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Joe Louis Walker
Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band. -
Johnny Cash 1992.Pdf
PERFORM ER S Johnny Cash He s the man in black, “a walking contradiction, partly granted him a solo audition in late 1954, and invited him truth and partly fiction.” His six foot-plus, ebon-draped back with his group. frame has worked itself deep into the American psyche to be On the first day of spring, 1955, the cards were on the table come as familiar to some as Woody Guthrie or Billy the Kid, at Sun. Red Kernodle succumbed to the pressure and disap Geronimo or Luke the Drifter. peared. But Cash rose to the occasion with a song he’d just fin Johnny Cash is a little bit of all those American legends. ished writing. Luther’s unadorned lead guitar picked a sparse During a career that spans five distinct decades, he has created ly melodic pattern, and Marshall came up with a bedrock more than 1,000 compositions that describe a folk hero in rhythm as characteristic of the Sun Sound as that of Elvis, transition, singing in his distinctive baritoned-bass voice of Scotty and Bill. The five masters cut at that session resulted in coal miners and sharecroppers, cowboys and Native Ameri one serviceable B-side, “Hey Porter.” Phillips sent John home cans, families and lovers. Invariably, he returns to his early to write him a hit. years for strength and inspiration. The result was “Cry! Cry! Cry,” recorded in May by the At the height of the Great Depression, on February 26, newly-christened Johnny Cash & the Tennessee Two and is 1932, in the town of Kingsland, Arkansas, Ray Cash and Car- sued as Sun 221 b/w “Hey Porter.” The single took the Mem ric Rivers Cash bore a son named J.R. -
~Tate of \Lrennessee
~tate of \lrennessee HOUSE JOINT RESOLUTION NO. 518 By Representatives Beck, Powell, Russell, Reedy, Cepicky, Todd, Helton, Gillespie, Carr, Curcio, Weaver, Moody, Tim Hicks, Littleton, Keisling, Clemmons, Terry, Gloria Johnson, Camper and Senators Campbell, Gilmore, Kyle, Yarbro A RESOLUTION to recognize and honor the Grand Ole Opry on its 5,000th Saturday night broadcast. WHEREAS, the members of this General Assembly are proud to specially recognize a legendary institution that has contributed significantly to the country music industry and brought acclaim to the State of Tennessee the world over; and WHEREAS, on October 30, 2021, the Grand Ole Opry will send over the airwaves its 5,000th Saturday night broadcast, a momentous occasion in the history of this touchstone of American culture; and WHEREAS, "the show that made country music famous" began on Saturday, November 28, 1925, when a young announcer on Nashville radio station WSM introduced an eighty-year o!d fiddle player, Uncle Jimmy Thompson, as the first performer on a new show called The WSM Barn Dance; and WHEREAS, announcer George D. Hay, who labeled himself "The Solemn Old Judge," but was neither old nor a judge, realized he had started a good thing that fateful night; and WHEREAS, this acclaimed radio show followed an NBC network radio program on Saturday nights called The Music Appreciation Hour, in 1928, Mr. Hay announced on the air, "For the past hour we have been listening to music taken largely from the Grand Opera, but now we will present the Grand Ole Opry"; the -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
JAMES RAE “JIM” DENNY (1911-1963) Music Publisher
JAMES RAE “JIM” DENNY (1911•1963) Music publisher, booking agent, long•time manager of the Grand Ole Opry, and promoter of Nashville’s music industry, was born in Buffalo Valley, Putnam County, TN. As a young man, Denny found work as a mail clerk with the National Life and Accident Insurance Company, parent organization to WSM and the Grand Ole Opry. With growing interest in country music, Denny was running the WSM Artists Service Bureau by 1946, booking Opry talent and other WSM acts. Denny eventually managed the Grand Ole Opry itself. Denny, along with his predecessor, Jack Stapp, is responsible for updating the face of the Opry. As promoters and developers of talent, they helped to transform the Opry from a popular barn dance to a showcase of country superstars, ensuring its growth and long•term success. During their tenure, the cast grew enormously, most major stars became Opry members, and an Opry appearance became a must goal for many performers. In 1954 Denny and Opry star Webb Pierce formed Cedarwood Publishing Company, for a time the most important publishing house in Nashville. Driftwood Music, a companion firm, was a partnership between Denny and Carl Smith, another Opry star. These business interests led to conflict of interest allegations by WSM and eventually Denny’s dismissal. With his knowledge of WSM operations, Denny achieved immediate success as a booking agent. The Jim Denny Bureau served most of the artists Denny had signed while at the Opry. Billboard magazine estimated that, by 1961, the bureau was handling over 3,300 personal appearances worldwide. -
