Don Gibson

Can white men sing da blooze, can Nashville sing da blooze?
I like artist you can`t pigeonhole, Jerry Lee rocks but he honky tonks with panache too, Charlie Rich went from jazzy infelcted rockin blues to countrypolitan and then there's his Nashville equivalent Don Gibson, an awesome song writer who penned classic after classic and with Chet and the A team cut some of the finest of the fine in RCA studio B off Broadway in music city. Here's a few clips of the great man in action with some of his best songs, there's some cool later clips on the tube of you with a duet with ole Chet, a Porter Wagoner show with Don doing the Jimmie Skinner classic Doin My Time (so beloved by Mr Cash).

I first heard Don doing Sea Of Heartbreak (no live clips one here , sob!) on Radio Lux and I thought it was a new Elvis 45, it`s the one countryish song I wish El had covered in that golden 60 -62 period where he did everything from Neopolitan opera thru Chuck Wills and Lowell Fulsom. Later I got some Don on the old Country Guitar VA series of eps that RCA put out in the UK and eventually a Best Of Don Gibson lp which had 12 stone cut gems on it, and in those days there would be weeks if not months between pocket money purchases and it got played to death in Casa Flip, even my dad who didn't dig the beat grew fond of the Donster by persistent osmosis from my lil ole red n cream Dansette and I was even allowed to play it on the family Radiogram in the living room, moving mam n dad`s Frankie Laine and Doris day back to the dark n dusty cupboard underneath.

Watch out for the equally great (and equally tragis) Hank Garland in his prime.

Flip

Don Gibson (and Gene Sloan)- Lonesome Number One

Don Gibson (and Hank Garland)- Its Been A Blue Blue Day

Don Gibson - Oh Lonesome Me

Battle of the Song No.4 - A Legend In My Time

A Legend In My Time - As peformed by;
Don Gibson, Ricky Nelson, Everly Brothers, Roy Orbison, Johnny Cash

Don Gibson was one hell of a songwriter with a portfolio that included no less than Oh Lonesome Me, Blue Blue Day, Sea of Heartbreak and I Can’t Stop Loving You. I read once, I think in Now Dig This that he considered himself more of a songwriter who sang than a singer who wrote. And that’s probably fair, because although his voice was good, his songs were brilliant. I was surprised during my research to learn that the only version to reach the country charts was by Ronnie Milsap in 1975.

Country music is built on it’s lyrics, and the saying goes, the sadder the better. Throw in a big hunk of pity and you’re starting to get here. No song plays the pity card any better than A Legend In My Time. “If loneliness meant world acclaim / Everyone would know my name / I'd be a legend in my time”. The upshot though is that they don’t, “But they don't give awards / And there's no praise or fame / For a heart that's been broken / Over love that's in vain”.

When Gibson was interviewed about the song in Nashville on 7th September 1973 he said, “This song was written on the road to Knoxville, Tennessee, in a car with Mel Foree. I was reading an article in a magazine I had picked up about an entertainer. He was talking about show business and his career and how he would like to be a legend in his time. I told Mel that that would be a good title for a song, so I started humming.” The guy was a genius with the pen, but how does his version stack up against the others?

Don’s original is pure Nashville circa 1960. The sympathetic backing courtesy of the A Team had the right amounts of backing vocals, piano and guitar to allow Don’s voice to portray the pity in the message.

The Ricky Nelson version from his 1963 long player, “Sings For You” is a really good cover. The backing is very similar with James Burton adding a few extra embellishments. Ricky’s vocal performance is strong and belied his teeny bopper image.

Roy Orbison’s version was probably the first time I’d heard the song. My mate, the much missed Alan Galbraith, used to play it all the time. It was on the earth-shatteringly great Lonely & Blue album which included no lesser gems than Only The Lonely and Blue Angel. The Big O’s version of Legend is quite different to Gibson’s. The session from mid September 1960 was held at Nashville RCA studios, with his usual producer and engineer, Fred Foster and Bill Porter, using string arrangements to augment the same, without ever threatening to drown out the Bob Moore led country pickers. The haunting, atmospheric sax solo gives the words an extra dimension. On top of that, Roy plays with the lyrics for all they’re worth. A stunning masterpiece where the singer, the musicians and the material, bond in perfect harmony. He recorded the song again in 67 for the "Sings Don Gibson" album and that's great, but the first version is the best.

I love the Everly Brothers and think they are the tightest unit in rock history, but there’s something not quite there with their version of Legend. There’s just something missing that I can’t put my finger on. Their vocal performance actually reminds me of the style they were to employ in their 80’s comeback albums, EB84 and Born Yesterday.

