam" which she wrote in response to the killing of Medgar Evers and the bombing of the church in Alabama which left 4 children dead. It was widely banned; as was to be expected; down south.

She opposed the war in Vietnam and refused to pay her taxes in protest. When she left the United States for Barbados she left her wedding band behind. Her husband/manager took this as a sign that she wanted a divorce. When she returned to the United States she found that a warrant had been issued for her arrest concerning the taxes. She quickly returned to Barbados, where she lived for many years before relocating to Liberia. From there she moved to Switzerland and the Netherlands before finally settling in France.

Her recording career was up and down during the decades she was moving about, but took an unexpected upturn in the late 1980's and 1990's when she recorded several well regarded jazz albums, as well as a collection of varied songs called "Baltimore."  Her last recording was in 1993, with an album called "A Single Woman." Her autobiography; published the year before; is called "I Put a Spell On You."

By far her most well regarded recording is the album "Montreux Jazz Festival" for which she will always be remembered. That album is also available on film.

In 1993 she settled in Aix-en-Provence in France. She died in her sleep on April 21, 2003. Her ashes were sent to several African countries. She left one daughter, Lisa Stroud, who uses the name Simone. She has appeared on Broadway in "Aida." 

While one of the more controversial artists of her time she has become one of the most well loved since her death. She was inducted into the  North Carolina Music Hall of Fame in 2009.  And, in 2010 a statue in her honor was erected on Trade Street, in Tryon, North Carolina, the place it all began.

North Carolina Music Hall of Fame - Kannapolis

The North Carolina Music Hall of Fame is located in Kannapolis at 109 West A Street. It is housed in a small red brick building that at one time was the town jail. In these days of corporate ownership, it is a rare pleasure to have an independent and growing operation like the Music Hall of Fame. North Carolina has been the stomping grounds of many illustrious musical legends. And this spunky little museum does its best to highlight them all.

Walking in, and immediately to the right, as you enter are some plagues and photos from James Taylor. He wrote "I'm Going to Carolina In My Mind", which is our State Song. He continues to perform today all around the world.

This snappy little outfit was worn by Nina Simone. Her earthy and insistent rendition of "Do I Move You" still sends shivers down the backs of her listeners. It's almost as if she's daring you to say no. And her scathing indictment of segregation in "Backlash Blues" still ranks among the greatest of the 60's social protest songs. It's right up there with "Bitter Fruit" by Billie Holliday, or "I'm Black and I'm Blue" by Louis Armstrong. Powerful stuff.

Most people think of North Carolina in connection with bluegrass and gospel music, and we do have our share of that. Charlie Daniels, Earl Scruggs, Doc Watson all immediately spring to mind. But we have such a wide variety of music in our history. From the beach sounds of groups like The Chairmen of the Board to the funky soul sound of George Clintons' Funkadelics, it's all on display here, with plans for adding more.

The second floor is not open yet, but there is already a need for more space. As more items keep on arriving and new members are  added to the ranks of inductees, the need for more space will arrive sooner than later. Each years Induction Ceremony brings with it new and more contemporary artists, all requiring a space of their own.

Also, to accommodate the continuous need for more space there are plans to use part of the first floor as a revolving type exhibit. This will enable the Museum to remain current and involved in the music scene as it relates to North Carolina.

This gown belonged to Victoria Livengood, the noted opera star. She is still performing today. The exhibit runs the entire gamut of music. From Andy Griffiths' early comedy records and his later gospel recordings, to the likes of The Shirelles, Ben E. King and Roberta Flack. And there is more on the way.

Vice Chairman Eddie Ray is hoping to get some more memorabilia from "American Idol" to represent the artists; such as Carrie Underwood, Clay Aiken and Bo Brice, to highlight North Caroilna's unique connection to the show.

But the real star of the whole show is Mr. Ray himself. He is half of the partnership that gave life to this museum. His history in the music business is an education in itself.

In 1954 Mr. Ray was already established in the music industry, on the distribution end, and also promoting artists such as The Drifters, John Lee Hooker, Chuck Berry, B.B.King, Clyde McPhatter, and Joe Turner, just to name a few! It was also the year he released his self penned hit recording of "Hearts of Stone" by The Jewels. It was a crossover hit and also covered by many of the leading R & B groups of the era.

In the mid to late 50's he was handling Ricky Nelson, Fats Domino, Slim Whitman and Johnny Rivers while employed at Imperial records. In the 1960's he joined Capitol records as Director of A & R for the Tower label. It was there that he acquired Pink Floyd. It was also around this time that he became the first African American V.P. of a major recording company.

