"Don't Break the Heart that Loves You" - Margot Smith (1978)

If you have ever done some serious drinking in bars; not dives, but not the Ritz either; then you have heard the recordings of Margot Smith. Many a night her voice; accompanied by that deep electric bass guitar; kept vigil with me in some bar somewhere; both here and abroad. She was my link to America. She was the pinup girl of the juke box to all of us who were far away and alone with one another at 2 AM. She kept us connected to the real world.

Margo Smith was born in 1942 in Ohio. She’s best remembered for the 2 number one hits in 1978; "Don't Break the Heart That Loves You" and "It Only Hurts for a Little While", which were both covers of old standards. These were the sure fire records on the jukebox in the wee hours when you were wondering where your girlfriend, or spouse, was at home; and moreover, with whom.

Born as Betty Lou Miller she was a kindergarten teacher for a spell before going into the music business. And when she did, it was as a yodeler. But she was really hell bent on getting to Nashville. She sang songs to her classes and even at PTA meetings, gathering a small but loyal following along the way. In 1975 she landed a deal with 20th Century Records out of Nashville. This song, "Don't Break the Heart that Loves You" was first recorded by Connie Francis.

Although her career was not very long she reemerged as a Christian artist, singing with her daughter during the 1990’s. For more about her see the following link;

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

Arthur Smith - RIP

Legendary guitarist, banjo player, fiddler, songwriter, TV host, radio personality Arthur Smith passed away on Thursday. He was 93 years old. His death marked the end of a long and stellar career making music in Charlotte, N.C. Although he was born in South Carolina Mr. Smith made Charlotte his home in the early 1940’s and never looked back.

His radio and TV shows were regional in their makeup, but had a worldwide effect on music. His iconic “Fuedin’ Banjo’s” would go on to be heard in films like “Deliverance”, for which he was given no credit whatsoever and had to bring suit in order to obtain any money for the use of his song. When Mitsubishi used the song again in the 1990’s he made some more money by taking them to court. But that is just a small part of who Mr. Smith was.

All over the country there were regional variety shows along the lines of the Ed Sullivan Show in New York. These regional shows highlighted the music and happenings in the local area in which they aired. I have often been envious of the people who got to watch these shows when I was a kid. Sure, I had Sullivan, but so did the people in the small cities. They just had something extra.

Guests such as Johnny Cash; who used to stay at Mr. Smith’s home in Charlotte when he came for a visit; Billy Graham and his wife Ruth, Andy Griffith, and a host of young guitar pickers from Nashville; including a very young Vince Gill; all made appearances on Mr. Smith’s show. Paul McCartney played 2 songs in 1958 which got him in the Quarrymen with John Lennon. One was Eddie Cochrane’s “Twenty Flight Rock”; the other was Arthur Smith’s “Guitar Boogie.”

Regional shows like Mr. Smith’s have gone by the wayside in the wake of the expanding global economy, but they will always be remembered for the joyful noise they made. The world was much less complex in those days when television was live and the performers even livelier. RIP Arthur Smith.

For more about Mr. Smith use the following link;

http://www.youtube.com/watch?v=nZ7IYL0qzrM 

"Among My Klediments" by June Carter Cash (1979)

What can you possibly say about the woman who tamed Johnny Cash? Before there was a Women’s Liberation Movement, June Carter was hitching logs to traces, sowing crops, sewing clothes, and even pursuing a career in show business as, first a comedienne, then as a singer. She even went to New York to study and pursue a career on stage. This was not your typical girl from the sticks. And she did it all while staying true to her Christian beliefs; which given the times and places required of her work; was no easy achievement.

In this slim, less than 150 page book, June Carter Cash; of the Carter Family fame, as in A.P. Carter, Mother Maybelle, and even a cousin named Jimmy; writes unflinchingly of her own feelings of failure in her first 2 marriages before becoming Mrs. Cash in 1967. Without contradiction she talks about how her own work schedule may have helped in the dissolution of those relationships; the first of which brought her 2 daughters.

Her life before all that began in the hills of Virginia, listening and playing music. Most of the music of the Carter family has its roots in the traditional ballads and poems which came over with the settlers. Since many couldn't read, they sang the verses, giving birth to Appalachian music. A.P. Carter was just the guy who collected it all and wrote it down; as well as played it.

Ms. Cash recounts her father’s struggle with alcohol and also how his life was changed; as was the case with Johnny Cash years later; by a strong relationship with Christ. This is one of those tricky subjects to work into a book without coming off as too “preachy”. Some might find it offensive, or uninteresting; but this is a large part; a very large part; of who she was, and just as with Ricky Skaggs memoir, to leave out her faith would be to tell an incomplete story.

Indeed, as a Jewish person long a fan of Both John and June Cash, I found her expressions of her religious faith to be both sincere and informed. For instance; she considered herself to be a Seventh Day Adventist Baptist Methodist Pentecostal Jew. She believed in the 7th day as the Sabbath and that she was an engrafted Jew. (If you are unfamiliar with that last term then you should read Romans 11 in the New Testament. As a Jew I find that to be a major key in understanding Christianity.) This is tantamount to saying that Jesus was a Jew, and by extension all Christians are Jews; just as all Jews are Christians; and a remarkable thing for a Born Again Christian to state.

