Scotty Moore

Winfield Scott “Scotty” Moore III (born December 27, 1931 near Gadsden, Tennessee) is an American guitarist. He is best known for his backing of Elvis Presley in the first part of his career, between 1954 and the beginning of Elvis’ Hollywood years. He was ranked forty-fourth in Rolling Stone magazine’s list of 100 Greatest Guitarists of All Time.

Scotty Moore learned to play the guitar from family and friends at eight years of age. Although under-aged when he enlisted, Moore served in the United States Navy between 1948 and 1952.

Moore’s early background was in jazz and country music. A fan of guitarist Chet Atkins, Moore led a group called the “Starlite Wranglers” before Sam Phillips at Sun Records put him together with then teenage Elvis Presley. Phillips believed that Moore’s lead guitar and double bassist Bill Black was all that was needed to augment Presley’s rhythm guitar and lead vocals on their recordings. In 1954 Moore and Black accompanied Elvis on what was going to be the first legendary Presley hit, the Sun Studios session cut of “That’s All Right (Mama)”, a recording regarded as a seminal event in rock and roll history. Elvis, Black and Scotty Moore then formed the “Blue Moon Boys”. They were later joined by drummer D.J. Fontana. Beginning in July 1954, the “Blue Moon Boys” toured and recorded throughout the American South and as Presley’s popularity rose, they toured the United States and made appearances in various Presley television shows and motion pictures.

Scotty Moore, Elvis Presley, Bill Black

Moore played on many of Presley’s most famous recordings including “Good Rockin’ Tonight”, “Baby Let’s Play House”, “Heartbreak Hotel”, “Mystery Train”, “Hound Dog”, “Too Much” and “Jailhouse Rock”.

Scotty Moore is given credit as the pioneer of the rock ‘n’ roll lead guitarist. Most popular guitarists cite Moore as the performer that brought the lead guitarist to a dominant role in a rock ‘n’ roll band. Although some lead guitarists/vocalists had gained popularity such as Chuck Berry and blues legend B.B. King, Presley rarely played his own lead while performing, usually providing rhythm and leaving the lead duties to Moore.

Scotty Moore and Keith Richards

Moore was a noticeable presence in the Presley performances, strictly as a guitarist. As a result, he became an inspiration to many subsequent popular guitarists, one of the more vocal of these being Keith Richards of the Rolling Stones. Moore, being quite introverted on stage, accomplished this almost exclusively through his performance and interpretation of the music.

In the 1960s, Moore released a solo album called The Guitar That Changed the World. He performed on the NBC television special known as the ’68 Comeback Special.

While with Presley, Moore initially played a Gibson ES-295, before switching to a Gibson L5 and subsequently a Gibson Super 400.

For his pioneering contribution, Moore has been recognized by the Rockabilly Hall of Fame. In 2000, he was inducted into the Rock and Roll Hall of Fame.

Mark Adam portrayed Moore in the 2005 CBS miniseries Elvis.

Emory Smith portrayed Moore in the 1981 documentary film This is Elvis.

SCOTTY MOORE AND ERIC CLAPTON PERFORMING “THAT’S ALL RIGHT MAMA”

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ELVIS PRESLEY AND THE BOYS PERFORMING “SHAKE, RATTLE, ROLL/FLIP FLOP AND FLY”

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SCOTTY MOORE DISCUSSING ELVIS’ 1968 COMEBACK SPECIAL

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SCOTTY MOORE DISCUSSING THE EARLY SUN RECORDS SESSIONS

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SCOTTY MOORE AND MARK KNOPFLER PERFORMING “BLUE MOON OF KENTUCKY”

See larger image The Guitar That Changed The World! (Audio CD) List Price: $13.98 USD New From: $153.46 In Stock Used from: $14.99 In Stock Release date July 13, 1999.

There are no known photographs of Pinetop Smith

Clarence Smith, better known as Pinetop Smith or Pine Top Smith (11 June 1904 – 15 March 1929) was an influential American boogie-woogie style blues pianist. He is a 1991 inductee of the Alabama Jazz Hall of Fame.