Mr. Ray, along with his old friend, Mike Curb from Tower Records, have put this museum together to honor and showcase the artists that have made North Carolina a great place for music. But I have to say, that although all of the exhibits are wonderful, for me it will always be Mr. Ray that gave this visit it's own "Heart and Soul."

For more information about the North Carolina Music Hall of Fame, and their upcoming annual 5K race in May, use this link;

http://northcarolinamusichalloffame.org/

Johnny Bristol - NC Music Hall of Fame

This is the first of a new series of postings I will be doing about the artists who are in the NC Music Hall of Fame in Kannapolis, N.C.  The music which has emanated out of North Carolina over the tears is much varied and covers every musical genre you can possibly think of; from Opera to Funk and everything in between. I plan on doing posts about these artists to commemorate their birthdays. Mr. Bristol’s big day was Monday February 3^rd.

Johnny Bristol is a perfect example of the diversity of the music which has originated in North Carolina over the past 100 years. Born February 3, 1939 Mr. Bristol spent his early years living in Morganton, the county seat of Burke County, in the mountains near Hickory. The town boasts quite a few famous people. In addition to Johnny Bristol there is Etta Baker, known for her version of the Piedmont Blues, a separate genre unto itself. In addition to the likes of Senator Sam Ervin, the town also lays claim to Frankie Silver who was the first woman ever hanged in North Carolina. On the other end of the spectrum, the town is also the home of Paige Summers, the Penthouse Pet of the Year for 1998. Now, that's what I call diversity!

Mr. Bristol is mostly remembered as a musician-songwriter as well as having been a producer for Motown during its most active period, from the late 1960s to the 1970’s. His own hits include the one above, which is kind of an Al Green thing from 1974, to the song he wrote about his home town of Morganton, which can be viewed here;

http://www.youtube.com/watch?v=Q8mMB5vZK2w

His first real musical success came in Detroit, where he had landed after serving in the Air Force in the late 1950’s. As part of the duo Johnny and Jackey; aka Jackey Beavers; they recorded about half a dozen songs on two different independent labels, both owned by members of Berry Gordy’s family. While these records were only successful in the Mid-west, they were instrumental in opening the doors for him at Motown. By 1965 he was working at Motown as a songwriter and producer. He was the guy behind the mixing board for such hits as “Ain’t No Mountain High Enough” and “Your Precious Love”.

This was probably the most creative period of Mr. Bristol’s career. Everything he touched seemed to turn to gold; as in gold records. Wikipedia lists the following records among his accomplishments;

The Velvelettes "These Things Keep Me Loving You" (1966); Gladys Knight & the Pips' "I Don't Want To Do Wrong" (1971) and "Daddy Could Swear, I Declare" (1972); and Jr. Walker & the All Stars, who charted with a number of Bristol-written singles and albums, including "What Does It Take (To Win Your Love)" (1969), "Gotta Hold On To This Feeling" (1970), "Way Back Home" (1971) and "Walk in the Night" (1971). Mr. Bristol even recorded Jermaine Jackson's first solo record, "That's How Love Goes" in 1972.

In addition to all the above, he was the last producer to work with The Supremes and The Miracles, before they both lost their lead singers. “Someday We’ll Be Together” is actually a cover version of Mr. Bristol’s single with Jackey in 1961.His voice is even the male response on the final released version by the Supremes.

In 1973 he was briefly associated with CBS Records as a producer, but the label seemed to be unenthusiastic about his artists, which included Boz Scaggs and also Johnny Mathis. By 1974 he was with MGM, where he seemed to get his “second wind”. He was now ready to emerge as an artist on his own.

With MGM he recorded 2 albums and placed several singles in the charts. "Hang on in There Baby"  was released in 1974 and hit #8 in the US on the Pop charts; #2 on the  R&B charts;  and even enjoyed success overseas, placing #3 in the UK. "You and I",  "Leave My World" and "Do It To My Mind" followed one after the other in 1974, 75 and 1976. In 1975 he was nominated for a Grammy as Best New Artist.

After leaving MGM he went on to record with Atlantic Records, a relationship which saw him working with some of the artists he had worked with at CBS. In particular he was instrumental in creating Boz Scaggs “breakout” album “Slow Dancer” in 1974. He also produced the Tom Jones album “Memories Don’t Leave Like People Do” which contained 5 cover versions of Mr. Bristol’s songs.

By the 1980’s he was firmly embedded in the European market with such artists as Ami Stewart. He continued recording through the early 1990’s, making music with Earth Wind and Fire, as well as a recording with his daughter Shannon Bristol. He even enjoyed some degree of success in the Japanese market at the time. Good music knows no borders.

