History Archives - Page 13 of 23 - The Birthplace of Country Music
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From the Vault: A Father’s Photographs

When you think of a specific site associated with country music, the first place that comes to mind is more than likely the Grand Ole Opry. In 2018, Lawrence Inscho, one of our regular contributors to Radio Bristol, donated a personal connection to this iconic venue to the Birthplace of Country Music Museum.

But first some background: Lawrence’s father William Lawrence Inscho Sr. served in World War II as a staff sergeant. After Pearl Harbor, he was stationed in Fairbanks, Alaska – with the Alaskan Aleutian Islands as early targets of the enemy, the US military’s position there played a strategic role in the defense of the country. He was eventually stationed in Memphis, Tennessee, and during his service, he went to Nashville for a needed surgery. He met a young woman there and later married her.

Left: Portrait of William Lawrence Inscho Sr. in his military uniform. Right:  Picture of Inscho Sr.'s Leica camera.
Left: Staff Sgt. William Lawrence Inscho Sr. Right: The camera used by Lawrence’s father in the 1940s. Courtesy of Lawrence Inscho

The Grand Ole Opry has played host to so many greats of country and bluegrass music over the years, almost too many to count. In the summer of 1945, Inscho Sr. took a series of photographs at the revered Grand Ole Opry stage. The younger Lawrence likes to imagine that these photos were from his parents’ honeymoon.

For us, the photos taken by Inscho Sr. are a true treasure trove, documenting performances from the heyday of the Grand Ole Opry and country music. Some of the most well-known musicians that played at the Opry, like Bill Monroe and Uncle Dave Macon, have their likenesses preserved in these images. Others not quite as famous, like Zeke Clements, are remembered here as well. It’s a real thrill to see these important musicians as we take a gander at some of the photograph collection!

Pee Wee King is to the far left with his accordion and playing to the audience. He is backed by four musicians in matching outfits and playing a variety of instruments.
Photo credit to William Lawrence Inscho Sr.

One of the lesser known monuments of country music and the Grand Ole Opry was Pee Wee King, seen here on the far left. Despite his Polish-German musical heritage (he was born Frank Julius Anthony Kuczynski), he co-wrote “The Tennessee Waltz,” which became a standard of the country music genre, and toured and made movies with Gene Autry. King joined the Opry in 1937, and he brought a rebellious side to this traditional venue by defying the Opry’s ban on drums, horns, the accordion, and electrical instruments. In doing so, he was one of the first people to introduce those instruments to country music at the Grand Ole Opry. He also wore the flamboyant, rhinestone-covered suits of Nudie Cohn, introducing this style to many country music artists. These suits became very popular within the genre, and the likes of Elvis Presley also later wore them. Pee Wee King was truly one of the great pioneers of country music.

Several musicians and background people on the stage with a Prince Albert tobacco advertisement hung on the wall behind them. The Duke of Paducah is center stage, dressed as a woman.
The Duke of Paducah (center). Photo credit to William Lawrence Inscho Sr.

One of the more unusual musicians featured in these photos was Benjamin Francis “Whitey” Ford, known on stage as The Duke of Paducah. A banjo picker, he founded the Renfro Valley Barn Dance stage and radio show with two other musicians. But he was also a well-known country comedian whose tagline “I’m goin’ back to the wagon, boys, these shoes are killing me!” became a standard. His jokes also influenced the classic country TV show Hee Haw. The Duke later shared the occasional show bill with none other than Elvis Presley.

Eight musicians and background people on the Opry stage, playing a variety of instruments. Zeke Clements is front and center playing the guitar at the mic.
Zeke Clements (third from right in white shirt and hat). Photo credit to William Lawrence Inscho Sr.

Zeke Clements, also known as “The Dixie Yodeler,” had some fascinating ventures during his lifetime. One of the bands he was in, Otto Gray and his Oklahoma Cowboys, was the first nationally famous cowboy western band. And one of his most prominent successes was writing the song “Smoke on the Water.” Clements also took acting roles as singing cowboys in multiple B-Western films in the 1930s and 1940s. He even voiced one of the yodeling dwarfs in the 1937 Disney movie Snow White and the Seven Dwarfs. He was quite the character in early country music!