Smith was born in Troy, Alabama and raised in Birmingham, Alabama. He received his nickname as a child from his liking for climbing trees. In 1920 he moved to Pittsburgh, Pennsylvania, where he worked as an entertainer before touring on the T. O. B. A. vaudeville circuit, performing as a singer and comedian as well as a pianist. For a time he worked as accompanist for blues singer Ma Rainey and Butterbeans and Susie.

In the mid 1920s he was recommended by Cow Cow Davenport to J. Mayo Williams at Vocalion Records, and in 1928 he moved, with his wife and young son, to Chicago to record. For a time he, Albert Ammons, and Meade Lux Lewis lived in the same rooming house.

Vocalion's 1929 release of Pinetop Smith's song, "Pine Top's Boogie Woogie"

On December 29, 1928 he recorded his influential “Pine Top’s Boogie Woogie,” one of the first “boogie woogie” style recordings to make a hit, and which cemented the name for the style. Pine Top talks over the recording, telling how to dance to the number. He said he originated the number at a house-rent party in St. Louis, Missouri. Pinetop was the first ever to direct “the girl with the red dress on” to “not move a peg” until told to “shake that thing” and “mess around”.

Pinetop Smith was scheduled to make another recording session for Vocalion in 1929, but died from a gunshot wound in a dance-hall fight in Chicago the day before the session. Sources differ as to whether he was the intended recipient of the bullet. “I saw Pinetop spit blood” was the famous headline in Down Beat magazine.

No photographs of Smith are known to exist.

Albert Ammons

Pinetop Smith was acknowledged by other boogie woogie pianists such as Albert Ammons and Pete Johnson as a key influence, and he gained posthumous fame when “Pinetop’s Boogie Woogie” was recorded by the Tommy Dorsey Orchestra in the late 1930s.

From the 1950s Joe Willie Perkins became universally known as “Pinetop Perkins” for his famous recordings of “Pinetop’s Boogie Woogie”. Perkins later became Muddy Waters’ pianist, and much later when in his 90′s, recorded a song on his 2004 Ladies’ Man album which played on the by-then common misconception that Perkins had himself written “Pinetop’s Boogie Woogie”.

Ray Charles adapted “Pine Top’s Boogie Woogie” for his song “Mess Around”, for which the authorship was credited to “A. Nugetre”, Ahmet Ertegun.

In 1975 the Bob Thiele Orchestra recorded a modern jazz album called I Saw Pinetop Spit Blood that included a treatment of “Pinetop’s Boogie Woogie” as well as the title song.

Gene Taylor recorded a version of “Pinetop’s Boogie Woogie” on his eponymous 2003 album.

PINETOP SMITH’S RENDITION OF “NOBODY KNOWS YOU WHEN YOU’RE DOWN AND OUT”

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PINETOP SMITH PERFORMING “I’M SOBER NOW”

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CRIPPLE CLARENCE LOFTON’S VERSION OF “PINETOP SMITH’S BOOGIE WOOGIE”

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Willie Dixon

William James “Willie” Dixon (July 1, 1915 – January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. A Grammy Award winner who was proficient on both the Upright bass and the guitar, as well as his own singing voice, Dixon is arguably best known as an acclaimed, prolific songwriter, and one of the founders of the Chicago blues sound. His songs have been recorded not only by himself, or that of the trio and other ensembles in which he participated, but an uncounted number of musicians representing many genres between them. A short list of his most famous compositions include “Little Red Rooster”, “Hoochie Coochie Man”, “Evil”, “Spoonful”, “Back Door Man”, “I Just Want to Make Love to You”, “I Ain’t Superstitious”, “My Babe”, “Wang Dang Doodle”, and “Bring It On Home”. They were written during the peak of Chess Records, 1950–1965, and performed by Muddy Waters, Howlin’ Wolf, and Little Walter, influencing a worldwide generation of musicians. Next to Muddy Waters, he was the most influential person in shaping the post World War II sound of the Chicago blues. He also was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. His songs were covered by some of the biggest artists of more recent times, including Bob Dylan, Cream, Jimi Hendrix, Led Zeppelin, Foghat, The Yardbirds, The Rolling Stones, Queen, Megadeth, The Doors, The Allman Brothers Band, Grateful Dead, and a posthumous duet with Colin James.