Another part of the book which I found of particular interest is the section dealing with her radio appearances in Charlotte on radio station WBT in the early 1940’s. Mother Maybelle and her daughters sang on the Grady Cole Show each morning. I’m trying to find some of those recordings if they even exist. Her descriptions of the city are vibrant and much more appealing than the corporate town which has developed in its place since that era. WBT is still a Colossus of the South at 50,000 watts; though nowadays you only get traffic and news in the morning. No more Mother Maybelle Carter. And Grady Cole is a small venue stadium located south of “uptown”. Younger people don’t even remember his name.

Her first meetings with Johnny Cash while working on tour with him are really interesting. If you don’t know much about John and June Cash beyond that movie which came out a couple of years ago, I’d recommend reading this book for a more accurate account of their relationship. Her description of Johnny walking the beach all night long is haunting; as it should be.

He was haunted at the time by demons that would only be conquered by his love for Ms. Carter and his own religious faith. And when he did decide to kick drugs he put up one hell of a fight. Ms. Cash describes it as being the toughest battle Satan ever fought; and lost. You might laugh, but this is some good writing! I was cheering for Johnny the whole time; literally.

Along the way this amazing woman becomes a member of the Grand Old Opry; only to resign later for spiritual reasons; and even meets and works with a young man named Chester Atkins, whom she has to teach to laugh on stage. He is just one of the many "royals" of country music with whom she has appeared over the years; and befriended in the bargain.

If you've already read Johnny Cash’s own autobiography I hope that you will not dismiss this as just another book by a celebrity wife. June Carter Cash was so much more than that. Don’t take my word for it; pick it up and find out for yourself.

The video below is not the live performance I was looking for, but it's pretty good. It is a song about 2 people in love who each promise to wait for the other on the "far side of the Jordan". When June died before him she knew he'd be coming soon; just as he knew that she'd be waiting. And I have no doubt about that either.

Hank Williams on the Lost Highway - 60 Years On

It was 61 years ago this evening when Hank Williams started out for his last concert. He never made it. This is one of my favorite past New Year’s Eve posts. I've been having fun going back through some of my old holiday posts, but I promise to get back to work on January 2^nd; doing pretty much the same thing as always. And; if you ever figure out just what that is; please let me know; I've been wondering.

Meantime here's my version of the death of Hank Williams on new Years morning 1953. I would not enter the world for another 20 months, yet his music has touched generations; so this one's for Hank...

Did you ever hear about the death of Hank Williams, Sr., on a back highway early on the morning of January 1, 1953? I would not be born for another 20 months, yet this legendary singer/songwriter has left a lasting impression upon the world in which we live.

I don't ever recall a time of my life in which Hank Williams, Sr. has not been somewhere in the background; whether in movie, song, or his considerable influence on the music we call rock and roll. It all goes back to Hank. John Lennon used to carry the complete works with him on cassette. Bob Hope, after trying to follow him on stage during a "package tour" in the late 1940's said that he would never follow him on stage again. His songs were all about the pain of living, and the humor, locked away within that pain.

His recording career ran only 5 years, from 1948 until his death on the first day of January 1953, yet he left a catalog of about 267 songs, many of which are still sung today.

Born September 17th, 1923, in Mt. Olive, Alabama, he would be a superstar by age 25 and dead by age 29. And in between he lived a life of physical and emotional pain. Long considered to be the Father of Country Music, he got his first guitar at age 8.

Named Hiram King Williams at birth, Hank learned to play his guitar under the direction of a local black man whom everyone called Tee Tot. Tee Tot was a street singer of the blues variety and young Hank was fascinated by the sounds he heard the old man coax from his guitar. But even more than the sound of the strings, what caught Hank's ear was the painful lyrics sung in an almost joyful manner. It was like Church; you took your pain and turned it into music. Your despair became your salvation.

Early in his teens, Hank began performing around the Greenville area of Alabama. Shortly after that, the family would move to Montgomery. In 1937 his mother opened a boarding house there, and by 1941 Hank had formed his first band, The Drifting Cowboys. They even got air time on the local radio station, WFSA. Known as "The Singing Kid", he did mostly cover versions of Roy Acuff songs and other popular numbers of the day. He would remain with WFSA for the next 9 years, even after becoming a star.

In 1943 he met his first wife, Audrey, while playing a "medicine show" near Banks, Alabama. Within a year they were married and living in his mother's boarding house. She became his manager as his status and reputation grew. But he couldn't seem to break out of Alabama and onto the national scene. This was about to change.

Traveling to Nashville, he was determined to meet Fred Rose, Roy Acuff's publishing partner. Rose was immediately taken with both Hank's guitar and voice. He arranged for Hank to record two songs for Sterling Records, "Never Again" and "Honky Tonkin'" in February 1947. On the strength of those two recordings he was signed to MGM Records and Fred Rose became his manager, as well as his producer.