Johnny Cash cut the song sometime between 2002 and 2003 just prior to his death. It was released late in 2004 as American V, and as with most of the American series it’s a dark, acoustic version. His worn, tired vocals gave most of the American recordings a hard edge that gave the mainly death and religious material an added effect. His take on Legend is no different and it was an inspired choice of song for that final period in his life.

The two that missed the boat with this song are my two main heroes. I would absolutely have loved to hear Jerry Lee do it at the London Sessions. When he did No Headstone On My Grave he had the upstart British musicians eating out of his hand and he knew it. His ego grew even more and he told them he didn’t want a headstone he wanted a damn monument. You can just imagine him doing this and shouting out that he’s already a legend in his time. Obviously the other guy who should have covered this was Elvis. In the early 60’s he’d have slayed it. Take a listen to Suspicion or Fame and Fortune and tell me that this wasn’t the perfect voice. With the Nashville band giving him the same backing as Don Gibson’s original, it would be phenomenal, and it wouldn’t take a rocket scientist to know that this would be the perfect version.

I know there’s been loads of other versions, including Hank Snow but I have got a life and the five above will have to do. To be honest the handful I’ve looked at are the cream of the crop. As it is, the winner of today’s battle of the song is Roy Orbison. Beautifully sung, totally convincingly sung by the king of pain.

If heartaches brought fame in love's crazy game,
I'd be a legend in my time.
If they gave gold statuettes for tears and regrets,
I'd be a legend in my time.
But they don't give awards, and there's no praise or fame
For a broken heart that's been broken over love that's in vain.
If loneliness meant world acclaim,
Then everyone would know my name --
I'd be a legend in my time.

Occasional Bootleg Series No.9 – Chuck Mead in Charlotte

Chuck Mead and the Grassy Knoll Boys
July 12, 2009, Neighborhood Theatre
Charlotte, NC

Introduction, Out On The Natchez Trail, No Train To Memphis, Change The Way I Look, Sittin' And Thinkin', After The Last Witness Is Gone, Gun Metal Gray, She Got The Ring (I Got The Finger), Hot Rod, Sweet Sweet Girl, Big Big Love, I Wish It Was Friday

This bootleg is a soundboard recording from Chuck Mead’s 2009 summer tour where he was plugging his latest release Journeyman’s Wager. With him due to tour UK later this week the timing of this boot couldn’t be better. The opener is from Wager and it’s a great way to open the show. The others from the album all hit the spot, with the closer, I Wish It Was Friday sounding just like BR549 at their best.

The tracklist shows Sittin' And Thinkin' as being an Elvis Costello song. You gotta be shitting me! Chalrie Rich and half of Memphis had written, sung and mastered the song before Costello started wearing kiddies glasses. Chuck’s version here is a bit pedestrian and not the high spot of the show. The best of the oldies covers is Don Gibson’s Sweet Sweet Girl which I first heard courtesy of Warren Smith.

With his band called the Grassy Knoll Boys, I thought he’d have covered Jerry Lee’s Lincoln Limousine! A pretty good album that is worth digging out and would get me excited about the upcoming shows if I was going.

Check out the clip below for a great clip of Chuck and the GKBoys doing Cadillac In Model A.

Don Gibson - Don Rocks (Bear Family BCD 16991)

Don Gibson was an amazing songwriter who had a string of hits for RCA in the late 50’s and early 60’s. He bridged the gap between country and rock ‘n’ roll and although he sat with one and a half of his ass cheeks on the hillbilly side, he still had a flair for rockabilly. By no stretch of the imagination can he be called a rockabilly singer but there was a definite edge to his music. Not dissimilar to Roy Orbison, he excelled at taking the Nashville Sound outside the Music City city limits. It was too pop to be Charlie Feathers but it was also too rockin’ to put him on Bill Monroe’s Christmas card list.

Bear Family have served Don well over the years with the box-set treatment and the fabulous single CD, A Legend In My Time. As befits the title, and the series, this new one concentrates on the up-tempo sides and it’s stunning, from the music in the grooves to the packaging and sound quality. It covers the RCA years from 1957 to 1967 but doesn’t run chronologically, something that helps the CD run so smoothly.

The CD kicks of in cracking style with a trio of corkers. Sweet Sweet Girl is so beloved by us rockers thanks to Warren Smith’s great version, but Don’s is equally great. I’m sure everyone here is familiar with the big guns like Oh Lonesome Me, Don’t Tell Me Your Troubles and Blue Blue Day.

It shows the quality of the material he was producing in his prime for 1961’s I Sat Back And Let It Happen go unreleased for over twenty years. Where do you stop with the superlatives? Listen to Lonesome Number One – beautiful picking fromm Grady Martin, and great interplay with Cramer and the Jordannaires.