Felice Bryant and Country Music Songwriting in the 1950S
Bridgewater Review Volume 39 Issue 1 Article 4 4-2020 Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/br_rev Part of the Composition Commons Recommended Citation Bishop, Paula (2020). Felice Bryant and Country Music Songwriting in the 1950s. Bridgewater Review, 39(1), 4-7. Available at: https://vc.bridgew.edu/br_rev/vol39/iss1/4 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop f you were a country music artist working in Nashville in the 1950s, you might have found Iyourself at the home of Nashville songwriters, Felice and Boudleaux Bryant, enjoying one of Felice’s home-cooked meals. Boudleaux would present songs that he and Felice had written while Felice offered suggestions and corrections from the kitchen. On the surface this domestic scene suggests conventional gender roles in which the husband handles business Nashville image (Photo Credit: NiKreative / while the wife entertains the guests, but in fact, the Alamy Stock Photo) Bryants had learned to capitalize on Felice’s culinary the country music industry of the 1950s skills and outgoing personality in order to build their and build a successful career, becom- professional songwriting career. As she once quipped, ing what Mary Bufwack and Robert Oermann called the “woman who if they fed the artists a “belly full of spaghetti and ears ignited the explosion of women writers full of songs,” they were more likely to choose a song on music Row.” written by the Bryants. -
MY SATURDAY NIGHT at the GRAND OLE OPRY by Wayne Hogan Herald•Citizen, Cookeville, TN Sunday, 9 December 2012, Pg
MY SATURDAY NIGHT AT THE GRAND OLE OPRY By Wayne Hogan Herald•Citizen, Cookeville, TN Sunday, 9 December 2012, pg. C•4 ‘Writer’s Corner’ Editor’s note: This was originally written by Hogan in 1993. They call it the “Grand Ole Opry.” That’s what former newspaper reporter George D. Hay, its inventor, named it not long after the first group of performers had stood before their open mikes that first Saturday night and had their down•home music and vaudeville•comic routines beamed out over Nashville’s WSM•650 “clear•channel” radio to nearly all of America, way back in 1925. Nineteen hundred and twenty five. The year Nashville’s venerable Grand Ole Opry was born. It’s hardly missed a heartbeat since. Almost since its first moments, the Grand Ole Opry has been Mecca to the millions who’ve, over the years, come to Nashville to savor the finest in “country” music. It was not till a few short years ago, through, that I became one of those “savorers.” For a long time, I hated “country music” (which, as I’m sure you know, has been called “hillbilly music” much of its life and mine). Could barely stand to think of it, much less listen to it. Well, to make what could easily be a longer story shorter, Susan and I’d often talked about getting a couple of tickets and driving the 80 miles to Nashville some Saturday night to experience this “Grand Ole Opry” thing in person. See if it was all that our mind’s eye image had it cracked up to be. -
All Things Country with Rowena Playlist for April 10, 2021
All Things Country Playlist April 10, 2021 Charley Pride, feat. Janie Fricke Field Of Dreams Comfort Of Her Wings Music City Jerry Lee Lewis On The Back Row Another Place Another Time Smash LP Jo Ann Campbell Teenage Idol All The Hits Real Gone Music Minnie Pearl with Pee Wee King Jealous Hearted Me A Shot In The Dark: Tennesse Jive 1945-1955 Bear Family Johnny Duncan Last Train To San Fernando Last Train To San Fernando Bear Family Zane Williams Tired Of Being Perfect The Right Place Hack Circle Wynn Stewart & Jan Howard How The Other Half Lives Wishful Thinking Bear Family Tony Booth If I Had You Back Again This Is Tony Booth Capitol LP April Perch This Ottowa Valley Take Me Back Rounder Cal Smith You Can't Housebreak A Tomcat The Best Of Cal Smith Kapp LP Carmol Taylor Honky Tonk At Home I Think They Call It Homesick Country Int'l. David Frizzell I'm Going To Hire A Wino To Decorate Our Home Greatest Hits Madacy Jim Fagan 18 Wheels A Hummin' Home Sweet Home Overloaded Diesel Power Pak LP Reba McEntire It's Not Over (Til I'm Over You) My Kind Of Country MCA Loretta Lynn Gonna Pack Up My Troubles Here's Loretta Lynn Vocalion LP Gordon Terry I Had A Talk With Me Lotta Lotta Women Bear Family Mel Tillis Another Bridge To Burn Something Special Kapp LP Mickey Gilley Movin' On Mickey's Movin' On Playboy LP Wanda Jackson various In Person Live At Mr. Lucky's in Phoenix, AZ Capitol LP Chris Isaak I Forgot To Remember To Forget Beyond The Sun Vanguard Norma Jean Will You Be Here Tomorrow Please Don't Hurt Me RCA Victor LP Tiny Harris Hi There, Old Bottle 45rpm single Stop Liz Talley It's Time To Cross That Bridge Road To You self Roger Miller A Man Like Me Roger Miller 1957-1962 Warped George Jones Mr. -
Bcd16759 D.Pdf