Mr. Bristol passed away at his home in Michigan on March 21, 2004. He died of natural causes at the age of 65. Although some would not consider him to be a major artist; or superstar; he was, and continues to be well regarded in musical circles. NC Music Hall of Fame is pleased to include this artist among its inductees.

For more on the NC Music Hall of Fame use this link;

http://northcarolinamusichalloffame.org/

This post is also available at

http://ncmusichalloffamebios.blogspot.com/

"Christmas Comes But Once A Year" - Max Fleischer (1936)

Once again I am going to post a cartoon from Christmas past in the final days leading up to the holiday. I always loved this old classic cartoon in particular, and I posted it last year. I’m posting it again because it’s a great example of the quality of the animation in the 1930's. And, Max and Dave Fleischer were two of the best.

They often worked separately on various projects, though their best works are probably the collaborations they produced with the Popeye cartoons and Betty Boop series. They also made a boatload of feature cartoons like this one, which is a wonderful little story about an orphanage on Christmas morning. If you have seen this before, I hope that you enjoy it again this year.

Note: A Very Happy Birthday to my friend Eddie Ray. He's the youngest person I know …

_____________________________

A Picture from Israel

This is a photo of the moon setting over Massada in Israel the other morning. It was taken by my daughter who is on a trip to the Holy Land. She's 26 years old, exactly the same age I was when I made my first "aliyah". Forgive me for being so proud of her...

Eddie Ray at Kannapolis Libray

Last evening the Kannapolis Library hosted the legendary Eddie Ray for a combination book signing and question and answer session, as well as showing a film about his life and some of his accomplishments. I say “some” because a film encompassing all that Mr. Ray has accomplished during his 6 decades in the recording industry would take a film of epic proportions to cover all the bases which he has touched. In tones ranging from whimsical to witty, Mr. Ray held the audience enraptured recounting his early years in North Carolina and his path to Los Angeles via Connecticut. If that sounds confusing you'll have to read the book...

As usual, Mr. Ray took a bit of the limelight off of himself, directing it at his current “work in progress”, the North Carolina Music Hall of Fame, located just a few blocks from the library in the old Kannapolis Jail house on West A Street. That little museum is a gateway to the rich and colorful history of all the varied performers to come out of our state. They represent every one of the many musical genres; from rock and roll, beach music all the way through jazz and even opera.

Eddie Ray spent so many years behind the scenes of the music industry, spotting new artists and encouraging them along the way. His name doesn't appear often on the many record jackets/CD liners of the music he was instrumental in bringing to the public’s attention, but the music you listen to today would probably be a bit different if it were not for this guy. I can’t believe I actually know him; as he colored much of the world in which I grew up with the music he chose to promote. It was a joy to see that so many people came out to meet and greet him.

His memoir, "Against All Odds" chronicles his life in the music industry; rising from the stockroom to the boardroom, and even on to Washington itself, where he served on the President's Copyright Tribunal under Ronald Reagan. You can read a review of that book here;

http://robertwilliamsofbrooklyn.blogspot.com/2012/12/against-all-odds-by-eddie-ray-2012.html   

For more about Eddie Ray, and the NC Music Hall of Fame, please use the following links;

http://eddieraymusicman.com/

http://northcarolinamusichalloffame.org/

Warren Haynes with Joe Bonamassa - Live (2011)

This is Warren Haynes performing at the 2011 King of the Blues Finals with Joe Bonamassa at the House of Blues in Los Angeles on September 1st 2011. I ran across the video on Facebook in a posting by a mutual friend, Charles Calloway. The video immediately blew me away. The interplay between these two fine guitarists will mesmerize you as they work around one another, creating tension in a musical duel, and then wrapping it all up together in tandem.

While reminiscent of many fine guitarists; and remaining true to the roots of blues; these two have managed to create a unique style of their own. Being totally unfamiliar with both of these artists, I immediately turned to google to find out what I could about them.

Individually they have both been pushing the boundaries of music since very early ages, with Joe receiving his first guitar at age 4, and playing Stevie Ray Vaughn riffs by age 7. Meantime, future fellow guitar player Warren Haynes received his first guitar at age 12. His preference is the ’58 Gibson Les Paul, most likely because of the influence of Duane Allman, who played the ’58 model, rather than the ’59 usually employed by other musicians such as Eric Clapton and Jimmy Page. There is actually a tonal difference in these two models of the Les Paul, primarily due to the wood used in their construction. I’ll have to look into that one a bit further.