"Move It On Over" was the first big hit for Hank with MGM in 1947. By 1948 he was a member of the "Louisiana Hayride", both on radio and on the road. His career was soaring. When he did a cover version of "Lovesick Blues" in 1949, he hit Number One and stayed there for 16 weeks, crossing every demographic line imaginable. When he performed the song live at The Grand Ol' Opry, he did 6 encores. I don't believe that record has ever been topped.

But, with all of the fame and success came trouble. Hank's drinking problem, which had been lurking just beneath the surface, began to rear its head again. The long separations from home while on tour; the fights when he was home; all began to take a toll on his marriage to Audrey. But the final "nail in the coffin" happened in late 1951 on Hank's farm in Tennessee, where he was hunting. He fell, re-igniting an old back injury. There was another tour coming up and so he did what so many performers have done before and since. He turned to painkillers, and finally morphine, to deal with the pain. He became almost instantly addicted to the morphine. He was also drinking heavily again.

In early 1952, Hank and Audrey separated for the last time. Yet, 1952 would be one of his most prolific and successful periods. "Honky Tonk Blues", "Half as Much", "Jambalaya", and even my favorite "I'll Never Get Out Of This World Alive" were written and recorded in this final year of his life. They all went to the Top Ten. But he continued drinking and doing morphine. Most of his time awake was spent drinking, drugging and playing with guns. 

By August of 1952 he was fired from the Grand Ol' Opry, mainly due to his drunkenness. He was told that he could return once he was sober. The shame of it all was that no one knew how little time was left.

This infuriated Hank to the point of his becoming even more reckless, finally even losing his band, as well as his friends. Still working "The Louisiana Hayride" provided him with money to live on. His royalties were being handled by an attorney as part of the divorce from Audrey. He began using local pick up bands, which further reduced the fees he could have been earning.

It was in the fall of 1952, just 90 days before his death, that he married 19 year old Billie Jean Eshlimar, a policeman's daughter. At this same time, he was expecting a child with a woman named Bobbie Jett, and signed an agreement to support the baby once it was born. By December of 1952 he was also having heart trouble, mostly due to the morphine, booze, cigarettes and life on the road. His doctor was a man named Toby Marshall.

On December 31st, 1952 Hank was scheduled to fly to Canton, Ohio to perform on New Year’s Day. The weather was bad and the flight was cancelled, leaving no other option than to travel by car. Hiring a chauffeur, he headed for Ohio in his new Cadillac. Just before leaving "Dr." Marshall gave him 2 injections for the ride. One was Vitamin B-12; the other was a large dose of morphine. Hank got in the back seat, toting a bottle of whiskey, and the chauffeur started out for Ohio.

Early on the morning of January 1st, 1953 the chauffeur was pulled over for speeding. The policeman noticed that the passenger looked more dead than alive and escorted the Cadillac to a West Virginia Hospital where he was pronounced dead at 7 AM New Year's morning. His last record was "I'll Never Get Out Of This World Alive."

His recordings continued to sell after his death, and all of the new songs that had been awaiting release charted in the Top Ten throughout 1953.

For me, Hank Williams has always been there in the background, a place where I can store my pain, face it, or laugh at it. His music is the same as the blues, only the tempo is different.

Tonight is New Year's Eve. I'll go out to dinner, watch an old movie, and stay up a bit later than usual. But sometime, after everyone else has gone off to sleep, I will probably still be awake, imagining that I am out there, somewhere on the Lost Highway. And if I tilt my head just right, and listen really hard, somewhere around dawn, I just might hear that “Lonesome Whistle Blow”.

"Ranch Party" with Johnny Cash and Patsy Cline (1957)

Here’s another example of the weekend entertainment which we missed in the city when I was growing up. Where we had Sullivan, they had Tex. And I think they may have gotten the better part of the deal!

Tex Ritter; John’s father; was a staple of the country music scene in the 1950’s. He was there at just the right time, too. He was showcasing acts that were changing the face of music, like this show with Johnny Cash. We didn’t even hear him on the radio in New York until a few months after the record was a hit all over the interior portions of the country. (I was very young, about 3 years old at the time, so I had to look that up.)

And Patsy Cline was another example of where the city was now sometimes lagging behind the more rural areas in entertainment. Up until then it had always been the big city setting the pace via the radio.

The point is that with the growing influence of the mass media, we were becoming more homogenized as a nation. Soon, what was considered to be “hillbilly” music would become rock and roll, taking the world be storm, and ushering in the 1960’s; one of the most mercurial decades this nation has ever known.

I love looking at these old shows, especially now, living down south in North Carolina. They are windows back into time which let me see what the people who are native to this state were seeing at the time. In turn, that gives me perspective on who they are today. 

Cindy Walker

She wrote “You Don’t Know Me” in 1955 with Eddy Arnold, but most people don’t even recognize her name. At least not in the way that they do Ray Charles, who had the smash hit with it in 1962; or Kitty Wells, who is often named as the First Lady of Country Music; frequently alongside of Mother Maybelle Carter. But, while Kitty Wells was a prominent country singer; and Maybelle was the Mother of gospel/bluegrass; this particular lady wrote; and recorded; some of country music’s most seminal works. Her name was Cindy Walker.

Born in Mart, Texas in 1918 she began pitching songs to the likes of Bob Wills and other Western-Swing artists when she was about 22 years old. And she never stopped, spanning 4 decades in the business, recording one hit song after another.

