In The Weeds 2.11.16 Ray Peterson

This might be a good subject for Denton-centric Trivia Night at a local pub. While doing research in the Denton Record-Chronicle about someone completely unrelated, I happened upon this front page story from 1961. By that time, Ray Peterson had several hits on the pop music charts including two in the Top 10 and was heading home to his family and birthplace in Denton for a belated Christmas reunion. He was born here on April 23, 1939 but apparently didn’t spend very much time in town, growing up in San Antonio. He had contracted polio as a child and, during his stay in the hospital in The Alamo City, sang for his fellow patients and thus began his musical career. The article states that his family lived on Panhandle Street and had recently moved back to his mother’s native Denton. By that time, however, he was performing at the Dunes Hotel in Las Vegas and touring the country.

Here he is looking rather Bobby Darin-ish:

RayPete

So, the question is, why isn’t he better known in town? It’s true he really never lived here other than maybe his first couple years but, in that way, he resembles Sly Stone. Could it be the lack of local press? Searching the DR-C, I only find the article above and some Top 10 lists from the early 1960s mentioning him. Sly Stone went on to greater fame so maybe that prompted us to call him our own when he really barely is, as well.

One of his greatest hits was a morbid, schmalzy thing called “Tell Laura I Love Her” which recounts a doomed teenage romance involving stock car racing (really) and a $1000.00 prize. Here it is. There was quite a market for this genre of songs in the late-50s, early ’60s known as “teenage tragedy songs”, “death discs”, and my personal favorite,“splatter platters”. Elvis Presley covered one of his songs in the late 1960s, The Wonder of You, doing Ray the courtesy of asking him in advance if that would be OK. One thing no one could ever say about The King was that he wasn’t a gentleman. Elvis probably didn’t have to do this because Ray didn’t write the song nor did he likely own the rights to it but  professional courtesy was extended and they became friends.

Mr. Peterson eventually became a Baptist minister in the 1970s while also appearing on the oldies circuit. He was inducted into the Rockabilly Hall of Fame and died in Memphis in 2005.

Written by Chuck Voellinger, Emily Fowler Library.

 

 

 

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At The Cut

I’ve lived in Denton for about five years. Music was my original reason for moving to Denton. Don Henley, Nora Jones, Roy Orbison and Meat Loaf have roamed University of North Texas or North Texas State University’s (as you may know it) hallways at one time or another. Funk legend Sly Stone was born in Denton and UNT’s one a clock lab band has won several Grammys. Needless to say this environment harvests an abundance of creative energy.

In my late teens I traveled from Dallas to Denton more times than I can count to see some of my favorite bands. One of the places that housed such acts was Hailey’s club. Last week owner of Hailey’s, Jennifer Gibbs, announced its closing its doors at the end of the year and open up a non-music related venture.

Vic Chesnutt was one of many that graced the Hailey’s stage. Chesnutt was a quadriplegic gifted with an uncanny ability to craft songs with incredible depth despite being able to play a very limited number of chords. Although not a house hold name you may have seen Chesnutt in Billy Bob Thornton’s Sling Blade.

Recently a memoir commemorating Chesnutt was published its entitled “Don’t Suck, Don’t Die: Giving up Vic Chesnutt” it chronicles Chesnutt through highs and lows, written by one of his touring band members and close friend Kristin Hersh. Seeing this book in the library I naturally gravitated towards it and was pleasantly surprised of how insightful it was at grasping the characteristics of a man dealing with struggles mentally and physically. Although unknown to most Chesnutt was an influence to many singers and songwriters. In 2006 NPR dubbed Chesnutt as one of the top ten greatest living songwriters alongside artists like Bob Dylan, Paul McCartney and Bruce Springsteen.

Below are a few items available for check out at the Denton Public Library by or about Vic Chesnutt including the book mentioned above and a CD entitled “At the Cut”.

VicChesnutt1

VicChesnutt2

This video was recorded at Hailey’s and was the second to last live performance by Chesnutt before his death in 2009.

https://youtu.be/DryKoGfQg74

Abdon Gonzalez
Library Assistant- Public Services
Emily Fowler Public Library

Guitars, Cadillacs, and Hillbilly Music

I often wake up with a song in my head. This can be a good thing; today it is. This morning’s earworm is Dwight Yoakam’s, Guitars and Cadillacs, running through my head. Since it will not vacate the premises, here it is for your enjoyment. I hope it worms its way into your ear, as well.