Willie Dixon

Dixon was born in Vicksburg, Mississippi on July 1, 1915. His mother Daisy often rhymed the things she said, a habit Dixon imitated. At the age of 7, he became an admirer of a band that featured pianist Little Brother Montgomery. Dixon was first introduced to blues when he served time on prison farms in Mississippi as an early-teenager. He learned how to sing harmony as a teen as well, from local carpenter Leo Phelps. Dixon sang bass in Phelps’ group, The Jubilee Singers, a local gospel quartet that regularly appeared on the Vicksburg radio station WQBC. Dixon began adapting poems he was writing into songs, and even sold some of them to local music groups.

Dixon left Mississippi for Chicago in 1936. A man of considerable stature, at 6 and a half feet and weighing over 250 pounds, he took up boxing; he was so successful that he won the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. Dixon turned professional as a boxer and worked briefly as Joe Louis’ sparring partner. After four fights, Dixon left boxing after getting into a fight with his manager over being cheated out of money.

Dixon met Leonard “Baby Doo” Caston at the boxing gym where they would harmonize at times. Dixon performed in several vocal groups in Chicago but it was Caston that got him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon’s experience singing bass made the instrument familiar. He also learned the guitar.

The original Big Three Trio: Bernard Dennis, "Baby Doo" Caston, Willie Dixon

Dixon, whose initial attempts at his vocation as a boxer were now dubious, began performing around Chicago and with Leonard “Baby Doo” Caston, who convinced him to move towards a musical career. In 1939, was a founding member of the Five Breezes, with Caston, Joe Bell, Jimmie Dale Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon’s progress as he progressed on the Upright bass came to an abrupt halt during the advent of World War II when he resisted the draft as a conscientious objector and was imprisoned for ten months. After the war, he formed a group named the Four Jumps of Jive and then reunited with Caston, forming the Big Three Trio, who went on to record for Columbia Records.

Dixon signed with Chess Records as a recording artist, but began performing less and became more involved with the record label. By 1951, he was a full time employee at Chess where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for Chess subsidiary Checker Records. His relationship with the Chess label was sometimes strained, although his tenure there covered the years from 1948 to the early 1960s. During this time his output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, where he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. He later recorded on Bluesville Records. From the late 1960s until the middle 1970s, Dixon ran his own record label, Yambo Records, along with two subsidiary labels, Supreme and Spoonful. He released his 1971 album Peace? on Yambo, as well as singles by McKinley Mitchell, Lucky Peterson and others.

Willie Dixon, Muddy Waters, Buddy Guy

Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin’ Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, and others. His double bass playing was of a high standard. He appears on many of Chuck Berry’s early recordings, further proving his linkage between the blues and the birth of rock and roll.

Dixon is remembered mainly as a songwriter; his most enduring gift to the blues lay in refurbishing archaic Southern motifs, often of magic and country folkways and often derived from earlier records such as those by Charlie Patton, in contemporary arrangements, to produce songs with both the sinew of the blues, and the agility of pop. British R&B bands of the 1960s constantly drew on the Dixon songbook for inspiration. In December 1964, The Rolling Stones reached #1 in the UK Singles Chart with their cover version of Dixon’s “Little Red Rooster”.

By the late sixties, Dixon’s songwriting and production work began to take a back seat to his organizational abilities, which were utilized to assemble all-star, Chicago-based blues ensembles for work in Europe.

Chuck Berry, Willie Dixon

In his later years, Willie Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation. The organization works to preserve the blues’ legacy and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, “The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues.”

Dixon’s health deteriorated increasingly during the seventies and the eighties, primarily due to long-term diabetes. Eventually one of his legs had to be amputated.