In terms of age, the two are separated by 17 years, with Joe being the younger of the two, born in 1977. Joe was raised in a 4^th generation musical family. His parents owned a music store in the town of New Hartford, New York. He credits his great-grandfather and grandfather with his talent and love for music. They played trombone and guitar. So, he comes by his talents naturally. It’s in the genes. He has played with B.B. King, Eric Clapton, Beth Hart, Paul Rodgers, Leslie West, Jon Lord, Vince Gill, Sandi Thom and Glenn Hughes, to name a few. A founding member of the group Bloodline, he has been active in the music scene for almost 2 decades.

Warren Haynes was born in 1960 and has been a longtime guitarist for the Allman Brothers Band, as well as a member of the group Government Mule. Originally from Asheville, North Carolina, he has spent many years performing with artists as diverse as Dicky Betts, David Allan Coe, and the Phil Lesh Friends group. His preference in guitar is the Gibson Firebird and Gibson ES-335, although he sometimes plays a Les Paul.

Just a short bit of biography on these two fine guitarists. Music is multi-generational, and a constantly evolving process. As technology changes musicians are able to push the boundaries of sound further and further, creating newer and more exciting sounds with each passing year. When that technology is used to further a long established genre; such as the blues; the results can take the listener, as well as the musician, to greater and greater heights. This performance by Mr. Haynes and Mr. Bonamassa is a fine example. Thanks, Charles! 

"Against All Odds" by Eddie Ray (2012)

News Release

                                                       

Contact:  
Elyshia Brooks                                              
Kreative Group, Inc.
elyshia@ElyshiaBrooks.com
T: 800-511-5410

For Immediate Release

CHARLOTTE, N.C.—He has been called a “national treasure.”  North Carolina native, Eddie Ray, the grandson of a former slave, gives readers a fascinating behind-the-scenes look at the burgeoning record industry of the 1950s and early 1960s in his newly released memoir “Against All Odds—The Remarkable Life Story of Eddie Ray.” 

Ray, now in his mid-80s, started as a stock boy for Decca Records in Milwaukee, Wisconsin when he was 18 years old and eventually rose to become vice president of Capitol/Tower Records in Hollywood, California, one of the top major record companies in the U.S., the first African-American in such a decision-making role.

But prior to this top post, he was first an extraordinary record sales and promotions man whom acquaintances still describe today as having “an ear for what would sell,” and “a commercial mind.”  It was during some 60 years in the commercial music business that Ray had a significant   impact on the careers of rising stars such as Rick Nelson, Fats Domino, Allen Toussaint, Ernie Freeman, Mike Curb, Irma Thomas, Ernie K-Doe, Sandy Nelson, Pink Floyd, and many others.

Ray also founded one of the first commercial music schools in the country and subsequently was appointed by President Ronald Reagan to serve as a Commissioner of the U.S. Copyright Royalty Tribunal in Washington, DC.

 

“Against All Odds—The Remarkable Life Story of Eddie Ray” takes readers on a journey from the rural foothills of the Great Smoky Mountains in western North Carolina to the top executive suites of the dynamic music industry of the ’50s and ’60s. The book opens with a prologue dated October 3rd 2009 at the North Carolina Music Hall of Fame induction ceremony, where Ray was one of the first inductees.   He notes that the unusual venue of the ceremony is symbolic, indicative of the out-of-the-ordinary events in his life.

Readers will immediately be drawn in from the first chapter, which doesn’t start with his childhood, but a description of his life as a tapestry with people being threads woven through his experiences.  Readers will also learn about the behind-the-scenes operations of independent record companies—hundreds of them formed after World War II, opening the recording door for many artists, especially minority performers.  And most of all they will be inspired by Ray’s courage to take risks from his young life all the way through to his current years.

Robert Williams of “Rooftop Reviews” said of the book, “It was fantastic. In understated tones, he has delivered a living portrait of a time, though long gone, which still influences us until this very day. The book is all about taking chances and trusting your instincts in order to help make your dreams come true. It's the story of a family, raised in segregation, and yet still successful by virtue of hard work.”

Baby Boomers especially will enjoy this book that will evoke feelings of nostalgia as they think back to where they were when certain songs of the early Rock and Roll era became hits.  They will be fascinated by Eddie Ray’s connection with the success of mega-stars such as Fats Domino and Rick Nelson and names they may not immediately recognize, but whose works they certainly will. 

Music historians will appreciate learning about Ray who can be added to the “untold stories” of influential African Americans.  And African Americans will be inspired by his quest to open doors, courage to break racial barriers, and audacity to ignore the status quo. Even music students will find this book enjoyable as they read about the people who laid the foundation for the music business today.