Here are few good things now available at your local library to enjoy while Ol’ Leather Pants’ song is reverberating in your noggin.

Rock on, y’all!

William James Smith

 

Riffs

 

 

classic

 

 

HillBilly

 

 

Miss Emily’s JukeJoint, 12.8.11: Herschel Evans

    In the late 1930’s, the Count Basie Orchestra featured two tenor saxophonists: Lester Young and Herschel Evans of Denton. Books, movies and thousands of words have, rightfully, been dedicated to the former. Only a true jazz geek knows of the latter. Herschel was born in Denton on March 9, 1909,  and is found at our Ancestry.com database in the 1930 Census where he appears to be living with an aunt in Bexar County, Texas (San Antonio) while working in the Troy Floyd Orchestra. Click on image below for larger size:

Herschel in San Antone, 1930

           In the census record you can see three important pieces of information that prove this is the same Mr. Evans: 21 years of age, Negro, and musician employed in an orchestra. Here is an early recording with Floyd from 1929, Dreamland Blues. His solo starts @ 1:58.

Lady Hersch

  There is a storied Texas Tenor saxophonist tradition going back to Herschel and on through to Buddy Tate, Illinois Jacquet, Arnett Cobb, David “Fathead” Newman, King Curtis, Donald Wilkerson, Booker Ervin, James Clay, Marchel Ivery, on up to UNT alum Shelley Carrol who performs regularly in Dallas. The thread that runs through all of them is a full-bodied tone that always has a blues flavor.

  By the mid-’30s, he was working in Kansas City and landed a seat in the Count Basie Orchestra when they expanded their size after being signed to Decca Records in 1936. In the Basie band, he finally achieved fame through the following recordings (with time his solos start): One O’ Clock Jump 00:45, Doggin’ Around 00:40, Texas Shuffle 1:56 and his most famous solo performance, Blue and Sentimental.

In the Basie reed section

                          

Herschel on left with fellow Basie-ite, Buck Clayton

 

 

 

 

 

 

 

 

 

 

        Herschel died at age 29 in 1939 of a heart attack and was replaced in the Basie band by fellow Texan, Buddy Tate. It was said that Lester mourned his section mate, paid his funeral expenses, and Evans’ passing may have helped precipitate his leaving Basie the next year. Here is footage of the Count Basie Orchestra at Randall’s Island in New York City in 1938. The music on the video is overdubbed but, at 1:41, you can see him sitting down with his sax to the right of singer Jimmy Rushing who is standing.

posted by Chuck.

Miss Emily’s JukeJoint, 11.9.2010. Shiny Around Denton; New Titles

   Shiny Around The Edges is a Denton-based trio consisting of Michael and Jennifer Seman and “Kermatron” (if someone knows his real name, please pass it on, although I’m actually quite fond of “Kermatron”). We have some of their music at DPL but we don’t yet have “Denton’s Dreaming”-the latest release. Here’s a pic:

Shiny Denton Porch

 

     Here’s some YouTube goodness. Listening to this music reminds me of 20+ years ago and the experimental sounds of bands that are long gone from Denton and The Argo days of not-so-long ago. What they do just sounds particularly “Denton” to these ears. Melodic, loud, experimental, spacial, improvisational. I don’t know, but, if I had moved away from here, heard them and then found out they were from Denton, I wouldn’t be at all surprised.

New Titles in at the Fowler Branch (click on link for title in catalog)-

Grinderman- Grinderman 2

Frazey Ford- Obadiah

For Today-Breaker

Armin Van Buuren-Mirage

Bad City-Welcome To The Wasteland

Lucky Peterson-You Can Always Trun Around

Now That’s What I Call Country-Vol. 3

Pedro Fernandez-Ha$ta Que El Dinero Nos Separe

Ronnie Earl-Spread The Love

Rieleros Del Norte-Ni El Diablo Te Va A Querer

Posted by Chuck

Miss Emily’s JukeJoint, 8.3.10 Harry Smith’s Anthology of American Folk Music

I’m excited about this, y’all. This will be a long blog post, so bear with me please.

 We have a copy of Harry Smith’s  Anthology of American Folk Music on Smithsonian Folkways records. This is the first extensive collection of folk music in the U.S. and was edited-created by record collector Harry Smith for Moe Asch’s Folkways label in 1952. More on Harry in a bit…

The Anthology

    Smithsonian/Folkways re-released this collection as a 3 CD set in 1997 and has a reproduction of Harry’s original handmade booklet along with extensive essays and an up-to-date description of the artists and songs that builds upon 45 years of research. All of these items are included in the Denton Public Library’s copy for you.