Four musicians, all wearing hats of various styles, on the Grand Ole Opry stage, gathered round the central mic. Far left: mandolin player, near left: Curly Bradshaw playing harmonica, near right: Bill Monroe playing guitar, and far right: Stringbean playing banjo.
Photo credit to William Lawrence Inscho Sr.

When people think of bluegrass, they think of Bill Monroe, one of the greatest bluegrass musicians that has ever been. This rare early photo of Bill Monroe and the Bluegrass Boys is significant for a few reasons. First, it shows the group before Lester Flatt and Earl Scruggs joined. It also shows Monroe playing his Gibson F7, an instrument he played before he turned to his iconic 1923 Lloyd Loar-signed Gibson F5. Further, this is the only known performance photo of the man playing the harmonica, Curly Bradshaw. He only performed shortly with Monroe, and before the discovery of these photos, the only known photo of him with Monroe was a 1944 publicity photo.

At this time, the man on the right, David Akeman, better known as Stringbean, was also a member of the Bluegrass Boys. A banjo player and in the cast of the Hee Haw television series, Akeman was later famously murdered, along with his wife, in his home near Ridgetop, Tennessee, due to a hidden sum of money that was rumored to be in the home. This photo is one of the most fascinating in the Inscho photograph collection.

The Opry stage decorated with a backdrop for Purina Chows for Poultry and Livestock. Four musicians, plus a man in the background, are seen, including Dorris Macon on guitar and Uncle Dave Macon on banjo.
Photo credit to William Lawrence Inscho Sr.

This last photo shows an old-time element of the show Inscho Sr. saw at the Grand Ole Opry in 1945. It features Dorris Macon playing the guitar and Uncle Dave Macon sitting in the middle with his banjo. A vaudeville performer, Uncle Dave Macon was known for his lively and lengthy performances, which led to him becoming the first star of the Grand Ole Opry.

These photographs by Inscho Sr. reveal a once-in-a-lifetime experience where he and his wife got to see a great show with musicians of huge talent and fabled status perform. This experience was special to Inscho Sr., and the memories and record of them are now special to his son. We feel very privileged that Lawrence chose to share these photographs with us – it is personal stories and objects like these that make up a truly special part of the museum’s collections.

* If you want to hear more from Lawrence Inscho, check out Kris Truelsen’s On the Sunny Side show on Wednesdays. From 10:00 to 11:00 AM every Wednesday, Lawrence shares music primarily from his personal collection, a significant portion of which came from his father.

Songs of Our Native Daughters: A Note from a Native Daughter

A little over a year ago I was asked by Rhiannon Giddens, co-founding member of the groundbreaking and Grammy-Award winning group The Carolina Chocolate Drops, if I was available to be part of a project with other black female songwriters that focused on the banjo and slave narratives. It is possible that these three concepts had never even been in a sentence together at any time in recent human history.

Rhiannon has been studying slave narratives and the history of the banjo for many years, and her inspiration for the project came from the idea of centering the story of the African diaspora with the voices of black women – voices that have been historically left in the background. Taking a cue from James Baldwin’s Notes of a Native Son, which inspired this project’s namesake, the stories of struggle and resistance come in the form of music. “It is only in his music…that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear.”

The album cover has all four women standing facing the camera, holding their banjos. Amythyst, in black hat and black and white striped tee, is to the far right of the picture.
Album cover to Songs of Our Native Daughters. Photograph by Terri Fensel

Songs of Our Native Daughters aims to contribute to preserving the history of the African diaspora in the Americas through an eclectic mix of folk styles. Rhiannon’s vision for the project centered on the banjo, an instrument descended from the West African lute family, incorporating it into folk music arrangements to tell the stories of ancestors who were brought to the Americas against their will. We today, as descendants, continue to thrive and heal with the power of music despite the adversity that has been endured.