“Against All Odds—The Remarkable Life Story of Eddie Ray” will inspire, inform, and immerse readers as they peer into the personal and professional experiences of his life.

This “living history” makes the book an important autobiography in that it preserves little-known facts about an industry that has had such a tremendous impact on American culture. 

“Against All Odds—The Remarkable Life Story of Eddie Ray,” written with Barbara Jackson Hall, is approximately 200 pages and available in paperback from Amazon.com.

__________________________________________

Note from RT: This is the book which I reviewed here on December 5th. You can imagine how proud I am to have been included in this release, which will be going to many of the major newspapers across the country. My original review can be viewed at the following link;  

http://robertwilliamsofbrooklyn.blogspot.com/2012/12/against-all-odds-by-eddie-ray-2012.html

"Against All Odds" by Eddie Ray (2012)

 

I just finished reading “Against All Odds” by Eddie Ray. It was fantastic. In understated tones, he has delivered a living portrait of a time, though long gone, which still influences us until this very day. The book is all about taking chances and trusting your instincts in order to help make your dreams come true. It's the story of a family, raised in segregation, and yet still successful by virtue of hard work. And lastly, it's the story of one man's continuing search to define who he is and how the hell he got to be where he is today. In short, it was a pleasure to read.

I would never exchange my own life for someone else’s experiences; I’m fairly satisfied with my own; but I would have loved to have been along for the ride with Eddie Ray on his journey. In the same bold, yet somehow humble, fashion which has marked his incredible career in the music business, noted A & R (artists and repertoire) man Eddie Ray has penned a very impressive memoir. As he puts it, the book covers his journey from the “stockroom” at Decca Records; where he began his work as a shipping clerk; and his time at Aladdin Records, working for Leo and Eddie Messner; to the Boardrooms of America’s largest record companies; becoming the first African-American hired as a major executive of a major record company; in his case, Capitol Records in the mid 1960’s. In between those years he was interacting with some of the most famous of the Rhythm and Blues acts; including Fats Domino and Irma Thomas. It was while working with Ms. Thomas that the Rolling Stones did a cover version of her record “Time Is on My Side”, which cemented their place in the “British Invasion”.

His descriptions of traveling in the Jim Crow south with Fats Domino will have you scratching your head in disbelief, as they were relegated to eating bologna and cheese sandwiches behind grocery stores because no one would serve a “colored” man. The juke box inside might be playing “Blueberry Hill”, but you couldn’t buy a piece of blueberry pie if you were a black man. Not even if you had the number 1 record!

Filled with glimpses into the life of an African-American man in the days before the Civil Rights Act of 1964, the author takes the time to explain the history of the music he promoted. What is rock and roll? Where did it come from, and how did it evolve? In this slim 200 page book the author has provided us with some of the answers to those questions.

Mr. Ray also chronicles his service on the President’s Copyright Tribunal in the early 1980’s under the Reagan Administration. Every artist today owes Mr. Ray a debt for the fair share they receive from their work. He redefined what constitutes a “performance”,  and how much a performer got paid for the recordings and films they had made. With technology changing, this was groundbreaking stuff.

The book begins far away from Franklin, North Carolina in 1926, where Mr. Ray was born. By cleverly starting in his later years, Mr. Ray incites the reader’s curiosity about just who he is and where he came from. His parents were hard working, literate people. There was a radio in their home on which Mr. Ray and his mother would listen to the Gospel shows on weekends. Reading was something which was revered. And when it came time to go to high school; which was not possible in Franklin back then; he went to Laurinburg Institute in the Eastern part of North Carolina to obtain a high school diploma. Later, at age 50, after having made a success of himself, he even went to college and obtained his degree. He describes it as one of the proudest moments of his life.

In his early years Mr. Ray was always encouraged by his parents to do his best; and more importantly, to pay no heed to the limitations placed upon him by the color of his skin. A man will be what he wills himself to be seems to be the attitude imbued in the author at an early age.

From his summer jobs working with tobacco, and also at a ball bearing plant in Connecticut, Mr. Ray got his first look at New York City, and the lighted marquees bearing the names of all the famous acts of the day. He vowed to come back there someday with a creation of his own. From such dreams, reality grows…

After a 120 day stint in the US Army was behind him, he set off to discover what he was really meant to do. Arriving in Los Angeles on his 19^th birthday, working as a dish washer, Mr. Ray seems almost to have accidentally fallen into his profession. Living in a skid row room while washing dishes made him hunger for more in life; and the music industry was where he would find it.

