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Good 'N Country Playlist for Saturday, December 12, 2020
Good 'N Country 12-12-2020 playlist Artist Title Album Label Year Wood Family Tradition Back Home In Tennessee Wood Tone Music 2020 Carly Goodwin Still Too Blue Carly Goodwin Dreaming Bear 2004 Marty Robbins Twentieth Century Drifter MCA 1974 Kitty Hawkins If You'll Let Me Capa 1967 Jimmie Davis When The Train Comes Rollin' In Decca 1953 Johnny Tyler Find 'Em, Fool 'Em And Forget 'Em RCA Victor 1948 Patsy Cline Walking After Midnight Iconic Country Originals In Stereo Complete 60s 2020 Sonny James Young Love Iconic Country Originals In Stereo Complete 60s 2020 Lefty Frizzell If You've Got The Money, I've Got The Time Iconic Country Originals In Stereo Complete 60s 2020 Tennessee Ernie Ford Sixteen Tons Iconic Country Originals In Stereo Complete 60s 2020 Stuart Hamblen This Old House Iconic Country Originals In Stereo Complete 60s 2020 Hank Williams I'm So Lonesome I Could Cry Iconic Country Originals In Stereo Complete 60s 2020 Tex Williams Smoke! Smoke! Smoke! (2nd version) RCA Victor 1952 Floyd Tillman I'm Falling For You Columbia 1951 Moe Bandy She's Got That Oklahoma Look Here I Am Drunk Again (LP) Columbia 1976 Dottie West Lay Back Lover RCA Victor 1974 Johnny Cash Hey Porter I Walk The Line (LP) Columbia 1964 Jim Ed Brown Broad Minded Man RCA Victor 1973 Jake Blocker Just Your Memory Playing Games I Keep Forgetting Jake Blocker Music 2020 Mike Johnson Take Me As I Am (feat. Gene Watson) Almost Midnight Mike Johnson prod. 2012 Aaron Lewis The Party's Over State I'm In Valory 2019 George Jones Still Doin' Time Epic 1981 Reba McEntire -
16 Artist Index BILLJ~OYD (Cont'd) Artist Index 17 MILTON BROWN
16 Artist Index Artist Index 17 BILLJ~OYD (cont'd) MILTON BROWN (cont'd) Bb 33-0501-B 071185-1 Jennie Lou (Bill Boyd-J.C. Case)-1 82800-1 071186-1 Tumble Weed Trail (featured in PRC film "Tumble Do The Hula Lou (Dan Parker)-1 Bb B-5485-A, Weed Trail") (Bill Boyd-Dick Reynolds)-1 Bb B-9014-A MW M-4539-A, 071187-1 Put Your Troubles Down The Hatch (Bill Boyd• 82801-1 M-4756-A Marvin Montgomery) -3 Bb 33-0501-A Garbage Man Blues (Dan Parker) -1,3 Bb B-5558-B, 071188-1 Home Coming Waltz Bb B-890Q-A, 82802-1 MWM-4759-A RCA 2Q-2069-A Four, Five Or Six Times (Dan Parker) -1,3* Bb B-5485-B, 071189-1 Over The Waves Waltz (J. Rosas) Bb B-8900-B, MW M-4539-B, RCA 2Q-2068-B M-4756-B Reverse of RCA 2Q-2069 is post-war Bill Boyd title. First pressings of Bb B-5444 were issued as by The Fort Worth Boys with "Milton Brown & his Musical Brownies" in parentheses. On this issue, co-writer for "Oh You Pretty Woman" is listed as Joe Davis. 1937 issues of 82801 ("staff' Bluebird design) list title as "Garage Man Blues." JIM BOYD & AUDREY DAVIS (The Kansas Hill Billies) September 30, 1934; Fort Worth, Texas August 8, 1934; Texas Hotel, San Antonio, Texas. Jim Boyd, guitarllead vocal; Audrey Davis, fiddle/harmony vocal. Milton Brown, vocal-1; Cecil Brower, fiddle; Derwood Brown, guitar/vocal-2; Fred "Papa" Calhoun, piano; Wanna Coffman, bass; Ted Grantham, fiddle; Ocie Stockard, tenor banjo; Band backing vocal -3. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Willie Hugh Nelson Est Né Le 29 Avril 1933 À Abbott, Périphérie De Fort Worth (Texas), Pendant La Grande Dépression