The four musicians walking down a dirt road with their banjos.
From left to right: Rhiannon Giddens, Leyla McCalla, Allison Russell, and Amythyst Kiah. Photograph by Terri Fensel

My career was just beginning to blossom when Rhiannon reached out to me about being part of Songs of Our Native Daughters. One year prior she had invited me to open a string of shows for her Freedom Highway album release tour. This new project was certainly an intriguing opportunity, not only from a historical and educational perspective, but also on a deeply personal level.

The album collaborators come from varying backgrounds: Rhiannon and I are both from the American Southeast, Allison Russell is from Montreal, Canada, and Leyla McCalla is a first-generation Haitian-American from New Jersey. We all have our unique perspectives and experiences as black women in North America, and our individual approaches to folk music are very eclectic, bringing so much dynamism to the music on the record.

Rhiannon cast the room well, calling upon Dirk Powell to record and co-produce the record with her at his studio in Breaux Bridge, Louisiana. She also invited Jamie Dick to perform drums and percussion, and Jason Sypher joined on upright and electric bass. Dirk, Jamie, and Jason have been touring and recording with Rhiannon on her previous solo work, so the template for the sound and process was already set.

The four musicians sit in a small circle in studio, playing their banjos with mics and other equipment around them.
Making music together in studio. Photograph by Terri Fensel

The nature of four black women playing banjo and writing songs about the stories of our North American ancestors and their struggle was in and of itself a remarkable experience – truly inspiring and healing. There is an emotional and mental aspect to writing such heavy material; I have always been interested in using Southern Gothic style to convey concepts of human nature, and this project by far is the heaviest and most emotionally stirring work I have done. And it has changed me. Today I feel even more convinced in my pursuit of music as one of the best forms of communication, healing, and understanding of each other and our place in the world.

The entire concept of Songs of Our Native Daughters has simply never been done before. Rhiannon is truly one of the most driven and imaginative people I have ever met. To have the courage to dig into some of the subject matter she has tackled and to want to create a medium that relays these stories is simply remarkable. In order to deal with this kind of material – to know the pain and anguish my ancestors went through, to see the shoulders on which I stand, and to appreciate the people that survived and lived to tell their stories – is something that requires much patience and understanding. It was an enormous blessing to be part of this project and to be given the wonderful opportunity to help make these narratives come to life musically.

* Songs of our Native Daughters is released today, February 22, 2019 on Smithsonian Folkways Records as part of their African American Legacy series, which introduces a new way to celebrate black voices during Black History Month. The album is an eclectic folk record, with music styles ranging from minstrelsy, contemporary folk, blues, Appalachian string band, and more. Several publications and media outlets – including NPR, Rolling Stone, The Guardian, and DownBeat – have reached out to Rhiannon, Allison, Leyla, and me about our new project. Check out my website here to learn more about this and other projects I am working on.

Album promotional photograph showing the four musicians on a cabin porch, faces to the sun and eyes closed.
Photograph by Terri Fensel

Yodeling and Wounded Animals

I was booked to play and sing at an outdoor music festival in Indiana shortly after I learned to yodel. This was probably around 1983. I recall wandering around under the trees in a sparsely populated section of the festival grounds, practicing my yodeling prior to a performance on the stage. After a while I became aware that I was being watched by a young woman. She eventually spoke.

“What is that you are doing?” she asked. “You sound like a wounded animal.”

While “wounded animal” was not the effect I was going for, I was glad for some female attention. We smiled and had a conversation about yodeling.

Any conversation about yodeling – at least any conversation with me about yodeling – will inevitably get around to Jimmie Rodgers. Rodgers was a tubercular railroad worker who began a career as an entertainer in the late 1920s. No, Rodgers did not invent the yodel – that distinction probably goes to some wounded animal – but he went a long way toward defining and popularizing it.