The story of Mr. Ray’s accomplishments; and how they have even affected you as a listener of music; is one that I highly recommend. It is at once, a history of the music industry as it pertains to artist’s rights and royalties; and also the story of a man searching for ways to repay the kindness which was shown to him by others on his way up the ladder.

His accounts of the artists he has handled are far more than I can name here. So, let’s just say that if you were listening to just about anything in the 1960’s, Mr. Ray had his hand in it somewhere. And, he is not shy about his “misses” either. He describes how he lost Janis Joplin and Michael Jackson to other labels by mere days.

But, more than all of the above; more than all of the awards and accolades he has received; as if those things wouldn’t be enough to constitute a book all on their own; Mr. Ray has written a portrait of his own search for the meaning behind it all. And you know what? I think he has found it. This is a terrific book.

For more about Mr. Ray, or the NC Music Hall of Fame, use the following links;

www.eddieraymusicman.com.

http://www.amazon.com/Against-All-Odds-Remarkable-Story/dp/1478213477

http://northcarolinamusichalloffame.org/

http://robertwilliamsofbrooklyn.blogspot.com/2012/10/eddie-ray-against-all-odds_1.html

Eddie Ray - "Against All Odds"

Eddie Ray is probably one of the least known, and most humble, of all the people involved in bringing R and B, and Rock and Roll records into the mainstream media. His career has taken him from the stockroom; filling orders at Aladdin Records for Leo and Eddie Mesner; and on into the boardrooms of major record companies during the last days of Jim Crow. And, if you listen to music of any genre, Eddie Ray has had a hand in bringing many of those artists and composers who created that music, into millions of homes.

Mr. Ray was appointed by President Reagan as a U.S. Copyright Commissioner to serve on the U.S. Copyright Royalty Tribunal during the early 1980’s. As the technology surrounding music changed, so did the way in which the artists needed to be compensated. Mr. Ray helped create copyright regulations which provided a substantial increase in royalty fees for the Artists and composers who created the music. The aim was to be fair to the listening public, the artist and the copyright users. This has not always been easy.

I am privileged to have had the chance to ask Mr. Ray a few questions about his remarkable career, spanning almost 7 decades! You can usually find him at the NC Music Hall of Fame, located in the old jailhouse in Kannapolis, North Carolina. In addition to overseeing the activities of the Hall of Fame, and attending to various Award Ceremonies, he has found the time to pen a memoir about his extraordinary life, both on, and off, the road. The book, titled “Against All Odds” is due out shortly, and will also explore the evolution of the process by which the artists receive their fair share of the profits, as well as the challenges of staying abreast of the newer technologies. Here are the questions, posed by my alter ego “RT” for Rooftop Reviews, followed by Mr. Ray's responses;

RT. What is your first memory of music? Was it in your home, or church? And did you have a radio, Victrola or an instrument in your home?

Eddie Ray: My first memory of music was in my home and to a lesser degree in churches. We always had a radio and victrola in our home and I constantly listened to all genres of music. However, the primary genres of music that were broadcasts on radio stations that we were able to receive at that time in the mountains of NC were Big Band, Country, and what I refer to as White Gospel/Sacred music. My mother and I would also listen every Sunday morning to the Mormon Tabernacle Choir from Salt Lake City and The Wings over Jordan Choir from a Black church in Cleveland, Ohio.

RT. What were your parents like? How did their relationship with you relate to your life in reference to perseverance and self-esteem, traveling in the Jim Crow South, and later navigating the white dominated corporate world?

Eddie Ray: Neither of my parents had a formal education beyond high school but both were highly intelligent and hard workers who under a severe racial discrimination and segregation system achieved a very successful life for themselves and their family. Perhaps even more importantly, they both possessed a high esteem of themselves and maintained a strong self confidence that they could succeed in spite of the racial restrictions and negative thoughts that others may have of them. All these extremely positive attitudes that they possessed were instilled in me and my siblings and we were constantly reminded that our ultimate fate was in our hands only.

RT. Does it astound you when you think of all the lives that your career has touched, from the artists to the listener? And are you cognizant of the impact which the music you helped to present had on society, and how that has affected the world today, from music to politics?