Willie Hugh Nelson est né le 29 avril 1933 à Abbott, périphérie de Fort Worth (Texas), pendant la Grande Dépression. Il sera élevé par ses Grands Parents (ses parents, sa mère Myrle Marie (née Greenhaw et son père Ira Doyle Nelson divorcent alors que Willie n’a que 6 mois). Son grand-père forgeron décèdera lorsque Willie à 6 ans. En dehors de l’école il va travailler dans les champs de coton ou de maïs pour s’acheter des fournitures scolaires. Sa Grand-mère, cantinière, gagne 18 $ par jour et s’occupe de sa famille. Autour de sa 5ème année Willie apprend la musique sur une guitare ’’ Harmony ‘’ que lui achète son grand père, à partir d’un catalogue de vente par correspondance ‘’ Sears and Roebuck ‘’. Sa grand-mère commence à lui montrer quelques accords ; sa sœur Bobbie, aînée de 2 ans, joue du piano. A 7 ans Willie écrit sa première chanson et à 9 ans il chante dans un groupe local, les ‘’Bohemian Polka’’. Après ses études secondaires Willie occupe plusieurs emplois : vendeur d’encyclopédies en faisant du porte-à-porte, puis représentant de machines à coudre Singer. Willie commence à jouer dans des orchestres puis intègre l'US Air Force en 1950. En 1956 Il reprend quelques études à l'université Baylor de Waco, mais abandonne rapidement celles-ci et une future carrière d’agriculteur pour devenir musicien et disc jockey et se destiner à la Country Music. S'installant à Vancouver, dans l'état de Washington, le jeune homme débute dans les clubs, tentant d'imposer son style folk sudiste traditionnel face à un public globalement indifférent à ce genre. -
Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder
Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder Description ----------------------------------------------------------------------------------------------------------------------- Box 1 1 General information about Robert Gentry 2 Interview of Horace Logan at home in Seadrift, TX (4 tapes & transcription) 3 Johnny Horton song book (copy) 4 Claude King information 5 German Battleship Bismark information 6 Skyline Club 7 Johnny Horton album covers 8 Charlie “Cat” Canfield 9 Interview with Billy Walker 10 Researched list of Hank Williams show dates 11 Country Song Roundup magazine – March 1976 12 Johnnie & Jack booklet from CD album 13 Screen shots from Johnny Horton Johnny Reb promotion video 14 Photos of Hank Williams posters and list of Hank Williams publications 15 Photos of Hank Williams items on display at the Tennessee Performing Arts Center 16 Photo of Robert Gentry, Glen Sutton and Merle Kilgore at Tillman Franks book signing 17 Photos (copies) of Johnny Horton fishing trip in Florida 18 Photo of Jay Chevallier speaking at Long seminar 19 Photos of a group that toured Municipal Auditorium 1 Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder Description ----------------------------------------------------------------------------------------------------------------------- 20 Photos of Tillman Franks book signing 21 Photos of Johnny Horton Ed Sullivan ad, album covers, Austin Skyline Club memento, Cormac record, red vinyl record (CD) 22 Photocopy of How to Write & Sell Songs by Hank Williams -
ETHJ Vol-54 No-1
East Texas Historical Journal Volume 54 Issue 1 Article 1 2016 ETHJ Vol-54 No-1 Follow this and additional works at: https://scholarworks.sfasu.edu/ethj Part of the United States History Commons Tell us how this article helped you. Recommended Citation (2016) "ETHJ Vol-54 No-1," East Texas Historical Journal: Vol. 54 : Iss. 1 , Article 1. Available at: https://scholarworks.sfasu.edu/ethj/vol54/iss1/1 This Full Issue is brought to you for free and open access by the History at SFA ScholarWorks. It has been accepted for inclusion in East Texas Historical Journal by an authorized editor of SFA ScholarWorks. For more information, please contact [email protected]. f 3<Z;/ 6J Historical Journal EAST TEXAS HISTORICAL ASSOCIATION 2016-2017 OFFICERS Kyle Wilkison President George Cooper First Vice President Heather Wooten Second Vice President Christal Gill Secretary /Treasurer DIRECTORS