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6 of 7 people found the following review helpful:
5.0 out of 5 stars
Fantastic Chronicle Of Blacks In Country Music, January 10, 2002
This review is from: From Where I Stand: The Black Experience In Country Music (Audio CD)
With the exception of Charley Pride, it has always seemed as if black singers and country music were mutually exclusive entities. This three disc, sixty-track box set goes a long way toward dispelling that myth, and in turn revealing that African Americans have in fact played a large part in the development of country music. Disc one, The Stringband Era, covers recordings from 1927 through 1946 and leads off with a pair of numbers ("Pan American Blues" and "Muscle Shoals Blues") by harmonica ace DeFord Bailey (who, incidentally, was a founding member of the Grand Ole Opry in 1926 and a participant in the first recording session in Nashville in 1928). After several stellar banjo and fiddle-featured acts like the Mississippi Shieks, we move on to some early `40s recordings by blues legend Leadbelly ("Midnight Special," "Rock Island Line"). His tracks in particular show how much the roots of blues and country overlapped. As annotator Bill Ivey attests in the set's extensive booklet, the division which took place between these southern-based genres during the `20s appears to be based more on the record companies' decision to market product to whites and blacks separately, and less on disparate musical approaches. The link between blues and country is further emphasized on disc two, The Soul Country Years. It offers rhythm and blues stars from the early `50s through the mid `70s performing well known country standards. Some of these recordings, like Joe Simon's "The Chokin' Kind" (initially recorded by Waylon Jennings) and Dorothy Moore's "Misty Blue" (originated by
Wilma Burgess) impressively became major hits on the pop and soul charts while still maintaining their country arrangements. Other tunes found here, like Etta James' sensual rendition of David Houston's "Almost Persuaded" and Al Green's intimate take on the Ray Price hit "For The Good Times," were never intended to be anything more than change-of-pace album tracks. But while conceived initially as filler, these tracks ultimately showcase - quite convincingly - the artists' diversity. The only exception to the plethora of gems on this disc is the Supremes' awkward take on Floyd Tillman's "It Makes No Difference Now." The third and final disc, Forward With Pride, takes a look at blacks in country music since the emergence of superstar Charley Pride in the mid-'60s. It leads off with four Pride singles (the most devoted to any artist on this collection), including his rare first release "The Snakes Crawl At Night" and his signature tune "Kiss An Angel Good Mornin'." Three artists follow who each made the country charts fifteen times during the `70s and `80s: Stoney "She's My Rock" Edwards, O.B. "Don't Let The Green Grass Fool You" McClinton, and Big Al "Touch Me (I'll Be Your Fool Once More)" Dowling. All three are represented here by their biggest hits, and while none attained superstar status like Pride, each soundly made his presence felt in country music. Black females also made a dent on the country charts during the `70s and `80s - most notably Linda Martell, whose top 20 hit "Color Him Father" can be found on this disc. Disc three also includes some material by established pop and r & b artists who made successful one-time forays onto the country charts, such as the Pointer Sisters' "Fairytale," Fats Domino's "Whiskey Heaven," and Aaron Neville's "The Grand Tour." In addition, Cleve Francis' hit "Love Light" is here (among others) to conclude this set and remind us that blacks
have continued to make a few ripples in country music in the `90s. Hopefully, From Where I Stand is only the beginning (and not a retrospective) of black musicians' involvement in country music, with its rich contents inspiring others to partake in the future.
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5 of 6 people found the following review helpful:
5.0 out of 5 stars
Country Music Fan or Not: This CD is Worth a Look, September 12, 2000
This review is from: From Where I Stand: The Black Experience In Country Music (Audio CD)
Before purchasing this box set, I could probably count on one hand the number of country music records in my personal collection. I knew about Charley Pride and the forays made into country music made by the likes of Ray Charles and the Pointer Sisters, but this collection really expanded my mind. What is particularly nice about this box set is that it shows you the similarities that country music has with the blues and Black music in general. The first CD (entitled "The Stringband Era") starts off with the incredible harmonica playing of DeFord Bailey. When he plays "Pan American Blues," you really get the sense that a train is coming. Highlights of this CD are the two Leadbelly recordings and "G Rag" by the Georgia Yellow Hammers (with Andrew Baxter). Also of note is the Memphis Sheiks recording of the Jimmie Rodgers composition, "In the Jailhouse Now." In that recording, note how the lyrics are modified slightly from the original version. "The Country