Steel Guitars and Dobros

New MoRivCC news

2007-01-16T18:23:00.000-08:00

MoRivCC Connects to the Community
The Missouri River Cultural Conservancy will be conducting meetings to finalize Vision Planning for the organization. MoRivCC will be inviting members of other organizations to participate in Planning Sessions which will identify how MoRivCC with its video recording capabilities can best interact with the community.The Mission of the Missouri River Cultural Conservancy is to document, record, archive and foster awareness of the unique history and culture of the Central Missouri River Region.MoRivCC has been recording music, dance, and art festivals. Shows have been produced and broadcast on local community access TV, CAT3. What else should be considered important to documenting the culture of our area? What educational and historical opportunities should be considered? What can MoRivCC do for your organization and community? This is your opportunity to share your ideas and have them incorporated into the long range plan for MoRivCC. MoRivCC recently put its new website on the internet.. Keep checking www.morivcc.org for more information about upcoming meetings, recording sessions, photos of recently recorded events and links to MoRivCC videos. www.morivcc.org
MoRivCC Videos
MoRivCC has been providing programming for CAT3 TV since the summer of 2005. Videographer/Producer Scott Wilson continues to record and produce shows. He has completed 8 of 9 shows from last winter's Winter Sessions at Cooper's Landing. He has continued to record events at Cooper's as well as Lupus and Columbia. Artists recorded include: Bob Dyer, Lee Ruth, Pete Szkolka, Sutu Forte, John D'Agostino, Dave Bandy, Hilary Scott, Al Jolly, Noah Earle, Rocket Kirchner, Chump Change and many more. Scott's newest program, The Music Show, has been recorded with improved audio and should be available for viewing on CAT3 for some time. Scott's next projects include: 1. Prepare a 10 minute video to present to local/regional media.
2. Archive David Dean White's "Winter Sessions at Cooper's" performance at Western Manuscript Society.
3. Feb 10 & 14, Recording Violet Vonder Haar & Henry Clay at The Rocheport General Store.
4. Scott will also be helping to produce this years Winter Sessions at Cooper's. Recording sessions will begin Saturday, January 20. The sessions will be detailed on the Cooper's Landing Events Calendar and on the MoRivCC website: www.morivcc.org
Scott Wilson has been donating his time to the success of MoRivCC. He has been camera man, editor and producer of almost all MoRivCC video productions. He serves on the board of directors of MoRivCC and CAT3 TV. MoRivCC and the community owe a debt of gratitude to Scott Wilson for his contributions.
Fullfilling Jerome's Vision
I was blessed to spend a considerable amount of time with Jerome Wheeler the last two years of his life. Jerome was about Love. Love for music, his friends, his family and his community. In November 2004 we were brainstorming about what we could do for the local music community and came up with the idea of video recording the incredible music in this area and showing it on TV. What an incredible concept! By using video recordings we can make the community aware of its own culture and we can make the rest of the world aware of what makes our community unique..As we brainstormed with other people we quickly realized this project could be much bigger than we had first imagined. Musicians will benefit from the TV exposure to help their musical careers. And how can we document music as a cultural event and leave out other performing, literary, and fine arts? By becoming good at video production we can become teachers to the local community empowering the community to use the technology. And what other projects could MoRivCC make possible. Could MoRivCC videos benefit other local organizations? Local Businesses? Could Columbia become a nationally known hub of video recording technology with ties to universities, trade unions, and associated organizations? How about things we have not thought of yet?
At the first meeting called to share this idea with the community in December of 2004, Jerome Said: "There are several possible ways we can go about this, but neither Mike nor myself know for sure if they are viable or realistic. Some May involve private funding, some may involve grants for public monies, some may involve a combination of both. We need to assemble people with the knowledge of what we can do and what we can't do and how to go about what we can and how to get around what we can't. Let's find some way to do this."
Jerome died two months after writing these words. But now two years later, it is amazing to see his ideas being accomplished. Now it is time to take this organization to the next level by identifying and forming partnerships with other organizations that can benefit from and contribute to MoRivCC. Now is the time for MoRivCC to share its internal vision with the larger community. By listening to the ideas of people and organizations who can look at MoRivCC from the outside, MoRivCC will form successful partnerships. MoRivCC and the community will develop successful strategies to accomplish Jerome's vision.
"The clock is running out on many of our local treasures and we are afraid that if we don't act quickly several songwriters will be beyond our reach."Jerome Wheeler 12-13-04
If you have ideas to contribute or want to attend planning meetings contact: webmaster@morivcc.org You can stay informed about MoRivCC issues and events at www.morivcc.org.

More and more music

2006-12-31T12:21:00.000-08:00

When your in Branson come hear me,

Every monday at the Big Bear Resort, Hollister, MO 7pm -10pm.

Every wednesday at Remington's, Shadow Rock Lodge, Forsyth MO 6305pm-930pm.

Every thursday at the KOA campgrounds, Branson, MO 630pm-930pm.

Every friday at the Beach House Cafe, Rockaway Beach, MO 630pm-930pm.

Looking forward to seeing you.

DDW

Missouri River Cultural Conservancy (MoRivCC) new website

2006-12-31T12:14:00.000-08:00

Got to this address to see
MoRivCCThe Missouri River Cultural Conservancy new website

http://www.tranquility.net/~morivcc/

Missouri River Cultural Conservancy (MoRivCC)

2006-12-04T09:13:00.000-08:00

MoRivCC is moving forward. Also, we now have a domain name, morivcc.org

Please help support this important non-profit group.

Celebrate art and environment
Published Thursday, September 28, 2006
Hang out this weekend by the Missouri River at the EcoArtFest held at Cooper’s Landing, an event that combines art, music and education while celebrating the river, its ecosystem and its culture. Events include music by more than 20 musicians, an art show, environmental information booths by private and government groups, and a recycled-materials fashion show. An Indian Artifact Show and Tell, held as part of Missouri Archaeology Month [hosted by David Dean White, Trustee of the Missouri Archaeological Society], runs from 2 to 5 p.m. Saturday. A fundraiser for the Missouri River Cultural Conservancy, the EcoArtFest runs from 2 to 10 p.m. Saturday and 2 to 7 p.m. Sunday.

Missourian News
November 8, 2006
Culture videos get tentative home
Footage of artists is offered a home in an archive in Ellis Library.
By HEATHER ERVIN

For more than a year, Scott Wilson has kept busy in pursuit of his passion: video production. Wilson quit a job with Verizon that he’d held for 19 years to film and edit videos for the Missouri River Cultural Conservancy.
With nearly 35 hours of footage that features local performers, Wilson, 44, realized the need to archive the materials and share it with the public. He has found a prospective home for the videos at the Western Historical Manuscript Collection at MU’s Ellis Library.
Legal details involving copyright and ownership issues need to be finalized before the conservancy can begin storing the videos at the library site.
“We’re glad the conservancy is capturing these performances and offering them to our repository, where they will be available for future generations,” said David Moore, associate director of the Western Historical Manuscript Collection. “The materials will make a wonderful addition to our holdings.”
The conservancy is the brainchild of the late singer-songwriter Jerome Wheeler, who wanted to promote the local art community.
“Wheeler had the idea to archive folks before they died,” Wilson said. “Two months later, Wheeler died.”
Two other prominent Columbia musicians, Forrest Rose and Ken Shepard, also died before they could be included in the project.
The footage contains mostly the work of local singers and songwriters, but Wilson said the nonprofit organization would like to archive additional artists such as actors, writers and poets.
“Our goal is to have these other artists archived by the end of 2007,” Wilson said.
“By doing this, we can freeze-dry time and still influence future generations,” Wilson said. “Not only can we hear the artist’s voice, but we can see their art and faces as they were in that time.”
The Columbia public access channel, CAT3 TV, has aired some of the archived footage under the title Winter Sessions at Cooper’s Landing. In addition to airing the footage, CAT3 TV has provided training, equipment and editing space to Wilson and the conservancy.
Original, local artists of all ages are archived for free by the conservancy, which receives funds through special events at local venues or donations.
“We are thinking of ways to raise money to purchase more equipment and meet our goals,” said conservancy board member Mike Cooper, owner of Cooper’s Landing . Cooper said the group is hoping to have a fund-raising event in Columbia next spring to make the community aware of the organization and help finance the archiving project.
“We encourage more involvement with local artists in this project,” Wilson said. “Everyone has a song.”

http://digmo.org/news/story.php?ID=22749

The 4th most popular holiday destination in the world. Branson, MO

2006-12-03T08:33:00.000-08:00

I got an invitation from Clay Cooper to meet him at his show and get to know him. He had the box offfice have a couple of free tickets waiting for me. He is an excellent singer and has a great show. He is looking for a steel player.
Check out his website
http://www.claycooper.biz/photos.html

I teach dobro and non pedal steel now

2006-08-15T13:01:00.000-07:00

Check out my web ad at
http://www.grifdigital.com/cgi-bin/teachlist/search.cgi
David Dean White
City: Columbia
E-mail: daviddeanwhite6@hotmail.com
Web page: http://www.garageband.com/artist/DavidDeanWhite
Phone: 573/544-6031
Rate: 50.00 per hour
Skill/Age group: I teach all age groups
Band or Group(s): Wilton Hills
Comment(s): Learn how to play Dobro in any setting. Also, you can learn how to play non pedal steel guitar in many different tunings from Hank Williams to Jerry Byrd and beyond.

Wilton Hills

2006-08-15T12:57:00.000-07:00

I am playing dobro in the the bluegrass band "Wilton Hills" this month. It's a good mix of some fine Missouri musicians. Jesse and Lydel on guitars and vocals, Lee on fiddle and banjo, JP on mandolin, Joe on bass and me on the dobro.
We have two gigs in August.
Check out my website for dates and times.
http://www.garageband.com/artist/DavidDeanWhite

Branson Missouri

2006-06-13T07:49:00.000-07:00

I am in Branson to seek my fortune! Music and shows everywhere you go. But, how to get a break is still unknown. I have made some good contacts so far. I have brought an acoustic Dobro and an electric steel guitar in case I get an audition. More later. DDW

The new era begins

2006-05-16T13:18:00.000-07:00

I am on vacation now. Enjoying every day of it. Looking to play Dobro or Steel Guitar in a band this year. Lewis and Clark Part II is done. Video recording of it done for CATV, Columbia, Mo.
Will release a cd and dvd package soon. Then on to Lewis and Clark Part III to complete the trilogy.
Grass is cut, garden is growing, kids are fine, I am healthy, car is running, so many books and so little time, life is good.

I'm Back.

2006-03-17T09:52:00.000-08:00

I have been away a long time. Have you missed me.
Some recent events include being elected Chairman of the Missouri River Cultural Conservancy for a one year term.
Video taping of Lewis and Clark Part One and Part Two songs for CATV, Columbia, Mo.
Hope you are all doing good.
DDW

The Cedar Creek is rising.

2005-09-21T10:12:00.000-07:00

Come hear Cedar Creek at Fat Boys in Boonville, Mo. every other friday evening from 7:30 to 10:30 pm starting this friday 9/23/2005. Your going to love the sounds of traditional country, bluegrass and old time rock and roll. With Steve on vocals and guitar. Rick on upright doghouse bass. And David Dean White on dobro and fender stringmaster non pedal steel guitar.
Also, David is hosting an open jam at Jim's Bar in Tebbets, Missouri, every sunday from 2:30 pm till ...............................

Listen to "Sgt. Pepper's Lonely Hearts Club Band" and "Let it Bleed" to see how it should be done on record.

2005-08-24T06:28:00.000-07:00

I recently re-listened to the Beatles and the Rolling Stones, my personal favorites of theirs. I encourage you to do the same.

http://en.wikipedia.org/wiki/Sgt._Pepper's_Lonely_Hearts_Club_Band

http://beatles-lyrics.org/sgt_peppers_lonely_hearts_club_band/

http://www.timeisonourside.com/lpBleed.html

http://www.keno.org/rolling_stones/let_it_bleed.htm

http://www.timeisonourside.com/whydontLQ.html

Listen closely to both and enjoy!

DDW

Bridge Recording Studio, Missouri. WOW!!!!!!!!!!

2005-08-20T19:10:00.000-07:00

I met Shannon today and discovered a kindred spirit.

For all my musician friends .....THIS is the PLACE to RECORD your project!

I hope I can be there with you.

http://www.bridgestudio.com

Location
Located in the Center of North America, near beautiful Lake Ozark, Mo
Just 45 minutes north of Jefferson City, MO, or 30 minutes west of Columbia, MO
Creativity unlimited with 65 acres and a lake at your leisure - bring your dog !

To be honest, it was kind of like when Mick Jagger and Keith Richards found Jimmy Miller, when Johnny Cash found Rick Rubin or when Paul McCartney and John Lennon found George Martin.
Shannon is the MAN!

DDW

September 10, 2005 from 2 to 5 pm at Coopers's Landing. Artifact show and tell.

2005-08-17T11:55:00.000-07:00

Missouri Archaeology MonthSeptember 2005
Missouri Archaeology Month is designated as September of each year. In September of 2005, the theme of the poster and the fall symposium is the Mississippian period. The primary weblink for Missouri Archaeology Month can be found at : http://coas.missouri.edu/mas/archmonth/moarchmonth.htmlThe MAS needs help compiling photographs or illustrations of sites, artifacts, and features that could be used on this year's poster. We also are seeking text summaries of specific sites and corresponding illustrations for the back of the poster. Text submissions should be 500 words or less. If you would like to contribute, then please contact Tim Baumann at:Department of AnthropologyUniversity of Missouri–St. LouisOne University Blvd., Clark Hall 507St. Louis, MO 63121-4400Email: tbaumann@umsl.eduOffice: 314-516-6021Fax: 314-516-7235 Symposium: The annual archaeology symposium for 2005 will be held on September 24 in Columbia and will cover research on the Mississippian period. If you would like to participate in this symposium, then please notify Joseph Harl at 314-426-2577 or Tim Baumann (see above).
Programs: It's that time again—we've got to get our list of activities finalized so that they can be printed up in time for distribution. If you are interested in participating either as a presenter or by creating an exhibit, then click here to download the Program Planning Form. It must be turned in by June 1 to be certain of making it into the printed list of activities. If you have any questions or if you would like to send in your programs via email, then send them to Tim Baumann at tbaumann@umsl.edu.

Come to Cooper's Landing for Archaeology Month in Missouri.

http://coas.missouri.edu/mas/archmonth/2005Program.pdf

http://coas.missouri.edu/mas/archmonth/activities.html

http://coas.missouri.edu/mas/masinfo.html

http://www.digonsite.com/guide/missouri.html

Mid-Missouri Music Festival a HIT!

2005-08-15T06:12:00.000-07:00

Cedar Creek played the 1st ever Mid-Missouri Music Festival on Saturday.
Great sound system, great crowd and great fun for a good cause.

DDW

Fans gather in the amphitheater of Veterans Park in Fulton to hear The Frantic Vim. The band tried to take the stage during a break in Saturday afternoon's rain, but the weather forced organizers to cancel the remainder of Mid-Missouri Music Festival. (Fulton Sun/Stephen Nellis photo)

After nearly two months of planing, the bands were rocking and fans were enjoying food and music at Saturday's Mid-Missouri Music Festival in Veterans Park in Fulton, but unrelenting rained forced organizers to call off the show.The festival doubled as a fundraiser organized by Running Man NFP, Inc.The not-for-profit corporation - formed by local youths - channelled the event's proceeds to the family of Brooke Spry, a local 19-year-old who has central sleep apnea and still needs nearly $60,000 for a life-extending operationThe skies opened as Cedar Creek neared the end of its set, but the band kept playing and organizers held out hope that the rain would pass. The Frantic Vim - the festival's next performers - took the stage and played on during a break in the weather, but organizers were forced to cancel the rest of the show after six bands at around 5 p.m."It's getting dangerous and we don't want anyone getting hurt or anyone's property damaged," said organizer Justin Easely.Organizers gave the remaining bands the option of braving the weather to play an acoustic set beneath one of Veterans Park's pavilions.Despite the weather, the completed portion of the festival was a resounding success.
Sammie Price of Fulton drops a donation for the family of Brooke Spry into a jar as she takes a copy of The Passion's CD at the Mid-Missouri Music Festival at Veterans Park in Fulton Saturday afternoon. The band gave their CDs away for free in exchange for a donation. (Fulton Sun/Stephen Nellis photo) "Everything went very smoothly and all the volunteers have been great," Easely said. "It's better than we could have hoped for, and I want to do it again next year."Although the skies above were less than ideal, Fulton Parks and Recreation director Clay Caswell found the ambiance of the festival pleasing."It's a good atmosphere - nice and relaxed," Caswell said. "We've got a good mix of people. It's nice and diverse, and there are a lot more young people out than I expected."Caswell said he also found the founders and volunteers of Running Man NFP, Inc., extremely helpful in running the day's events."They're very organized," Caswell said. "This thing went off without a problem. The bands are all showing up on time, so it's obvious that they've done some good work and communication."City officials also were impressed with the day's turnout, despite the weather and the fact that the show was canceled before the evening hours - when the most fans were anticipated."In total, we had more than 200 people," said Recreation Program director Wendy Lentz. "(The rain) is disappointing, but we're going to do more events like this (in the future)."Festival organizers from Running Man NFP, Inc., hope to put on the festival again in the future."We definitely want to do this again next year," said organizer Shawn Fennewald.Fennewald's corporation had planned the event to benefit Spry's family and raised money throughout the day by taking donations and selling T-shirts. Although the festival was canceled, those wishing to donate to the Spry family may still send donations to Running Man NFP at 905 Dixie Ave., Fulton, MO 65251.

http://www.fultonsun.com/articles/2005/08/14/news/139news11.txt

Check out Chris Brotherton's New Blog

2005-08-10T09:28:00.000-07:00

It makes me glad to see that Chris has taken to Hank Williams. I hope he goes far with portraying this great American Icon and keeping his music alive.

ps. There is even a pic with yours truely on his blog. I am the one on the far left playing steel guitar in the dark corner.

Go check out his new Blog.

http://www.chrisbrotherton.com/

DD (Shag) W

Mid-Missouri Music Festival

2005-08-09T14:29:00.000-07:00

I will be playing in this 1st ever festival this saturday. Hope you can all be there.

DDW

Fulton music festival coming togetherBy STEPHEN NELLISThe Fulton Sun
City of Fulton Parks and Recreation Director Clay Caswell, left, looks on as Shawn Fennewald address the Fulton City Council at its meeting Tuesday night. The Council voted to allow organizers of Mid-Missouri Music Festival to contract vendors for the all-day concert to be held Aug. 13 in Veterans Park. (Fulton Sun/Stephen Nellis photo)

Organizers of a new local music festival convinced the Fulton City Council Tuesday that allowing food and crafts vendors would boost fundraising and drawing power at their upcoming event.The Mid-Missouri Music Festival - to be held Aug. 13 at Veterans Park in Fulton - is being co-sponsored by the city and a non-profit company formed by four local youths, and is a first for the city in both scope and purpose.Fulton residents Erik Ross, 17, Justin Easely, 19, Shawn Fennewald, 20, and Steven Hickman, 20, plan to donate all proceeds from the event to the family of Brooke Spry, a Fulton youth who has central sleep apnea and still needs to raise nearly $60,000 for an operation to extend her life.The Parks and Recreation department has reserved all of Veterans Park for the concert, which will feature 10 bands from around mid-Missouri."This festival would be a top-level music festival in areas the size of Columbia or Springfield," Fennewald said. "We have bands that are getting significant radio play."According to organizers, the day's music will feature acts ranging from metal to country."I think they've got a good lineup of bands," said Parks and Recreation director Clay Caswell.
"It's a complete blend - something for everybody," Fennewald said.Organizers went to the City Council seeking approval of vendor contracts because they believed having food and other fun on hand would help convince patrons to stay all day.The proceeds from renting out space in the park to vendors will be donated to the Spry family.While organizers have already signed on two vendors, they still hope to attract more."I'd like to have three or four more," Caswell said.Fennewald said the city has been a tremendous help in organizing the show."Parks and Rec has been our best partner in this," he said while addressing the council.Caswell said his department would be working with police chief Steve Myers to handle security and parking for the festival."It could be 500 (people) or it could be 2,000," Caswell said.First-year worries aside, organizers are predicting success."The thing I'm most excited about is the thought of kids here not having to go to Columbia to catch something quality," Fennewald said. "I'm also excited about kids from Columbia coming here.""I hope we can do this year after year," Caswell said.

http://www.fultonsun.com/articles/2005/07/28/news/156news01.txt

Ryland Peter Cooder is my all time favorite musician

2005-07-25T10:33:00.000-07:00

Ry Cooder, born in Los Angeles in 1947, is a guitarist, composer and producer, though he gained his world-wide reputation primarily as a Slide-Guitarist.He played in Captain Beefheart's Magic Band, and has also accompanied such artists as Gordon Lightfoot, the Rolling Stones, Eric Clapton, Randy Newman, John Lee Hooker and many others. Although influenced early on by blues, he became a pioneer in resurrecting the traditions of "World Music," a concept that was entirely new at the time. He devoted himself to Country and Folk music, Calypso, Hawaiian music, Gospel, Salsa, Jazz, Ragtime and Vaudeville.Ry Cooder has composed soundtracks for more than twenty films, among them Wim Wenders' "Paris, Texas", and "The End of Violence

http://www.ryland-cooder.com/

Check this list out. Wow!!

