Hard Core...Bluegrass!: Jim & Jesse and The Virginia Boys

Jim and Jesse McReynolds are the unsung heroes of bluegrass music.  I first got into their music in the late 70s when I became immersed in a Bill Monroe Bean Blossom Festival record.  "Their harmony was exceptional, a rarity some say only brothers can produce.  Jim's enhanced high tenor combined with Jesse's deep lead and unique mandolin style set this duo apart in the world of traditional music, now termed Bluegrass." They were the longest brother duo in country and bluegrass music, playing together for 55 years, until 2002, at which time both brothers were diagnosed with cancer.  Jesse beat it; unfortunately, Jim did not.  Jesse continues performing with The Virginia Boys today.  Their contributions to bluegrass remain under the radar, but, here in this entry, let's say thanks to Jim and Jesse.

Hard Hearted

Ole Slew Foot

My Baby's Gone

When I Stop Dreaming

Please Be My Love

The (Third) Day The Music Died: Honky Tonk Badonkadonk

 

Previously, I've posted on the "First Day The Music Died"--the plane crash that killed Buddy Holly, Richie Valens and The Big Bopper--and what I called the "Second Day The Music Died"--the plane crash that killed Patsy Cline, Hawkshaw Hawkins and Cowboy Copas.  In my view, there's a "Third Day The Music Died," not as tragic when actual lives of gifted artists were lost; rather, a big nail in the coffin for real country music.  It's the day, back in 2005, that Trace Adkins released, "Honky Tonk, Badonkadonk," a billion-selling record.  Per the internet, Jamey Johnson, who co-wrote the song, the idea for "Honky Tonk Badonkadonk" came when Johnson and two of his friends were watching a young woman dancing at a club.  Badonkadonk is urban slang for shapely female buttocks.  Within an hour, the three had written the song."  Frankly, that's four times longer than I thought it had taken.  A record executive summed up the song this way, "We knew it was a magical song, but we didn't know it was this magical."  Obviously, the magic has gone over my head.  Ironically, I heard of the song after seeing Adkins on "The Apprentice" (the first and last time I watched it) and thinking this guy's pretty cool.  I look him up on YouTube and found this song.  

There's absolutely nothing wrong with putting out magical songs like this.  It's seems it's what a majority of Americans want.  Just, PLEASE DON'T CALL IT COUNTRY, BECAUSE IT'S NOT.

Honky Tonk Badonkadonk    

THE POSSUM...GEORGE JONES

As I've noted on a few occasions, when I first got into country music, George Jones was among the top 4 or 5 artists in my book. I found a "Greatest Hits" album at WFUV and I remembered loving virtually every song on it--"Walk Through This World With Me", "The Grand Tour", "Pictures Of Me Without You" and, of course, his signature, "She Thinks I Still Care". I loved the feeling he put into each song and the common-man stories they told. I saw him on two occasions. The first, back in perhaps the late '70s at the old Bottom Line in NYC. I had free tickets to the first show and paid for the second. Being there for both gave me the opportunity to move up to the front row, literally in front of his face. He was drinking and taking drugs at that time, but, amazingly, he still was awesome. He asked for requests and I shouted out the somewhat obscure, "Tell Me My Lyin' Eyes Are Wrong". I think he realized no one but a die-hard George Jones fan would remember that one and he did it right then and there. Fast forward to about eight years ago. I saw him in Pennsylvania Dutch Country at a theater and had a bad time. His band opened the show like a really loud rock concert and even when he was on, they felt they had to turn it up to keep the audience's attention. They didn't have to. That experience kind of lessened my affection and I moved on a bit, but I still have tremendous respect for George. During the past few years, he's been critical of country music radio and record labels for pushing the pioneers to the side in favor of the flavor-of-the-month, "plastic cowboy", as Vern Gosdin once called them. He's right. But, for now, let's pay tribute to the Possum by playing a few of his greatest songs, including the incredible "He Stopped Loving Her Today", plus links to a Melba Montgomery duet and the aforementioned song he sang for me way back when.
"She Thinks I Still Care"


"Someday My Day Will Come"


"Walk Through This World With Me"


George Jones & Tammy Wynette: "Two Story House"


"He Stopped Loving Her Today"


"Tell Me My Lyin' Eyes Are Wrong"