Soul Years," the second CD in the box set, shows how the two genres overlapped during the 1950's, 1960's and 1970's. R&B fans will feel quite at home with this disc (the producers of the box set would do an incredible service to release this one also as a separate CD). It features several familiar covers of country songs by R&B artists. The excellent liner notes were particularly helpful for this CD. For example, prior to purchasing this collection, I didn't know that "Misty Blue" was actually a country hit for both Wilma Burgess and Eddy Arnold, long before Dorothy Moore had a big Pop and R&B hit with the song in mid-1970's. The third CD (entitled "Forward with Pride"), features four songs by Charley Pride. This CD features country covers of "Color Him Father" by Linda Martell (an earlier hit for the Winstons) and "Don't Let the Green Grass Fool You" by O.B. McClinton (an earlier hit for Wilson Pickett). Other standouts are the three Stoney Edwards tracks (including his pre-George Jones version of "She's My Rock") and Professor Longhair's version of the Hank williams song, "Jambalaya." Also of note is the powerful Ted Hawkins version of the Webb Pierce song, "There Stands the Glass." If you don't think you like country music, this collection might change your mind. It certainly encouraged me to expand my country music library. At the very least, it'll broaden your view of the genre. Additionally, fans of the blues (or any lyric-based musical form, including reggae), will find much to savor in this collection. Not just in the recordings, but in the copious liner notes which include interviews with artists and anecdotes. Included is an amusing quote by jazz legend Charlie Parker, a big country music fan. When asked by a brave jazz man, "How can you stand that stuff?" Parker replied, "The stories, man. Listen to the stories!" And there are plenty of them in this collection.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
BLACK WOMEN OF COUNTRY & WESTERN MUSIC... ¿A NOVELTY?, December 1, 2005
This review is from: From Where I Stand: The Black Experience In Country Music (Audio CD)
Length:: 7:55 Mins
In all fairness to all the Country & Western female artists from every ethnic and racial background globally... this project is a far cry from being just a novelty of the past, present and/or into the future. You'll find the true spirit of Country music captured on this 3 CD Box Set of several American Black female artists displayed here on this wonderfully Box Set packaged historical project: "From Where I Stand, The Black Experience In Country Music ©1998." Executives Producers: Country Music Foundation (CMF) and Warner Bros. Records, Inc. In addition, this project also garnished a 41st Annual Grammy® Award Nominations in February 1999, for "Album Package and Notes" by the National Academy of Recording Arts & Sciences, Inc. (USA).
*In retrospect, considering the musical talents of these "sisters'" (no-pun to the Pointer Sisters) within the rim of the Country music scene during the late 1950's and thru-out the 1980's, they were serious contenders. For instance, on disc two, ('The Soul Country Years') emphasized R&B stars making the cross-over like Esther Phillip's smash triple Top 10 hit in the C&W, Pop and R&B charts simultaneously "Release Me" (track 9), The Supremes "It Makes No Difference Now" (track 12), The Staple Singers "Will The Circle Be Unbroken" (track 14), Etta James "Almost Persuaded" (track 14), Dorothy Moore "Misty Blue" (track 20). Yet, some of the most noteworthy stand out performances can be heard on disc number 3 ('Forward With Pride') of which includes: Linda Martell, the first Black female to appear on the Grand Ole Opry, and her top hit tune "Color Him Father" (track 5). Decca Record's, Recording Artist the late La Melle "Stretch" Prince's, records two singles in October of 1969: (A-Side) "The Man That Made A Woman Out Of Me" (track 7); was produced by the late Country Music Famed Owen William Bradley [Bradley, was elected to the Country Music Hall of Fame in 1974, Nashville, Tennessee; more importantly, he is credited as one of the creators of the "Nashville Sound" of the sixties and early seventies] and recorded at his historical recording studio "Bradley's Barn" in Nashville, Tennessee with the legendary world renowned male quartet singing back up vocals, The Jordanaires. Hence, La Melle Prince, is considered one of the most intriguing, distinct and unknown artist on this collection [*note, her memoirs and a pending screenplay by her nephew A. David Burleigh (Record Producre/ Artist/ Singer-Songwritre) is forthcoming...]. Also, a must mention, are the world famous Pointer Sisters and there 1974 Country Music Grammy winner hit song from their LP Fairytale entitled "Fairytale" (track 12); as well as, Ruby Falls endearing up-tempo song, "Show Me Where" (track 13). Overall, these moving and inspirational stories of songs from the 'The Stringband Era' to the 'The Soul Country Years' and on 'Forward With Pride' present a new and old landscape of performances that any music lover can appreciate... So my recommendation to you reading this review would be to (don't stand there...) find a copy and buy it... destine to become a collectors jem in value and in spirit in years to come!