Sea of Heartbreak is one of those perfect pop songs with Floyd Cramer tinkling away as the Nashville A Team lay down a bouncy support for Don’s wonderful vocals. From April ’61, I just wish Bob Moore or one of those boys had persuaded Elvis to have a crack at it - you just know it would have been a killer, it was tailor made for the early 60’s Elvis treatment.

Of the covers, I thought his cover of Brook Benton’s Hurtin’ Inside was spot on and the gospel workout on Martha Carson’s Satisfied also works well. Hank Snow’s Movin’ On is slightly spoilt by the backing singers but the chicken picking guitar just about saves the day. Campdown Races is another that is perhaps not up to the standard of the rest. I love the funky arrangement of What’s The Reason I’m Not Pleasing You.

Basically, I could go on raving about this release but I’m sure you get my drift already. This is another stunning release from the king of the reissue market. Buy this with complete confidence, its another to Bear Family release that’ll you’ll need to keep close to the CD changer.

Grady Martin tribute

Just months after the death of Chet Atkins, the world of country music suffered another massive loss when legendary session guitarist Grady Martin passed away this week aged 72. One of the most important musicians of the pioneering era of the 50's and 60's, Martin appears to have suffered a heart attack at his home.Martin was born on a farm near Chappel Hill in Marshall County, Tennessee, the youngest of four children. He spent many childhood hours listening to music on the families battery-operated Zenith radio, and soon developed a love for country music and the Grand Ole Opry which the family listened to every weekend. Young Grady began playing the fiddle and guitar and by his teens was playing in local bands and sitting in with visiting bands. At fifteen he was heard by Big Jeff Bess who persuaded Grady's parents to let him move to Nashville to play with his band Big Jeff and the Radio Playboys. Two years later he joined Paul Howard's Arkansas Cotton Pickers and then became a founder member of Little Jimmy Dicken's Country Boys. By now he had retired his fiddle and was becoming known as one of the town's top guitarists. He worked the Opry and played with the Bailes Brothers, Curley Fox and Texas Ruby.He took over the lead of Red Foley's band and as well as the Opry they played the Ozark Jubilee. It was with Foley that Martin played on his first big seller, Chattanooga Shoe-Shine Boy. During the session he formed a long time partnership with Decca's Paul Cohen and their influential Nashville producer, Owen Bradley. The next two decades were when Martin made his name and built up an unprecedented reputation. Although he recorded with his Slewfoot Five for Decca it was his session work where he excelled.He started working with Johnny Horton and the late 50's saw him at the peak of his craft on such Horton classics as Honky Tonk Man, I'm A One Woman Man, I'm Coming Home and The Woman I Need. It was Martin who suggested at one Horton session that Harold Bradley play a banjo on When It's Springtime In Alaska (It's Forty Below). It was a master stroke which completely changed the song's make-up and set a trend for such historic folk songs - Horton repeated the idea for his million-seller, Battle Of New Orleans. He was respected as a versatile and inventive guitarist and the full range of playing he used when working with Brenda Lee summed it up, whether it be his rockabilly boogie playing on Bigelow 6-200, or his fills on the poppier material like Let's Jump The Brromstick or My Baby Likes Western Guys.The first Grammy ever awarded for a country song was Marty Robbins brilliant western ballad, El Paso, but only a fool would suggest the song would have been half as good without Grady Martin's fluent Tex-Mex picking. It was a high point in both men's illustrious careers. When they worked together a year later (1960), history was again made when Martin's malfunctioning amplifier caused a distorted sound, known from that day forward as fuzztone.He worked thousands of sessions and amongst the artists Martin backed were; Johnny Burnette, Johnny Cash, Jim Reeves, Patsy Cline, Flatt & Scruggs, Lefty Frizzell, Don Gibson, Elvis Presley, Jerry Lee Lewis, Joan Baez, JJ Cale, Merle Haggard, Bill Monroe, Hank Snow, Ernest Tubb and Roy Orbison.In the 70's he worked extensively with Conway Twitty and Loretta Lynn and produced the country-rockers Brush Arbor. After a brief spell with Jerry Reed he became a member of the Willie Nelson Family troupe, touring the world from 1980 to 1994 and working on such studio sessions as On The Road Again and Always On My Mind. He retired and spent his time back in Marshall County. He became the first recipient of the Nashville Music Association's Masters Award in 1983 and was awarded a Chetty last year during Chet Atkins' Musician Days festivities in Nashville. Married three times, Martin left behind ten children, seven grandchildren, one great-grandchild and an enormous body of guitar solos that helped change the face of popular music. As Bob Moore told the Tennessean newspaper, "I think he's the single greatest guitar player we've had here in Nashville".