From her blues like “I Hear You Talking”; which is reminiscent of Bessie Smith; to the more country type ballads, Ms. Walker could sing and swing with the best of them. Her material cut across all lines of demarcation. Bob Wills recorded her songs, and so did Ray Charles, who had an abiding love for Country Music in general.

Here are just a few of the hundreds of songs Ms. Walker wrote over the tears; most recorded by her at first, before becoming monster hits for other artists;

"Bubbles in My Beer"- George Jones and Willie Nelson

"Take Me in Your Arms & Hold Me”- Eddy Arnold had the hit with this song he co-wrote with Ms. Walker

"You Don't Know Me"- Ray Charles had a hit with it in 1962. It has been covered by hundreds of other artists.

"Sugar Moon"- Bob Wills co-wrote this with Ms. Walker and had a hit with it, as did k.d.lang and Willie Nelson.

"I Don't Care"- Webb Pierce co-wrote it and had a hit with it; as did Ricky Skaggs in the 1980’s.

"Cherokee Maiden"- Bob Wills, Merle Haggard and Asleep at the Wheel

“The Warm Red Wine"- George Jones and Willie Nelson both had hits with this one.

Before her death in 2006 she was inducted into the Country Music Hall of Fame, and she accepted it in the unique and humble way in which she lived her entire life.

Here is Ms. Walker at that Induction Ceremony;

http://www.youtube.com/watch?v=9KfU3FGZXKU

And here is Bob Wills performing "I Hear You Talking" live from an old western movie.

"Kentucky Traveler" by Ricky Skaggs (2013)

I was hesitant to read this book at first. It is a faith based memoir, and I am somewhat suspect of those who wear their religion like a badge. But, Mr. Skaggs has done the seemingly impossible; he has managed to convey his Christian roots and the journey which brought him to international fame without being overly judgmental of others. He is firm in his beliefs; and lets the reader know it; but to separate the religion from the music would be to tell only a part of his story. And, in the case of Mr. Skaggs;  the man, the faith, and the music are all the same.

Beginning with his childhood Mr. Skaggs weaves a wonderful story of growing up as a Christian in the 1950’s and ‘60’s while pursuing his love of music. His father and mother were the main influences in his spiritual and musical development, with the elder Mr. Skaggs playing guitar himself. Young Ricky first performs on the top of the soft drink case at a local store. He was 5 years old at the time.  He was a true “child prodigy.” His instrument of choice was the mandolin, but his talent would lead him to the guitar, banjo and even the sitar for a brief moment in India.

His father’s love of music fueled Mr. Skaggs interest, and desire, to play the music he heard all around him while growing up. His father and mother were both musically inclined, with his mother singing with a strong clear mountain voice and even kicking up her feet and dancing at the frequent house parties they had on weekends. These occasions are the seeds of that would grow into a lifelong love of bluegrass music for Mr. Skaggs, taking him far away from his home, but always returning.

If you love traditional old time bluegrass music, then this book is a veritable history of the genre, beginning; as it should; with Bill Monroe. Ricky meets him as a kid and then later on as a teen when his Dad gets him behind stage at the Grand Ole Opry in Nashville. But Ralph and Carter Stanley are the two men who most gave him his first big break.

As his career rises he finds himself at a sort of crossroads; he can go the way of so many before him in the music business, or he can remain true to his roots; both musically as well as spiritually. This is easier said than done, and the author admits it.

Crammed full of stories about the great legends he has known, and the spiritual path he has chosen for himself, make this book a very worthwhile read. His relationship with the late Keith Whitley is a bittersweet memory, as Mr. Whitley succumbs to the temptations of the road and heavy drink.

The story of the people he has played with is also the story of the salvation of the original sound of the bluegrass music he loved so well as a kid, but which had slipped away by the 1970’s, replaced by the overproduced “Nashville Sound.” Dolly Parton, Emmylou Harris, Rodney Crowell, and so many others, along with Mr. Skaggs, have helped to not only preserve that sound, but to make it popular once again.

This remarkable family oriented, faith based memoir, is living testament of the roots of bluegrass music and the magic of where it comes from. It is also proof that you don’t necessarily need sex and drugs to make really great, timeless music.

Sweethearts of the Rodeo - 2011

One of the best country groups to come out of the late 1980’s were the Sweethearts of the Rodeo, who take their name from the Gram Parson’s inspired album title “Sweetheart of the Rodeo” which was recorded when Gram was a member of The Byrds in the late 1960’s. Parsons left The Byrds in England en-route to a segregated concert in South Africa. When he found that out; from Keith Richards; he quit the band and spent the next few years living with him. The Rolling Stones and The Beatles were among the first of the rock bands who refused to play there. That’s the story behind the name of this band.

Sisters Janice and Kristin Oliver formed the band when they were in their teens, playing under the name The Oliver Sisters, and performing bluegrass music in their native California. Emmylou Harris is credited with “discovering” the two sisters and getting them work with other artists. Through Emmylou Harris, Janis Oliver met Vince Gill in 1977 when he was 19 years old and she was 23. Vince Gill was a member of The Pure Prairie League at the time. They were married and later divorced. Kristine married Leonard Arnold of the band Blue Steel and soon after the turn of the decade stopped touring while raising kids.