    In it you will feast your ears on an auditory world that is long gone but yet somehow familiar. This Anthology influenced many in the so-called “folk revival” of the late ’50s-early ’60s. The tunes and some of  the artists themselves have had their own massive impact separate from their inclusion in it: The Carter Family, Charley Patton, Dock Boggs, Charlie Poole, Clarence Ashley, Blind Willie Johnson, etc. in the realms of Bluegrass, Blues, Hillbilly, C&W, etc.

Charlie Poole

  Here’s a few examples to whet your earlobes-

Not merely a collection of a particular genre or style, the Anthology includes Cajun, Black Gospel, Sacred, and some performances that don’t fall neatly in a particular heading. Take Hoyt Ming and His Pep-Steppers’ “Indian War Whoop”. Not really sounding like Native-American singing per se, it moves nonetheless. http://vimeo.com/832869

    Fiddler Eck Robertson is recognized as the first commercially recorded  “country” musician for his performance of “Sally Gooden” in 1922. Although not included here, that disc is still considered a masterpiece of old-time fiddling and not easily duplicated 88 years on.

Eck

     Jug bands were intensely popular in the period covered in the Anthology (late’20s-early ’30s), and Cannon’s Jug Stompers swung hard.

Cannon's Jug Stompers

     Finally, native Texan Blind Willie Johnson sang hellfire and brimstone with a voice that sounded like he came back from Hades to warn the world. Oh, and his slide guitar accompaniment influenced Ry Cooder, Eric Clapton, Duane Allman, etc. http://www.youtube.com/watch?v=Y_veQRT7bus 

Blind Willie Johnson

     Harry Smith (http://www.harrysmitharchives.com/) was a filmmaker, artist, musicologist, intellectual, autodidact, and eccentric who had contacted Moe Asch, founder of Folkways Records in NYC (http://en.wikipedia.org/wiki/Moses_Asch), about putting this compilation togther. He finally received a Grammy Award late in life for this Anthology but, tellingly, this quote at the ceremony speaks to how personal the project was for him, “”I’m glad to say my dreams came true. I saw America changed by music.”

Harry framed

Here’s the Anthology in our catalog: http://library.cityofdenton.com/search/t?SEARCH=anthology+of+american+folk&sortdropdown=-&searchscope=4.

 

Miss Emily’s JukeJoint

“Lets Face the Music, and Dance”- Irving Berlin

Greetings from Miss Emilys’ JukeJoint aka the Emily Fowler Library Music CD collection. This is Chuck Voellinger, your DJ, so to speak. A few things to note:

-We are consolidating some music collections, so you may notice changes to labels on Music CDs and to the headings in the drawers. For example, all music in the Classical genre will be cataloged and searchable that way. We will no longer have the headings, “piano music”, “guitar music”, etc. on the shelves- you may still search for those terms in the catalog, however. For instance, a subject search for “sonatas” will return any items we have that are cataloged with that term but they will all be found on the shelf under the broad category “Classical”. For more information, please contact a staff member if you have questions.

Here are the old collections followed by the corresponding new name. Some have not changed, however.

Ballet Music – Classical

Band Music – Classical

Chamber Music – Classical

Childrens – Childrens

Choral Music – Classical

Country – Country and Bluegrass

Electronic Music – Rock & Popular

Folk, American – Folk

Folk, World – Folk

Gospel – Gospel

Guitar Music – Classical, Rock & Popular or Jazz & Blues

Holiday – Holiday

Jazz – Jazz & Blues

Musicals – Soundtracks and Musicals

Operas – Operas

Orchestral – Classical

Organ Music – Classical

Percussion Music – Classical

Piano Music – Classical

Popular – Rock & Popular

Rap – Rap

Rock – Rock & Popular

Soundtracks – Soundtracks and Musicals

String Music – Classical

Symphonies – Classical

Variety/Humor – Comedy

Violin Music – Classical

Vocal Music – Classical

Wind Music – Classical

Spanish – Spanish

Other Languages (French, Arabic, etc) – World, “Language”

These changes have already occured at the North and South Branch, so you may have already noticed or are already familiar.

In the next posting we’ll get into some buried treasures perhaps and talk about music.

For your viewing edification: “Po’ Monkey’s” Juke Joint, Mississippi Delta.