He made his first recordings in Bristol, Tennessee, on August 4, 1927, and he brought his yodel with him. His recording of “Sleep, Baby, Sleep” – a sweet, traditional lullaby that had been recorded and performed many times previously – was infused with a stunningly high and clear yodel that launched his career and, by extension, launched the early country music recording industry. Bristol is now known as the Birthplace of Country Music largely as a result. His first “official” yodel song – his “Blue Yodel No. 1” – was released 91 years ago today on February 3, 1928.

A wounded animal, a lullaby, and a sick railroad worker. Who knew that such an unlikely combination of elements would lead to an internationally respected and financially fruitful style of entertainment!

Jimmie Rodgers was so popular and influential that he is commonly known as the “Father of Country Music.” He, along with Hank Williams, became the first two performers to be inducted into the Country Music Hall of Fame when that institution was formed in Nashville, Tennessee, in 1961. After his death from consumption, or TB, in 1933, his musical style lived on for many years. An entire generation of singers – men and women – did their best “Jimmie” to please a seemingly insatiable public appetite for Rodgers’ Blue Yodel. Ernest Tubb, Hank Snow, Jimmie Davis, Gene Autry, Bill Carlisle, Bill Monroe, and Lefty Frizzell were just a few of his many followers.

Once that trend faded in the late 1930s, fortunes were made embellishing and elaborating on the Rodgers yodel. Roy Rogers and the Sons of the Pioneers were among the first and most successful artists to take Rodgers’ simple and plaintive “yodel-ay-hee-tee” and turn it into a syncopated, multisyllabic Rubik’s Cube of vocalization. The imagination and vocal agility required to master this newer style of country yodeling made stars out of many singers. Elton Britt, Patsy Montana, Hal Lone Pine, Montana Slim (Wilf Carter), the Girls of the Golden West, and Slim Whitman were just a few of these.

Two sisters from rural Minnesota, Carolyn and Lorraine DeZurik, developed a unique yodeling style in the late 1930s that drew its inspiration from the animal sounds they grew up with on their family’s farm. Calling themselves the Cackle Sisters, they honed their complex and near-perfect duet yodeling along with hen cackles and other animal sounds to form a memorable, if somewhat whimsical, musical statement that must be heard to be believed.

The world changed forever after World War II, and the popularity of yodeling seemed to be a casualty of that war. Sure, yodeling lingered through the late 1940s, but it took on the mantle of nostalgia. This changed in 1949 when Hank Williams scored a huge hit with an old Tin Pan Alley song called “Lovesick Blues.” That song introduced the world to a man who was arguably the greatest country music singer and songwriter of all time. And he introduced the world to a new approach to the yodel. Rather than treating the yodel as a stand-alone passage of music separate from the rest of the song, Hank Williams incorporated the yodel into the song lyrics. “I got a feeling called the blu-OO-ues, since my baby said good-bye,” etc. The effect was electrifying!

https://www.youtube.com/watch?v=-Xu71i89xvs

That was 70 years ago. Today, country music yodeling is again viewed as a vestige of a bygone era, even as we wait patiently for the next wave of yodel-mania. There are certainly some fine yodelers out there – the Riders in the Sky, Wiley and the Wild West, Wanda Jackson, and a young singer from North Dakota and a recent graduate of East Tennessee State University named Kristi Galdade, also known as “The Yodeling Songbird of North Dakota.”

And I do my part. A song I wrote in 1984 called “A Little Yodel Goes a Long Way” remains my unofficial theme song. Even if it makes me sound like a wounded animal!

 

Making a Living Living Your Passion: How Lefty Frizzell and 10-Cent Records Inspired a Dream

Anyone who knows me, knows how important music is in my life. This not only includes my experiences as a musician and audio engineer, but also includes my longtime passion for collecting and listening to music on vinyl records. When I think back to how it all started, I can trace my love of vinyl records to two specific memories.

The first memory: A secondhand box of 45rpm singles from my grandparents that contained “Always Late with Your Kisses” by Lefty Frizzell, “Cathy’s Clown” by The Everly Brothers, and “Downtown” by Petula Clark. I still love all of the songs, but the signature voice of Lefty was “the one” for me. My 12-year-old mind was never the same, and I have been a fan of classic country-and-western music from that day forward.