My favorite album of theirs was the least popular one at the time of its release, but has become somewhat of a legend in country circles. “Buffalo Zone” was the next to the last album they recorded for Columbia in 1990. Although none of the songs became smash hits, the album is still held in high regard. Of the 4 albums and twelve singles they recorded for Columbia between 1986 and 1991, they reached the Top Ten on the Country charts seven times in the 1980s. Their two landmark singles peaked at No. 4 on the charts. Those recordings were "Midnight Girl/Sunset Town" and "Chains of Gold," which were both recorded in 1987. At the time they had 7 singles in the Top Ten on the Hot Country Songs charts.

In the mid 1990’s they began to tour and record again for Sugar Hill Records, releasing 2 albums before they seemingly disappeared for a while. They owned a clothing store in Franklin, Tennessee called “Gill and Arnold.”

This video was taken around 1992 and contains some of their best work, including the song “Como Se Dice” which has become a signature song they still perform today. It’s the 5^th song in the video and well worth the wait if you have never heard it. The story revolves around a woman who roams the barrios asking  how to say I love you in Spanish. The title actually translates as “How Do You Say” in English, with the phrase “I Love You” in parenthesis. Her lover has been talking Spanish in his sleep and she is desperate to find out what he has been saying, suggesting that he has taken a lover.

Here is a list of the 6 songs in this video;

1) Wake Me Up

2) Blue to the Bone

3) Uphill All The Way

4) This Heart

5) Como Se Dice (I Love You)

6) Satisfy You

Beneath the video there is some French writing which compares the sisters to the Everly Brothers, due mostly to their tightly knit high harmonies, often referred to as a “high lonesome sound.” Apparently this video is from a television show called Country Box. The last line seems to lament, or perhaps deny, the death of true country music, citing the two women as staving off the death of true country music. At least that’s what I think it says.

I could use the translator option, but that takes all the fun out of guessing. Plus, if I’m wrong, I get more e-mails. Everyone loves to tell you when you’re wrong about something. But no matter what, I’m right about these two truly talented women and their contribution in keeping country music alive.

"Hello Walls" - Faron Young (1961)

Willie Nelson wrote this song, and his jazz like version is wonderful in so many different ways; from the melody he plays so well, to the slightly deeper voice than that used here by Faron Young. But I would imagine that Willie Nelson still listens to this version, too. It has a certain purity about it, which eludes even Mr. Nelson’s talented fingers. And that’s hard to do!

The song went #1 on the Country and Western charts and eventually hit the Pop charts as well, where it enjoyed 13 week run before petering out. The following year saw the emergence of Mr. Nelson as a recording artist in his own right, and to no one’s surprise he included this song on his first album “And Then I Wrote” in 1962. It is still a staple of his performances and I believe it’s also the same guitar as well! That thing has more holes in it than there are craters on the moon.

I think what I like about this version is that it gives me a peek into the world which I knew I was missing out on as a kid in Brooklyn. Don’t get me wrong, I wouldn’t trade my childhood in Brooklyn for anything. It was a great training ground for many of the problems which come our way later in life. I often feel sorry for those who were not raised there.

But, at the same time, I am cognizant of the fact that there was this whole other way of living to which I was not privy, even though I was aware of its existence. My little 6 transistor made in Japan radio gave me a taste of it every night in the darkness of my bedroom, where I listened to anything coming over the dial. The goal was, of course, to get the Grand Ol’ Opry, but that was rarely possible. Wheeling, West Virginia was a long way off, and to get it well, you really needed to go to the roof of the 7 story apartment building we lived in at 1310 Avenue R and East 14^th Street.

Now, going to the roof at night to listen to the radio was not the best idea, as my parents were very strict and our apartment was kind of like a prison camp. This was great training for my later adventures in the Navy, as I was used to regimentation and discipline. But there’s always more than one way to skin a cat, so I took a coil of thin copper wire which I got a the Hobby Shop on Avenue S, and ran up to the roof where I dropped the coil to right outside our second floor, rear window, which faced due South. Going back downstairs I took the wire in and hid it along the window jamb, where it was virtually invisible. At night I took the excess wire and attached it to my radio by winding it around the whole body and then connecting the loose end to the wire at the window.

This all sounds simple but had to be done after my brother was asleep. He was the type who would constantly run to my parents about anything I did at all which might be prohibited. Again, this was great training for the military and even jail, where snitches abound. You have to learn to work around them in order not get caught doing something wrong.

At any rate, these precautions were worth their weight in gold, as they opened up the whole world to me. Even today I keep 2 shortwave radios. And when the night is just right; preferably a cold, starlit one; I turn it on and listen to the static as it  gives way to news from the BBC, or the weather out of Belgium, along with a million voices speaking in tongues which I may not even recognize, but love hearing anyway. It reminds me that we are all connected, even if only by the the airwaves.

Hey, can you believe that this started out to be about Faron Young? 