Year
Artist
Album
Label/Ref
1995
A.J. Croce
That's Me In The Bar
Private 82127-2
1991
Aaron Neville
Warm Your Heart
A&M 75021 5354-2
1997
Afro Cuban All Stars
Afro Cuban All Stars
World Circuit WCD 047
1970
Alex Richman
Salty
Capitol ST 11004
1994
Ali Farka Toure
Talking Timbuktu
Rykodisc HNCD 1381
1968
Anders & Poncia
Anders &Poncia
Warner WS 1778
1969
Arlo Guthrie
Running Down The Road
Reprise 6346
1970
Arlo Guthrie
Washington County
Reprise P-8009R
1972
Arlo Guthrie
Hobo's Lullaby
Reprise MS 2060
1973
Arlo Guthrie
Last of the Brooklyn Cowboys
Reprise MS 2142
1974
Arlo Guthrie
Arlo Guthrie
Reprise MS 2183
1999
Bill Frisell
Good Dog, Happy Man
Nonesuch 79536-2
1973
Billy Mernit
Special Delivery
Elektra EKS 75054
1988
Bobby King / Terry Evans
Live And Let Live!
Rounder 2089
1988
Bobby King / Terry Evans
Seeing Is Believing (3 Versions)
Zensor/Germany
1990
Bobby King / Terry Evans
Rhythm, Blues, Soul &Grooves
Rounder 2101
1973
Brenda Patterson
Brenda Patterson
Playboy PB 109
1971
Buffy Sainte-Marie
She Used To Wanna Be A Ballerina
Vanguard VSD 79311
1997
Buena Vista Social Club
Buena Vista Social Club
World Circuit WCD 050
1967
Captain Beefheart
Safe As Milk
Buddah R-BDS 5063
1967
Captain Beefheart
Dropout Boogie
Buddah 2349 002
1991
Captain Beefheart
Zig Zag Wanderer
Object Enterprises OR 0146
1995
Carla Olson
Wave of the Hand
Watermelon 1046
1996
Carlos Nunez
Brotherhood of Stars
BMG/RCA 4321-45375-2
1967
Ceyleib People
Tanyet
Drop Out DO CD 1991
1995
Chieftains
The Long Black Veil
RCA 09026-62702-2
1996
Chieftains
Santiago
BMG/RCA 9026-68602-2
1996
Clarence Gatemouth Brown
Long Way Home
Verve 314 529 465-2
1973
Claudia Lennear
Phew
Warner BS 2654
1971
Crazy Horse
Crazy Horse
Reprise RS 6438
1968
Dale Hawkins
LA, Memphis &Tyler, TX
Bell 6036
1971
David Blue
Stories
Asylum SYL 9001
1971
Don Everly
Don Everly
Ode 70-77007
1975
Doobie Brothers
Stampede
Warner BS 2836
1988
Doug Legacy And The Legends Of The West
Christmas In Prison/Christmas On The Range (7" Single)
Some Punkins 2121
1988
Doug Legacy And The Legends Of The West
Hey You!
Some Punkins SP.2001
1990
Doug Legacy with the Zydeco Party Band
King Cake Party
Demon 206
1987
Duane Eddy
His Twangy Guitar, And The Rebels
Capitol 7774-68971
1993
Duane Eddy
Twang Thang
Rhino
1999
Eliades Ochoa
Sublime Ilusion
Virgin DGVIR 85
1987
Emmylou Harris, Dolly Parton &L. Ronstadt
The Trio
Warner 9-25491-1
1983
Eric Clapton
Money & Cigarettes
Records / Warner 92.3773-1
1970
Eve
Take It And Smile
LHI l 3100
1972
Everly Brothers
Stories We Could Tell
RCA LSP 4620-RCA
1996
Everly Brothers
Stories We Could Tell - The RCA Recordings
BMG / Camden 74321 432552
1989
Flaco Jimenez
Flaco's Amigos
Arhoolie 3027
1992
Flaco Jimenez
Partners
Reprise / Warner 7599-26822-2
1996
Flaco Jimenez
The Best of Flaco Jiminez
Arhoolie 478
1969
Fusion
Border Town
Atco SD 33-295
1975
Gabby Pahinui Band
The Gabby Pahinui Hawaiian Band - Vol 1
Panini PS 1007
1977
Gabby Pahinui Band
The Gabby Pahinui Hawaiian Band - Vol 2
Panini PS 1008
1993
Gabby Pahinui Band
Best of the Gabby Band 1972 - 1977
Panini
1969
Gentle Soul
Gentle Soul
Epic BN 26374
1970
Gordon Lightfoot
If You Could Read My Mind
Reprise 7599-27451-2
1970
Gordon Lightfoot
Sit Down Young Stranger
Reprise RS 6392
1972
Gordon Lightfoot
Don Quixote
Reprise K4416
1969
Harper's Bizarre
Harpers Bizarre 4
Warner WS 1784
1997
Harpers Bizarre
The Best of Harpers Bizarre
Warner Brothers 9 46261-2
1999
Ibrahim Ferrer
Buena Vista Social Club Presents....
World Circuit WCD052
1996
Jackson Browne
Looking East
Elektra 61867-2
1988
James Luther Dickinson
Down Home (Delta Experimental Projects Compilation, Volume 1, The Blues)
Fan Club FC 044
1968
John Braden
John Braden
A&M SP 4172
1987
John Hiatt
Bring The Family
A&M CD 5158
1991
John Lee Hooker
Mr Lucky
Pointblank 91724-2
1998
John Lee Hooker
The Best of Friends
Pointblank 24384 64242
1974
John Sebastian
Tarzana Kid
Reprise MS 2187
1975
Johnny Cash
John R. Cash
Columbia KC 33370
1999
Jon Hassell
Fascinoma
Water Lilly Acoustics WLA-CS-70-CD
1971
Judy Collins
Living
Elektra EKS 75014
1985
Kim Carnes
Barking At Airplanes
EMI
1993
Kim Carnes
Gypsy Honeymoon - The Best of Kim Carnes
Gold Rush 0777-7-98223-2 4
1977
Larry Groce
Please Take Me Back
MC Records 6-51551
1978
Lenny Carlson
Search For The Floor
Flying High 9501
1970
Little Feat
Little Feat
Warner K46072
1981
Little Feat
Hoy Hoy
Warner 2BSK3538
1992
Little Village
Little Village
Reprise 9-26713-2
1970
Longbranch Pennywhistle
Longbranch Pennywhistle
Amos AAS 7007
2003
Ry Cooder and Manuel Galbán
Mambo Sinuendo
Nonesuch / Perro Verde 7559-79691-2
1970
Marc Benno
Marc Benno
A&M SP 4273
1973
Maria Muldaur
Maria Muldaur
Reprise MS 2148
1987
Marianne Faithfull
Greatest Hits
Abkco 75474
1987
Marianne Faithfull
The Very Best Of Marianne Faithfull
Decca 820 482-2
1968
Mark Levine
Pilgrim's Progress
Hogfat HLP 1
1973
Mike Seeger
The Second Annual Farewell Reunion
Mercury SRM1-685
1968
Monkees
Head
COSO 5008 / AMCY-788
1986
Nancy Sinatra
Boots
Rhino RNLP 70227
1990
Nancy Sinatra
The Hit Years
Rhino RNCD 75885
1969
Neil Young
Neil Young
Reprise RS 6317
1994
Nenes
KOZA Dabasa
Columbia 476824 2
1990
Nick Lowe
Party Of One
Reprise 4 26132
1972
Norman Greenbaum
Petaluma
Reprise MS 2084
1992
Pahinui Brothers
Pahinui Brothers
Panini 01005-82098-2
1968
Pat Boon
Departure
Teragramaton T-118
1966
Paul Revere &The Raiders
Midnight Ride
Columbia CS 9308
1969
Paul Revere &The Raiders
Hard 'n' Heavy
Columbia CS 9753
1983
Paul Revere &The Raiders
Kicks
Edsel ED 123
1989
Peter Case
The Man With The Blue Postmodern Fragmented Neo Traditionalist Guitar
Geffen 7599-24238-2
1982
Peter Moon Band
Cane Fire
Panini PCD-1012
1969
Phil Ochs
Greatest Hits
A&M SP 4253
1992
Pops Staples
Peace To The Neighborhood
Pointblank 92147-2
1994
Pops Staples
Father Father
Pointblank 7243-8-39638-2
1971
Possum
Possum
Capitol ST-648
1970
Randy Newman
12 Songs
Reprise RS 6373
1972
Randy Newman
Sail Away
Reprise MS 2064
1974
Randy Newman
Good Old Boys
Reprise MS 2193
1977
Randy Newman
Little Criminals
Warner BS 3079
1995
Randy Newman
Faust
Reprise 45672-2
1998
Randy Newman
Guilty: 30 Years of Randy Newman
WEA/Rhino R2 75567
1966
Rising Sons
Rising Sons
Columbia CK 52828
1971
Rita Coolidge
Rita Coolidge
A&M SP 4291
1980
Rita Coolidge
Greatest Hits
A&M SP 4836
1990
Rita Coolidge
Fire Me Back
PMV
1973
Rod Taylor
Rod Taylor
Asylum SD 5072
1978
Rodney Crowell
Ain't Living Long Like This
Warner BS 3228
1968
Rolling Stones
Beggars Banquet
PGD/Abkco 7539
1969
Rolling Stones
Let It Bleed
London NSP-4-DECCA
1971
Rolling Stones
Sticky Fingers
Rolling Stones 59100
1972
Rolling Stones
Jamming With Edward
ESS-63006
1969
Ron Elliott
The Candlestickmaker
Warner WS 1833
1970
Ron Nagle
Bad Rice
Warner WS 1902
1970
Scott McKenzie
Stained Glass Morning
Ode SP-77007
1980
Shoukichi Kina &Champloose
Blood Line (Japan Only)
Time Rec 28MZ1001
1992
Shoukichi Kina
Introduction
Sky Ranch 3-383006-523160
1994
Shoukichi Kina
Peppermint Tea House
Warner 9-45159-2
1984
Steve Douglas
King Cobra
Fantasy F 9632
1981
Steve Young
Seven Bridges Road
Rounder 3058
1989
Syd Straw
Surprise
Virgin 91266-2
1967
Taj Mahal
Taj Mahal
Columbia CS 9579
1992
Taj Mahal
Taj's Blues (compilation)
Columbia CK 32465
1983
T-Bone Burnett
Proof Through The Night
Warner 1-23921
1993
Terry Evans
Blues For Thought
Pointblank 7243
1995
Terry Evans
Puttin' It Down
AudioQuest AQ1038
1997
Terry Evans
Come To The River
AudioQuest AQ1044
2000
Terry Evans
Walk That Walk
Telarc Blues CD-83486
1974
Terry Melcher
Terry Melcher
Reprise MS 2185
1996
Texas Tornadoes
4 Aces
Reprise 46197-2
1984
Textones
Midnight Mission
Gold Mtn 86010
1994
Tractors
The Tractors
Arista 07822
1979
Van Morrison
Into The Music
Warner HS 3390
1993
V.M.Bhatt, Ry Cooder &
A Meeting By The River
Water Lilly Acoustics WLA-CS-29-CD

http://www.100megsfree4.com/deltabluesmn/artists/ry_cooder.htm

http://www.slipcue.com/music/country/countryartists/rycooder.html

http://www.rycooder.nl/

http://www.messyoptics.com/bird/ry.html

http://www.themusicarchive.com/photo/russ/russ-cooder1.htm

http://musicstore.mymmode.com/artist.do?artistID=6205764

Ken Shepherd AKA Ken Wikowsky went for a jog and was called home.

2005-07-21T14:26:00.000-07:00

The great Mandala "The Wheel of Life" keeps spinning.

I'm sure many of you have heard, some maybe have not...Central Missourilost another musical treasure yesterday. Ken Shepard has passed from thislife to the next. Like Jerome and Forrest, Ken was part of the foundationof the music movement here in Columbia. His wit and musical chops will bemissed!Also, like Jerome and Forrest, Ken died on the 20th of the month...I can tell you one thing...there are sure to be some amazing jam sessionsin heaven.Grace and Peace, Ken - Jerome - Forrest

He owned Crazy Music in Columbia, Mo.

http://crazymusic.com/

Crazy Music’s Shepherd dies while jogging Fellow musician remembers owner’s ‘remarkable voice.’
By SARA AGNEW of the Tribune’s staff
Published Friday, July 22, 2005
Lee Ruth first met Ken Shepherd in 1963 at a "hootenanny" in the student union at the University of Missouri-Columbia. As Ruth recalls, Shepherd’s guitar playing needed some work, but oh my could the man sing.
Shepherd Shepherd had a tenor voice so sweet and pure that its beauty could stir even the hardest of hearts.
"Ken showed up with a guitar and this remarkable voice," Ruth said. "That was the first time I laid eyes on him, and I’ve known him ever since."
Shepherd, 61, owner of Crazy Music Sound & Light at the corner of Tenth and Ash streets since 1973, died Wednesday afternoon after collapsing while jogging on the MKT Trail.
Bruce Rice, owner of Parker Funeral Service & Crematory, 22 N. Tenth St., which is handling the arrangements, said Shepherd was transported to University Hospital, where he was pronounced dead. Services are pending for next week at the funeral home.
Shepherd was an icon of the local music scene, collaborating with other musicians such as Ruth on a number of musical projects. He owned and operated Crazy Music, where his special sound system applications were his passion. They can be found across the state, from the Capitol building in Jefferson City to MU.
Shepherd grew up in Illinois near St. Louis and earned a small scholarship to MU. In those days, Shepherd was known as Ken Wikowsky, but the budding songwriter changed his name shortly after moving to Columbia. Once he changed his name, songwriting success seemed to come more easily. Shepherd’s name can be found on Ozark Mountain Daredevils records as well as others.
However, it was Shepherd’s quirky sense of humor that also made an impression on people.
Lee remembers a typical Shepherd antic during a musical gathering in 1965.
"He came in with new strings on his guitar, but instead of curling them back or cutting them off," Lee said, "he had pulled the strings straight out, just for the humor of it. He got a good laugh out of that."
Bill Barnhouse, general manager of Crazy Music, said he first met Shepherd 27 years ago, when his dad took him to Crazy Music to buy stage lighting for his teenage son’s band.
"There are hundreds of people who can tell that same story," Barnhouse said. "He was constantly in motion. He had a lot of plans for the business and for himself. He had a lot of irons in the fire. He wasn’t one to sit back and wait for the world to come to him."

http://www.columbiatribune.com/2005/Jul/20050722News006.asp

and

http://radioranger.org/LeeRuth/Ramblinwoman.htm

http://www.columbiatribune.com/2005/Jul/20050726Obitindex.asp

So Close To The Feeling
(Ken Shepherd)Hearts On Fire, 1978
______________________________________________________________________
Lyrics______________________________________________________________________
(GUITAR SOLO INTRO)
so close to the feeling
so close to the feeling
so close to the feeling

not that he cared very much
simply lost touch with his family
gone too long a while
the house of the child fell empty
now he's gone too far to ever come back
he just does not care for the quality
he lacks

he is so close to the feeling
so close to the feeling
just one step away

once down the open road
he could put some ground behind him
now he knows, and he can't be told
with only the wind to remind him
about his world - the way it was before
when he left it all behind for not very much and nothing more

he is so close to the feeling
so close to the feeling
just one step away

now he has nothing left
but one thing he carries
love and forgive the rest
free from hurt and worry
now he doesn't care for what he couldn't save
'cause he had it all once
and he gave it all - away

just to be so close to the feeling
so close to the feeling
so close to the feeling
just one step away

DDW

My first job interview in seventeen years for the state of Missouri

2005-07-15T08:33:00.000-07:00

Got up at 5:30 am to go to my job inteview at the Department of Mental Health Central Office in Jefferson City this morning. Took me 45 minutes to drive 35 miles one way.
Interviewed for the Central Unit Chief position in the investigations unit.
Rattle and Hum!
DDW

Missouri University Children's Hospital benefit gig

2005-07-14T15:22:00.000-07:00

Spent the afternoon playing Dobro with Barry Gainor and friends at the Cherry Street Artisan Cafe. The audience made cash contributions to the MU Children's Hospital.
Miss Connie even got a free lunch because I played.
A day well spent for a good cause.
Thanks Barry.
DDW

The Late Great Jimmy Martin

2005-07-12T15:56:00.000-07:00

Our sincere thanks goes out to all those who have shown their love and support for Jimmy Martin. Jimmy's memorial service was May 18, 2005 at Cornerstone Church in Madison, TN, and he was buried nearby at Spring Hill Cemetery.
Jimmy Martin passed away this morning, May 14, 2005 at approximately 8:45. Jimmy fought hard to beat the health problems that plagued him. He was hoping to be with us at Bean Blossom this June, and we are all saddened that it was not meant to be. To all of you who wrote and emailed the King of Bluegrass, please know that he took great pleasure in hearing from you. I spent many hours sitting with him at his computer helping him sort through emails and typing responses as he uttered them. Often Jimmy would be touched emotionally by the nice things his fans wrote to the point of crying. Jimmy will always be the King, and there will never be another like him.
Funeral arrangements to be announced
http://www.jimmymartin.org/

and

http://www.kingofbluegrass.com/

Truly one of the all-time great bluegrass singers, the self-proclaimed "King of Bluegrass" was Bill Monroes' lead singer in the Bluegrass Boys in the early 50's. He also played with the Osborne brothers for many years, and of course with his own band, the Sunny Mountain Boys, with J.D. Crowe. His voice can be heard on such Bill Monroe classics as "Uncle Pen", "0n and On", and "Letter From My Darlin", and he is best known for his classics, including "Hit Parade of Love", "Sunny SIde of the Mountain" and "Sophronie". A bluegrass "character" in every sense, Jimmy unfortunately didn't gain the widespread public recognition of Monroe, Flatt and Scruggs, or the Stanleys, but he has a special place in the hearts of all true traditonal bluegrass enthusiasts.

http://www.bluegrasslyrics.com/jimmy_index.cfm.htm

Bluegrass singer Jimmy Martin dies at 77
NASHVILLE (AP) — Jimmy Martin, a pioneering bluegrass singer and guitarist who performed with the Blue Grass Boys and many other musicians, died Saturday. He was 77.
Jimmy Martin, a pioneering singer and guitarist known as "the king of bluegrass," is remembered for his " high lonesome sound."
AP file
Martin died in a Nashville hospice, more than a year after he was diagnosed with bladder cancer, said his son, Lee Martin.
"He loved bluegrass music, country music. Bill Monroe was his idol and someone he patterned himself after musically," Lee Martin said, referring to bluegrass legend Bill Monroe, head of the Blue Grass Boys.
After performing as lead vocalist for the Blue Grass Boys periodically through 1955, Martin formed his own band, the Sunny Mountain Boys, and recorded with Decca records for 18 years.
"In his heyday, he could take an audience of any size and have them eating out of his hand," said Sunny Mountain Boy member Bill Emerson. "He'd just smoke those people, and they'd be waiting in line for him when he got offstage."
Martin recorded several bluegrass standards, including Rock Hearts,Sophronie,Hold Watcha Got,Widow Maker and The Sunny Side of the Mountain.
Martin was inducted into the International Bluegrass Music Association's Hall of Honor in 1995. His life was also the subject of an independent documentary film, King of Bluegrass: The Life and Times of Jimmy Martin, which was released in 2003.
"Jimmy's strong, high vocal range pushed (Bill) Monroe's tenor up into the sky, helping shape what has become known as the 'high lonesome sound,'" wrote George Goehl in the liner notes to Don't Cry To Me, a compilation that accompanied the documentary.
According to the film's Web site, Martin was fired at the age of 21 for singing on the job at a factory in Morristown. He then went to see the Grand Ole Opry in Nashville and talked his way backstage, where he persuaded Monroe to sing a couple of songs with him.
In the late 1950s and 1960s, Martin performed on both the Louisiana Hayride and WWVA Wheeling Jamboree, which were well-known country music shows. He also made guest appearances on Nashville's Grand Ole Opry, but never became a regular cast member, which was his childhood dream.
Martin collaborated with many other artists throughout his career, including the Nitty Gritty Dirt Band. His voice was the first heard on the Dirt Band's Will the Circle Be Unbroken album in 1972, and his appearances on subsequent albums brought his feisty spirit to audiences that might never have attended a bluegrass festival.
"Jimmy's temperature is higher than the rest of ours," Dirt Band member Jeff Hanna said in a 2002 interview. "He's a wild man in the best sense of the term, and he's the only one who brought the fire of rockabilly music to bluegrass."
Martin performed until his later years, usually from April until October. He also served as a mentor to many musicians, including J.D. Crowe and Paul Williams.