Gwendolyn Lawe Dallas 2016 Mary Jo O'Rear Corpus Chris ti 2016 Betty Oglesbee San Augustine 2016 Robert Roberston Beaumont 2017 Yvonne Frear Houston 2017 Paul Sturdevant Greenville 2017 Monte Monroe Lubbock 2018 John Lundberg Arlington 2018 Victoria Cummins Sherman 2018 Gene Preuss Houston Past President Mary Scheer Beaumont Past President Cissy Lale Ft.Worth Life Director EDITORIAL BOARD Leland Turner Wichita Falls Gary Pinkerton Silsbee Jeff Guinn Ft. Worth Paul Sandul Nacogdoches John Caraway Clyde Gwen Lawe Dallas EAST TEXAS HISTORICAL ASSOCIATION :MEMBERSHIP INSTITUTIONAL :MEMBERS pay $100 annually LIFE :MEMBERS pay $400 or more PATRONS pay $85 annually BENEFACTORS pay $60 annually FAMILY :MEMBERS pay $45 annually REGULAR :MEMBERS pay $35 annually K-12 EDUCATORS pay $20 annually STUDENT :MEMBERS pay $15 annually Journals $7.50 per copy Address: P.O. -
John Fullbright Pg 30 “What’S So Bad About Happy?” T He Oklahoma Tunesmith Seeks Answers to That Burning Question and Others While Crafting the Songs of His Life
LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue JOHN FULLBRIGHT pg 30 “What’s so bad about happy?” T he Oklahoma tunesmith seeks answers to that burning question and others while crafting the songs of his life. by Lynne Margolis FEATUREs 26 Q&A: Billy Joe Shaver — By Holly Gleason 38 Miranda Lambert: The true heart and real deal behind the platinum supernova — By Holly Gleason 42 The Mastersons: The duke and duchess of Americana power pop embrace their chemistry on Good Luck Charm — By Holly Gleason 43 Corb Lund: Americana’s favorite Hurtin’ Albertan goes to Memphis — By Adam Dawson 46 Kelly Willis and Bruce Robison: “This will be our year, took a long time to come ...” — By Richard Skanse 50 Robyn Ludwick: Hard woman with a heartache — By Richard Skanse John Fullbright photo by John Carrico 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Photo: John Carrico I can’t, for the life of me, remember what song it was that John Fullbright Advertising/Marketing: Kristen Townsend played the first time I saw him — but I damn sure remember the impact. Advertising: Erica Brown It was back in February 2011 at the 23rd International Folk Alliance Conference Artist & Label Relations: Kristen Townsend in Memphis, sometime well after midnight, when the private showcases overrunning the top three floors of the Marriott were in full swing. I’d wandered Contributing Contributing from room to room for what felt like (and probably was) hours, catching a song Writers Photographers here, a short set there, and foraging for drinks and late-night snacks the whole time. -
You Are My Sunshine”— Jimmie Davis (1940) Added to the National Registry: 2012 Essay by Ronnie Pugh (Guest Post)*
“You Are My Sunshine”— Jimmie Davis (1940) Added to the National Registry: 2012 Essay by Ronnie Pugh (guest post)* Jimmie Davis One of the classic country songs of all time, Jimmie Davis’ “You Are My Sunshine” burst the then-narrow bounds of that genre at a time (1940) when such crossover hits were virtually unprecedented, paving the way over the next few years for songs like “New San Antonio Rose,” “Pistol Packing Mama,” and “There’s A Star Spangled Banner Waving Somewhere.” But “You Are My Sunshine” has enjoyed a longevity, a perennial popularity denied to all of those. Eventually recorded by hundreds of artists across multiple generations and most all American musical styles, the song remains forever most closely associated with the version, the name and career of Jimmie Davis. James Houston “Jimmie” Davis was born September 11, 1899 in Beech Springs, near Quitman and Jonesboro in north Louisiana, his life spanning the entire twentieth century (d. November 