Willie Dixon instructing his grandson, Alex, on the piano

Dixon was inducted at the inaugural session of the Blues Foundation’s ceremony, and into the Blues Hall of Fame in 1980. In 1989 he was also the recipient of a Grammy Award for his album, Hidden Charms.

Dixon died of heart failure in Burbank, California on January 29, 1992, and was buried in the Burr Oak Cemetery in Alsip, Illinois. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the “early influences” (pre-rock) category in 1994.

Actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records.

Willie Dixon’s grandson, Alex Dixon, recently recorded two Willie Dixon songs, (“Spoonful” and “Down in the Bottom”), on his latest release titled Rising from the Bushes.

I’M NERVOUS

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BACK DOOR MAN

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BASSOLOGY

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BLUES YOU CAN’T LOSE

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SEVENTH SON

See larger image The Chess Box (MP3 Download) New From: $18.06 In Stock Release date November 28, 1988.

From Wikipedia:

The “Alabama Song” (also known as “Whisky Bar” or “Moon over Alabama” or “Moon of Alabama”) was originally published in Bertolt Brecht’s Hauspostille (1927). It was set to music by Kurt Weill for the 1927 “Songspiel” Mahagonny and used again in Weill’s and Brecht’s 1930 opera Rise and Fall of the City of Mahagonny. In the latter, it is performed by the character Jenny and her fellow prostitutes in the first act. Musically it contains elements of foxtrot, blues and advanced soprano coloraturas, sung by Jenny Corless.  Originally recorded by Kurt Weill’s wife Lotte Lenya in 1930.

The lyrics for the “Alabama Song” are in English (albeit specifically idiosyncratic English) and are performed in that language even when the opera is performed in its original German.

The song was covered in 1967 by rock band The Doors (credited in their albums as “Alabama Song (Whisky Bar)”). The lead singer of the Doors, Jim Morrison, changed the second verse from:

Show us the way to the next pretty boy to Show me the way to the next little girl.

In addition, the verse from the original, Show me the way to the next little dollar is omitted.

David Bowie, a Brecht fan, incorporated the song into his 1978 world tour. He cut a version at Tony Visconti’s studio after the European leg of this tour, and in 1980 it was issued as a single to hasten the end of Bowie’s contract with RCA.

With unconventional key changes, the track “seemed calculated to disrupt any radio programme on which it was lucky enough to get played”. Nevertheless, backed with a stripped-down acoustic version of “Space Oddity” recorded in December 1979, the single reached #23 in the UK.

Bowie would appear in a BBC version of Brecht’s Baal, and release an EP of songs from the play. He performed “Alabama Song” again on his 1990 Sound+Vision Tour and 2002 Heathen tours.

If you have any suggestions for “Head to Head”, leave a comment.

LOTTE LENYA

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THE DOORS

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DAVID BOWIE

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MAX RAABE UND DA PALAST ORCHESTER

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DAVID JOHANSEN, ELLEN SHIPLEY, RALPH SCHUCKETT, AND BOB DOROUGH

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Gene Autry

Orvon Eugene Autry (September 29, 1907 – October 2, 1998), better known as Gene Autry, was an American performer who gained fame as The Singing Cowboy on the radio, in movies and on television for more than three decades beginning in the 1930s. Autry was also owner of the Los Angeles/California Angels Major League Baseball team from 1961 to 1997, as well as a television station and several radio stations in southern California.

Although his signature song was “Back in the Saddle Again”, Autry is best known today for his Christmas holiday songs, “Here Comes Santa Claus” (which he wrote), “Frosty the Snowman”, and his biggest hit, “Rudolph the Red-Nosed Reindeer”.

He is a member of both the Country Music and Nashville Songwriters halls of fame, and is the only celebrity to have five stars on the Hollywood Walk of Fame.

Autry, the grandson of a Methodist preacher, was born near Tioga, Texas. His parents, Delbert Autry and Elnora Ozment, moved to Ravia, Oklahoma in the 1920s. He worked on his father’s ranch while at school. After leaving high school in 1925, Autry worked as a telegrapher for the St. Louis–San Francisco Railway.

Gene Autry

Talent with the guitar and his voice led to performing at local dances.