Jimmy Martin: A Life In Bluegrass Music. Part 1: The Early Years
Jimmy Martin was not the first great bluegrass lead singer. But he is the epitome of bluegrass singing, and has no peer. Martin was first heard with Bill Monroe on classics such as "Uncle Pen", "Walking To Jerusalem", and the incredible "On And On", available on Monroe's Country Music Hall Of Fame Series disc (MCA).
According to legend, in 1949, a young factory worker from Sneedsville, TN went down to the Grand Ol' Opry to meet Bill Monroe in the hopes of replacing guitarist/singer Mac Wiseman, whose departure was imminent, in Monroe's Blugrass Boys. Martin recalls:
"I was paintin' machinery in a factory in Morristown, TN, and I was playin' on WCPK from 4:30 to 5 every evening. I got fired on my job for singin' too much, and I cussed out the foreman for firin' me. When I went back after my clothes, I seen him on the street, and told him, 'Listen in on Saturday night, 'cause I'm singin' with Bill Monroe on the Grand Ol' Opry.
"I'd been playin' on the radio a couple years, but all my life I'd been listenin' to the Opry, and I had always wanted to see Bill Monroe.
"I had sang with my stepfather at churches and funerals and learnt all the parts in the quartet -- lead, baritone, tenor, and bass. When I went down to try out for Bill, I told him that I knew all the parts, but that I didn't sing tenor as well as he could."
"He took me in there and asked Mac Wiseman to let me have the guitar, which was the one that Lester Flatt had played with Bill. It was Bill's Martin D-28 herringbone [guitar]. So I sang one with Bill, then I played a solo -- 'Poor Ellen Smith', then I played 'Orange Blossom Special' with [fiddler] Chubby Wise. Bill asked Chubby what he thought, and Chubby said, 'Lordy, I thought Lester Flatt had it, but this boy's flat got it."
Martin got the job that, to a young man in the Tennessee hills in 1949, would now be like someone replacing Michael Stipe in REM. Martin, who will never be accused of false modesty, gives it up to that first edition of the Bluegrass Boys (Monroe, Wise, Flatt, Earl Scruggs, and bassist Cedric Rainwater).
"Lester Flatt was one of my favorite lead singers. I thought he compared in bluegrass as much as Hank Williams or George Jones compared in country music. Lester was on a lot of jukeboxes. He didn't have a tinny voice -- he had a real good tone. I'd listen to [the Bluegrass Boys] on the Opry, and I thought, 'That's how to do it. That's that timing that none of 'em's got. They make it!'"
Martin would spend 1950-53 in and out of Monroe's band, as well as performing and recording with the Osborne Brothers (up until '55) between stints with Monroe. The Osborne/Martin alliance resulted in some great singles for King and RCA . But a feud developed between Martin and the Osborne's that reportedly persists to this day. This led Martin to form his Sunny Mountain Boys -- one of the great bluegrass outfits -- and Martin will discuss their music in the next E-Pulse.
Back
Jimmy Martin: A Life In Bluegrass Music. Part 2: The 60's Classics
From 1956-74, Jimmy Martin and his Sunny Mountain Boys recorded for Decca. Many -- but not enough -- of the best of these sides were reissued in 1990 on Rounder as the You Don't Know My Mind disc. And many of these cuts were actually country hits -- "Sunny Side Of The Mountain", "Hit Parade Of Love", "Oceans Of Diamonds", and the title cut showed Martin taking bluegrass vocals and instrumentation and marrying them to a honky-tonk sensibility (re: drums, great country songwriting, and Owen Bradley's streamlined production). During this "golden era", Martin enjoyed stints of two years each on KWKH's Louisiana Hayride and the WWVA Wheeling Jamboree, both of which were high-powered radio outlets, exposing Martin and his Sunny Mountain Boys to a large weekly listenership.
"When I went to the Louisiana Hayride, they told me I'd better get rid of the banjo and get me an electric guitar 'cause Elvis was tearin' that music to pieces when he was at the Louisiana Hayride. They told me I'd starve. I told 'em 'Don't tell me that. When I was up in Detroit with the Osborne Brothers, they said the same thing, and we was the hottest thing in the city as far as record sales'. We was one of the hottest things ever to hit the Hayride. Then, we left there, went to Wheeling, WV and heard the same thing. Other bluegrass acts had been there. But everytime I moved, I was gettin' more popular. I proved to 'em it ain't gone, that the people still loved it."
After Wheeling, Martin "came down [to Nashville] and started encorin' on the Grand Ol' Opry, and it got to where I couldn't even get on there anymore. I musta hurt somebody's feelin's, didn't I? I'm not sayin' it braggin'. I just thank the Good Lord that I could walk on Grand Ol' Opry and tear it up. They did promise me that I would be a member. Then it got down to I couldn't even guest on there -- and me encorin' and goin' over big. Now I don't know if I sounded all that good or if the audience felt sorry for me."
Perhaps he stepped on the wrong toes -- stories of that are legion. However, Opry or not, Martin's popularity gained momentum through the 60s, due to a string of great Decca singles unlike anything else in bluegrass.
"I tried to be different in bluegrass, and I tried to pick out good songs. Me and (mandolinist) Paul Williams done a lot of the writin'. Then I picked a lot of songs I'd sung in churches, gospel songs which can't be beat. Then, when I moved to Nashville, [Decca staff producers] Harry Silverstein and Owen Bradley would make me appointments at publishing companies, and they'd play me tapes of their songs and let me pick out songs like that for the session. They'd play me a tape and I'd say, 'Right here is a real good bluegrass song. You just give that to Bill Monroe or Jim & Jesse, and see if they'll record it, because I don't think it's a good-worded song. Gimmie one of them songs ol' Marty Robbins is gonna record, and they'll say it's bluegrass, time I get done with it. There ain't a George Jones song I couldn't sing, but they'd call it bluegrass. Take 'Picture Of Me Without You' -- that's plain bluegrass if I ever heard it. That's a Jimmy Martin song. Hank Williams' songs is perfect bluegrass songs."
Martin's records sold well throughout the sixties, and the then- blooming folk and bluegrass festival circuit afforded him a new and different visibility than he had previously enjoyed. In the third and final part of our Jimmy Martin Series, we'll look in on his career from the seventies through the present.
Back
Jimmy Martin: A Life In Bluegrass Music. Part 3: The 70's Through Today
Jimmy Martin's Sunny Mountain Boys were famed for their extremely high level of musicianship. Pickers like Williams, J.D. Crowe, Tater Tate, and many others made their way through Martin's ranks. By the late sixties, Martin became active on the bluegrass festival circuit, and started reaching a new audience. This was made official by his inclusion on the Nitty Gritty Dirt Band's 1971 classic Will The Circle Be Unbroken (EMI/America) tour de force -- a three-record set of traditional country and bluegrass that had the NGDB joining forces with Martin, Doc Watson, Mother Maybelle Carter, Merle Travis, Roy Acuff, Earl Scruggs, and others. This set remains a milestone in country music, warranting a follow-up in 1989. Martin was included in both albums.
"Yeah! I got a gold album on that. We did six of my songs of my songs on the first one, and it sold four million. Then, when they called me up to do Circle 2, they wanted me to do 'Sittin' On Top Of The World', and I said, jokin'-like to 'em, 'Why you only want me to do one on the second one when you wanted me to do six on the first one and it sold four million?' Bill McEuen [from the Dirt Band] said, 'Hell, you stole the first one -- you ain't stealin' this one!' It's just a joke, but I thought I should tell it."
Martin left Decca in '74, and released six albums on the Gusto label. Finally, he started his own label, Sunny Mountain Music.
More recently, Martin could be seen to great advantage in the award- winning bluegrass documentary High Lonesome.
"Man, I don't like anything I done when I see myself. People say 'We like what you did', and I say 'Do you really?!' I never did anything where I thought I couldn't do it better. Owen Bradley told me 'You just keep that attitude and you'll always be good.'"
There's Jimmy Martin, by himself, singing the Gene Autry song "20/20 Vision (And Walking 'Round Blind)" -- one man with a guitar, and it is killing.
While Jimmy Martin is not quite a household word today, that clip shows a man in the deepest throes of his art. Time has passed, different musicians have travelled through his band, and most of his work has not been reissued.
His pride has taken something of a beating, especially with regards to his not being a member of the Grand Ol' Opry. His reputation as a hothead seems to have overtaken his standing as a master of bluegrass. And Martin, semi-retired, continues to play music, go coon hunting, and whatever else it is that becomes a legend most. And, along with Earl Scruggs, he is the legendary presence of bluegrass music's first period of glory. And he still sounds like that.

Monday 07/11/2005 12:39:17am
Name:
David Dean White
Homepage:
http://www.garageband.com/artist/DavidDeanWhite
E-Mail:
daviddeanwhite6@hotmail.com
Referred By:
E-Mail
City/Country:
Columbia, Missouri/USA
Comments:
Jimmy has been called home, just as we all will be someday. He is a true Americana artist. His voice, music and songs will live on and on. He is a permanent part of the American musical fabric. I was honored to receive an email from Jimmy during his illness. God Bless you Jimmy.

Your friend and fan,

David Dean White

My all time favorite bass player. Carl Dean Radle.

2005-07-01T06:28:00.000-07:00

Carl Dean Radle was born in Tulsa, Oklahoma on June 18, 1942. Although clarinet and piano lessons in his childhood failed to fascinate him, sometime during his years at Edison High School (Tulsa) he fell in love with rock and roll. By the time he graduated in 1960 he had bought an old used guitar and basically began to teach himself how to play. As he became more accomplished, he began playing in local clubs with fellow friends and musicians David Gates, Russell Bridges (Leon Russell), Johnny (J. J.) Cale, Jim Markham, Tommy Crook, Jim Karstein, Chuck Blackwell, Larry Bell, and a host of others, even though most of them were under the legal age limit for being granted entrance into the nightspots.

http://www.carlradle.com/about.htm

I had the pleasure to see and hear him play with Leon Russell and his band in St. Louis, Mo.

http://michael.woodall.home.mindspring.com/deathrock/index2.html

Carl Radle was a distinguished bass player who hailed from Oklahoma City, Oklahoma and worked with some of rock's finest. In 1969 as a member of "Delaney & Bonnie" he was introduced to Eric Clapton who played lead for them on the "Delaney and Bonnie On Tour" album. After the tour, Radle and the rest of the "Delaney and Bonnie" band hooked-up with Leon Russell who recruited them for Joe Cocker's "Mad Dogs and Englishman" tour. The resulting double album live-set and accompanying motion picture is a rock classic and perhaps the pinnacle of Joe Cocker's career (Which reportedly left Cocker broke and in ill-health). After the MD&E tour most of the entourage backed Clapton on his solo album, which featured the Clapton classics' "After Midnight" and "Let It Rain". After Clapton's solo effort he plucked Radle, Jim Gordon and Bobby Whitlock out of the ensemble and formed "Derek and the Dominoes". Released in November of 1970 "Layla and other Assorted Love Songs" eventually became hailed as a rock classic. The "Layla" recording sessions are rock legend. Duane Allman was invited to sit in and the sessions escalated into three-day long marathon jam sessions fueled by "huge bags of dope". Tom Dowd, the producer of all this could barely keep up. Forced into a break by the call of nature, he was on the toilet when Clapton and Allman broke into "Key To the Highway" and Tom had to scream on the top of his lungs to get the tape machine started (which accounts for the fade-in beginning). Somewhere amidst all of this, Carl and the rest of the gang backed George Harrison on the Phil Spector produced classic "All Things Must Pass", Dave Mason's "Alone Together" and "Leon Russell and the Shelter People". In 1971 Carl played bass for George Harrison's "The Concert for Bangladesh", a Tour-de-force of rock legends including Bob Dylan, Eric Clapton,Leon Russell,Ringo Starr,Billy Preston and a host of others. After Clapton's "Rainbow" comeback concert in 1973, he recruited Radle again for the "461 Ocean Boulevard" sessions. Carl would remain with Clapton for the next six years. After 1979's "Backless" tour Clapton fired the whole band. Carl would never be the same. He literally drank and drugged himself to death. On May 30th of 1980 he passed away from kidney failure in Tulsa Oklahoma at the age of 38.

http://www.xentel.com/xentel/events/lewis.htm

How Carl got his career jump started.

and

http://www.leonrussellrecords.com/memory_lane.shtml

After graduating from high school this group of musicians, who would have to be considered the vanguard of what was to eventually be dubbed “The Tulsa Sound”, began migrating to California to try to break into the music business. Leon Russell was one of the earliest to make this move and his home/studio on Skyhill Drive in Hollywood became a haven for these young Tulsa musicians and assorted friends who needed a place to stay. They often played as back-up musicians in clubs, with new upcoming singers, like Bobby Rydell, fronting the act. During this time he recorded with a group called Skip & Flip, releasing a single, Tossin' and Turnin' / Everyday I Have to Cry.

After about a year of finding it difficult to make a living in the music world, in 1964 Carl decided to return to Tulsa and joined the Air National Guard, being stationed in Texas for about a year. After Carl’s discharge in 1965 and when he had once again returned to Tulsa, Leon Russell called him from California offering a “huge
opportunity”, a position as new bass player for the Gary Lewis & the Playboys.

Carl decided to give the music business one more try and he made the move back to California. He recorded and toured with Gary Lewis & the Playboys for about one year, making appearances on The Ed Sullivan Show, Shindig, Hullabaloo, and The Tonight Show. Fellow Tulsans Jimmy Karstein and Tommy Crook were also members of this group, and during this time they spun out many “top ten” singles, including “Everybody Loves a Clown” and “Count Me In.” To date, Carl’s contributions are included on fourteen of Gary’s albums. This trip came to an end, however, when in January of 1967 Gary was called into military service and the band dissolved.

Carl remained in California doing studio work and pick-up gigs including working behind Dobie Gray in club engagements. He did some recording with John Lee Hooker and appeared on two albums (“The Colours” and “Atmosphere”) in 1968 with a group called The Colours, which also included Tulsan Chuck Blackwell. In 1969, Leon Russell once again influenced Carl’s destiny, by introducing him to Delaney and Bonnie Bramlett to help form the group “Delaney, Bonnie & Friends.” This group also included Leon, Rita Coolidge, and Dave Mason. On tour the group performed as the opening act for “Blind Faith,” a group which included Eric Clapton. Upon Blind Faith’s demise, Eric Clapton joined up with the Bramletts for a tour and album titled Delaney & Bonnie & Friends on Tour. Carl collaborated on writing and arranging two of their hit songs, “Get Ourselves Together” and “Never Ending Song of Love.”

This group disbanded after about a year and in early 1970 several of the members, including Carl, joined Leon Russell who was forming the “Joe Cocker, Mad Dogs and Englishmen” ensemble. The company had more than two dozen musicians and performers, and the tour covered 46 cities in 56 days. From it emerged the biggest rock and roll tour in history, a major movie and a gold album.

In the meantime, Bobby Whitlock had started hanging with Eric Clapton who wanted to put together a group to tour and promote his first solo album. Bobby called in Carl and another Tulsan, Jim Gordon. Sidetracked at first, they took time in May and July of 1970 to collaborate with George Harrison on his “All Things Must Pass” album, which included the hit singles “My Sweet Lord” and “What is Life”. During a break in June, Eric, Jim, Bobby and Carl began seriously rehearsing and they completed their first single, “Tell the Truth, with “Roll it Over” on the B side. After the George Harrison sessions were finished in late summer of that year, Clapton’s new group resumed sessions at Criteria Studios in Miami, Florida, with Tom Dowd at the production helm, resulting in what has become one of the greatest classic rock albums of all time, “Layla and Other Assorted Love Songs”. Duane Allman’s guitar work was also a prominent contribution to this effort.

The group took time off in August of 1971 to help George Harrison in his benefit effort, the Concert for Bangladesh, an ensemble of great artists including Bob Dylan, Billy Preston, Ringo Starr, Leon Russell, Jim Keltner, and others. This two-day live concert also resulted in another album and movie.
Derek and the Dominos began working on sessions for another group of songs, but being dissatisfied with the results and the tensions that resulted, the band dissolved and a disillusioned Eric took a three year hiatus. For the next three years Carl stayed busy with session work on projects by various artists, including Art Garfunkel, Duane Allman, John Lee Hooker, Rita Coolidge, Leon Russell, Bobby Whitlock, Donovan and Freddie King.
In April of 1974, Eric Clapton was coaxed out of seclusion and resurfaced with a band consisting of George Terry, Carl Radle, Jamie Oldaker, Dick Sims and Yvonne Elliman on vocals. The group once again began recording in Criteria Studios, under Dowd’s direction, to create the popular “461 Ocean Boulevard” album. Carl again brought his arranging abilities into play on the “Motherless Children” track for this album. For the next five years, Carl, Eric and this group of musicians including the addition of vocalist Marcy Levy, worked closely together on an almost endless string of highly successful gold and platinum albums.
In 1979, Eric was ready for a new sound. That summer he dissolved the band and all the musicians went separate ways in their careers. Carl worked for a while with Peter Frampton, but soon returned to Tulsa where he enjoyed working with local musicians once again. He died in May of 1980, at age 37, from the effects of alcohol and narcotics.

In the Playboy Jazz and Pop Poll, Carl was ranked yearly in the top ten bass players, ultimately reaching the number two spot although he never played jazz as such. In one of the most competitive of all fields, Carl Radle, a kind and gentle soul and a devoted and respected musician, lived his career at a pinnacle that very few ever reach. He was known and labeled as “A Musician’s Musician.”

Pics of Hank Williams: Lost Highway on Comomusic

2005-06-28T11:28:00.000-07:00

Follow this link for the pics.

http://www.comomusic.com/photo-gallery.php?TASK=viewgallery&id=819&chnk=1&DISPCAT=1

DDW

Hank Williams: Lost Highway is a true American Tragedy

2005-06-28T08:41:00.000-07:00

The play is the thing ...............

Here is a comment from the lead actor in the play

One of the strangest things I could have ever imagined happened last night. We did the play... it went off well. Everybody said I did a really good job... yadda, yadda, yadda. then after it was over, and I was making my way outside and away from the crowd, The director grabbed my arm and said "You have a fan. He wants to meet you."
So she drags me up to this biker looking guy. Tattoos, leather, and ripped off sleeves. He's there with what I assume was his wife, and his eyes were all puffy. He looked at me quite solemnly and said "I just want you to know that your performance was the most amazing thing..." Then he got choked up a little "...You portrayed this guy so well... I mean, yeah, he was a drunk, but you made it so real. I just wish my Grandpa would've been alive to see this, you brought me to tears." Then he got choked up again, and literally started crying in front of me. I shook his hand, and thanked him for the wonderful compliment, and told him it was nice to meet him, and he stopped me saying "No, it was nice for me to meet YOU!"
I had never really stopped to think just how emotional this story really is. It's about Hank Williams. A man who drank himself to death. Well, alchohol and painkillers... he had back problems. But, in the play, we see Hank lurking around the living after he has died. And I play that part as though he is full of remorse, and sad for leaving behind the life he did have, but never payed attention to when he had it in front of him.
When this guy came up to me crying, I was completely speechless. It was amazing.

The story, the songs and the players make this an American Classic.

I was happy to participate in it.

DDW

Albert Brumley

2005-06-21T13:43:00.000-07:00

Albert Brumley
Albert E. Brumley was born near Spiro, Oklahoma on October 29, 1905. In 1922, chance attendance at a rural singing school gave him his life's vocation. When the teacher wrote a scale on the chalkboard and explained that every song ever written was contained within it, the boy was thrilled and galvanized. "That set me afire," he said.In 1926, he took a bus to Hartford, Arkansas, and enrolled at Eugene M. Bartlett's Hartford Musical Institute, a branch of Bartlett's gospel music songbook publishing company. By 1929, he was touring as a bass singer and piano player with the Hartford Quartet and leading his own singing schools using Hartford songbooks. In Powell, Missouri, at one of these schools, he found a wife—Goldie Edith Schell later claimed that she knew at once that "he would be a great songwriter and I just wanted to help him." The couple married in 1931, settled in Powell, and eventually raised six children. Brumley's most famous song, "I'll Fly Away," was first published in Bartlett's 1932 collection, The Wonderful Message. He eventually wrote more than 800 songs, an impressive total even in a field known for prolific composers. No other title achieved the renown of "I'll Fly Away," but many Brumley numbers, including "I Will Meet You in the Morning," "Rank Strangers To Me," and "Turn Your Radio On" remain popular with gospel singers and audiences. Another Brumley composition, "Nobody Answered Me," was sung so often by Grand Ole Opry star Roy Acuff that many assumed he'd written it. Brumley's songs have been recorded by scores of artists, ranging from Elvis Presley to Aretha Franklin, Ray Charles to Loretta Lynn. Brumley's stature in the gospel music field is comparable to that of the great African-American composer and promoter Thomas A. Dorsey. Brumley died in 1977.