George Jones & Melba Montgomery: "We Must Have Been Out of Our Minds"

Porter Tubb

THE SECOND HALF OF PORTER TUBB: ERNEST

Back in college, when I first got into country music by default--taking over a country show on WFUV--the holy grail of country for me consisted of Hank Snow, George Jones, Merle Haggard and "ET", Ernest Tubb. Everyone--audiences and artists, alike--loved ET. And why not? You knew what you were getting--true honky tonk, true country. I had the privelege of seeing him twice, once at the old and wonderful Lone Star Cafe in NY, when, even ill, he walked up the stairs from performing and turned around that guitar, which said "THANKS". The second time was at a New Jersey venue, when I had the awesome pleasure of going on his bus, The Green Hornet, and interviewing him. One thing he said always stuck in my mind, in his words, "I wouldn't change for anything. If I knew it would sell ten million records, I wouldn't try to do something I didn't believe in. I believe in country music and I'm going to stay with country music."

And he did stay country. A true pioneer of country music, he was heavily influenced by the Father of Country Music, Jimmie Rodgers. He told me, while he had the chance to see Rodgers performs at least once, he opted not to so that the iconic image he had of Rodgers wouldn't be altered. Rodgers' widow help him land his first record contract. He didn't hit until 1940, when "Walking The Floor Over You" took the country world by storm. A year earlier, he had had a tonsillectomy, which affected his voice, making it very distinctive and, in his words to me, "not that pretty!" He is quoted as saying he was sure that guys in bars playing him on the jukebox would turn to their girlfriends and say they could sing better than Tubb, and he acknowledged they were probably right! But I love his voice. And I love the fact that he was a loving entertainer who cherished his audiences and fostered the careers of many artists, from Hank Snow and Stonewall Jackson to Willie Nelson and Loretta Lynn. When no one would have Willie on TV, he put him on his TV show. And when Decca Records asked him to cut a series of duo records, he could have picked anyone, but choose Loretta Lynn, who proudly stated last year at a show my son opened, "Ernest was my first duo partner, even before Conway!"

ET hit the country charts 91 times and his "Texas Troubadour" bands included awesome artists, several of whom went on to great success, like Cal Smith ("Country Bumpkin") and Jack Greene "There Goes My Everything", "Statue of a Fool"). Throughout his recordings, he would call out to band members to take solos, guitarists with nicknames like "Butterball" to Billy Byrd and Leon Rhodes, who proved to his grandchildren that he'd been a Texas Troubadour by playing a few songs where ET called out, "C'mon Leon."

ET died of emphysema in 1984. He looked much older than his 70 years, worn down by illness and constantly being on the road. He left behind a legacy ranging from the Ernest Tubb Record Shop to a song catalogue that helped define the golden age of country to perhaps his grand-nephew, Lucky Tubb, who has been putting out some interesting music on his own.

ET still rocks, at least in my book.

ET: Try Me One More Time

ET: Thanks A Lot; ET & Loretta Lynn: Who's Gonna Take The Garbage Out ET & Friends: Walkin' The Floor Over You

Lucky Tubb: Honky Tonkin' 101


Lucky Tubb

Porter Tubb

TRUE ARTISTS, Part 10: Ana Maria Bobone

I've written previously about FADO, or fate, the traditional, soul music of Portugal, first popularized globally by the late Amalia Rodrigues and today by the incredible Mariza (see 4/22/09 and 3/8/09 posts). Before I experienced Mariza, my favorite fadista was a young woman named Ana Maria Bobone. Always on the hunt for fado, perhaps 12 years ago, I went to the beautiful NJ Performing Arts Center for a "fado package show" and there she was. I was mezmerized by her hauntingly beautiful voice and her beauty. I had never heard a voice like that and it stuck in my head. I saw her again live there a year later and then she hosted a program on fado on RTP, Portuguese television for a year or so. Surfing YouTube, I chanced upon some clips of Ana Maria Bobone and wanted to share them with you. They do not fully showcase her artistry, but they will give you a sense of how well-suited she is to fado. Her star is somewhat overshadowed by Mariza and a host of other fado singers today. Regardless, Ana Maria Bobone is a true artist and I hope we'll be hearing more from her.