LIEFERBAR: AB 22. MAI 2006 VERÖFFENTLICHUNG: 19. JUNI 2006 KÜNSTLER RED FOLEY ¡ ¢ £ Old Shep The Red Foley Recordings 1933 – 1950 LABEL Bear Family Records KATALOG # BCD 16759 PREIS-CODE FL EAN-CODE 4000127 167590 ISBN-CODE 3-89916-179-3 FORMAT 6-CD-Box (LP-Format) mit 96-seitigem gebundenem Buch GENRE Country ANZAHL TITEL 164 SPIELDAUER 469:50 • Das Set enthält die kompletten Country-Aufnahmen von 1933 bis 1950. • Darunter sind 18 bislang unveröffentlichte Einspielungen. • Das gebundene Buch zeigt viele seltene und nie zuvor gezeigte Bilder. • In der Box sind ARC- und Decca-Aufnahmen sowie seine World Transcriptions, die nie in den Handel gelangten. INFORMATIONEN Während seiner über drei Jahrzehnte umspannenden Karriere hat Red Foley mehr Spuren hinterlassen als die meisten seiner Kollegen. Er war der erste Crossover-Country-Star und der erste Sänger dieses Genres, der im Hörfunk und Fernsehen auftrat. Foley war enorm populär, was immer er auch machte. Dies begann mit den Jahren als 'Rambling Red' beim 'National Barn Dance' (WLS Chicago) und setzte sich mit dem 'Renfro Valley Barn Dance' fort. Höhepunkte waren seine geniale Gastgeberrolle bei der legendären 'Grand Ole Opry' und die bahnbrechende TV-Show 'Ozark Jubilee'. Foleys Leben verlief tragisch. Seine persönlichen Probleme konnten nicht größer sein, dennoch halfen ihm Charisma und Talent auch durch schwerste Zeiten. Seine zahlreichen Aufnahmen, die er hinterlassen hat, unterstreichen dies. Die Geschichte nahezu jedes Nashville-Stars seines Kalibers ist inzwischen thematisiert worden – nur die von Red Foley nicht. Diese CD-Box und das dazugehörige Buch dokumentieren Foleys Karriere als Schallplattenkünstler. Enthalten sind alle Aufnahmen, die Foley bis 1950 eingespielt hat (Ausnahme: religiöse und Kinderlieder). -
A New Year in Nashville
Active Lifestyle Tour Series Specifically Designed for the Active Traveler A NEW YEAR IN NASHVILLE January 1 - 5, 2019 There is no better way to begin the new year than with a great trip to Nashville and a stay at the magnificent Opryland Hotel! There is something truly unique about Nashville and whether you love country music and live performances, enjoy southern cuisine or prefer the history of the City of Music, this tour will definitely check all the boxes. Country Music Hall of Fame and Museum DAY 1: Marshall, MN to Nashville, TN Your trip begins with a flight out of Minneapolis today, arriving mid-afternoon so you have plenty of time to explore the beautiful Opryland Hotel. Complete with 9 acres of lush indoor gardens and cascading waterfalls, it is a perfect setting for kicking off the new year! Evening Accommodations at Opryland Hotel * Dinner Included DAY 2: Nashville, TN Today your touring includes the Country Music Hall of Fame and Museum. One of the largest museums in the world dedicated to the preservation and interpretation of music, it has amassed one of the world’s most extensive music collections. Then you are off to Studio B, the recording home of popular music titans such as Elvis, Dolly Parton, Eddy Arnold and the Everly Brothers. No trip to Nashville is complete without a tour of the Johnny Cash Museum, featuring the largest and most comprehensive collection of Johnny Cash artifacts and memorabilia in the world. Your last tour of the day is the Patsy Cline Museum where you will see hundreds of never before seen artifacts, personal belongings, videos and more. -
0 Hollyzvood
the award honoring 25 years of Special Awards Highlight country music programming to the Armed Forces overseas by Country Music CMA Dinner the Armed Forces Radio and Television Service. One of the highlights of the In additiontothis award, Awards Dinner of the Countrythere will be a plaque given by Music Association in the Muni-the Country Music Association record hollyzvood cipal Auditorium in Nashvilleto the Department of Defense world 0 on Friday, Oct. 20, will be twowhichwillbeacceptedby special awards. Brigadier General Michael By BIFF COLLIE The first of these will be toPaulick, Commanding General Colonel Eby, representing theof the Army Training Center at Armed Forces Radio and Tele-Fort Campbell, Kentucky. Coast Country, 1967... visionService.Richard L. Broderick and his Co -Chair- Broderick,Chairmanoftheman, Hirsh de Laviez, also plan 1967 was ushered in with a New Year's bash by KGBS. Danc-Military Salute Committee, an-other events and surprises re- ing stars, horns and Auld Lang Syne (or something)at thenounced that Colonel Eby wouldlatingtothe special awards Shrine Auditorium, L.A.... HughCherry, for seven years all-accept the award. Colonel Eby,from the Country Music Asso- night man at K -FOX, changed hats and assignments as heOfficer in Charge, will acceptciation to the Armed Forces. joined KGBS news department as afternoon newsman ...Gordon Terry was set for Coast dates early in January by booker Al Minto... FaronYoung set for S -Cal date string in early Feb- George Richey moved into the afternoontraffic period for ruary, ditto Kitty Wells, Johnny Wright and Waylon JenningsKGBS L.A... .Arlen Sanders came back to the coast as PD ...Glen Campbell celebrated the new year with his continuingat Countrypolitan KIEV Glendale(L.A.) . -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992.