HB 155 designates a portion of State Highway E in McDonald County as the "Albert Brumley Memorial Highway." Albert Brumley is best remembered as the composer of many "southern gospel" songs performed by such a diverse group of performers as The Boston Pops Orchestra, the Oak Ridge Boys, the Ray Charles Singers and many others.

Albert Brumley
(from son) "1969 founder of largest outdoor gospel sing-Albert E. Brumley Sundown to Sunup Gospel Sing-Springdale, AR; wrote over 800 gospel and sentimental songs; GMA named Albert as 1 of only 5 persons in US whose contributions directly affected 20th century music; Brumley songs have been estimated to have been printed 15 million times in sheet music and songbooks; Brumley songs emulate country settings, ordinary country religion, simplicity and values--simplicity and naturalness was his music motto and philosophy. Smithsonian Institute made a study of gospel music; researchers called Albert 'the greatest white gospel songwriter before W.W.II.' Brumley music has been heard on practically every TV musical entertainment."
Birth Name: Albert Edward BrumleyInduction Year: 1970Date of Birth: 10/29/1905Place of Birth: Spiro, OKDate of Death: 11/15/1977Place of Death: Springfield, MO
Former Occupations:cotton farmerpiano tunersinging school teachergrocery store clerk
Education:Grade School--Public school in Rock Island, OK (from 1911-1919)Hartford Music Institute (Hartford, AK) (from 1925-1927, 1928-1931)
Career Milestones:
1932--"I'll Fly Away" published
1936--started working for Stamps Baxter Music Co.
1943--established Albert E. Brumley Music Co.
1948--purchased Hartford Music Co.
1975--Albert E. Brumley appreciation day started in Spiro, OK
1976--received trophy for "I'll Fly Away" for recognition of the song being the most recorded gospel song in history
Awards:
1972--Gospel Music Hall of Fame induction
1972--BMI\Turn Your Radio On
1986--SESAC\Hall of Fame\I'll Fly Away
Catalog Highlights
I'll Fly Away
Artists: Chuck Wagon Gang, George Jones, Johnny Cash, Merle Haggard, Boston Pops Orchestra, Ray Stevens, Osborne Bros., Elvis Presley, Bill Monroe
Turn Your Radio On
Artists: Ray Stevens, Blackwood Bros.
I'll Meet You in the Morning
Artists: Blackwood Bros., Smitty Gatlin Trio, Masters V, Inspirationals
Jesus, Hold My Hand
Artists: Vern Gosden, Smitty Gatlin Trio, Chuck Wagon Gang
If We Never Meet Again
Artists: Masters V, Statesmen
I'm Bound For That City
Artists: Speers, Ray Charles Singers
I'm Bound For the Land of Canaan
Artists: Kingsmen, Chuck Wagon Gang
I'd Rather Be An Old Time Christian
Artists: Kingsmen, Chuck Wagon Gang
Camping in Canaan's Land
Artists: Smitty Gatlin Trio, Red Smiley
There's a Little Pine Log Cabin
Artists: Smitty Gatlin Trio
Nobody Answered Me
Artists: Roy Acuff, Stanley Bros.
Rank Strangers to Me
Artists: Roy Acuff
Victory in Jesus
King Sacred Quartet
I Cannot Find the Way Alone
The Blood That Stained The Old Rugged Cross
Surely I Will, Lord
He Set Me Free
It's An Unfriendly World
God's Gentle People
I'm As Poor As a Beggar
I've Found a Hiding Place
I Want To Walk Just as Close as I Can
Her Mansion is Higher Than Mine
I'd Like To Go Back
Comments:
Biography "I'll Fly Away" written by Albert Brumley Jr. and Kay Hively
In 1976-77 made Marquis Who's Who in America as one of Missouri's best known living men
In 1978-79 made Marquis Who's Who in the World
Inducted into the Ozark Hall of Fame in 1986
A 15-mile stretch of 'E' Highway renamed Albert E. Brumley Pkwy. in 1987

and

http://www.brumleymusic.com/

and

http://www.brumleymusic.com/index2.html

and

http://www.top-country-songs.com/words-gospel-songs.html

The name Brumley occupies a revered place in the annals of gospel, country, and bluegrass music. Family patriarch Albert E. Brumley, Sr. was the composer of over 800 songs. The song enjoyed renewed interest due to its inclusion in the O Brother! Where Art Thou? soundtrack. Many of Albert’s children inherited his gift for music. “Rank Strangers” was immortalized by the Stanley Brothers in 1960 and “I’d Rather Live By The Side Of The Road” was recorded by both Mac Wiseman and the Seldom Scene. Bill Monroe and the Lewis Family (popularly known as the First Family of Bluegrass Gospel Music) have also covered several of the tunes included here.I Know My Lord’s Gonna Lead Me Out / Rank Strangers / The Sweetest Song I Know / Jacob, Daniel And Elijah / My Closest Kin / When They Sing In The Garden For Me / I’ll Fly Away / Jesus Of Nazareth / Banjo Boy / Green Valley Farms / I’d Rather Live By The Side Of The Road / How I’d Like To Be

Hank Williams: The Lost Highway

2005-06-20T07:31:00.000-07:00

Special to Columbia area papers:
Note: David Dean White tells us you are familiar with him.
Columbia musician David Dean White plays on-stage steel guitar for nine performances in the new musical drama "Hank Williams: Lost Highway" being presented by Repertory Theatre of the Ozarks for three weekends starting June 24 at Mammoth Spring, Ark. (editors: see details below)
White recreates the role of Don "Shag" Helms, long-time steel guitar player in Hank Williams' Drifting Cowboys band.
A protege and friend of Helms, White says Helms showed him how to play several of Hank's songs. White will be playing a steel guitar of the same type and vintage Helms used when playing with Hank in the early 1950's.
A singer/songwriter, White specializes in pioneer Americana and has recorded "Lewis and Clark: Part One," with Parts 2 and 3 due soon. Besides steel guitar, he also plays dobro, resophonic guitar, acoustic guitar and mandolin. He is a music preservationist with interests in traditional country, red dirt roots rock, and a bit of bluegrass and blues.
White joins his friend Chris Brotherton in the cast of "Hank Williams: Lost Highway." Brotherton plays the starring role of Hank Williams.
Brotherton recently joined White in a performance at Coopers Landing. White has played with Brotherton in the Gruene County band.
(Editors: David Dean White can be contacted by E-mail at supromanz@hotmail. com or at 573-642-6050. A general news release on "Hank Williams: Lost Highway" follows:)
New musical drama "Hank Williams: Lost Highway” to be
presented June 24-26, July 8-10 & 15-16 in Mammoth Spring, Ark.
Straight from successful Broadway and off Broadway runs, “Hank Williams: Lost Highway” is being produced by Repertory Theatre of The Ozarks (RTO) in Mammoth Spring, Ark. The show will open Friday, June 24, at 7 p.m. at WhistleStop Theater on Hwy. 63. Show dates are: Saturday, June 25, at 7 p.m. and Sunday June 26, at 2 p.m. The production will also run Friday, July 8, (sold out July 9), and seats are available for July 10 at 2 p.m. Final weekend is July 15, and 16 at 7 p.m. and matinee July 17 at 2 p.m.
The theater is located a half-mile south of the Arkansas-Missouri state line next to Thayer, Mo.
“Hank Williams: Lost Highway,” written by Randal Myler and Mark Harelik is a dramatic musical about the life of country singer Hank Williams. A singer and songwriter, Williams has written some of the most successful and memorable country songs of all time. He was in the first group to be inducted in 1961 into Nashville’s County Music Hall of Fame.
Many of his songs, as performed by Hank Williams and his Drifting Cowboys band, will be heard in the production. Among the 25 songs in “Lost Highway” are “Settin’ the Woods on Fire,” “Jambalya,” “Lovesick Blues,” “I’m So Lonesome I Could Cry” and, as the show’s finale, “I Saw the Light.”
Starring in the role of Hank Williams is Chris Brotherton, of West Plains, Mo., himself a songwriter, singer and a local D.J.; he bears a striking resemblance to Hank Williams
His band features fiddle and mandolin player Ed Barnett, of West Plains; steel guitar player David Dean White, of Columbia, Mo.; lead guitar player Peter Shattuck, of Wirth, Ark., and comic and bass player Phil Gantner. of Mammoth Spring. Starring as Miss Audrey, Hank’s wife, is Linda Vincent, of Mammoth Spring. Miss Lilly, Hank’s mother, is Barbara Gantner of Mammoth Spring. The waitress, and narrator is Jennifer Joy of Thayer. Mo., and as Fred “Pap” Rose, Hank’s agent, is Jim Peebles of Thayer. Also appearing are: Bob Ross of Thayer, Dorthy Permenter of Camp, Ark., and Felicia Jennings of South Myrtle, Ark. Show director is Caroll Lucas of South Myrtle.
“Hank Willliams: Lost Highway” is a fast paced musical about the first major country western star and his whirlwind life, his struggles with fame, pain and alcohol. Williams, who died on his way to a concert at the age of 29, was the first to succumb to pills and alcohol in the glare of the public spotlight.
This musical drama tells his story with brilliant flashes of his early life and Grand Ole Opry years and his downward spiral to death. His songs, however, still tell his story truly, make your toes tap, make you laugh and cry, and give you an unforgettable theatrical experience.
Significant is the fact that this play is being produced in Mammoth Spring, the town whose musicians inspired George D. Hay to create the Grand Ole Opry. (editors: see www.georgedhayfnd.org)
Tickets are $10 in advance, $12 at the door, discounts for groups. Call (870) 625-7492 or (870) 937-4235, or E-Mail RTOzarks@yahoo.com.
Tickets also available at: West Plains Music, West Plains, Mo.; Cedar Mall and Log Cabin Treasures in Mammoth Spring; and Expressway #2 in Pocahontas, Ark.
“Hank Williams: Lost Highway” is produced by special arrangement with Dramatists Play Service, Inc. Repertory Theatre of the Ozarks is registered as an Arkansas non-profit corporation.
Editors: For more information, call (870) 937-4235 or E-mail RTOzarks@yahoo.com
Repertory Theatre of the Ozarks (RTO)c/o WhistleStop Theatre, Hwy. 63 SouthP.O. Box 235Mammoth Spring, AR 72554An Arkansas non-profit corporation

First Missouri River Cultural Conservancy Fundraiser a big success.

2005-06-14T11:02:00.000-07:00

River landing plays host to diverse crew Cooper hopes to expand business.
By RACHEL WEBB of the Tribune’s staff
Published Sunday, June 12, 2005
Cooper’s Landing has grown from a simple bait shop to a campground, marina and haven for connoisseurs of Thai food, beer and barbecue.
Ed Pfueller photo
Steve Meyerhardt, left, sits in last night with the group Caravan, including, from left, Joan McElroy, Tomi Greentree and Jeanie Kuntz, during a benefit for the Missouri River Cultural Conservancy at Cooper’s Landing. Live music can be heard on summer weekends at the landing beside the Missouri River. Mike Cooper hopes to expand his popular hangout. Pam Forbes has been coming here since the 1970s, years before her friend Mike Cooper started his business.
Forbes, who lives near Harrisburg, likes a lot of things about Cooper’s Landing, but one feature always draws her back.
"You’re looking at it," Forbes says, gesturing to the sun-dappled Missouri River a few feet away from the hand-carved bench she is sitting on. "You need to be here when the sun goes down."
Cooper’s Landing consists of an acre and a half of land wedged between the Missouri River and the Katy Trail, on Easley River Road south of Columbia. Opened as a live bait shop in 1986, it has endured two floods and grown into a live music venue and community gathering place.
Last night, the site hosted a fundraiser for the newly formed Missouri River Cultural Conservancy. The organization is part of the Missouri River Communities Network and aims to document and preserve the cultural history of Missouri River communities, said Jeff Wheeler, the group’s acting president.
The group’s board of directors holds monthly meetings at the marina, Wheeler said.
"The people here are amazing," he said, gazing at the crowd listening to Don Choate strum an acoustic guitar. "There are no preconceived notions about newcomers. They accept you as you are."
Cooper said he originally envisioned expanding the bait shop into a boat sales and repair business. But the Flood of ’93 closed Cooper’s Landing for two years. When the business reopened in 1995, Cooper revamped the bait shop into a convenience store to serve the hikers and cyclists on the Katy Trail as well as the river traffic.
Eventually he added tent camping sites, live music and barbecue. The site has even hosted retirement parties and wedding receptions. In 2001, the business had perhaps its most interesting addition with Chim’s Thai Kitchen, owned by Pramuan "Chim" Duncan, in a mobile kitchen at one side of the store.
"We didn’t anticipate developing the way we did," Cooper said. "We took a different direction to community involvement and toward music."
Duncan’s children, Pantipa Wadtananussorn and her brother Jay Wadtananussorn, cook up pad Thai and other traditional Thai cuisine for visitors seeking something exotic at the river.
"People recommend this place," Pantipa Wadtananussorn said. "So many people come saying ‘We finally found it.’ "
Cooper Jay Wadtananussorn and his wife, Edwena, had their wedding reception at the landing in August 2004, Edwena said. The two spend much of their time there even though they live in Columbia.
"Everybody takes care of everybody else out here," she said. "There are never arguments or fights. It’s really, really safe out here, especially for kids."
Cooper said he wants to add a permanent structure for the Thai Kitchen as well as new bathrooms and showers.
At a May meeting of the Boone County Planning and Zoning Commission, several neighbors complained about noise and crowds, spurred by Cooper’s request for a conditional use permit designating the area as a recreational district. Planning officials granted his request.
William Crowley owns the property directly across from Cooper’s Landing. He has had problems with the business for several years, said his attorney, David Knight. Crowley is retired and lives full time in Spicewood, Texas.
When he visits his home on 300 acres on Easley River Road, Knight said, he is often plagued by Cooper’s customers parking on his property.
"Sometimes they have a big concert down there, and people just park wherever they can, and it spills over onto" Crowley’s property, Knight said.
Cooper said he has been responsive to noise complaints. He has moved musicians to a different side of the building to shield neighbors from the sound and tries to attract solo and acoustic acts rather than full bands, he said.
The music attracts several Cooper’s Landing regulars, including Buzz and Beverly Keiper. They drive from Columbia every weekend. Sometimes they show up for breakfast and return for music and dinner in the evening.
The Keipers say they like the mix of people, which sometimes includes heavily-tattooed bikers mingling with mild-mannered academic types.
"You’ll see old rusty pick-up trucks next to BMW convertibles," Buzz Keiper said.
Reach Rachel Webb at (573) 815-1713 or rwebb@tribmail.com.

Copyright © 2005 The Columbia Daily Tribune. All Rights Reserved.

Pics of the event at

http://archive.columbiatribune.com/2005/jun/20050612news005.asp

More pics from music on the banks of the Missouri River

2005-06-09T08:45:00.000-07:00

More pics from Cooper's Landing gigs.

http://www.comomusic.com/photo-gallery.php?TASK=viewgallery&id=808&chnk=1&DISPCAT=1

and other gigs

http://www.comomusic.com/photo-gallery.php?TASK=viewgallery&id=801&chnk=1&DISPCAT=2

1st Annual Ladybug Acres Music Festival

2005-06-06T13:19:00.000-07:00

Here are some pics of the festival.

http://www.comomusic.com/photo-gallery.php?TASK=viewgallery&id=814&DISPCAT=2&chnk=&viewer=INLINE

Enjoy. See at the Festival next year.

DDW

Thanks Jim.

2005-06-01T08:29:00.000-07:00

Dave,
The Twilight Fest runs from 6 till 8 each Thursday evening during September, so I'd guess Sloe Jam would start playing at 6. At some point the group would pack up and move inside, maybe take a little break if needed and then play the regular inside jam for a while. I hope you can make it. I've always enjoyed playing to the crowds out on the sidewalk. I think your resonator guitar always kicks our music up a notch or two so everyone would love for you to come whenever you are able to make it even if you can't get there right at six.
Jim