5, 2000). His parents, Sam Jones Davis and Sarah Elizabeth Works Davis, were sharecroppers from whom he learned the rudiments of homemade music that he practiced in fields, street corners, churches, glee clubs, or anywhere he could later find an audience. The oldest boy of 11 children, Jimmie worked his way out of the cotton fields as the first graduate of Beech Springs Consolidated School to seek higher education. He earned a B.A. at Louisiana College in Pineville and then an M.A. at LSU, which led to a teaching job at Shreveport’s Dodd College for Women. Not cut out for teaching, Davis took the job of docket clerk in Shreveport’s Criminal Court, one he held for over a decade as the Great Depression came and settled over the nation. -
Pows 2006 Booklet Cd
Founded in 1983 SEATTLE WESTERN SWING MUSIC SOCIETY 16TH ANNUAL PIONEERS OF WESTERN SWING FESTIVAL 2006 INDUCTEES Celebrating Our 23rd Year Booklet by Beryl Shawley — With harassment by Ray What Is Western Swing Music . In 1934, in Tulsa, Oklahom a, Bob W ills organized his band from m usicians that perform ed m ostly country m usic. He then added horns and drum s to the m ix. They took the big band sound, added fiddles and guitars to it and developed a style of m usic called W estern Swing. As Truitt Cunningham will tell you, "W estern Swing is the first cousin to Dixieland Jazz, second cousin to Big Band Swing, third cousin to Blues and fourth cousin to Country with a little Mexican m usic m ixed in . so there is a little som ething everyone will enjoy". IN DEDICATION TO THE MANY WESTERN SWING MUSICIANS WHO HAVE PASSED ON DURING THIS LAST About the Seattle Western Swing Music Society . YEAR. THEY WILL BE MISSED. The Seattle W estern Swing Music Society was form ed in Novem ber 1983 by W estern Swing Music enthusiasts who were concerned that this form of m usic was in danger of “dying out,” as the older perform ers were one by one passing on, and that there were no young players to take their place. Thus was born the Seattle Chapter of the W estern Swing Society, a non-profit organization whose purpose is to Preserve, Prom ote and Perform W estern Swing Music. Monies generated by the club strictly pay for operating expenses and donations to deserving charities. -
Counterculture Cowboys: Progressive Texas Country of the 1970S & 1980S
Lock: Counterculture Cowboys Counterculture Cowboys: Counterculture Progressive Texas Country of the 1970s & 1980s Texas Progressive CountercultureCounterculture Cowboys:Cowboys: ProgressiveProgressive TexasTexas CountryCountry ofof thethe 1970s1970s && 1980s1980s CoryCory Lock 14 Country music undeniably forms a vital and prominent part of Texas culture. Texas country musicians have long been innovators, not only fashioning a distinctive brand of regional music, but also consistently enriching the music and general culture of the American nation as a whole. Artists such as Bob Wills, Gene Autry, Ernest Tubb,Tubb, Ray Price, Willie Nelson, George Strait, and the Dixie Chicks have become national icons and have helped shape mainstream American perceptions of what it is to be “country.” WProducedillie Nelson. by November The Berkeley 4, 1972. Electronic Photo by Press, Burton 2003 Wilson 1 Journal of Texas Music History, Vol. 3 [2003], Iss. 1, Art. 3 Counterculture Cowboys: Counterculture Progressive Texas Country of the 1970s & 1980s Texas Progressive Yet while the import of country music within regional and The trend to which I refer began in the early 1970s and national culture is certain, people are much less decided on what continued through the mid-1980s. In his Country Music USA country music means. What is it that makes country country? chapter, “Country Music, 1972-1984,” Bill Malone approaches What does the music as a whole stand for? Is it a nostalgic genre this time period as a coherent unit in which country music and that hearkens us back to the good old days of yesteryear? Many culture drew the attention of the nation as a whole. Country people believe so, emphasizing country music’s role in preserving entertainers graced the covers of national news magazines, such what is most traditional in American culture. -