"Nome De Mar"


"Azenha"


"Que Deus Me Perdoe" (very strangely, a guy is painting pidgeon sculptures; try to ignore him!)


"Sabe-Se La"

• (Title Unknown) with Miguel Capucho
  

"Ave Maria" (audio with still, religious image)


Porter Tubb

JEAN SHEPARD, HAWSHAW HAWKINS, SR. & JR., & FERLIN HUSKY

By now, you may have guessed that my favorite music is traditional country music and bluegrass. Whenever I think of the state of country music over the past couple of decades, I cringe, yet I bite my tongue and dare not comment fully. Maybe, when I'm old, rich and famous, I will. (Doubtful the rich and famous part will happen; the old part is well underway!)

I seem--AM--addicted to YouTube, but maybe that's not a bad addiction. Last night, I came across a clip from 2000 of two country stars of Yesteryear--Jean Shepard and Ferlin Husky--singing a classic country tearjerker, "A Dear John Letter," a number one hit for them 47 years previous. I've never been a fan of Husky--who broke out with "Gone" as "Terry Preston" in the early 50s, went on to do comedy songs under the pseudonymn, "Simon Crum" and whose biggest hit was the religious anthem, "Wings Of A Dove".

But I have always admired Jean Shepard. Jean broke out around 1953, right after Kitty Wells scored big in 1952 with "It Wasn't God Who Made Honky Tonk Angels," the answer song to Hank Thompson's "The Wild Side Of Life." (Ironically, Jean Shepard was discovered by Hank Thompson, who helped her get on Capital Records.) Jean's first big hit was the aforementioned "A Dear John Letter," a duet of sorts with Husky doing a recitation, in '53. It went to #1 on the country charts and #5 on the pop charts. Interestingly, since she was 20 at the time and considered a minor, her parents had to sign over "rights" to Husky so they could tour.

Jean had a few hits in the following years, most notably, "Second Fiddle To An Old Guitar" and, in 1960, married rockabilly/country star Hawkshaw Hawkins, who stood six-feet-six and combined blues, boogie and honky tonk...and was a snappy dresser, too! Tragically, he died on that ill-fated flight in 1963 with Patsy Cline and Cowboy Copas. Jean Shephard was pregnant at the time with their son, who'd be named after his dad, and his biggest hit, the classic "Lonesome 7-7203" had just hit the charts three days before his death. (See related post, "The Second Day The Music Died".)

After Hawkshaw's death, Jean carried on, had a few hits, including Bill Anderson's "Slippin' Away," but was never a mega-star. Still, she is an active member of the Grand Ole Opry and seems to be really respected by young and old in the cast. Plus, her voice is still strong and she's kept it country.

So here's to Jean Shephard, now 75, even Ferlin, who's 83, and the other older country artists who are still out there playing state fairs and, in Jean's case, reminding Opry fans that TRUE country still rocks!

Jean Shephard: "Just Give Me Love"


Jean & Ferlin, 2000: "A Dear John Letter"



Hawkshaw Hawkins: "Shotgun Boogie"


Hawkshaw Hawkins, Jr.: "Her Name's Got A Ring To It Now"


Audio; Jean & Ferlin, 1953: [Note: Try to block out the "tinkly" piano!]: "A Dear John Letter"

WEARING YOUR EMOTIONS ON YOUR SLEEVE > COLDPLAY

When even my mother, who is almost 80, mentioned she liked Coldplay, I figured I have to write about the band. Yes, Coldplay is a band, but so much of their sound and notoriety is wrapped around lead singer, Chris Martin, who is undeniably talented--great voice, very charismatic, connects with the audience incredibly well, with an energy and enthusiasm that is not seen often these days. It's been written repeatedly that Martin "endlessly examines his feelings" in his songs, but I enjoy the exploration. I also appreciate the integral role of piano in the Coldplay repertoire. In a not-all-too-positive review of an earlier record, Allmusic wrote, "They, by any stretch of the imagination, do not rock -- rocking is simply against their nature. They are a meditative band, reflecting on their emotions instead of letting them go in a cathartic blast of noise and rhythm." That's fine by me.

"Violet Hill" & "Viva La Vida"


"Trouble"


"Fix You"


"In My Place"


"Yellow"


"The Scientist"


"Lovers In Japan"


"Fix You" (a bit surreal)