http://medpedsresidency.missouri.edu/columbia_missouri.htm

http://www.visitcolumbiamo.com/

David Dean White's NEWSLETTER

2005-05-27T07:14:00.000-07:00

DAVID DEAN WHITE's Newsletter Newsletter for fans of DAVID DEAN WHITE Last post: May 26, 2005 at 07:29am (23 hours 43 minutes ago)
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Thursday, May 26, 2005
Gig: Fri, June 10, 2005 at 8:00 pm
DAVID DEAN WHITE will perform:Fri, June 10th, 2005 at 8:00 pmPrime Time Lounge Columbia Mo. Days InnColumbia, Missouri.
David Dean White will perform original songs from Lewis and Clark Part One: To the Missouri Breaks, country blues and dobro instrumentals.
See the listing for this gig and invite a friend.
posted Thursday, May 26, 2005 at 07:29am (23 hours 43 minutes ago)
Tuesday, May 10, 2005
Gig: Sat, May 14, 2005 at 1:00 pm
DAVID DEAN WHITE will perform:Sat, May 14th, 2005 at 1:00 pmCooper's LandingColumbia, Missouri.
"Lewis and Clark Part One: To the Missouri Breaks" songs, dobro instrumentals and possibly some special guests.
See the listing for this gig and invite a friend.
posted Tuesday, May 10, 2005 (17 days 7 hours ago)
Monday, May 02, 2005
Gig: Thu, May 12, 2005 at 12:00 pm
DAVID DEAN WHITE will perform:Thu, May 12th, 2005 at 12:00 pmCherry Street Artisan CafeColumbia, Missouri.
David will be playing Dobro with Barry and Friends raising money for the Children's Miracle Network.
See the listing for this gig and invite a friend.
posted Monday, May 02, 2005 (25 days 7 hours ago)
Tuesday, Apr 19, 2005
Gig: Sun, May 15, 2005 at 4:00 pm
DAVID DEAN WHITE will perform:Sun, May 15th, 2005 at 4:00 pmCooper's LandingColumbia, Missouri.
Lewis and Clark Part One: To the Missouri Break songs, Dobro instrumentals and some real Country Blues. No Cover.
See the listing for this gig and invite a friend.
posted Tuesday, Apr 19, 2005 (38 days 7 hours ago)
Tuesday, Mar 01, 2005
Gig: Sat, April 9, 2005 at 4:00 pm
DAVID DEAN WHITE will perform:Sat, April 9th, 2005 at 4:00 pmCooper's LandingColumbia, Missouri.
David Dean White will perform at Cooper's Landing from 4 - 7 pm playing dobro instrumentals and Lewis and Clark songs.
See the listing for this gig and invite a friend.
posted Tuesday, Mar 01, 2005 (87 days 6 hours ago)
Tuesday, Feb 22, 2005
Gig: Sun, February 27, 2005 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, February 27th, 2005 at 1:00 pmHitching PostHartsburg, Missouri.
Dobros, Guitars and Country Music with Don and Dave.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 22, 2005 (94 days 6 hours ago)
Gig: Sun, March 6, 2005 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, March 6th, 2005 at 1:00 pmHitching PostHartsburg, Missouri.
Dobros, Guitars and Country Music with Don and Dave.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 22, 2005 (94 days 6 hours ago)
Gig: Sun, March 13, 2005 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, March 13th, 2005 at 1:00 pmHitching PostHartsburg, Missouri.
Dobros, Guitars and Country Music with Don and Dave.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 22, 2005 (94 days 6 hours ago)
Gig: Sun, March 20, 2005 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, March 20th, 2005 at 1:00 pmHitching PostHarttsburg, Missouri.
Dobros, Guitars and Country Music with Don and Dave.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 22, 2005 (94 days 6 hours ago)
Gig: Sun, March 27, 2005 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, March 27th, 2005 at 1:00 pmHitching PostHartsburg, Missouri.
Dobros, Guitars and Country Music with Don and Dave.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 22, 2005 (94 days 6 hours ago)
Tuesday, Feb 08, 2005
Gig: Sun, February 13, 2005 at 4:00 pm
DAVID DEAN WHITE will perform:Sun, February 13th, 2005 at 4:00 pmCoach'sHolts Summit, Missouri.
The Cedar Creek Band with David Dean White on 6 and 7 string dobro and Triple neck non pedal steel guitar.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 08, 2005 (108 days 6 hours ago)
Gig: Sun, February 20, 2005 at 4:00 pm
DAVID DEAN WHITE will perform:Sun, February 20th, 2005 at 4:00 pmCoach'sHolts Summit, Missouri.
The Cedar Creek Band with David Dean White on 6 and 7 string dobro and Triple neck non pedal steel guitar.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 08, 2005 (108 days 6 hours ago)
Gig: Sun, February 27, 2005 at 4:00 pm
DAVID DEAN WHITE will perform:Sun, February 27th, 2005 at 4:00 pmCoach'sHolts Summit, Missouri.
The Cedar Creek Band with David Dean White on 6 and 7 string dobro and Triple neck non pedal steel guitar.
See the listing for this gig and invite a friend.
posted Tuesday, Feb 08, 2005 (108 days 6 hours ago)
Tuesday, Oct 26, 2004
Gig: Thu, November 18, 2004 at 7:30 pm
DAVID DEAN WHITE will perform:Thu, November 18th, 2004 at 7:30 pmCherry Street Artisan CafeColumbia, Missouri.
BLUEGRASS JAM
See the listing for this gig and invite a friend.
posted Tuesday, Oct 26, 2004 (213 days 7 hours ago)
Gig: Fri, November 19, 2004 at 9:00 pm
DAVID DEAN WHITE will perform:Fri, November 19th, 2004 at 9:00 pmOff BroadwaySt. Louis, Missouri.
GRUENE COUNTY ROCKS ST. LOUIS AT OFF BROADWAY
See the listing for this gig and invite a friend.
posted Tuesday, Oct 26, 2004 (213 days 7 hours ago)
Gig: Sun, December 5, 2004 at 3:00 pm
DAVID DEAN WHITE will perform:Sun, December 5th, 2004 at 3:00 pmVFWJefferson City, Missouri.
COUNTRY JAM
See the listing for this gig and invite a friend.
posted Tuesday, Oct 26, 2004 (213 days 7 hours ago)
Tuesday, Oct 19, 2004
Gig: Sun, November 7, 2004 at 3:00 pm
DAVID DEAN WHITE will perform:Sun, November 7th, 2004 at 3:00 pmVFWJefferson City, Missouri.
COUNTRY JAM SESSION
See the listing for this gig and invite a friend.
posted Tuesday, Oct 19, 2004 (220 days 7 hours ago)
Gig: Sun, November 14, 2004 at 1:30 pm
DAVID DEAN WHITE will perform:Sun, November 14th, 2004 at 1:30 pmLucy'sMcbaine, Missouri.
BLUEGRASS JAM
See the listing for this gig and invite a friend.
posted Tuesday, Oct 19, 2004 (220 days 7 hours ago)
Gig: Sun, November 21, 2004 at 3:00 pm
DAVID DEAN WHITE will perform:Sun, November 21st, 2004 at 3:00 pmVFWJefferson City, Missouri.
I will be playing my Fender triple neck stringmaster.
See the listing for this gig and invite a friend.
posted Tuesday, Oct 19, 2004 (220 days 7 hours ago)
Gig: Sun, November 28, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, November 28th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.
BLUEGRASS JAM
See the listing for this gig and invite a friend.
posted Tuesday, Oct 19, 2004 (220 days 7 hours ago)
Monday, Oct 18, 2004
Gig: Sat, October 23, 2004 at 4:00 pm
DAVID DEAN WHITE will perform:Sat, October 23rd, 2004 at 4:00 pmCooper's LandingColumbia, Missouri.
GRUENE COUNTY (pronounced GREEN). ROOTS ROCK ALT COUNTY BAND WILL ROCK COLUMBIA AT COOPER'S LADING ON THE BANKS OF THE MISSOURI RIVER.
See the listing for this gig and invite a friend.
posted Monday, Oct 18, 2004 (221 days 7 hours ago)
Monday, Sep 27, 2004
Gig: Sat, October 2, 2004 at 4:00 pm
DAVID DEAN WHITE will perform:Sat, October 2nd, 2004 at 4:00 pmCooper's LandingColumbia, Missouri.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sat, October 9, 2004 at 5:30 pm
DAVID DEAN WHITE will perform:Sat, October 9th, 2004 at 5:30 pmCooper's LandingColumbia, Missouri.
Benefit for Cooper's Landing.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sat, October 16, 2004 at 4:00 pm
DAVID DEAN WHITE will perform:Sat, October 16th, 2004 at 4:00 pmCooper's LandingColumbia, Missouri.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sat, October 23, 2004 at 9:00 pm
DAVID DEAN WHITE will perform:Sat, October 23rd, 2004 at 9:00 pmHoot N Anny'sColumbia, Missouri.
GRUENE COUNTY ROOTS ROCK ALT COUNTY BAND WILL ROCK COLUMBIA, MO. SATURDAY NIGHT AT HOOT N ANNY'S ON BUSINESS LOOP 70.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sat, October 30, 2004 at 4:00 pm
DAVID DEAN WHITE will perform:Sat, October 30th, 2004 at 4:00 pmCooper's LandingColumbia, Missouri.
ACOUSTIC MUSIC FROM THE CD "LEWIS AND CLARK PART ONE: TO THE MISSOURI BREAKS" AND TRADITIONAL BLUEGRASS MUSIC BY MEMBERS OF CEDAR CREEK AND THE MISSOURI BREAKS BAND.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sun, October 10, 2004 at 2:00 pm
DAVID DEAN WHITE will perform:Sun, October 10th, 2004 at 2:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sun, October 17, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, October 17th, 2004 at 1:00 pmHoot N Anny'sColumbia, Missouri.
Country Music jam.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Sun, October 31, 2004 at 1:30 pm
DAVID DEAN WHITE will perform:Sun, October 31st, 2004 at 1:30 pmLucy'sMcbaine, Missouri.
BLUEGRASS JAM SESSION
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Gig: Thu, October 14, 2004 at 5:00 pm
DAVID DEAN WHITE will perform:Thu, October 14th, 2004 at 5:00 pmPasta HouseColumbia, Missouri.
Benefit for the Children's Miracle Network.
See the listing for this gig and invite a friend.
posted Monday, Sep 27, 2004 (242 days 7 hours ago)
Tuesday, Sep 14, 2004
Gig: Sat, September 25, 2004 at 7:00 pm
DAVID DEAN WHITE will perform:Sat, September 25th, 2004 at 7:00 pmSenior CenterColumbia, Missouri.
I will be playing my Fender Stringmaster NON pedal steel guitar and my Tut Taylor Virginian Resophonic Guitar (dobro) with Bill Beskins and his band. Lots of good ole Country Music to dance to!
See the listing for this gig and invite a friend.
posted Tuesday, Sep 14, 2004 (255 days 7 hours ago)
Thursday, Sep 09, 2004
Gig: Sun, September 12, 2004 at 12:00 pm
DAVID DEAN WHITE will perform:Sun, September 12th, 2004 at 12:00 pmBoonville Steam Engine ShowBoonville, Missouri.
CEDAR CREEK will perform Americana/traditional/bluegrass songs and music.
See the listing for this gig and invite a friend.
posted Thursday, Sep 09, 2004 (260 days 7 hours ago)
Gig: Thu, September 16, 2004 at 5:30 pm
DAVID DEAN WHITE will perform:Thu, September 16th, 2004 at 5:30 pmUSDA DinnerComos ParkColumbia, Missouri.
CEDAR CREEK will perform Americana/traditionsl/bluegrass songs and music.
See the listing for this gig and invite a friend.
posted Thursday, Sep 09, 2004 (260 days 7 hours ago)
Gig: Sun, September 19, 2004 at 3:00 pm
DAVID DEAN WHITE will perform:Sun, September 19th, 2004 at 3:00 pmVFWJefferson City, Missouri.
County Music jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Thursday, Sep 09, 2004 (260 days 7 hours ago)
Gig: Sun, September 26, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, September 26th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Thursday, Sep 09, 2004 (260 days 7 hours ago)
Tuesday, Aug 31, 2004
Gig: Sat, September 4, 2004 at 9:00 pm
DAVID DEAN WHITE will perform:Sat, September 4th, 2004 at 9:00 pmWhistle Stop TheatreMammoth Springs, Arkansas.
My first gig with "Gruene County". A roots rock alt country band. I will be playing NON pedal steel guitar and dobro.
See the listing for this gig and invite a friend.
posted Tuesday, Aug 31, 2004 (269 days 7 hours ago)
Friday, Jul 16, 2004
Gig: Sun, August 8, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, August 8th, 2004 at 1:00 pmHItching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Friday, Jul 16, 2004 (315 days 7 hours ago)
Gig: Sun, August 15, 2004 at 3:00 pm
DAVID DEAN WHITE will perform:Sun, August 15th, 2004 at 3:00 pmVFWJefferson City, Missouri.
Bluegrass jam. Ya'll come
See the listing for this gig and invite a friend.
posted Friday, Jul 16, 2004 (315 days 7 hours ago)
Gig: Thu, August 19, 2004 at 7:30 pm
DAVID DEAN WHITE will perform:Thu, August 19th, 2004 at 7:30 pmCherry Street Artisan CafeColumbia, Missouri.
Slo jam bluegrass jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Friday, Jul 16, 2004 (315 days 7 hours ago)
Gig: Sun, August 29, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, August 29th, 2004 at 1:00 pmHithching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Friday, Jul 16, 2004 (315 days 7 hours ago)
Gig: Sun, August 22, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, August 22nd, 2004 at 1:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Friday, Jul 16, 2004 (315 days 7 hours ago)
Gig: Sun, July 25, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, July 25th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Friday, Jul 16, 2004 (315 days 7 hours ago)
Wednesday, Jun 30, 2004
Gig: Thu, July 15, 2004 at 7:30 pm
DAVID DEAN WHITE will perform:Thu, July 15th, 2004 at 7:30 pmCherry Street Artisan CafeColumbia, Missouri.
Slo Jam bluegrass jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Wednesday, Jun 30, 2004 (331 days 7 hours ago)
Gig: Sat, July 3, 2004 at 1:30 pm
DAVID DEAN WHITE will perform:Sat, July 3rd, 2004 at 1:30 pmTebbet's FestivalTebbets, Missouri.
Bluegrass Jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Wednesday, Jun 30, 2004 (331 days 7 hours ago)
Gig: Sun, July 4, 2004 at 2:00 pm
DAVID DEAN WHITE will perform:Sun, July 4th, 2004 at 2:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Wednesday, Jun 30, 2004 (331 days 7 hours ago)
Gig: Sun, July 11, 2004 at 2:00 pm
DAVID DEAN WHITE will perform:Sun, July 11th, 2004 at 2:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come!
See the listing for this gig and invite a friend.
posted Wednesday, Jun 30, 2004 (331 days 7 hours ago)
Gig: Sun, July 18, 2004 at 2:00 pm
DAVID DEAN WHITE will perform:Sun, July 18th, 2004 at 2:00 pmHitching PostHartsburg, Missouri.
Bluegrass jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Wednesday, Jun 30, 2004 (331 days 7 hours ago)
Gig: Sun, August 1, 2004 at 1:30 pm
DAVID DEAN WHITE will perform:Sun, August 1st, 2004 at 1:30 pmJefferson City VFWJefferson City, Missouri.
Country music jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Wednesday, Jun 30, 2004 (331 days 7 hours ago)
Monday, Jun 14, 2004
Gig: Thu, June 17, 2004 at 7:30 pm
DAVID DEAN WHITE will perform:Thu, June 17th, 2004 at 7:30 pmCherry Street ArtisanColumbia, Missouri.
Slo Jam bluegrass jam. Ya'll come.
See the listing for this gig and invite a friend.
posted Monday, Jun 14, 2004 (347 days 7 hours ago)
Friday, May 14, 2004
Gig: Sat, May 29, 2004 at 6:00 pm
DAVID DEAN WHITE will perform:Sat, May 29th, 2004 at 6:00 pmFrontier RendevousMillersburg Rod and Gun ClubMillersburg, Missouri.
Mountain Men Rendevous. The Cedar Creek Band will provide music.
See the listing for this gig and invite a friend.
posted Friday, May 14, 2004 (1 year 13 days ago)
Tuesday, May 11, 2004
Gig: Sat, May 22, 2004 at 11:00 am
DAVID DEAN WHITE will perform:Sat, May 22nd, 2004 at 11:00 amPresser HallMexico, Missouri.
Bluegrass Jam
See the listing for this gig and invite a friend.
posted Tuesday, May 11, 2004 (1 year 16 days ago)
Thursday, May 06, 2004
Gig: Sat, May 8, 2004 at 3:00 pm
DAVID DEAN WHITE will perform:Sat, May 8th, 2004 at 3:00 pmCooper's LandingEasley, Missouri.
I will perform songs from my cd "Lewis and Clark Part One: To the Missouri Breaks"
See the listing for this gig and invite a friend.
posted Thursday, May 06, 2004 (1 year 21 days ago)
Friday, Apr 30, 2004
Gig: Thu, May 6, 2004 at 5:00 pm
DAVID DEAN WHITE will perform:Thu, May 6th, 2004 at 5:00 pmBoone County Historical MuseumColumbia, Missouri.573/443-8936
Jam session
See the listing for this gig and invite a friend.
posted Friday, Apr 30, 2004 (1 year 27 days ago)
Thursday, Apr 22, 2004
Gig: Sun, May 2, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, May 2nd, 2004 at 1:00 pmHitching PostHartsburg, Missouri.573/657-2847
Bluegrass Jam
See the listing for this gig and invite a friend.
posted Thursday, Apr 22, 2004 (1 year 35 days ago)
Gig: Sun, May 9, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, May 9th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.573/657-2847
Bluegrass Jam
See the listing for this gig and invite a friend.
posted Thursday, Apr 22, 2004 (1 year 35 days ago)
Gig: Thu, May 20, 2004 at 5:00 pm
DAVID DEAN WHITE will perform:Thu, May 20th, 2004 at 5:00 pmBoone County Historical MuseumColumbia, Missouri.
Old time fiddler's Jam
See the listing for this gig and invite a friend.
posted Thursday, Apr 22, 2004 (1 year 35 days ago)
Gig: Sun, May 16, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, May 16th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.573/657-2847
Bluegrass Jam
See the listing for this gig and invite a friend.
posted Thursday, Apr 22, 2004 (1 year 35 days ago)
Monday, Apr 12, 2004
Gig: Wed, April 14, 2004 at 7:00 pm
DAVID DEAN WHITE will perform:Wed, April 14th, 2004 at 7:00 pmArtisan CafeColumbia, Missouri.
Slo Jam Bluegrass Jam
See the listing for this gig and invite a friend.
posted Monday, Apr 12, 2004 (1 year 45 days ago)
Friday, Apr 09, 2004
Gig: Sun, April 11, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, April 11th, 2004 at 1:00 pmHitching PostHartsburg, Mo.Fulton, Missouri.573/657-2847
Open Bluegrass Jam.
See the listing for this gig and invite a friend.
posted Friday, Apr 09, 2004 (1 year 48 days ago)
Monday, Mar 29, 2004
Gig: Sun, April 4, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, April 4th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.
Open Bluegrass Jam.
See the listing for this gig and invite a friend.
posted Monday, Mar 29, 2004 (1 year 59 days ago)
Wednesday, Mar 17, 2004
Gig: Sun, March 21, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, March 21st, 2004 at 1:00 pmHitching PostHartsburg, Missouri.573/657-847
OPEN BLUEGRASS JAM. David Dean White will be playing Dobro with the group.
See the listing for this gig and invite a friend.
posted Wednesday, Mar 17, 2004 (1 year 71 days ago)
Gig: Sun, March 28, 2004 at 1:00 pm
DAVID DEAN WHITE will perform:Sun, March 28th, 2004 at 1:00 pmHitching PostHartsburg, Missouri.573/657-2847
OPEN BLUEGRASS JAM. David Dean White will be playing Dobro with the group. Ya'll come!
See the listing for this gig and invite a friend.
posted Wednesday, Mar 17, 2004 (1 year 71 days ago)
Monday, Mar 15, 2004
Gig: Sat, June 5, 2004 at 12:30 pm
DAVID DEAN WHITE will perform:Sat, June 5th, 2004 at 12:30 pm1st Annual Lewis and Clark FestivalHuntsdale, MissouriHuntsdale, Missouri.573/443-1226
David Dean White will be appearing with THE MISSOURI BREAKS BAND. Performing songs from his cd, Lewis and Clark Part One: To the Missouri Breaks and other Americana traditional and bluegrass music.
See the listing for this gig and invite a friend.
posted Monday, Mar 15, 2004 (1 year 73 days ago)
Wednesday, Feb 25, 2004
Gig: Thu, March 18, 2004 at 6:00 pm
DAVID DEAN WHITE will perform:Thu, March 18th, 2004 at 6:00 pmUSDA DinnerNorth Callaway High SchoolFulton, Missouri.
CEDAR CREEK will perform a mix of traditional and original Americana songs.
See the listing for this gig and invite a friend.
posted Wednesday, Feb 25, 2004 (1 year 92 days ago)
Sunday, Feb 15, 2004
MP3: "Missouri Sunset"
DAVID DEAN WHITE added a new song:"Missouri Sunset"Country02:19
Stream it online, read reviews, and send it to a friend.
Missouri Sunset by DAVID DEAN WHITE
posted Sunday, Feb 15, 2004 (1 year 102 days ago)
Wednesday, Feb 11, 2004
MP3: "Rattlesnakes and Flint"
DAVID DEAN WHITE added a new song:"Rattlesnakes and Flint"Americana03:01
Stream it online, read reviews, and send it to a friend.
Rattlesnakes and Flint by DAVID DEAN WHITE
posted Wednesday, Feb 11, 2004 (1 year 106 days ago)
Saturday, Feb 07, 2004
MP3: "The Death of Charles Floyd"
DAVID DEAN WHITE added a new song:"The Death of Charles Floyd"Americana02:55
Stream it online, read reviews, and send it to a friend.
The Death of Charles Floyd by DAVID DEAN WHITE
posted Saturday, Feb 07, 2004 (1 year 110 days ago)
Monday, Feb 02, 2004
MP3: "Big Blue (Ictalurus Furcatus)"
DAVID DEAN WHITE added a new song:"Big Blue (Ictalurus Furcatus)"Country01:56
Stream it online, read reviews, and send it to a friend.
Big Blue (Ictalurus Furcatus) by DAVID DEAN WHITE
posted Monday, Feb 02, 2004 (1 year 115 days ago)
Friday, Jan 30, 2004
MP3: "Bonne Femme Twilight"
DAVID DEAN WHITE added a new song:"Bonne Femme Twilight"Americana02:13
Stream it online, read reviews, and send it to a friend.
Bonne Femme Twilight by DAVID DEAN WHITE
posted Friday, Jan 30, 2004 (1 year 118 days ago)
Wednesday, Jan 28, 2004
MP3: "One Eyed Fiddler"
DAVID DEAN WHITE added a new song:"One Eyed Fiddler"World02:15
Stream it online, read reviews, and send it to a friend.
One Eyed Fiddler by DAVID DEAN WHITE
posted Wednesday, Jan 28, 2004 (1 year 120 days ago)
Monday, Jan 26, 2004
Album for Sale: Lewis and Clark Part One: To the Missouri Breaks
DAVID DEAN WHITE's new album is now available for sale: "Lewis and Clark Part One: To the Missouri Breaks"
Hear samples, see the cover art and buy.
posted Monday, Jan 26, 2004 (1 year 122 days ago)
Friday, Jan 23, 2004
MP3: "A Gill a Day"
DAVID DEAN WHITE added a new song:"A Gill a Day"Folk02:01
Stream it online, read reviews, and send it to a friend.
A Gill a Day by DAVID DEAN WHITE
posted Friday, Jan 23, 2004 (1 year 125 days ago)
Friday, Jan 16, 2004
MP3: "Mariner's Compass"
DAVID DEAN WHITE added a new song:"Mariner's Compass"Country03:27
Stream it online, read reviews, and send it to a friend.
Mariner's Compass by DAVID DEAN WHITE
posted Friday, Jan 16, 2004 (1 year 132 days ago)
Wednesday, Jan 14, 2004
MP3: "Snags and Sawyers"
DAVID DEAN WHITE added a new song:"Snags and Sawyers"Blues02:48
Stream it online, read reviews, and send it to a friend.
Snags and Sawyers by DAVID DEAN WHITE
posted Wednesday, Jan 14, 2004 (1 year 134 days ago)
Tuesday, Jan 06, 2004
Gig: Sun, January 18, 2004 at 1:30 pm
DAVID DEAN WHITE will perform:Sun, January 18th, 2004 at 1:30 pmKC CountryKingdom City, Missouri.
CEDAR CREEK will perform a mix of bluegrass, country, Americana and original songs at this NEW venue off Interstate 70 at Kingdom City, MO. David Dean White will play Dobro, Guitar and Sing.
See the listing for this gig and invite a friend.
posted Tuesday, Jan 06, 2004 (1 year 142 days ago)
Saturday, Jan 03, 2004
MP3: "Leaving Camp DuBois"
DAVID DEAN WHITE added a new song:"Leaving Camp DuBois"Americana02:41
Stream it online, read reviews, and send it to a friend.
Leaving Camp DuBois by DAVID DEAN WHITE
posted Saturday, Jan 03, 2004 (1 year 145 days ago)
Thursday, Dec 11, 2003
Gig: Thu, December 18, 2003 at 7:30 pm
DAVID DEAN WHITE will perform:Thu, December 18th, 2003 at 7:30 pmSloe Jam at The Artisan9th and CherryColumbia, Missouri.
Sloe Jam Bluegrass open jam session. I will be playing Dobro with this group of local musicians who get together to jam once a week.
See the listing for this gig and invite a friend.
posted Thursday, Dec 11, 2003 (1 year 168 days ago)
Gig: Thu, January 22, 2004 at 7:30 pm
DAVID DEAN WHITE will perform:Thu, January 22nd, 2004 at 7:30 pmSloe Jam at the Artisan9th and CherryColumbia, Missouri.
Sloe Jam Bluegrass open jam session. I will be playing Dobro with this group of local musicians who get together to jam once a week.
See the listing for this gig and invite a friend.
posted Thursday, Dec 11, 2003 (1 year 168 days ago)
Wednesday, Dec 10, 2003
Gig: Tue, January 27, 2004 at 7:00 pm
DAVID DEAN WHITE will perform:Tue, January 27th, 2004 at 7:00 pm99th Annual Callaway County Supper (99th)William Woods University Golden DomeFulton, Missouri.573/642-2251
99th Annual Callaway County Supper. We, CEDAR CREEK, will be playing a mix of Americana songs and songs off my new cd, Lewis and Clark Part One: To the Missouri Breaks. To order a copy email me at daviddeanwhite6@hotmail.com cd is $9.99 plus $2 postage (total $11.99)
See the listing for this gig and invite a friend.
posted Wednesday, Dec 10, 2003 (1 year 169 days ago)

Who is Arnold Nelson?