While working as a telegrapher, Autry would sing and accompany himself on the guitar to pass the lonely hours, especially when he had the midnight shift. One night he got encouragement to sing professionally from a customer, the famous humorist and wit, Will Rogers, who had heard Autry singing.

As soon as he could collect money to travel, he went to New York. He auditioned for Victor Talking Machine, at just about the time (end of 1928) it became RCA Victor. According to Nathaniel Shilkret, Director of Light Music for Victor at the time, Autry asked to speak to Shilkret when Autry found that he had been turned down. Shilkret explained to Autry that he was turned down not because of his voice, but because Victor had just made contracts with two similar singers. Autry left with a letter of introduction from Shilkret and the advice to sing on radio to gain experience and to come back in a year or two. In 1928 Autry was singing on Tulsa’s radio station KVOO as “Oklahoma’s Yodeling Cowboy,” and the Victor archives shows an October 9, 1929, entry stating that the vocal duet of Jimmie Long and Gene Autry with two Hawaiian guitars, directed by L. L. Watson, recorded “My Dreaming of You” (Matrix 56761) and “My Alabama” (Matrix 56762).

Autry signed a recording deal with Columbia Records in 1929. He worked in Chicago, Illinois, on the WLS-AM radio show National Barn Dance for four years, and with his own show, where he met singer-songwriter Smiley Burnette. In his early recording career, Autry covered various genres, including a labor song, “The Death of Mother Jones” in 1931.

Gene Autry

Autry also recorded many “hillbilly”-style records in 1930 and 1931 in New York City, which were certainly different in style and content from his later recordings. These were much closer in style to the Prairie Ramblers or Dick Justice, and included the “Do Right Daddy Blues” and “Black Bottom Blues”, both similar to “Deep Elem Blues”. These late-Prohibition era songs deal with bootlegging, corrupt police, and women whose occupation was certainly vice. These recordings are generally not heard today, but are available on European import labels, such as JSP Records.

Gene Autry, Smiley Burnette

His first hit was in 1932 with “That Silver-Haired Daddy Of Mine”, a duet with fellow railroad man, Jimmy Long. Autry also sang the classic Ray Whitley hit “Back In The Saddle Again,” as well as many Christmas holiday songs including “Santa Claus Is Coming to Town,” his own composition “Here Comes Santa Claus”, “Frosty the Snowman”, and his biggest hit, “Rudolph the Red-Nosed Reindeer”.

Autry also owned the Challenge Records label. The label’s biggest hit was “Tequila” by The Champs in 1958, which started the rock-and-roll instrumental craze of the late 1950s and early 1960s.

Autry made 640 recordings, including more than 300 songs written or co-written by him. His records sold more than 100 million copies and he has more than a dozen gold and platinum records, including the first record ever certified gold.

DVD cover for Autry's first starring role in the 12 part serial, "The Phantom Empire"

Discovered by film producer Nat Levine in 1934, Autry and Burnette made their film debut for Mascot Pictures Corp. in In Old Santa Fe as part of a singing cowboy quartet; he was then given the starring role by Levine in 1935 in the 12-part serial The Phantom Empire. Shortly thereafter, Mascot was absorbed by the newly-formed Republic Pictures Corp., and Autry went along to make a further 44 films up to 1940, all B westerns in which he played under his own name, rode his horse Champion, had Burnette as his regular sidekick, and had many opportunities to sing in each film.

In the Motion Picture Herald Top Ten Money- Making Western Stars poll, Autry was listed every year from 1936 to 1942 and 1946 to 1954 (he was serving in the US Army Air Corps 1943-45), holding first place 1937 to 1942, and second place (after Roy Rogers) 1947 to 1954. He appeared in the similar Box Office poll from 1936 to 1955, holding first place from 1936 to 1942 and second place (after Rogers) from 1943 to 1952. While these two polls are really an indication only of the popularity of series stars, Autry also appeared in the Top Ten Money Makers Poll of all films from 1940 to 1942, His Gene Autry Flying “A” Ranch Rodeo show debuted in 1940.