Newsletter 1St Q 2017 Mar 18
N E W S L E T T E R www.tsos.org 1st Quarter issue of 2017 Letter from the President: Join us in celebrating the Texas Society Greetings: of Sculptor’s 25th SculptFest! This major invitational show will include approxi- Cari Cabaniss Eggert is the newest TSOS Board Member. She is an Austin area stone sculptor and mately 50 sculptors, approximately 15 mosaic artist. Her stone carving focus is on abstract monumental size bronzes, and many forms that have an organic movement. Many pieces sculpture demonstrations including feature feminine and masculine shapes shown in stone carving, 3D printing of sculptures, harmony or contrast. Her mosaics are varied in sub- bronze pouring and more in an outdoor ject and form but generally use glass beads or tiles to event overlooking a beautiful Lake. draw out a dimension of shine in the work. https://www.facebook.com/events/ 163692410807942/ Cari, Dar Richardson and Michael Epps are th jointly creating a mosaic to be installed in the Round 25 SculptFest May 5 – 7, 2017 - Schedule: May 5 - Friday: Preview Party 4:00pm – 6:30pm Rock City Hall Plaza on Saturday, April 29. The (*By Invitation) Round Rock ISD Student Invitational Show will be May 5 - Friday: Public Opening 6:30pm – 9:30pm in the same location on April 29. (*Sunset at 8:12pm) May 6 - Saturday: 11:00am – 9:30pm (*Open late for Dan and Marti Pogue are hosting an Open post Sunset visitors) House and Tour of Pogue Sculpture Gallery and May 7 - Sunday: 11:00am – 4:00pm (*Oasis Restau- Foundry for all TSOS members and guest at 10am, rant – largest in Texas) Saturday, March 25. -
Texas Myth/Texas Music Texas Myth/Texas Music by Bill C
Malone: Texas Myth/Texas Music Texas Myth/Texas Music By Bill C. Malone 4 Photo Courtesy of: Austin History Center, Austin Public Library Over twenty years ago I interviewed Harold “Pappy” Daily in Houston. Daily had been a successful music promoter for many years, especially instrumental in the early suc- cess of George Jones, the legendary country honky tonk singer from Beaumont. When asked why Jones and some of his contemporaries such as Ray Price were such good singers, Daily looked at me incredulously and said, “Because they’re from Texas!” Al- though probably said in jest, his statement embodied elements of both truth and fiction. While Texas has produced many of America’s greatest musicians (with mere residence in the state undoubtedly contributing to the shaping of their art), Daily’s response also reveals the prevalent mythology that has surrounded the popularization of all forms of Texas music. Produced by The Berkeley Electronic Press, 2001 1 Journal of Texas Music History, Vol. 1 [2001], Iss. 1, Art. 2 Te xas Myth/Texas Music xas Myth/Texas Music has always played a vital and sustaining role in the life of popular in both racial groups. Community dances, generally called the people of Texas and has contributed mightily to the mystique frolics or house parties, prevailed among whites and slaves alike, of the Lone Star State. Indeed, in many important ways, the mu- and a common body of songs and dance tunes moved freely across sic has also been a by-product of the Texas Myth-the deeply held racial lines.