2005-05-26T10:56:00.000-07:00

Arnold Nelson was a very well known western swing steel guitarist in the Vancouver, BC area throughout the 50’s and60’s and was one of the youngest recipients ever of a custom built 3 neck Bigsby guitar.
Here are some thoughts from Arnold.
I mentioned earlier I would tell you about some encounters I had with Noel Boggs and Joaquin Murphy, along with a few others. In early 1948 the Spade Cooley big band appeared in Vancouver. Noel was playing a four-neck Fender and with Jimmy Wyble and another guitarist they played some great three guitar stuff, including Boggs Boogie. After the show I introduced myself to Noel, and he was kind to give this 14-year old kid the time of day. I mentioned I planned to be in Los Angeles in the summer. He encouraged me to visit him at the Spade Cooley TV show at The Santa Monica ballroom on the pier. When I showed up that summer it turned out that I required a guardian since I was under-aged to be in a liquor serving venue. Noel told the powers that be he would be my guardian, and make sure I behaved myself. Was I thrilled or not? He was just a great friendly person. I met with him again in 1955, but more about that later. Tex Williams' Western Caravan with Joaquin also played Vancouver later in 1948. I can't say I really met him. He was, I think, a shy man of few words. It was my first look at a Bigsby and I remember he had his name engraved on a silver-plated plaque. Tex Williams was very nice and posed for a picture with me and two others. At this time, I was fooling around with a 6-string Hawaiian laptop (Gibson), and Jimmy Wakely's guitarist, Jack Rivers, sold me his Fender amp after a gig in Vancouver (The first Fender amp in Canada I believe). With that amp the sound wasn't too bad, but with only 6 strings I couldn't begin to try and emulate what Boggs and Murphy turned out. Not long after I decided I needed more firepower and contacted Paul Bigsby. At first I think he was skeptical that I was serious about ordering a guitar, let alone if I could afford to pay for it. So he combined a motorcycle trip to meet with me in Vancouver, and then do some fishing. I convinced him I was serious and he put me in his order book. He started work in 1951 and delivered in early 1952. In 1954/55 I appeared in a TV series on the CBC network. I was also attending university. The summer of 1955 saw me staying for several weeks in Manhattan Beach CA. The Noel Boggs quartet was playing at a club/lounge in West Hollywood, so I got to renew our acquaintance over a couple of nights at the club. I learned Joaquin was playing at the Palomino Club in North Hollywood. Others in the band were Billy Strange, Phil Gray (trombone), and one of the Morgan brothers on bass are the ones I remember. During a break Joaquin and I headed to the parking lot to see the love of his life, a brand new jet black VW bug. He was excited also that he could get all his gear into it, how I wondered. My brand new Buick convertible didn't impress him at all. After the break it was determined Billy Strange was in no condition to carry on (too much grape), and I was asked to step in with his guitar. So there I was playing alongside Joaquin. A night I cannot forget! Last month we spent two weeks in Hawaii, arriving one day after Jerry Byrd passed away on April 11th. His passing was big news in the Honolulu papers. I met him in the 70's when he was playing one of the Waikiki hotels. He had a very nice style in both country and Hawaiian. Other steel players I've met include Vance Terry (Billy Jack Wills), Wayne Burdick (Tex Williams), and Tom Morrell, and I'm so sorry he is not well. And soon I look forward to meeting Bobbe Seymour. One last note: From 1987-1991 I lived and worked in New York City. Every Monday night the Les Paul trio performed at a Lounge/Club in Lower Manhattan. The fact that we both knew Paul Bigsby enabled me to join him for a drink. He was using a Bigsby tremolo.

Remember this, my fellow players, some of the greatest steel players in the world don’t use pedals or knee levers, and don’t play Hawaiian and don’t playcorny sounding country. Noel Boggs, Joaquin Murphy and Tom Morrell were all great non-pedal players.

Go here to see the "Arnold Nelson" Bigsby triple neck steel guitar
http://steelguitarforum.com/Forum15/HTML/009311.html

Prime Time Lounge Columbia Mo. Days Inn

2005-05-26T07:25:00.000-07:00

Come see David Dean White at the Prime Time Lounge on 6/10/2005 from 8-11pm.
DDW

On the Board of Directors

2005-05-24T13:59:00.000-07:00

I am now a member of the Board of Directors of the Missouri River Cultural Conservancy. Our first fundraiser will be held at Cooper's Landing on June 14, 2005 at 12pm.
DDW

It's official

2005-05-24T13:57:00.000-07:00

I will be playing Don "Shag" Helms in the play "Hank Williams: Lost Highway."

"Hank Williams: Lost Highway" is an Off-Broadway musical tribute to the life of country music's first great icon who died at the age of 29 "in the back seat of a lonely Cadillac" on New Year's Eve 1953. It celebrates the music and uncovers the soul of an American icon, from his humble rural beginnings and the African-American blues musicians who influenced him. “Hank Williams: Lost Highway” is a highly entertaining, musical journey with over 20 hits, including "I'm So Lonesome I Could Cry," "Jambalaya," "Move it On Over," "Hey, Good Lookin'," "Your Cheatin' Heart" and many more. “Great fun! Absolutely delightful.” Bruce Weber, New York Times. “Exhilarting! A rare achievement in any musical theatre”, Anthony DeCurtins, Rolling Stone.

Been busy

2005-05-23T12:54:00.000-07:00

First day back at work since last tuesday. Spent time at Tan Tar A at the Lake of Ozarks and even caught a 4 lb. channel catfish on a beetle spin. Fun!!!
Previous to that played Cooper's Landing solo a week ago saturday and with Chris, Rick, the other Chris and myself.
Pics of the gig should be on Comomusic.com soon. Look under shows.
DDW

The story of Billy Strange

2005-05-05T11:02:00.000-07:00

You must check out this site
http://www.billystrangemusic.com/

Billy began performing as a young boy with his father and mother on radio in Long Beach, California. In fact at a mere 5 years old he won a yodeling contest !
Guitars and cowboy music were a part of his young life but his first choice as an instrument was the trumpet. When he was 14 however, a family friend gave him an old Gibson (L-7) guitar, showed him a few chords and he took to it as naturally as if he was born with a guitar in his hand.
As a teen he played in bands and with his parents, cowboy entertainers George and Billie Strange. At about 16 however he took off across Texas with a wild bunch of musicians playing shows and dances and Honky Tonks and driving the old timey, non air conditioned, school bus style, touring bus when the other band members were incapacitated.
Altho he didn't graduate with his High School class, his father tutored him and he never suffered from a lack of formal education, in any aspect of his personal or professional life. He was gifted with a bright and inquisitive mind that served him well, and still does.
Back in Southern California, several years of public appearances with any and all of the musicians of the West Coast music scene led to regular appearances in the new medium of live television, in his early 20's. He also rodeoed, tagged along with his Uncles as truck drivers and even worked as a stunt man.
But mostly his life was about the music. Regular live television shows was a mainstay as he was always employed as a guitar player and singer. Those early shows with The Sons Of The Pioneers and Roy Rogers, and Spade Cooley and Smokey Rogers and others, led to working not only with all the country musicians of the 50's but also the pop and jazz players , even Count Basie.
A regular gig with the Cliffie Stone Hometown Jamboree weekly television show and dance, also included doing a daily radio show -six shows a week.
He moved from the country stations to the networks to become the staff guitarist and "boy singer" at CBS radio in Hollywood, and continued working with pop, big band and jazz entertainers as well as staying close to his country roots.
He was also working on recording sessions and because the recording industry was small and tightly connected, all the musicians and performers knew one another and flowed from the recording studios of Gold Star, Western Recorders, Radio Recorders to the larger labels including the new Capitol Records building on Vine Street, and onto live performances anywhere and everywhere, all the time.
It seemed that the handsome, tall young man was everyone's first choice as back up player for either his fine accoustical work or on his twanging electric lead guitar.
The list of people he worked with as a band member, band leader, first call guitarist in the recording studio or on any stage anywhere, is too numerous to even recall. He was also just the good guy they all wanted to hang around with, with his quick wit and take charge personality. The inside joke among the group of studio musicians who came to be known as The Wrecking Crew, was "Have you heard about the Billy Strange doll? You wind him up and he takes over the session..."
Even today, anyone listening to the radio stations that play the oldies, or who enjoys the recordings of prior generations, can recognize his well known sound, featured in any field of pop., rock or country music...
When the official recognition is finally awarded to the fine studio musicians who worked uncredited, on countless hit records for several decades, that list will include the name of Billy Strange as lead guitar, rhythm guitar, session leader, arranger, conductor or featured soloist.
He was also recording his own guitar albums through out the 1960's and at least 18 of those are still in demand as collectors worldwide buy, sell, trade or dicker for the privilege of owning one or all !
As a male vocalist, Billy's strong and rangy baritone was heard on the soundtracks of the movies, on television shows including many for Disney, and of course as a solo recording artist.
As he progressed from the busy years of flying to San Francisco regularly to be a featured member of The Tennessee Ernie Ford Show, and then returning to race to the recording studios, he'd often find himself with as many as 3, 4 or 5 session bookings a day.
He could play with Willie Nelson or Nat King Cole, or Bob Wills or Dean Martin, or Henry Mancini and Les Brown.
Those years also began an association with Brian Wilson and The Beach Boys, playing on more hits than he even remembers, and with Jan and Dean and The Monkees and dozens of other similar groups, and for two years as a ghost player for a popular group called The Ventures, and literally hundreds more.
When Elvis came to town it was Billy he wanted as a player, arranger or session leader. Billy wrote and scored movies and TV Specials for Elvis and co-wrote several of Elvis hit records. They also hung out together and sometimes would ride their Harley's together in the wee hours of the morning, through the Hollywood Hills.
His solo cover recordings of such things as The James Bond Theme, 007, Goldfinger, The Munsters Theme, Batman, Have Gun Will Travel and many others were chart favorites that blur together and are too numerous to list here.
When he worked with Nancy Sinatra his, on the spot instant arrangement, in the final few minutes remaining of a recording session, led to one of the most recognizable intro's in music history for "These Boots Are Made For Walking".
The association with "The Nancy" (as I refer to her), put him forever, into the good graces of her father Frank Sinatra, and Billy's arrangement of the father daughter duet "Something Stupid", gave Frank his first million selling single record, ever.... for which he was always grateful to Mr. Strange.
Billy transitioned into arranging, writing and conducting which he found enormously satisfying. He was busy writing for the recording studios and was in demand as an arranger - conductor, for many, many performers including all three performing Sinatra's. He was the musical director of the first five ACM Award shows among countless others.
In the Nancy Sinatra nightclub act, she always featured Billy by asking him to step away from the large orchestra he was conducting, and quietly accompany her with only his, still excellent accoustic guitar work, and sometimes he'd bring the house to it's feet by singing a show stopping number....
In case you've stopped to wonder, he did take himself to a teacher, somewhere along the way in order to learn to read music, and put on paper what he was hearing in his head, and sometimes the teacher would stop him and say, "Now just what was that lick you played on, whatever, hit song???"
He was side man, featured performer and could easily go from jamming with a rock and roll band to the most soulful of country sounds, to conducting the Berlin or London Symphony Orchestras, playing the music he created.
He moved to Nashville in the early 1970's to open and run a publishing firm for Frank & Nancy Sinatra, which they also co-owned. He was a divorced man raising a ten year old daughter, with two older boys more or less on their own.
He has lived in Franklin for nearly 28 years and has worked, or not worked as he chose. He owned and operated his own publishing firm and was a record producer for more artists than he can recall..
Dragged kicking and screaming into retirement by the ongoing changes in a youth oriented music business, he has had his mortgage paid, for 40 years by Royalties from a little song he wrote in an idle moment, called Limbo Rock. He manages to get by comfortably tho not lavishly, on residuals from motion pictures and recordings and songs he's written over the years.
The checks trickle in from David Cassidy's Partridge family theme, "I Think I love You", to "These Boots Are Made For Walking", to "Viva Las Vegas" and others, but and especially from , Elvis Presley's classic "Memories", co-written with friend Mac Davis.

What an incredibole journey!

DDW

Please contribute to the Missouri River Cultural Conservancy

2005-04-27T14:14:00.000-07:00

April 25, 2005

Greetings Friends and Supporters of the Missouri River Cultural Conservancy!
"The Mission of the Missouri River Cultural Conservancy is to document, record, archive and foster awareness of the unique history and culture of the Central Missouri River Region."
We want to invite you to a celebration of the life and culture of the Central Missouri and Missouri River area. But to do this, we need your help and involvement.For several months, a group of your friends and neighbors have been meeting at Cooper's Landing to explore an exciting idea. The idea began as conversations between Mike Cooper and the late local songwriter and performer, Jerome Wheeler, who ironically and sadly passed away before seeing his vision come to fruition. Since then, we have lost another local treasure, Forrest Rose. Hopefully, we will not lose any more of our cultural and artistic treasures before we can record their contributions to our region’s cultural heritage.We have formed an organization that has adopted the name the "Missouri River Cultural Conservatory" or "MoRivCC." The organization includes friends and neighbors, entertainers, artists, radio, TV, and video production experts, as well as experts in other areas, who are coming together to support this mission.MoRivCC is making significant progress towards becoming a viable organization, and is planning a major fundraising event scheduled for June 11th at Cooper's Landing. The event will be videotaped by MoRivCC. The event will consist of an all day concert, featuring many local musicians and ending with the Bruce Poe Band as the closing act.Other areas of progress include:* We now have a banking account at Regions Bank, and are keeping records of all contributions.* We officially have an EIN (employer identification number) from the federal government.
*We are completing the requirements to become a registered 501c(3) nonprofit organization, so that all contributions made directly to MoRivCC will be tax deductible.* Missouri River Communities Network (MRCN) has voted to let us operate as an official MRCN project until MoRivCC becomes a stand alone nonprofit organization, so all contributions to MoRivCC are now tax deductible if the check is made to Missouri River Communities Network and designated for the MoRivCC project.* We are becoming an organizational member of CAT3 (Columbia Access Television 3), which will allow us to provide training to our members and gain access to their video equipment and production facilities.* MoRivCC recently voted to hire John Clark for legal services, such as filing for nonprofit organization status.* We are planning a major fund raising concert event at Cooper’s Landing on June 11, 2005, and contacting television and radio stations and other media for advertising.
We need your help! We need seed money to pay for becoming an organizational member of CAT3, for sponsoring members to take CAT3 video/audio production training classes, and for other expenses related to becoming a not-for-profit corporation. Most contributors are donating $10 or $20 directly to Missouri River Cultural Conservancy. If you want to make a larger, tax deductible donation, make your check out to Missouri River Communities Network and designate it for the MoRivCC Project.
Checks can be sent to:Mike Cooper, Treasurer,Missouri River Cultural Conservancy11505 S. Easley River Rd
Columbia MO 65203We would also like to invite you to attend our meetings. Our next meeting is scheduled at Cooper's Landing on Thursday, May 12 at 6:30 pm. Dinner will be available from Chim's Thai Kitchen and Cooper's Landing Deli at 6:00 pm. Please come to the meeting - We want and need your input.”The clock is running out on many of our local treasures and we are afraid that if we don't act quickly that several songwriters will be beyond our reach.”
Jerome Wheeler 12-13-04

You can read Jerome's entire vision statement and learn more about MoRivCC at: http://www.cooperslanding.net/newsletter.htm

We would like to thank you for helping MoRivCC get off the ground.
Thanks,
MoRivCC steering committee

Don't give up!

2005-04-19T08:04:00.000-07:00

In music business and in life you will encounter people who are negative and full of criticism. Do not listen to their words of discouragement.
If you perservere you will succeed.

http://www.terryfoxrun.org/english/media/lyrics/default.asp?s=1

Here is a woderful site with the proof of this.

http://www.in-loving-memories.com/

Also, I have a solo gig at Cooper's Landing from 4-7 pm on May, 15, 2005.

Hope to see you there.

http://www.cooperslanding.net/events.htm

DDW

Oh Well. That's Show Business

2005-04-18T13:36:00.000-07:00

My Sunday weekend gig at Coach's with Cedar Creek ended yesterday.
Ron the owner (who we have not seen in two weeks and have not been paid in two weeks) announced after our gig that, "Take a break from music."
Of course, he did say "you boys did real good and we will have you back."
What he did not say was, our deal was to play at his joint every sunday in 2005.

Anyway it was fun and I would like to play at Coach's again in the future.

Live and learn.

DDW

Sites that feature Lewis and Clark Part One: To the Missouri Breaks

2005-04-14T07:26:00.000-07:00

Check these sites out

Audio Lunchbox

David Dean WhiteCD Baby[Folk]
Lewis and Clark Part One: To the Missouri Breaks (Full Album)

iTMS-4-all

http://audiolunchbox.com/search

http://rain.xidus.net/cgi-bin/itms4all/itms4all.pl?searchString=David+Dean+White&buttonSearch=search

Mperia

http://www.mperia.com/displayfull.php?searchby=artist&id=5603

Musicians.net

http://www.musicians.net/localacts/default.asp

Napster

http://www.always-great-buys.com/product-634479742521--NJBUE.html

Sonic Garden

http://www.sonicgarden.com/sonic-web/artist.cfm?artistid=20613

Tower Records

http://www.musicandmoviesonline.com/products/item4103160.html

CD Baby

http://cdbaby.com/cd/ddwhite

Selected Music and Movies

http://www.selectedmusicandmovies.com/products/item2114.html

Garageband

http://www.garageband.com/artist/DavidDeanWhite

No Record Label

http://norecordlabel.com/

Jonesboro Music

http://www.jonesboromusic.com/jamroom/bands/23/music.php

I am on the KOPN Playlist. Cool!