Eddie Ray: I am often asked if I am aware of the positive impact that I may have had on the lives of others. That is something that never crossed my mind during my career. I was only concerned with doing the best job that I could with every project that I undertook. That is what my parents had instilled in me. Also, in spite of whatever success I may have achieved in any of my projects, I was still searching for the REAL purpose of my life. Although, I always enjoyed whatever project that I accepted, I thought that there must be something more important that I should be doing with my life. However, as I grew older and finally began to listen to many people that thank me for the impact that my efforts have had upon their lives, I began to realize that perhaps I had being doing what I was destined to do. Yes, I do believe that the legendary musical artists and great music and songs with which I have been associated did and will continue to have a positive impacted upon politics, racial justice and society in general. I am honored that I had a small part in bringing these artists and their music to the public, but the credit should go to these wonderful artists and songwriters, and not to me.

RT. What do you think it is about you that draws people to you? What is the magic behind Eddie Ray?

Eddie Ray: If I do possess anything special that attracts people to me, I am not aware of what it is. I am basically an introvert and rather shy, especially when I meet new people. However, I cannot explain how I was so successful as a national sales and promotion person with major radio/television disc jockeys. Also, how I was also successful as an executive in negotiating agreements with major recording artists/songwriters and their agents/attorneys and later with US Congress members and national copyright Owners/Users as a US Commissioner of Copyrights and Chairman of the US Copyright Royalty Tribunal.

RT. Finally, how do you maintain your level of interest in all that you do? How would you like to be remembered; in terms of your accomplishments; or is there something more that you hope to leave behind as a statement of who you are?

Eddie Ray: I have never been concerned about if or how I may be remembered after my death. I have always been more concerned about establishing a productive and enjoyable relationship with people while we are alive. I have even asked my family not to have a funeral for me. I want my ashes to be spread in a particular place in the peaceful, blue waters of the Pacific Ocean.

For a short biography about Eddie Ray's remarkable career, please visit his Wikipedia page at; http://en.wikipedia.org/wiki/Edward_Wiley_Ray 

And for a short video which outlines some of the subjects and artists which will be covered in the book, hit this You Tube link;

http://www.youtube.com/watch?v=ghgDezvvlQ4

For more information about the North Carolina Music Hall of Fame, and upcoming events, go to; http://northcarolinamusichalloffame.org/

The following short synopsis of the book was provided by Mr. Ray. And you can be sure that you will be reading my review here very shortly.

COMING SOON—THE REMARKABLE LIFE STORY OF EDDIE RAY, A PIONEER MUSIC MAN.
 
“An incredible journey from the racially segregated mountains of Western North Carolina as a youth; to the smoldering heat of tobacco fields as a farm laborer in Glastonbury, Connecticut; to the shipping department of Decca Records Distributing Company as a stock boy in Milwaukee, Wisconsin; to a skid-row hotel room in Los Angeles, California, working as a dish washer in a sea food restaurant; to a major music company executive in Hollywood and Beverly Hills, California as well as Memphis, Tennessee; to a founder and president of the Tennessee College of Recording Arts and Sciences in Memphis, Tennessee; to a Presidential Nomination and US Senate Ratification as a United States Commissioner for Copyrights in Washington, DC; to an Induction into the Music Hall of Fame in his home State of North Carolina.”

"The Chitlin' Circuit and the Road to Rock and Roll" by Preston Lauterbach

This book is probably one of the best, and most complete, accounts of the so-called "Chitlin' Circuit". For the uninitiated, the "Chiltin' Circuit" was the area of the country, back in the 1930's through the early 1960's, where African-American artists, such as Big Joe Turner, B.B. King, Little Walter, Little Richard, Louis Jordan, Gatemouth Brown, James Brown, and all the rest, toured. They played in out of the way places with names like The Bronze Peacock, The Two Spot, The Dew Drop Inn, and the Hi-Hat. The "Chitlin' Circuit" has influenced as many people as Tin Pan Alley did in its heyday.

The author, Preston Lauterbach has done a wonderful job in looking back a little bit further than "Cadillac Records", which was a wonderful movie. But, that film assumed that the average viewer knew most of the basics, and so some viewers were left wondering how much of that film was real, and how much was fiction. Truth be told, "Cadillac Records" is just the visible "tip of the iceberg" in the story of Rhythm and Blues as it morphed into Rock and Roll.

The story of the “Chitlin' Circuit" began much earlier, back in the earliest days of the Great Depression. Mr. Lauterbach has managed to connect all the names and places in the story of the road, and the music, which would become rock and roll. And what a story it is!

From the back roads "juke joints", to the theaters and nightclubs in the larger cities, the author has written a complete portrait of the life and times of the performers who would change music forever. Even the beginnings of the Powerball are covered in this book.