Gene Autry was the first of the singing cowboys in films, succeeded as the top star by Roy Rogers when he served in WW II. Autry briefly returned to Republic after the war to finish out his contract, which had been suspended for the duration of his military service and which he had tried to have declared void after his discharge. He appeared in 1951 in the film Texans Never Cry, with a role for newcomer Mary Castle. After 1951 he formed his own production company to make Westerns under his own control, which continued the 1947 distribution agreement with Columbia Pictures.

Gene Autry, his boxer Mike, and his first wife Ina May Spivey

In 1932 he married Ina May Spivey (who died in 1980), who was the niece of Jimmy Long. In 1981 he married Jacqueline Ellam, who had been his banker. He had no children by either marriage.

Autry retired from show business in 1964, having made almost 100 films up to 1955, and over 600 records. He was elected to the Country Music Hall of Fame in 1969, and to the Nashville Songwriters Hall of Fame in 1970. After retiring, he invested widely and in real estate, radio, and television, including the purchase from dying Republic Pictures the rights for films he had made for the company.

In 1952, Autry bought the old Monogram Ranch in Placerita Canyon (Newhall-Santa Clarita, California) and renamed it Melody Ranch. Numerous “B” Westerns and TV shows were shot there during Autry’s ownership, including the initial years of Gunsmoke with James Arness. Melody Ranch burned down in 1962, dashing Autry’s plans to turn it into a museum. According to a published story by Autry, the fire caused him to turn his attention to Griffith Park, where he would build his Museum of Western Heritage (now known as the Autry National Center). Melody Ranch came back to life after 1991, when it was purchased by the Veluzat family and rebuilt. It survives as a movie location today as well as the home of the City of Santa Clarita’s annual Cowboy Festival, where Autry’s legacy takes center stage.

Reggie Jackson poses with team owner, Gene Autry after joining the Angels organization in 1982

In the 1950s, Autry had been a minority owner of the minor-league Hollywood Stars. In 1960, when Major League Baseball announced plans to add an expansion team in Los Angeles, Autry—who had once declined an opportunity to play in the minor leagues—expressed an interest in acquiring the radio broadcast rights to the team’s games. Baseball executives were so impressed by his approach that he was persuaded to become the owner of the franchise rather than simply its broadcast partner. The team, initially called the Los Angeles Angels upon its 1961 debut, moved to suburban Anaheim in 1966, and was re-named the California Angels, then the Anaheim Angels from 1997 until 2005, when it became the Los Angeles Angels of Anaheim. Autry served as vice president of the American League from 1983 until his death. In 1995 he sold a quarter share of the team to The Walt Disney Company, and a controlling interest the following year, with the remaining share to be transferred after his death. Earlier, in 1982, he sold Los Angeles television station KTLA for $245 million. He also sold several radio stations he owned, including KSFO in San Francisco, KMPC in Los Angeles, KOGO in San Diego, and other stations in the Golden West radio network.

Gene Autry and his horse, Champion

The number 26 (as in 26th man) was retired by the Angels in Autry’s honor. The chosen number reflected that baseball’s rosters are 25-man strong, so Autry’s unflagging support for his team made him the 26th member.

Included for many years on Forbes magazine’s list of the 400 richest Americans, he slipped to their “near miss” category in 1995 with an estimated net worth of $320 million. Gene Autry died of lymphoma 3 days after his 91st birthday at his home in Studio City, California and is interred in the Forest Lawn, Hollywood Hills Cemetery in Los Angeles, California. His death on October 2, 1998 came fewer than three months after the death of another celebrated cowboy of the silver screen, radio, and TV, Roy Rogers.

In 1972, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. Autry was a life member of the Benevolent and Protective Order of Elks, Burbank Lodge No. 1497. His 1976 autobiography, co-written by Mickey Herskowitz, was titled Back in the Saddle Again after his 1939 hit and signature tune. He is also featured year after year, on radio and “shopping mall music” at the holiday season, by his recording of “Rudolph, the Red-Nosed Reindeer”. “Rudolph” became the first #1 hit of the 1950s. CMT in 2003 ranked him #38 in CMT’s 40 Greatest Men of Country Music.