2005-04-14T06:20:00.000-07:00

http://www.kopn.org/
KOPN Playlist
Programmer:
Radio Ranger
Show:
Rootin Tootin Radio
Date:
8/15/04
Time:
12:00
Artists
Album
Song
Label
Genre
Asleep at the Wheel
Thr swining Best of
Blowin like a bandit
Sony
nanci griffith
Other Voices too
Wasn't That a mighty storm
Electra
David olney
Border Crossing
loves been linked to the blues
Corazong
Lyle Lovett
My Baby don't Tolerate
My Baby don't tolerate
Lost highway
Dwight yokam
Dwight's Used Recordes
Some Dark Hiller
KOCH
Raul Malo Pat Flynn
The Nasville Acoustic Sessions
Blue Bayo
CMH
Junior Brown
Down Home chrome
The Bridge Washed out
Telarc
Raul Malo Pat Flynn
The Nasville Acoustic Sessions
Weary Blues from waiting
CMH
Ray Wylie Hubbard
Growel
Purgatory Road
Philo
Kieran Kane & Kevin Welch
You Can't Save Everybody
Hillbilly Blue
Compass
Fred Eaglesmith
Balin
Baling Again
AML
Bad Livers
hogs on the Highway
News Not the weather
Sugar Hill
Dwight yokam
Dwight's Used Recordes
Down where the river bends
KOCH
Raul Malo Pat Flynn
The Nasville Acoustic Sessions
Moon River
CMH
Jerry garcia & David Grisman
Been all arounf this world
Dark as dungeon
Acoustic Disc
Dwight yokam
Dwight's Used Recordes
Miner Prayer
KOCH
Jack Williams
Everybody's Got love
Sneakin Up on the blues
KOPN
Kieran Kane & Kevin Welch
You Can't Save Everybody
Everybody's working for the man
Compass
Waddie Mitchell
Live
The Cross eyed bull
Shaanchie
John Prine
The Unbroken Circle
Bear Creek blues
Dualtone
Steve young
Lonsome onry Mean
Lonsome Onry and Mean
Raven
Joe Ely
Sette for Love
White line fever
Hightone
The Android Sisters
Pull No Punches
Hey monster maker
ZBS
Steve young
Lonsome onry Mean
Montgomery in the rain
Raven
Robin and Linda Williams
Devil of a dream
Rolling and rambling
Sugar Hill
James Mcmurttry
Live in Aught Three
lights of cheyene
Compadre
Gillian welch
Hell among the Yearlings
Whiskey Girl
Almo
Junior Brown
Down Home chrome
Hill Country Hot Rod man
Telarc
The Trailer Park troubadours
Way cool World
prelude to a storm
Rugburn
The Trailer Park troubadours
waycool world
If the trailer ani't level
Rugburn
Del MCouray
The Unbroken Circle
Rambling Boy
Dualtone
Bad livers
hogs on the Highway
counting Crossties
Sugar Hill
David dean white
Lewis and Clark part one
The death of Charles floyd
David dean white
Matt Fockler
Matt Fockler
Lakota Sioux
Matt fockler
Bob Dyer
A River Runs outside my door
Talking Water
Big Canoes
paul & Win Grace
Everybody's Got love
Grow Garden Grow
KOPN
Kieran Kane & Kevin Welch
You Can't Save Everybody
Till I'm too old to die young
Compass

Jerry Byrd called home April, 11 2005

2005-04-13T12:32:00.000-07:00

A Very Sad Day:
On Monday, April 11, 2005, at 6:00 AM Honolulu time......Jerry Byrd passed away.
Jerry first entered the hospital on Friday, March 4, 2005, and celebrated his 85th birthday there on March 20th.
Since that date, Jerry had experienced some good days and some not-so-good days.
In spite of his physical suffering he had still been alert and caring enough to participate in personal and telephone conversations with family members and loyal fans from around the world.
Scotty and countless other family friends, Jerry's two daughters and his brother Jack were with him at that crucial hour. He was not alone...........
Please keep Jerry's wife Kaleo in your prayers. She has suffered a tremendous loss; much more so than we in the world-wide steel guitar community.
You may write to her at this address:
Mrs. Kaleo (Jerry) Byrd
555 University Avenue (#707)
Honolulu, HI 96826

Thank You!

This a great loss to the world of music and steel guitar.

DDW

Jerry Byrd (Larry W. Jones 04/11/2005) (song#3722)

Jerry Byrd was a man of steel
He was the master of touch and tone
To know he's gone just don't seem real.
But Jerry's life has come and flown

Jerry Byrd meant a lot to us
We'll all miss his golden touch
His music always was a plus
His steel guitar played so much

Til April eleven in twenty oh five
Jerry kept musical dreams alive
He was the master of touch and tone
For cowboys and the tropic zone

But we've got more than his steel guitar
We've got his music that will 'ere be heard
You were loved both near and far
Master of touch and tone was Jerry Byrd
Master of touch and tone was Jerry Byrd

and

This week marks the passing of one of the greatest mentors and most famous steel guitar players who ever lived. Mr. Jerry Byrd was the first player who inspired the first generation of great steel guitarists. His incredible technique graced the recordings of Hank Williams, Sr., Red Foley, Chet Atkins, the stage of the Grand Ole Opry and his own instrumental show on WSM in the early fifties. He recorded many albums and singles on the Mercury, King and RCA labels. All of his recording was done on a 6 or 7 string non-pedal lapsteel guitar. Not only famous for the Hawaiian steel guitar style which he did as well as anyone, he was almost solely responsible for bringing steel guitar to country music in a big way. Almost every country music record you heard in the forties and early fifties featured Jerry Byrd on steel. Jerry had many players study and copy his style of playing which is a sincere form of flattery. We are all familiar with the works of Kayton Roberts, Howard White, Billy Robinson, Don Helms, Little Joe Vincent and the many Western Swing players who learned so much from Jerry such as Noel Boggs, Billy Bowman, Gene Cronover and the great Curly Chalker in his early days. Steel guitar could have been just a novelty instrument or possibly totally forgotten if it wasn't for this master craftsman who spent his entire life sharing his talents with others. I won't go into his past history or everything he did in his musical career, but rest assured, it could fill a very large book. From his days in Cincinnati at King Records to being on the Musicians Union board in Nashville, TN. I personally know every legend in steel guitar. I have known Jerry Byrd for 59 years and can say with certain authority that Jerry was truly the king of steel guitar and I know of no one's passing that will be any more significant than this loss we've experienced this week. My uncle, professional steel guitarist Doug "Slim" Seymour, a Jerry Byrd fanatic since the forties, introduced me to Jerry Byrd personally, when I was six years old, made the remark to me upon hearing of Jerry's passing, "There is no steel player today whose style has not been touched by Jerry in one way or another." I couldn't agree more. Your buddy, Bobbewww.steelguitar.net sales@steelguitar.net www.bobbeseymour.com

Jerry Byrd, called home on April 11, 2005.There was never anyone like him, before him. There will never be anyone like him, after him. He was and will always be, a genuine original. I will always treasure the thoughtful card of appreciation he sent me August 8, 2004.Mahalo Jerry
April 13 2005- 12:50 - Fulton Missouri

DDW

http://www.jerrybyrdfanclub.com

I am in the Columbia Missourian, Fulton Sun and Columbia Daily Tribune Newspapers

2005-04-12T10:42:00.000-07:00

The Misourian

Calendar
April 7- April 13 , 2005
Music
Thursday, April 7
ACOUSTICPippa Letsky and Betty Lindsey Cherry Street Artisan 817-3274. 11:30 a.m., free
ELECTRONICDJ Ice, DJ KatUp, DJ P-Caso and DJ Oaktree Shattered 874-0650. 8 p.m., ages 18 to 20, $7; ages 21 and older, $5
JAZZ/BLUESHennessy Brothers Sake 256-7252. 8:30 p.m., free
Jazz Jam Cherry Street Artisan 817-3274. 7:30 p.m., free
W.C. Spencer The Martini Bar 256-8550. 9 p.m., call for prices
OPEN MIC/POETRYOpen Mic The Thirsty Turtle 442-6696. 9 p.m., free
ROCKThe Confident Years, This Day & Age, Down From Earth, Approach and Carmine Red Mojo’s 875-0588. 8:30 p.m., $5
Modern Day Zero and Stendek The Blue Note 874-1944. 7 p.m., $5
Friday, april 8
ACOUSTICCatrin Finch (harp) Jesse Auditorium 882-4290. 7 p.m., $14-18
Lee Ruth Cooper’s Landing 657-2544. 7 p.m., free
The Josh Watkins Trio D’Agostino’s Italian Restaurant and Bar 445-9993. 7 p.m., free
Old Man Rio Bambino’s 443-4473. 6:30 p.m., free
Steve Jacobs Lindsey Cherry Street Artisan 817-3274. 11:30 a.m., free
Tribute to Allen Ginsberg Cherry Street Artisan 817-3274. 9 p.m., free
ELECTRONICTom Morgan Memorial Concert ft. Dr. Zhivegas and Gary Fleming The Blue Note 874-1944. 8:30 p.m., $8
JAZZ/BLUESBill Perry The Martini Bar 256-8550. 9 p.m., call for prices
Hennessy Brothers Sake 256-7252. 8:30 p.m., free
Jim Brockman Grand Cru 443-2600. 6:30 to 9:30 p.m., free
ROCKElectric Six and VHS or Beta Mojo’s 875-0588. 8:30 p.m., $12
Lux and The Ham Eastside Tavern 256-1500. 9 p.m., $5
One Shot Crockett and Waylaid The Thirsty Turtle 442-6696. 9 p.m., $3
Saturday, april 9
ACOUSTICBob Runyon Cooper’s Landing 657-2544. 7 p.m., free
David Dean White Cooper’s Landing 657-2544. 4 p.m., free
Hilary Scott D’Agostino’s Italian Restaurant and Bar 445-9993. 7 p.m., free
Shannon Morris Bambino’s 443-4473. 6 p.m., free
JAZZ/BLUESBill Thompson Grand Cru 443-2600. 6:30 p.m., free
Chris Beard The Martini Bar 256-8550. 9 p.m., call for prices
Tom Andes Trio Murry’s 449-4969. 9:30 p.m., free
OPEN MIC/POETRY Poetry Jam Cherry Street Artisan 817-3274. 9 p.m., $3
ROCKBald Eagle and The Show is the Rainbow and So Many Dynamos Eastside Tavern 256-1500. 9 p.m., $5
The Heavenly States with The Forty-Fives and The Maxtone Four Mojo’s 875-0588. 8:30 p.m., $5
Something Corporate The Blue Note 874-1944. 7 p.m., students, $15; general admission, $17
The Tipper Gores, The Frustrated Bachelors, Los Caballos and Israel Gripka Hickman High School 214-3000. 7 p.m. Free
Sunday, April 10
ACOUSTICPeaceful Sunday w/ Steve Meyerhardt Cooper’s Landing 657-2544. 4 p.m., free
FOLK/BLUEGRASSBluegrass Jam Hartsburg Hitching Post 657-2847. 1 p.m., free
Monday, april 11
ELECTRONICQusayu and Baine Shattered 874-0650. 9 p.m., $4
JAZZTom Andes Murry’s 442-4969. 7:30 p.m., free
tuesday, April 12
JAZZLeighton Roden Murry’s 442-4969. 7:30 p.m., free
ROCKThe HipNecks The Blue Note 874-1944. 8 p.m., $5
Otell Burbridge and the Peacemakers Mojo’s 875-0588. 8:30 p.m., $10
Wednesday, April 13
ELECTRONICDJ Nick and DJ Drew Sake 256-7252. 10 p.m., men, $2; women, free
FOLK/BLUESSteve Meyerhardt and Nirtana Goodman Thai Kitchen 256-2432. 6 p.m., free
ROCKDrums & Tuba Mojo’s 875-0588. 8:30 p.m., $8

and in this news article

This story was published 10/20/2003.
Music to soothe the soul
Police detective relaxes by learning to play the banjo and performing with a gospel group
By STEPHANIE THIESnews@columbiamissourian.com On a typical day, Columbia Police Detective Jeff Westbrook works to combat domestic violence and counsel victims of such abuse. At night, however, Westbrook can be found on his porch working toward a different goal — mastering the banjo.
Westbrook began playing the banjo two years ago and has since joined the local bluegrass band Gospel Salute.
Westbrook said he’s wanted to learn the banjo since 1982 but because of work and family commitments, he never had time to take lessons. Two years ago he decided to make time and signed up for banjo lessons with Leela Grace, an area banjo teacher.
On Friday, Gospel Salute, also known as Bluegrass Salute, performed at the “Grand-Dee Gospel Sing!,” a concert held once a month at the Calvary Baptist Church.
Gospel Salute opens and closes each show at the church and invites a different bluegrass band to perform on the bill each month. Friday’s concert, which featured Ironweed, was the fourth “Grand-Dee Gospel Sing!.” Gospel Salute hopes the monthly concerts become a fixture at the church.
Gospel Salute will also play Tuesday night at D’Agostinos Italian Restaurant & Bar, its first gig at a venue other than the church.
Westbrook said he has learned a lot from the other musicians in Gospel Salute. The band is made up of five men, each from a different walk of life.
Lanny Seifert, Gospel Salute’s fiddle player, works for Midwest Block & Brick. Dobro player David Dean White is a social worker at Fulton State Hospital. Lead vocalist and guitarist Charlie Boyer used to work for a phone company and is now retired.
Boyer said he enjoys the interaction the band has with the audience and being able to spread the gospel message through music.
“When you hear the crowd’s response, it makes it all worthwhile,” Boyer said.
Westbrook said playing the banjo helps him deal with the stressful aspects of his day job. As a detective in the department’s Domestic Violence Enforcement Unit, he often counsels women who have been victims of domestic violence.
Westbrook said many officers take up a hobby in their off hours to help them relax. While other officers hunt or visit a shooting range, Westbrook picks up his banjo.
Over the summer, Westbrook spent a week in West Virginia, studying the banjo with Dwight Diller, a musician devoted to preserving the traditional music of Appalachia. Westbrook said Diller is one of the top five banjo players in the country.
Music runs in the Westbrook family. Westbrook’s 16-year-old son, Jake, plays the electric bass in a band with friends from Rock Bridge High School. The alternative rock band, Twelve Cent Masterpiece, recently performed at The Music Cafe and the Twilight Festival, and it is recording a compact disc. Cherri Westbrook, Jeff’s wife, said father and son attend each other’s performances when they can. Last year, in honor of Father’s Day, Jake took his dad to see Bela Fleck, a banjo player whose music is influenced by a mixture of bluegrass, jazz and funk.
Cherri said music is a fixture in the Westbrook home. While Jake’s band jam’s away in the basement, Jeff can be found playing his banjo on the front porch.
“It’s interesting — it’s fun, and it makes for a very entertaining household,” she said.
Jeff Westbrook continues to practice and learn all he can about the banjo. He said learning to play the banjo is just like anything else — it takes hard work and dedication to succeed.
“Well, you know if there’s something you want to do well, you’ll get there if you keep working at it,” he said. “Success doesn’t come overnight — it takes work and going after something to get where you want to be.”

The Fulton Sun

http://www.fultonsun.com/articles/2004/01/20/news/348news01.txt

Kingdom Supper to spotlight local musicians Cedar CreekBy COLIN E. SUCHLANDThe Fulton Sun
Cedar Creek, from left to right, Steve Morris, David Dean White, Rick Howard and Mark Mudd, will provide the musical backdrop to this years Kingdom Supper. (Contributed photo)

Bridging the gap between past and present, the musicians of Cedar Creek will bring their time-honored tunes to next week's 99th annual Kingdom Supper.The group - which formed less than a year ago from a loose assemblage of long-time collaborators - specializes in traditional music, including some original compositions by member David Dean White."When I say 'traditional music,' I guess I mean the music of our American heritage," White said Monday.Cedar Creek is a four-person ensemble, White explained, where each member contributes something different to an eclectic sound that spans folk, country, bluegrass and early rock. Besides White, the current roster includes Callaway County residents Rick Howard and Mark Mudd, and Columbia resident Steve Morris."This is really the first time we've gotten all the parts together," said White, who often plays a resophonic guitar or dobro.White also composed and released an entire album of folk music last fall. "Lewis and Clark: To the Missouri Breaks" is to be the first of a trilogy, and some of those songs will be featured during supper. Cedar Creek also has been asked to play a few gospel numbers."I know this is how I'm going to spend my retirement," White. "I'm just having so much fun doing this."Howard, who is White's neighbor, lends his skills on an upright bass. He said bluegrass music - which has enjoyed a mainstream resurgence in recent years - has been a life-long favorite of his."That's the music I listened to as a child, and it's kind of stuck with me all these years," Howard said Monday.Though all the members have a voice in the music, White said Mudd is the lead singer and also contributes guitar and mandolin. Morris applies his talents to both guitar and percussion.Cedar Creek was "discovered" by Kingdom Supper President Judy Borman, who culled the group after seeing them perform as David Dean White and Friends at The Niche in Fulton.On Sunday, Cedar Creek played KC Country in Kingdom City, but the several hundred people expected to turn out for Kingdom Supper is sure to be their largest engagement thus far."This is a great chance for us to reach new ears," White said. "If they like us enough, maybe we will be invited back for the 100th supper."Of course, there would be no Kingdom Supper without the food itself, and Borman said Monday that culinary preparations also are well in hand. The event is being held on the William Woods University campus in Fulton, and the buffet is being catered by the college kitchen staff.The menu has changed little in recent years, with traditional dishes including Virginia baked ham and apple pie with cheese returning. Supper-goers also will be treated to chicken Caesar salad, steamboat rounds of beef and assorted sides.Next Tuesday, Kingdom Supper will begin with a 5:30 p.m. reception at the WWU Kemper Art Center and proceed to dinner at 7 p.m. in Tucker Dining Hall. Borman added that the hall's southern entrance offers easy access for disabled residents.Tickets are $15 a person and may be purchased from The Callaway Bank locations, United Security Bank in Kingdom City, the Millersburg Short Stop and Crane's Country Store in Millersburg."It's almost like a reunion. There are a lot of people (at the supper) you don't get to see but once a year," Borman said.

and

Harvest Hayride planned for senior citizensBy BRANDI SCHUBERTThe Fulton Sun

Many senior citizens in Fulton this Halloween will celebrate with food, music and hayrides at the Stinson Creek Walking Trail.The Harvest Hayride for Seniors will begin at the east end of the walking trail, located at the new parking lot near the end of State Street, with hayrides from 2-4 p.m., followed by music from 4-6 p.m. Chili and hotdogs will be available from 5-6 p.m.Sponsored by the SERVE, Inc., Retired and Senior Volunteer Program and supported by the City of Fulton Parks and Recreation Department, organizers said their goal is to introduce seniors to the trail. The festivities will take place along Phase Two of the trail - the newest section of the project, which was unveiled last month."This will offer them the ability, especially for those who can't walk, to see a new part of the trail and to see what the city is doing with their tax money," said Pam Phelps, RSVP coordinator.With fall foliage and cooler weather, event organizers said the approaching holiday is the ideal time for senior citizens to enjoy the outdoors."It's just beautiful out on the trail right now, especially by the bluffs," said Susan Miller, member of SERVE's advisory board. "It's a good time of year to take them out there."Though RSVP encourages its volunteers to participate in holiday festivities at various establishments, this is the first year a Halloween event has been organized specifically for its senior citizens."Many will attend a Halloween dance or costume parties, but this is the first thing we've had just for senior citizens," Phelps said.Assistants will be available throughout the event to help individuals onto the hayride wagon.Aside from refreshments and hayrides, participants also will hear music from local talent, including David Dean White and Friends.Performing a mix of blue grass and country music, the group plans to entertain senior citizens with songs from their debut CD, "Lewis and Clark Part I: To Missouri Breaks." Released last week, the CD is featured at the Kingdom of Callaway Historical Society.For White, the invitation to play at the Harvest Hayride presented an opportunity to share his music as well as interact with the audience."I'm a new member of AARP, so I'm a senior citizen myself," he said. "I think music is really good for people's spirits and binds us together as a people, a country and as citizens. Most of the songs we play are recognized by a lot of people."A Fulton resident and employee at the Fulton State Hospital, White will be joined by locals Mark Mudd and Rick Howard, as well as Steve Morris and Charlie Boyer of Columbia and Allen Voss of Boonville.The group also will perform from 7-9 p.m. Thursday, Oct. 30 at The Niche on Court Street.A trilogy project, the musicians plan to release more Lewis and Clark CD's to commemorate the explorers' expedition.As for the Halloween celebration, White said the event will present an opportunity to fill the area with traditional sounds."I think Fulton is a good place for music, it just needs some of its musicians to come out of the closet," he said.Event organizers hope Harvest Hayride will become a tradition."It's just another activity we're hoping will grow into a larger activity for the senior population to be involved in," Phelps said.For those interested in participating, contact Susan Miller at (573) 642-6862 between 8-9 a.m. or 8-9 p.m. Transportation will be provided to and from the event if needed.

Columbia Daily Tribune

Published Thursday, April 7, 2005
saturday
Something Corporate, Supernauts, National Fire Theory 7 p.m. at The Blue Note, 17 N. Ninth St.; $15 for students, $17 general admission.
The Forty-Fives, The Heavenly States, the Maxtone Four 8:30 p.m. at Mojo’s, 1013 Park Ave.; $5.
David Dean White 4 p.m. and Bob Runyon 7 p.m. at Cooper’s Landing, 11505 S. Easley River Road; no cover.
Shannon Morris 6 p.m. at Bambino’s Italian Café, 203 Hitt St.; no cover.
Mick Byrd and Bonus Track 6 p.m. at Summit Lake Winery in Holts Summit.
Bill Thomson, piano, 6:30 p.m. at Grand Cru Restaurant, 2600 S. Providence Road; no cover.
Yesterday’s Gold Band 7 p.m. at The Senior Center, 1121 Business Loop 70 E.; $5.
Hilary Scott 7 p.m. at D’Agostino’s Italian Restaurant, 4200 Merchant St.; no cover.
Bob Roberts & Three of a Kind 7 p.m. at Southern Boone County Senior Center, 406 Douglas Drive in Ashland; $5.
Karaoke 7 p.m. at Days Inn, 1900 I-70 Drive S.W.; no cover.
Karaoke 7:30 p.m. at Peppers, 4515 Highway 763 N.; no cover.
Six Gun 8 p.m. at VFW Dance Hall, 1509 Ashley; $6.
The Brothers Image Band 9 p.m. at Honest John’s at the Ramada Inn, 1100 Vandiver Drive; $5.
Karaoke 9 p.m. at Peppers, 4515 Highway 763 N.; no cover.
Bald Eagle, the show is the rainbow, so many dynamos 9 p.m. at Eastside Tavern, 1021 E. Broadway.
Bandana 9 p.m. at Midway Backdoor Lounge, Interstate 70 and Highway 40; $3.
Chris Beard 9 p.m. at The Martini Bar, 4004 Peach Court; $10.
The KC Country Band 9 p.m. to 1 a.m. at KC Country, Kingdom City; $7.50.
The Tom Andes Trio 9:30 p.m. to 12:30 a.m. at Murry’s, 3107 Green Meadows Way; no cover.
Live music 10 p.m. at La Casa Grande, 128 E. Nifong Blvd.; $5 for men, no cover for women.