The second memory is tied to my parents and their hobby of getting up very early and going to flea markets. When I was around 10 years old, I began pet-sitting, shoveling snow, and babysitting for extra money. This was in the mid-1980s and CDs were becoming THE musical format. Folks were dumping their vinyl and selling off records for 10-25 cents each at local flea markets. With five dollars, I could come home with STACKS of records and explore anything and everything I desired. One day I brought home the album After the Goldrush by Neil Young and was floored. The artwork and music blew me away, and I knew I had to keep looking for that next great album.

Fast forward 35 years. I now own two businesses devoted to records. One is called Well Made Music, where we cut master discs for the vinyl record industry. Records are pressed from PVC plastic, and the discs we create are coated with metal and formed into stampers that can press pucks of plastic into playable records. Prior to about 1948, this same process was used to make records out of shellac, a brittle and less durable compound from which 10” 78rpm records were made. These old, interesting records remain in demand for collectors of pre-WWII music.

The second business is The Earnest Tube, a recording studio devoted to recording artists in much the same fashion as Ralph Peer did on his fateful trip to Bristol in 1927. My business partner Dave Polster and I use a cutting lathe made around 1945 to cut audio onto blank lacquers discs. This technique is called “direct-to-disc” recording and was the way almost all recordings were made prior to about 1950. To be completely fair, Ralph Peer probably used actual wax to carve the grooves during the 1927 Bristol Sessions, but that technique went by the wayside in the 1930s and lacquer discs have been a staple in the industry up to, and including, today.

The picture to the left shows the author brushing a cut record as it spins on the lathe; the picture to the left shows a man peering into the inner workings of the machine cutting the record master.
Clint Holley records direct to disc on a vintage Rek-O-Kut recording lathe (left); Dave Polster watching a master being cut (right). © Clint Holley, The Earnest Tube

Recording direct-to-disc is totally different from modern computer recording. On a computer, the artists can record, edit, and manipulate the sounds they record in an infinite amount of ways. Rarely is any of the music you hear a complete performance. It is most likely many performances edited together to create the illusion of a complete song.

A large lit up sign reading "Recording" in front of the recording equipment at The Earnest Tube.
When the recording light comes in, it’s time to play! © Clint Holley, The Earnest Tube

Direct-to-disc recording is a “one take” process that leaves no room for the artist to hide. We place one, possibly two, microphones in the room with the artist or ensemble; we move the microphone (and musicians!) around the room until the desired “mix” is achieved; and then, we lower a sapphire cutting needle (stylus) onto the surface of a blank disc. The “Recording” light is turned on, and in the following moments, the artist performs the entire song – carving the grooves into the surface of the disc as he or she sings and plays, a direct representation of that performance – magical, personal, one-of-a kind, warts and all!

This raw energy is what gives music from the pre-war period, and especially the Bristol Sessions, that “special something” that draws in new fans almost 100 years later. “Single Girl, Married Girl” by The Carter Family is as urgent today as it was on those hot days of 1927, and the conviction of Alfred G. Karnes makes you want to join in with him as he sings “I Am Bound for the Promised Land.”

Although there are some people who think music recorded in this fashion is quaint or outdated, we have found quite the opposite. The artists who have recorded at The Earnest Tube have approached the process with an open mind and heart. A great example is Tim Easton’s Paco and the Melodic Polaroids. Easton, a repeat performer at the Bristol Rhythm & Roots Reunion (BRRR), recorded this entire album after BRRR 2017 at The Earnest Tube with one vintage RCA microphone. Easton has had great success with this album – indeed, it has been named a top album on many “Best of” lists of 2018.

The long road from Lefty Frizzell to Bristol and The Earnest Tube has been personal and long, but it has been more than worthwhile. I love the history of recorded music, and I love the place that Bristol, Tennessee-Virginia has in that story. It is my hope that The Earnest Tube can help continue to tell that story – as a humble witness and participant alongside others who have a passion for music and history, and with great institutions, such as the Birthplace of Country Music Museum.