"The King is Gone (And So Are You)" - George Jones

One of the greatest talents which George Jones possessed was his ability to tell a story in a lyrical quality; unique in that he didn’t talk over the music, as in the “talking” type of blues. He actually sang the story. In this one written by Roger Ferris, Mr. Jones laments the loss of his beloved, and sits down to have a chat with himself, Jim Beam, Elvis, and even Fred from the jelly glasses he is drinking from in his drunken revelry. 

The results are both sad and comical as he discovers that his drinking is the cycle which precipitated his whole dilemma in the first place. I particularly like this live performance, for that is when Mr. Jones was always at his best; live and working the audience.

"The King is Gone (And So Are You)" by Roger Ferris

Last night I broke the seal on a Jim Beam decanter

That looks like Elvis

I soaked the label off a Flintstone Jelly Bean jar

I cleared us off a place on that

One little table that you left us

And pulled me up a big ole piece of floor.

I pulled the head off Elvis

 Filled Fred up to his pelvis

Yabba Dabba Doo, the King is gone

And so are you.

'Round about ten we all got to talking

'Bout Graceland, Bedrock and such

The conversation finally turned to women

But they said they didn't get around too much

Elvis said, "Find 'em young."

And Fred said, "Old Fashioned girls are fun."

Yabba Dabba Doo, the King is gone

And so are you.

Later on it finally hit me

That you wouldn't be 'a comin' home no more

'Cause this time I know you won't forgive me

Like all of them other times before

Then I broke Elvis's nose

Pouring the last drop from his toes

Yabba Dabba Doo, the King is gone

And so are you.

Yabba Dabba Doo, the King is gone

And so are you.

Last night I broke the seal on a Jim Beam decanter

That looks like Elvis

.

The Grand Old Opry - April 28, 1956

Whenever I walk along the streets in Mooresville, N.C., which is about 18 minutes from my house, I think of what the town must have been like before Interstate 77 came through several miles to the west of town, in the early 1960’s, when Duke Power created Lake Norman to serve it’s dam on the Catawba River, which in turn would become part of the nuclear power plant that sits adjacent to it. That dam is located about 11 miles to the South, in Huntersville.

Mooresville has had a renaissance in the past decade or so, with new boutiques and shops opening on Main Street, revitalizing the area. Mooresville was primarily an agricultural town, growing corn, cotton and other crops which were shipped by the railroad which bisects the town from North to South. So, naturally, when I think of Mooresville in the late 1950’s and early 1960’s, I see a vibrant town with dances on Saturday nights, and train whistles cutting through the sound of the music and laughter.

Sundays were mainly “church” days, with some picnics thrown in and a lot of visiting friends and relatives. Contrasted with Brooklyn, New York where I was raised, I find myself often wishing I could go back for just one night to those years and experience the flavor of the town as it once was.

But, for better or for worse, my memories are all based in the city, so I can only imagine what I missed. They say “even a fool can despise what he cannot get”, but I don’t despise what I missed at all. I hunger for it. And that hunger; as it often does; takes me to You Tube where I can get a glimpse of what life was like outside of New York City and the Ed Sullivan Show.

The Grand Old Opry is still alive and kicking today, pumping out so called country music, which is really just a blend of 1960’s rock/pop music. The acts you see here from the Grand Old Opry in April, 1956, represent the real American entertainment of the time. This show, and others like it, were what the rest of the country were watching while we were watching the more “sophisticated” variety shows which aired from New York and even the stuff coming out of Los Angeles at the time. They are also emblematic of all the good things I missed. Chet Atkins and June Carter both perform, and the commercials are live, touting the benefits of farm products rather than aftershave lotions. Man, I wish I could back for just one night...

George Jones - The Johnny Cash Show (1971)

I used to look forward to Wednesday nights just to catch a bit of Johnny Cash on his show, taped at the Grand Ole Opry, as well as hear the other guests. In this segment from April 15, 1970 George Jones does a short set consisting of “White Lightnin’” with Johnny Cash, and then goes on to do a medley of his own with “She Thinks I Still Care”, “The Love Bug”, “The Race is On” and then, curiously, back to “The Love Bug” as a finish. All in 4 minutes! He is backed by a group whom Johnny refers to as “The Jones Boys”, but I’m not sure who they are. Looking it up might spoil the memory so I’ll let it be.

The Johnny Cash Show lasted barely 2 seasons. It didn’t have the commercial appeal in the big city market, and that’s a shame, as the groups and other artists featured on this show went on th influence; and in some cases already had; the bands of the 1970’s and even today when you go hear groups like Phish doing George Jones songs. And the shows were really great TV themselves.

On this typical night, Johnny featured Judy Collins and Bobby Goldsboro as his main guests along with George Jones. He performed with each artist and then, as was his habit on the show, left the stage to them. He also performed regularly with June Carter Cash doing duets and also reciting poetry. On this particular night Johnny read an anti-drug poem. This was brave stuff to do if you were trying to make it on TV in 1970, when pop was king, along with all the “special” effects that went into making most music.

I really miss the old variety shows. There was something for everyone in the family to enjoy. Anyone my age will remember Sunday nights watching Ed Sullivan with their family. It was like a ritual. And there seems to have been a different show for each night. Red Skelton, Dean Martin, the list goes on and on. It’s lucky for me that they are all preserved on You Tube.  