A statue of Gene Autry in Palm Springs, California

When the Anaheim Angels won their first World Series in 2002, much of the championship was dedicated to him. The interchange of Interstate 5 and State Route 134, located near the Autry National Center in Los Angeles, is signed as the “Gene Autry Memorial Interchange.” In 2007, he became a charter member of the Gennett Records Walk of Fame in Richmond, Indiana.

Johnny Cash recorded a song in 1978 about Autry called “Who is Gene Autry.” Cash also got Autry to sign his famous black Martin D-35 guitar, and the signature can be seen very clearly in the video for “Hurt”.  NWA member Eazy-E mentioned Autry in his song “We Want Eazy” from his 1988 album Eazy Duz It.  Ringo Starr has stated that Gene Autry was his earliest influence in music.

Autry was inducted into the Radio Hall of Fame in 2003. In 2004, the Starz Entertainment Corporation joined forces with the Autry estate to restore all of his films, which have been shown on Starz’s Encore Western Channel on cable television on a regular basis to date since.

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Wynonie Harris

Wynonie Harris (August 24, 1915 – June 14, 1969), born in Omaha, Nebraska, was an American blues shouter and rhythm and blues singer of upbeat songs featuring humorous, often ribald lyrics. With fifteen Top 10 hits between 1946 and 1952, Harris is generally considered one of rock and roll’s forerunners, influencing Elvis Presley among others. He was the subject of a 1994 biography by Tony Collins.

Harris’ mother, Mallie Hood Anderson, was fifteen and unmarried at the time of his birth. Harris’ paternity is uncertain. Harris’ wife, Olive E. Goodlow, and daughter Patricia Vest, have said that Harris’ father was a Native American, named Blue Jay. Harris had no father figure in the house until 1920, when his mother married Luther Harris, fifteen years her senior.

In 1931 at age 16, Harris dropped out of high school in North Omaha. The following year his first child, daughter Micky, was born to Naomi Henderson. Ten months later, Harris’ second child, son Wesley, was born to Laura Devereaux. Both children were raised by their mothers. Wesley became a singer in the Five Echoes and The Sultans. Later he became a singer and guitarist in Preston Love’s band.

Wynonie Harris

In 1935 Harris, age 20, started dating 16-year-old Olive E. Goodlow (Ollie) of neighboring Council Bluffs, Iowa, who came to Omaha to watch him perform. On May 20, 1936, Ollie gave birth to daughter Pattie (Adrianne Patricia). On December 11, 1936, they married. Later they lived in the Logan Fontenelle projects in North Omaha. Ollie worked as a barmaid and nurse; Wynonie sang in clubs as well as taking on some odd jobs. Wynonie’s mother, Mallie Harris, was Pattie’s main caretaker. In 1940, Wynonie and Ollie Harris moved to Los Angeles, California, leaving Pattie with Mallie in Omaha.

With dance partner Velda Shannon, Harris formed a dance team in the early 1930s. The team performed around North Omaha’s flourishing entertainment community, and by 1934 they were a regular attraction at the Ritz Theatre. It was not until 1935, however, that Harris was able to earn his living as an entertainer. While performing at Jim Bell’s new Harlem nightclub with Velda Shannon, Harris began to sing the blues.

"Papa Tree Top" by Wynonie Harris - note the nickname "Blues"

He also began traveling frequently to Kansas City, Kansas where he paid close attention to the blues shouters including Jimmy Rushing and Big Joe Turner. Harris became a local celebrity in Omaha during the depths of the Great Depression in 1935. Harris’ break in Los Angeles was at a nightclub owned by Curtis Mosby. It was here that Harris became known as “Mr. Blues”.