Gambling was a big part of the scene on the "Circuit", with "baseball ticket" lotteries abounding, along with dice games and cards. One of the oldest forms of gambling was the "pea shake", which involved the use of a hollowed out gourd, filled with peas that had numbers written on them. The player shook the gourd and rolled the peas out. The bets were already in on 5 number combinations, with an extra digit that could be played for a bonus. Sound familiar? It should. When the authorities in Indianapolis finally shut down the baseball card lotteries in the early 1970's, they were unsuccessful in shutting down the "pea shake" game as a form of legal gambling. Finally, in 1992, they simply supplanted it with the Powerball Lottery. Within 2 short weeks, Indiana had the largest selling Lottery in the nation, and remains so today. See why I love this book?

The chapters covering Little Richard were especially interesting to me. I have always wondered how an African-American, living in the Jim Crow era, could have become so obviously gay, and yet rose to such heights in the field of entertainment. That riddle is explored here, with truly insightful results. Richard Penniman was just part of a long tradition of black transvestite acts, beginning with his stint as Princess Lavonne. Unable to walk in heels gracefully, he was carried out to the microphone each evening before the curtain rose. In a few short years he would become known simply as Little Richard.

Little Richard took a page from a performer named Esquerita, whose real name was Eskew Reeder, Jr. According to Little Richard, Esquerita taught him many of the piano rolls which would become his own trademark.

It would seem that the author has left no stone unturned in a quest for a truly accurate depiction of both the "Chitlin' Circuit" itself, as well as the times, and social mores, which gave birth to it.

Initially, the "Chitlin' Circuit" was the brainchild of an African-American nightclub owner Denver Ferguson, who was also a racketeer. His specialty was the numbers rackets in Indianapolis. At the same time, in Chicago, bandleader Walter Barnes was busy on the road, playing dance halls and hotels. He wrote a column for the Chicago Defender each week, detailing life as an entertainer on the road.

As the 1920's gave way to the Depression Era of the 1930's, many clubs closed for want of business. The end of Prohibition didn't help, and also seems to have been a factor in the development of the "circuit". As the 1940's, and World War Two came into play, the bands became smaller "combos", which themselves became the template for most of today's rock bands. Big band jazz had more or less become "small band blues".

Louis Jordan came on the scene in the 1940's, along with Roy Brown, and this is where the music really starts to take off. Roy Brown recorded a cover of Wynonie Harris' hit record "Good Rockin' Tonight" in 1948. That record, which would later be covered by Elvis, was like the spark that lit the kindling. In spite of this, he has still not been inducted into, or even nominated for, membership in the Rock and Roll Hall of Fame! Listen to the recording here; http://youtu.be/cgdzS4OSQ1M

There is so much to learn from this book about the evolution of Rock and Roll, it's almost impossible to do a coherent review. But I would be remiss if I left out something about Don Robey and Johnny Ace. They both had guns. Don Robey used his for negotiating, like the time his partner, Dave Mattis, wanted to quit. It all involved his share of profit from Johnny Ace's "My Song" in 1952, which was released on Duke Records. When he arrived at the Bronze Peacock unannounced to inquire about the money, Robey placed a .45 on the table, gave him $10,000, and that ended any further negotiations. The record was #1 on Billboard within a month of it's release, and had generated much more than $10,000 for Dave Mattis, but the presence of Don Robey's .45 on the table was a persuasive end to any differences of opinion.

Meantime, Johnny Ace, born John Alexander, Jr. had developed a strange little habit of his own, which involved a .38 snub nosed revolver. He liked to play Russian Roulette with it, claiming that he had it rigged so that nothing could go wrong. Things seemed to be going along just as planned, with nothing happening, until one night, when it finally did. It was in 1954, at a time when Johnny Ace had not been placing well on the charts. Rumor has always had it that Don Robey, his manager, somehow rigged the gun that night, switching the bullets around. There is motive for this thought. The year before, in 1953, Robey noticed that right after Hank Williams' untimely death, "I'll Never Get Out of this World Alive" shot to #1 on the country charts. He may have considered the death of Johnny Ace to be a good career move, although it is doubtful that Mr. Ace would have agreed with him. Listen to Johnny Ace singing "Never Let Me Go" here; http://youtu.be/kO3_gre7kgs

I actually ran this book by Eddie Ray, at the North Carolina Music Hall of Fame, in Kannapolis, to get his take on the subject. Mr. Ray should know, he was there in all of the places mentioned in this finely researched, and well written book, and with many of the artists themselves. A quick scan of the book passed muster, and he will be reading it shortly. That, in itself, is high praise. Visit the North Carolina Music Hall of Fame online at the following link;

http://northcarolinamusichalloffame.org/