Cousin Jake, Uncle Josh, Earl Scruggs - Nobody's Business

In the film “O Brother Where Art Thou” with George Clooney there is a band called the Soggy Bottom Boys. They perform the perfect version of the song “Man of Constant Sorrow” which was recorded by a partially blind fiddle player from Kentucky named Dick Burnett sometime in the 1940’s. Decades later the song became the mega hit we all know today.

The song “Man of Constant Sorrow”/ “I Am a Man of Constant Sorrow” was written in 1913 by Dick Burnett, who claimed to have gotten the idea for the tune from a fellow musician. Originally titled “Farewell Song”, it was included in the 1913 publication of Mr. Burnett’s songs. It was recorded as early as 1928 by Emry Arthur. Many folk musicians have laid down their own version of the song over the years, but the Soggy Bottom Boys version from the film will undoubtedly go down as the best version ever recorded, or performed.

The musicians in the movie are comprised of Dan Tyminski and several others associated with Allison Kraus and Union Station. But once upon a time there was a band called the Foggy Mountain Boys, which; as you might notice; is the complete opposite of the name of the band in the movie. The Foggy Mountain Boys were together as a band from 1948-1970. That’s quite a run.

Seen here on a local TV broadcast from the 1950’s are the real Foggy Mountain Boys, composed of Lester Flatt, Earl Scruggs, Paul Warren on fiddle, the great Josh Graves on dobro, with cousin Jake doing the lead singing. They only ever had a single #1 hit record; which was the “Ballad of Jed Clampett” for the TV series “The Beverly Hillbillies” in 1962. They also wrote and performed the theme song with Waylon Jennings “I’m a Good Ol’ Boy” for the TV series “Dukes of Hazard” in the 1980’s.

   

Sunday Television in rural America is something many of us from the big cities missed out on. The shows were not as sopshicated as the variety shows coming out of New York and Los Angeles, but; just as with last week’s Sunday post; they offer a very realistic look at what American’s found entertaining during the decade preceding the Second World War. We were fat and happy; and as a nation we knew no real rival.

These old TV shows are a real treat to watch. They tell us so much about who we are today. Perhaps, somewhere in these old shows, there is a hint of what began the great American decline which we are currently experiencing. But, all of that aside, they are also great entertainment from an era long gone.

Sunday Music - The Grand Ole Opry (1956)

When I was kid I always heard of this far-away place called Nashville and the Grand Ole Opry. I also had a sense that I was missing out on something that was not only different, but perhaps even better than the more staid variety shows which emanated out of New York, or even Los Angeles.

In this show from the Ryman Auditorium; which was broadcast on April 18, 1956; the cast includes Carl Smith as host, with guests Buddy Ebsen; before Jed Clampett; Chet Atkins, Collins Kids, The Jordanaires; just before the Elvis madness; June Carter; before Johnny Cash; Lester Flatt and the recently departed Earl Scruggs, with comedienne Minnie Pearl, and a few others.

The show may be irritating to some; there are people who will find this show to be annoying. I find it interesting in several ways. It’s a visual record of what was funny to middle America during the 1950’s,; and as such helps to explain the politics and culture of the times. It was; mainly; still an agricultural society, and the entertainment that the people in the rural communities may not have been as sophisticated as that of the slicker network shows; but there is something very personable, and almost noble in these shows.

These were hard working, mainly unschooled folks, who made their own everything; including entertainment. And eventually, as Elvis and Carl and Johnny, along with Jerry Lee Lewis, broke the barriers separating the entertainment business, they became us and we became them. By that I mean that this is where it all began in popular music as we know it today. These are the roots of our modern day culture; even the various reality shows’ and American Idol took something of their formats from these seemingly unsophisticated shows.

I originally was going to post Hank Williams doing “I Saw the Light”, but the powers that control such things made the video not downloadable. It’s too bad for them, and good for me. Because without the inability to show the Hank Williams video, I would never have stumbled across the many other Grand Ole Opry shows  that are downloadable.

I don’t expect that many of my fellow Americans will enjoy this type of show anymore. It will probably get more hits out of Europe, where traditional American music is still revered. 

"Just Dropped In" - The First Edition (1968)

If you’ve seen “The Big Lebowski”, then you’ve heard this incredible piece of psychedelic music before. Funny thing is, unlike a lot of the old records from the time, this one still holds up. It’s got something special; and sincere; about it which keeps it forever relevant. Hey, we all wonder what we’re really made of, and this record explores one man’s journey into his inner self. It’s not as pretty as it is confusing; and unlike “Lucy in the Sky” by The Beatles, with its gentle surreal imagery; I suppose that many people would find themselves less sure of what they believe after listening to this record.

The song itself was probably the impetus for many young people of the time to “expand their minds” through the use of LSD. The irony in that is rooted in the fact that Mickey Newberry wrote it as a warning against the use of psychedelic drugs. First recorded by Jerry Lee Lewis in 1967, it was this 1968 rendition of the recording by Kenny Rogers, with The First Edition, which will always be remembered.