Due to the wartime embargo on shellac, Harris was unable to pursue a recording career. Instead, he relied on personal appearances. Performing almost continuously, in late 1943 he appeared at the Rhumboogie Club in Chicago. Harris was spotted by Lucky Millinder who asked him to join his band’s tour. Harris joined on March 24, 1944, while the band was in the middle of a week-long residency at the Regal in Chicago. They moved on to New York, where on April 7 Harris took the stage with Millinder’s band for his debut at the Apollo Theatre in Harlem. It was during this performance that Harris first publicly performed “Who Threw the Whiskey in the Well” (a song recorded two years earlier by Doc Wheeler’s Sunset Orchestra).

Lucky Millinder and His Orchestra's "Who Threw the Whiskey in the Well" was Wynonie Harris' first recording

After the band’s stint at the Apollo, they moved on to their regular residency at the Savoy Ballroom, also in Harlem. Here, Preston Love, Harris’ childhood friend, joined Millinder’s band replacing alto saxophonist Tab Smith. On May 26, 1944, Harris made his recording debut with Lucky Millinder and His Orchestra. Entering a recording studio for the first time, Harris sang on two of the five cuts that day, “Hurry, Hurry” and “Who Threw the Whiskey in the Well”, for the Decca label. Although lessening, the shellac embargo had not yet been removed, and release of the record was delayed.

Harris’ success and popularity grew as Millinder’s band toured the country. He and Millinder had a falling out over money. In September 1945 while playing in San Antonio, Texas, Harris quit Millinder’s band. Three weeks later, upon hearing of Harris’ separation from the band, a Houston, Texas promoter refused to allow Millinder’s band to perform. Millinder called Harris and agreed to pay Harris’ asking price of one-hundred dollars a night. The promoter re-instated the date, but it was the final time Harris and Millinder worked together. Bull Moose Jackson replaced Harris as the vocalist in the band.

Johnny Otis

In April 1945, a year after the song was recorded, Decca released “Who Threw the Whiskey in the Well”. It became the group’s biggest hit; it went to number one on the Billboard R&B chart on July 14 and stayed there for eight weeks. The song remained on the charts for almost five months, also becoming popular with white audiences, an unusual feat for black musicians of that era. In California the success of the song opened doors for Harris. Since the contract with Decca was with Millinder (meaning Harris was a free agent), Harris could choose from the recording contracts with which he was presented.

In July 1945, Harris signed with Philo, a label owned by the brothers Leo and Edward Mesner. Harris’ band was assembled by Johnny Otis, and the group recorded the 78rpm record “Around the Clock”. Although not a chart-topper, the song became popular and was covered by many artists, including Willie Bryant, Jimmy Rushing and Big Joe Turner.

Harris went on to record sessions for other labels, including Apollo, Bullet and Aladdin. His greatest success came when he signed for Syd Nathan’s King label, where he enjoyed a series of hits on the U.S. R&B chart in the late 1940s and early 1950s. These included a 1948 cover of Roy Brown’s “Good Rocking Tonight”, “Good Morning Judge” and “All She Wants to Do Is Rock”. In 1946, Harris recorded two singles with pianist Herman “Sonny” Blount, who later earned fame as the eclectic jazz composer and bandleader Sun Ra.

Wynonie Harris loved to surround himself with beautiful women to maintain his persona as the "Bad Boy of the Blues"

In 1951 he covered Hank Penny’s “Bloodshot Eyes” (King 4461).

Harris transitioned between several recording contracts between 1954 and 1964. In 1960 he cut six sides for Roulette Records that included a remake of his hit “Bloodshot Eyes” as well as “Sweet Lucy Brown”, “Spread the News”, “Saturday Night”, “Josephine” and “Did You Get the Message”. He also became more indebted, and was forced to live in less glamorous surroundings.

In 1964 Harris resettled for the last time in Los Angeles. His final recordings were three sides which he did for the Chess Records label (in Chicago) in 1964: “The Comeback”, “Buzzard Luck” and “Conjured”. His final large-scale performance was at the Apollo, New York in November 1967, where he performed with Big Joe Turner, Big Mama Thornton, Jimmy Witherspoon and T-Bone Walker.

On June 14, 1969, aged 53, Harris died of esophageal cancer at the USC Medical Center Hospital in Los Angeles.

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