*Note, now with all that 'above' being said, on a personal note my interesting role and involvement in this project began some years ahead of the release date of February 1998; hence, in 1995, my contribution of La Melle Prince's memorabilia, notes and background information was presented and personally delivered by me to the Country Music Foundation (CMF) in Nashville, Tennessee. However, it wasn't until the late summer of 1997 that I "got wind" of a pending historical Black American Country music project through some industry friends of mine, that a 3 CD Box Set was going to be released some time in the fall of 1997 by CMF and Warner Bros. Records, Inc. So I immediately made a few calls to some key personnel at CMF and got the confirmation. Indeed the CD was a reality and "green-lit" to go on the market. At that time, I had not given them a copy of Prince's (October 1969) Decca 45" single vinyl recording yet (A-side) "The Man That Made A Woman Out Of Me" and the (B-side) "All Alone In This World Without You"). In short, I flew back to Nashville and drop a copy of the single off to the CMF...some weeks later got a call from them stating that in a written agreement between CMF & Warner Bros. Records, Inc. that Prince's contribution was of vital importance and needed to be placed on the project before release; therefore, pushing the release date of this CD project up to February 1998. Hence, the costly efforts of placing Prince's song (A-side, "The Man That Made A Woman Out Of Me") on this CD after the project was in "The Can" had become a reality, of which you now can enjoy! Moreover, it seems "fate" would have its way again, her placement on this CD could very well be blamed on sur' luck... However, Prince would always say that her lucky number was always 7; i.e., the CD's initial release date year (1997) and her song placement was on track 7 [Disc 3]... By the looks of it, I guess 'on the record' she was right... (La Melle Prince, born January 7, 1927 Kennett, Missouri - presumed death 1991 Los Angeles, California).
*Finally, due in part to the scheduling and break down of communication links between CMF, Warner Bros. Records, Inc. and myself, I was (uncredited) in the "thanks to" notes info.; however, on a happier side of things, I was very grateful to be able to have the opportunity to honor my aunt's musical achievements here on this CD Box Set project-- a gift to the world. Thus, later Warner Bros. Records, Inc. and the Country Music Foundation literally promised me an official credit in the future second "run-thru" (10,000 copies) of their next re-print editions... of which I give big thanks!
*Footnotes: (a sidebar interest), for all The Jordanaires fans including myself, I personally had the great honor of meeting with 3 of the 4 post-original living members on July 1998 at the Gold Coast Hotel in Las Vegas, NV. The gentlemen or as I like to say the original 'boys-to-men' included: Mr. Ray "BassMan" Walker and Gordon "LiteFoot" Stoker and Neal Matthews (1953-2000). An interesting coincidence happened during my conversation with Gordon, we discovered that his son Alan Stoker was the chief engineer and disc transfer person for the project "From Where I Stand: The Black Experience In Country Music ©1998," and Gordon was totally unaware that this project was conceived or even that his son worked on it. So he asked to use my cell phone and called his son right there and said, "Hey Alan, what is this project, the Black Experience of Country Music? You forgot to tell me about this gem..." The look of excitement on Gordon's face that moment was something to behold and cherished forever in my mind-- small world huh?
*Furthermore, most notably, Elvis Presley used The Jordanaires on nearly every one of his recording sessions for nearly 14 years. At a time when no backing musicians, producers, or engineers received name recognition on any records, Elvis insisted that he have the "Jordanaires" on the "labels" of his records. The reflected glory was enough to earn the Jordanaires "Group of the Year" awards well into the Beatles era.
*The Jordanaires were familiar with Elvis by 1956, partially because, Hank Snow had told the Grand Ole Opry artists that there was a young man "...tearing up the stage..." on some of the Country shows and that "...no one would follow him..." and, that, "...when he left the stage, the audience went with him..." Elvis was, certainly, familiar with the Jordanaires. Of all the music Elvis knew and loved, it was the gospel quartets that touched him most deeply. The Jordanaires were among Elvis' favorites, because, he heard them every Saturday night on the Grand Ole Opry. Formed in 1948 in Springfield, Missouri, the Jordanaires arrived in Nashville in 1949, immediately securing a spot on the Opry. Their music was spirited and black-influenced, very much in keeping with Elvis' tastes. "We were the first white quartet to sing spirituals..." Gordon Stoker asserted. It was music that moves, that you can snap your fingers to." Elvis could relate.
*The group, Bill and Monty Matthews (brothers, and, no relation to Neal), Bob Hubbard, and, Culley Holt who all hailed from Springfield, MO., soon changed. In 1950, Gordon Stoker replaced the lead tenor, in '52 Hoyt Hawkins replaced the baritone, in '53 Neal Matthews became the second tenor, and, bass singer Culley Holt, left in December '54 to be replaced by Hugh Jarrett. It was this line-up consisting of Stoker, Hawkins, Matthews and Jarrett, which made up the group that backed Elvis on most of his sessions in the mid '50s. They also appeared in his movies and on some of his landmark television appearances as well. Hugh Jarrett, left in 1958 and was replaced by bass singer, Ray Walker, this line-up remained for the next 24 years. Hoyt Hawkins died in 1982, and was replaced by Duane West, who had filled the baritone part, intermittently, since Hoyt had first fallen ill in the '70s. Duane became ill in 1999 and Louis Nunley stepped in. Neal passed away in April of 2000, and, Curtis Young has stepped in. Currently, the Jordanaires consist of Gordon Stoker, Ray Walker, Louis Nunley, and, Curtis Young. [some excerpts taken from the Jordanaires website].
--A. David Burleigh (aka: "Big Dave") an 'AmeriCanadian' Record Producre/ Artist/ Singer-Songwritre.
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