Evidently, it didn’t scare many folks; rather; it might have made them a bit more curious about expanding their minds. Just listen to that guitar solo- which is, by the way, none other than Glen Campbell. Talk about versatility! Glen Campbell was, and still is, one of the greatest studio guitarists ever. His skills ranged from songs like this, to writing scores of hits of his own, doing a stint as a Beach Boy while Brian Wilson was stuck at home, and eventually moving on to have his own Sunday night variety show.

Of course, Kenny Rogers would split from The First Edition and achieve fame as a solo artist, with hits such as “The Gambler” and “Coward of the County” being just two of the ones which spring immediately to mind.

This is one of those songs which I keep on ipod, flashdrive, and even a disc in the car. Whenever, or wherever it comes on, I’m always pleased with the sound and imagery it conjures up. My favorite part of the lyrics is at the end, when he sings “8 miles out of Memphis and I got no spare, 8 miles straight up, downtown somewhere.” It’s a dark and foreboding image, one which reeks of danger and irresistible adventure all at once. They just don’t make ‘em like they used to.

Doc Watson - "Deep River Blues"

Doc Watson, the veteran country-bluegrass icon from North Carolina, has passed away. There is nothing that I can add to anything you have already read about him; all the stories are true. Three generations of the Watson clan have entertained us, and his grandson carries on beautifully, but we will always miss "Doc" Watson, the man. He embodied the grace of living; building his own home, running the farm, and in between dazzling us all with the sheer joy of his playing. I saw him once; at the North Carolina Fiddlers Convention in 1979. It was also my first experience with pure grain alcohol. Both were memorable moments in my life. Rest in Peace, Doc.

Farewell Earl Scruggs -"Dim Lights - Thick Smoke"

There are no further words to add to all that has been written about Earl Scruggs since he passed away earlier this week. His funeral is being held today in Nashville. This TV appearance from the 1950's, with Lester Flatt, doing "Dim Lights Thick Smoke" is one of my favorites. The vocals are great, but just listen to that banjo singing in Earl Scruggs signature 3 finger style. I chose this tune in order to showcase that Earl Scruggs was a star, in his own right, long before "The Beverly Hillbillies" came along. Thanks for the music Earl, now you're picking in Heaven...

Blue Yodel #9 - In Black and White

Back in the early 1970's Johnny Cash had the most unusual variety show on television. Each week, like Ed Sullivan did on his show, he featured a popular musical act, or musician; but with one major difference; Johnny Cash was a musician and songwriter himself, and so he managed to get out there with his guest stars and perform with them. It was quite a treat for the viewer, and I suspect, for Johnny Cash as well.

This performance of Jimmie Rodgers "Blue Yodel #9" is really unusual at first glance, but when you look a bit further into the history of country music and blues, it's really not.

Here's an audio link of the original July 16th, 1930 session which Mr. Armstrong refers to in his conversation with Johnny Cash;

http://www.youtube.com/watch?v=k7rfq25JDJg

"The Year That Clayton Delaney Died" by Tom T. Hall

Tom T. Hall is one of the most prolific American songwriters of the late 20th Century. He wrote scores of songs, most of which were recorded by others. But, every now and again, there would be a song that was so personal to him, that he held it back for himself. "Clayton Delaney" was one of those. With it's straightforward lyrics, this song has been a favorite of mine for decades. In this clip, from You Tube, Tom Hall explains why, and how, he wrote the song. The story behind it is as beautiful as the song itself. Although there are better quality performances of this tune on You Tube, this one, with it's introduction by Tom T. Hall, is my favorite.

Here are the lyrics;

"The Year That Clayton Delaney Died"

I remember the year that Clayton Delaney died,
They said for the last two weeks that he suffered and cried.
It made a big impression on me, although I was a barefoot kid,
They said he got religion at the end and I'm glad that he did.

Clayton was the best guitar picker in our town,
I thought he was a hero and I used to follow Clayton around.
Clayton used to tell me, "Son you better put that old guitar away,
There ain't no money in it, it'll lead you to an early grave."

Well, Daddy said he drank a lot, but I could never understand,
I knew he used to pick up in Ohio with a five-piece band.
I often wondered why Clayton, who seemed so good to me,
Never took his guitar and made it down in Tenn-o-see.

I guess if I'd admit it, Clayton taught me how to drink booze,
I can see him half-stoned a-pickin' out the lovesick blues.
When Clayton died I made him a promise, I was gonna carry on somehow,
I'd give a hundred dollars if he could only see me now.

I remember the year that Clayton Delaney died,
Nobody ever knew it but I went out in the woods and I cried.
Well, I know there's a lotta big preachers that know a lot more than I do,
But it could be that the good Lord likes a little pickin' too.
Yeah, I remember the year that Clayton Delaney died.

"It's Too Late" and "Matchbox" - Derek and the Dominoes on Johnny Cash -1971

This video needs no introduction, except to say that it's from The Johnny Cash Show in 1971. Watch the whole thing, after the Dominoes play "It's Too Late", Johnny Cash talks music with Eric Clapton before they bring out Carl Perkins for a little bit of "Matchbox" with Derek and the Dominoes. They don't have TV like this anymore....

Thanks to Dave for turning me on to this video!