Published Thursday, October 28, 2004

saturday
Bockman’s Euphio, Spookie Daly Pride 7 p.m. at The Blue Note, 17 N. Ninth St.; $8.
The Bel Airs 8:30 p.m. at Mojo’s, 1013 Park Ave.; $5.
Debbie D’Agostino Jazz and Blues Quintet 7 p.m. at D’Agostino’s Italian Restaurant, 4200 Merchant St.; no cover.
Witch’s Hat, Pet Rock 7 p.m. at The Music Cafe, 120 S. Ninth St.
David Watkins 9 p.m.-midnight at Midway Sandbar, 6401 W. Highway 40; no cover.
"Art," a play, 8 p.m. at Cherry Street Artisan, 111 S. Ninth St.; $5.
Kim Massie 9 p.m. at The Martini Bar, 4004 Peach Court; no cover.
David Dean White and The Missouri Breaks 4-7 p.m. at Cooper’s Landing, 11505 S. Easley River Road, Easley; no cover.
Duet of Wes Wingate, piano, and Chris Graham, vibraphone, 6:30 p.m. at Grand Cru Restaurant, 2600 S. Providence Road; no cover.
Brothers Image 8 p.m. at Woody’s Pub & Grub, Ashland; no cover.
Old Man Rio 6 p.m. at Bambino’s Italian Cafe, 203 Hitt St.; no cover.
Ken Kehner, piano, 7-9 p.m. at Jack’s Gourmet Restaurant, 1903 Business Loop 70 E.; no cover.
Country Ramblers Band 7-10 p.m. at The Senior Center, 1121 Business Loop 70 E.; $5.
Tom Andes Trio 9:30 p.m.-12:30 a.m. at Murry’s, 3107 Green Meadows Way; no cover.
Aaron Russell Band 9 p.m.-1 a.m. at Midway Lounge at Midway Travel Plaza, I-70 and Highway 40; $3.
Karaoke 9 p.m. at Peppers, 4515 Highway 763 N.; no cover.
The KC Country Band 9 p.m. at KC Country, Kingdom City; $7.50.
Midnight Ryders 8 p.m. at VFW Post 280, 1509 Ashley St.; $6.
Strickly Country Band 8 p.m. at SoBoCo Senior Center, Ashland; $5
Almosta Band and Halloween costume party 8 p.m.-midnight at Hoot-n-anny’s Bar & Grill, 904 Business Loop 70 E.

Published Thursday, October 14, 2004

saturday
Pomeroy, Lojic 7 p.m. at The Blue Note, 17 N. Ninth St.; no cover.
Jeff Mueller and Ruth Acuff 6 p.m., no cover, Chump Change 8:30 p.m., $5, at Mojo’s, 1013 Park Ave.; nonsmoking.
Shelter Belt, Devotchka 7 p.m. at The Music Cafe, 120 S. Ninth St.
David Watkins 9 p.m.-midnight at Midway Sandbar, 6401 W. Highway 40; no cover.
Mid-Missouri Dancing and Drumming Collective 9-11 p.m. at Cherry Street Artisan, 111 S. Ninth St.; $3.
On call band 9 p.m. at The Martini Bar, 4004 Peach Court, no cover.
David Dean White 4-7 p.m., Naked Dave and The Blue Cats 7-11 p.m. at Cooper’s Landing, 11505 S. Easley River Road, Easley; no cover.
Duet of Wes Wingate, piano, and Chris Graham, vibraphone, 6:30 p.m. at Grand Cru Restaurant, 2600 S. Providence Road; no cover.
Dave Edwards and Sheri Homan 6 p.m. at Bambino’s Italian Cafe, 203 Hitt St.; no cover.
Ken Kehner, piano, 7-9 p.m. at Jack’s Gourmet Restaurant, 1903 Business Loop 70 E.; no cover.
Bob Roberts & Three of a Kind Band 7-10 p.m. at The Senior Center, 1121 Business Loop 70 E.; $5.
Tom Andes Trio 9:30 p.m.-12:30 a.m. at Murry’s, 3107 Green Meadows Way; no cover.
Karaoke 9 p.m. at Peppers, 4515 Highway 763 N.; no cover.
The KC Country Band 9 p.m. at KC Country, Kingdom City; $7.50.
Just Us 8 p.m. at VFW Post 280, 1509 Ashley St.; $6.
Almost a Band 9 p.m. at Woody’s Pub & Grub, Ashland; no cover.
Gas House Gang with Boonslick Chordbusters 7:30 p.m. at the annual Barbershop Harmony Show at Missouri Theatre, 203 S. Ninth St.; $10.
Lisa Rose and Joao Mascarenhas 8 p.m. at D’Agostino’s Italian Restaurant, 4200 Merchant St.; no cover.
Sun Stone Band 9 p.m.-1 a.m. at Hoot-n-anny’s Bar & Grill, 904 Business Loop 70 E.
Plato and the Philosophers 8:30 p.m. at American Legion, 600 S. Legion Drive; $6 for Parents without Partners, $8 for nonmembers.

Published Thursday, April 24, 2003

saturday
David Dean White 2-4 p.m. at Cooper’s Landing, 11505 S. Easley River Road, Easley; $5 cooler fee.
KCOU Springfest noon to 7 p.m. on the south steps of Jesse Hall on the University of Missouri-Columbia campus; no cover.
Synchronicity with Groove Mama 9 p.m. at The Blue Note, 17 N. Ninth St.; $4.
People’s Republic of Klezmerica 7 p.m. Speakeasy CD release party with Blue Print 8:30 p.m. at Mojo’s, 1013 Park Ave.; $5.
Shannon Morris 6-9 p.m. at Bambino’s Italian Cafe, 203 Hitt St.; no cover.
Mezmer 9 p.m. at Honest John’s Tavern & Grille at Ramada Inn, 1100 Vandiver Drive; $5.
Del Alma 9 p.m. at By George, 63 E. Broadway; $5.
LFINO 9 p.m. at Woody’s Pub and Grub, Ashland; no cover.
Jon Hockenbury 8-11 p.m. at Thornhill Vineyards Winery, Hartsburg; no cover.
Sweet Jayne 8 p.m. at The Courtyard, Interstate 70 at the Rocheport exit; no cover.
Young Country 8 p.m. to midnight at Steager Lees, 904 Business Loop 70 E.; $1.
Thom Howard 6-9 p.m. at Dalí’s Spanish and Mediterranean Restaurant, 10 S. Hampton St.; no cover.
Yesterday’s Gold Band 7-10 p.m. at The Senior Center, 1121 Business Loop 70 E.; no cover.
Yours Truly 7-10 p.m. at Southern Boone County Senior Center, Ashland; donations accepted.
Leighton Roden, piano, 7-10 p.m. at Grand Cru Restaurant, 2600 S. Providence Road; no cover.
Planet Jazz 7 p.m. at D’Agostinos Italian Restaurant, 4200 Merchant St.; no cover.
Tom Andes Trio 9:30 p.m. to 12:30 a.m. at Murry’s, 3107 Green Meadows Way; no cover.
Ken Kehner, piano, 7-9 p.m. at Jack’s Gourmet Restaurant, 1903 Business Loop 70 E.; no cover.
Missouri’s Most Wanted 9 p.m. to 1 a.m. at Backdoor Lounge at Midway Travel Plaza, Interstate 70 and Highway 40; $3.

http://archive.columbiatribune.com/query.asp

C00l!

DDW

The Great Missouri River Music Crawl

2005-04-12T06:53:00.000-07:00

The Never Ending Search for Live Music

In a never ending quest for live music, your intrepid adventurer has started "The Great Missouri River Music Crawl". Annoyed with Karaoke and too old to stay up late on Friday and Saturday night, we have discovered that Sunday afternoon brings out the pickers.
Beginning in Jefferson City, Missouri, the first stop is The Hitchin' Post in Hartsburg, Mo. Two country singers hold forth in the corner with a Dobro, bass, and Martin guitar. Playing from 1-3, they pick good ole country.Leaving Hartsburg, head north on the River Road ending up at Lucy's in McBaine, Mo. An assortment of bluegrass pickers includes mandolins, banjos, bass, fiddles, and flattops hold forth until at least 4.Head east from McBaine and back down to Holts Summit, Mo. to an out of the way bar called Coach's. Here a country band complete with steel guitar will finish your day in fine style playing from 4 to 7 and including one of the first pickers you saw in Hartsburg.And this is only the beginning..........More to come!For Now Email Comments to: dickmatt724@earthlink.net

Do you recognize the steel guitar player?

http://www.morivermusiccrawl.com/

Jonesboro Music Online and The Play "The Lost Highway"

2005-04-11T10:43:00.000-07:00

Hi everybody. Check out my new site.

http://jonesboromusic.com/

http://www.jonesboromusic.com/jamroom/bands/23/

and more good news from Chris

From :
Lyddy Music
Sent :
Monday, April 11, 2005 9:17 AM
To :
skymon66@hotmail.com
Subject :
Lost Highway...

Dave,

It's official, I'm playing Hank in the Musical "Hank Williams: Lost Highway". The Show will run through the last weekend in June, skip the 4th of july and continue through the rest of July. If you're free to play Shag, I've got it all set up for you. So far we've got a really good fiddle player, a bass player I haven't heard yet, and we're looking for a lead guitarist. Would you be willing to come down for a weekend to meet the band, do some recording and practicing? After that, you'd be free until dress rehearsals in June, and the show dates. If you want to do it, I'll send you a list of the songs, and the keys we'll be playing them in. The fiddle player likes them all in D or A, I'm thinking we'll need to get him used to the key of G as well :) Let me know if you want to do it. Thanks,
Chris

Looks like I am going to be in a play this year.

Hank Williams: Lost Highway"Hank was a mixture of whiskey, lamb's blood and grave dirt."-Nick Tosches
From his early days in honky-tonks around his native Alabama to his flabbergasting popularity as one of the top-drawing singers of the Grand Ole Opry to his death from alcohol and painkillers in the backseat of a Cadillac, Hank Williams remains an indelible figure in the history of American music. His songs include “Your Cheatin’ Heart,” “I’m So Lonesome I Could Cry,” “Hey, Good Lookin’” and thirty-seven other top-ten singles. He’s been inducted into the Country Music Hall of Fame, the Grammy Hall of Fame and the Rock and RollHall of Fame (as a “Forefather of Rock and Roll.”) Williams lived hard and died before his thirtieth birthday. Throughout it all, he yelped and yodeled the blues-tinged stories of his life through song — the demands of his marriages (two to the same woman), his sudden and astronomical success, his hard drinking, chronic back pain and endless touring.Hank Williams: Lost Highway follows Williams from his childhood in Mount Olive West, Alabama, under the watchful eye of Mama Lilly. She raised him on the Lord, but also bought him the first of many guitars that would bring him both success and pain. By the time he was a teenager, Williams was drinking with his cousins and playing in local honky-tonks, supervised by his mother. In 1943, at the age of twenty, he met the next woman he would center his life around: Audrey Sheppard, who was married at the time. She divorced the next year, and the two married just days later. Audrey took Hank to Nashville where she introduced him to Fred Rose, who would produce and co-write many of Williams’s greatest hits. After two hit songs (as well as a divorce, remarriage and child with Audrey), Hank debuted at the Grand Ole Opry on June 11, 1949, playing seven encores. He would record ten more number-one hits in the next three years. By 1952, the years of drinking and touring had taken their toll on his marriage and career: in January, Audrey filed for divorce for the second time, and in August, Hank was fired from the Grand Ole Opry. He married Billie Jean Jones that fall. On New Year’s Eve, Hank took some painkillers for his back and got into a car to take him to a performance in Canton, Ohio. He was found dead by the driver early on January 1, 1953. Twenty-five thousand people came to his funeral in Montgomery, and his songbook continued to play, recorded by other country and rock greats and influencing musicians and fans for years to come.Randal Myler calls Hank Williams “the first outlaw country singer.” Myler would know, having spent twenty years with Hank Williams: Lost Highwayin different forms, serving as its co-writer with Mark Harelik. Myler directed its runs off-Broadway and on, and will be directing the show at Actors. The production is full of good music and good times to match its pathos, along with familiar actors — Adale O’Brien is marking her 220th Actors production as Mama Lilly and former company member and long-time Actors favorite Bob Burrus will play Hank’s producer and mentor, Fred “Pap” Rose. Most of the cast is coming from Lost Highway’s successful run in New York City: Van Zeiler, who alternated as Hank in New York is taking the role at Actors, and the rest of the cast includes former band members for Minnie Pearl and Hank Williams III. While it takes us through boisterous renditions of “Jambalaya” and “Move It On Over” and the unshelteredpain of “I’m So Lonesome I Could Cry” and “Your Cheatin’ Heart,” Lost Highway is more than a march through the dates and hits of Williams’s life. Myler and Harelik have crafted a play that dramatizes Hank’s achievements and difficulties, allowing him to emerge as a searing presence without pity or mythmaking. As Myler explains the tone of the piece: “It’s a sad tale about someone who dies before he hits the age of thirty, but he’s one of America’s great singers and songwriters, and celebrating his life is a great thing. He’s one of our giants.”One of the writers’ innovations is their use of Rufus Payne, an African-American street musician whom Hank credited with giving him “all the music training I ever had.” Tee-Tot, as he was nicknamed, sits on one side of the stage throughout Lost Highway, singing raw blues songs as he watches Hank’s popular success and personal turmoil. “Tee-Tot taught Hank how to sell a song,” Myler explains. “It intrigued me to have him not only in the section of Hank’s childhood, but to show him hanging around and observing Hank’s rise and fall, like a Greek chorus.” The other side of the stage is occupied by a Waitress, getting through her graveyard shift with the help of Hank’s music on the radio. While Hank does meet her in the play, she spends most of her time listening to him from afar, underlining how intensely his fans identified with him, then and now. Myler credits Hank’s success in large part to his willingness to sacrifice his own life for his music. As Kurt Wolff wrote of Hank’s songwriting and singing: “Never had pain and sadness sounded so damn good. Yet there was a harsh reality to much of what Hank sang, as the words echoed the ups and down of his personal life.”Ultimately, music couldn’t conquer his pain. Hank’s untimely death, however, probably helped his career as much as his charisma and haunting, idiosyncratic voice. According to Myler, “He died young, which was the best career move he ever made. He had become a detriment to the record company; even they would say that he was easier to control after his death. They could put out memorial albums, and claim that they didn’t fire him at the Opry. He became the darling of Nashville, when in fact he’d been an outcast. He’d long since been fired and sent on the road to find whatever job he could pick up.”Daniel Cooper writes this about the legacy of Hank Williams: “Like every great artist, Williams drew his work from some core inner self that remained hidden, even when, as in his songs, his emotions seemed most transparent. Perhaps this is why his music remains so powerful, so universal—because in that wakeful moment Hank knew so well, the human heart is most exposed.” - Adrien-Alice Hansel

Hank Williams Timeline"The simple, beautiful melodies and straightforward plaintive stories in his lyrics of life as he knew it will never die"—Hank William’s plaque in the Country Music Hall of Fame
1923
Born Hiram Williams in Mount Olive West, Alabama; his father notes a "raised spot" on his spine, a symptom of spina bifuda. Hank will be plagued by back problems throughout his life.
1925
GRAND OLE OPRY BEGINS BROADCASTING FROM NASHVILLE
1929
Hank’s father is admitted to a VA hospital, where he will stay for seven years, effectively removing him from his six-year-old son’s life.
1931
Lilly Williams, Hank’s mother, buys him a second-hand guitar for $3.50.
1933
Ten years old, Hank starts drinking while living with his cousins.
1934
Hank starts busking on the streets and taking informal lessons with Rufus "Tee-Tot" Payne.
1939
Having dropped out of high school, Hank starts playing at local honkytonks.
1943
Hank meets Audrey Mae Sheppard Guy, who’s a year older than he is and married.
1944
Days after her divorce, Hank and Audrey marry at a gas station on the way to a gig.
1946
Hank meets Fred Rose, who signs him to the MGM record label.
1947
Hank’s first MGM single "Move It On Over," peaks at #4.
1948
Audrey divorces Hank in May, but has it annulled in August.Hank debuts on the "Louisiana Hayride" radio program.
1949
"Lovesick Blues" becomes Hank’s first #1 hit; he will record ten more.In June, Hank debuts at the Grand Ole Opry, getting six encores; after this appearance, he’s one of the top-drawing artists of the era.
1951
Hank is hospitalized for detox and an operation on his spine.Headlines the Hadacol Caravan Medicine Show, co-starring Minnie Pearl, Bob Hope, Milton Berle, Jack Benny, Jimmy Durante and Carman Miranda.
1952
Audrey files for divorce a second time in January.In August, Hank is fired from the Grand Ole Opry for excessive drinking.He marries Billie Jean Jones in a public spectacle in New Orleans.Hank agrees to perform on New Year’s Day; late on New Year’s Eve, Hank passes away in the backseat of a car on the way to the concert. He is 29.
1953
An estimated 25,000 attend Hank’s funeral service.Including his posthumous releases, Hank recorded forty top-ten singles, eleven number-one singles and twelve platinum singles, with over one million sold.
1961
Hank is a charter inductee into the Country Music Hall of Fame
1983
Inducted into the Grammy Hall of Fame for "Your Cheatin’ Heart"
1987
Inducted into the Rock and Roll Hal of Fame as a Forefather of Rock and Roll
1999
The Complete Hank Williams boxed set wins two Grammies: Best Boxed Recording Package and Best Historical Album.
Information on the timeline is compiled from several sources, including the original Playbill for Hank Williams: Lost Highway."If you’re gonna write a country song, listen to Hank Williams songs, ’cause they’ll be here forever. If you’ll listen to those songs, I think he wrote ’em about himself. He was wild. In one way, he’s a perfect example of how not to do it, and yet there’s something romantic about a crazy man singing his songs." —Waylon Jennings"Country music was already in the midst of a honky-tonk revolution… but when this wiry young Alabama singer arrived on the stage of the Grand Ole Opry in 1949, the music burst its seams, foamed at the mouth and was never the same beast again." —Kurt Wolff, Country Music: the Rough Guide"He had a voice that went through you like electricity, sent shivers up your spine, and made the hair rise on the back of your neck with the thrill."—music commentator Allan Rankin

and

http://www.actorstheatre.org/play_highway.htm

The Dobro is gaining popularity fast.

2005-04-08T11:44:00.000-07:00

Here are some great sites on the current state of the Dobro.

http://www.ivanrosenberg.com/bottom.php?server=www.ivanrosenberg.com&file=/html/reviews.html

Doug Cox is a great dobroist

http://www.dougcox.org/main.html

He told me Rayco dobro's are really good dobro's

http://www.rayco.ca/

Here is a great selection of dobro luthiers

http://www.well.com/user/wellvis/acoustic.html

I was playing my 7 string Deneve at the Boone County Historical Museum last night and the lady in charge said, "your REALLY good!"

I love it!!!

DDW

A message from the legendary Jimmy Martin

2005-04-07T13:30:00.000-07:00

Dear David,

Thank you for your very nice letter. I have recieved so many well wishes and kind words, and it means so much. My fans have been good to me through the years, and when I make it through this, it will be with your prayers and love. I have my family, friends, and some good doctors helping me, too.
Most of all I believe in God answering prayers. The doctors are telling me that I'm not strong enough to go through more radiation treatment for my bladder cancer, so I am doing everything in my power to get my strength back.
With God's help, I will strap my guitar on and be back with you again at the Bean Blossom bluegrass festival June11-18.
You can call them at 1-800-414-4677 and find out more.
I wish you the best and hope you will keep in touch through my website, www.jimmymartin.org.

http://www.jimmymartin.org/

God bless you.

Your friend,

Jimmy Martin

Let's all keep this great man in our prayers for a full recovery. DDW

Sites about Jimmy Martin

http://www.kingofbluegrass.com/

http://www.bluegrasslyrics.com/jimmy_index.cfm.htm

http://www.tt.net/ultramodern/skip/jmartin.html

http://www.cmt.com/artists/az/martin_jimmy/artist.jhtml

http://www.beanblossom.com/

http://www.bluegrass.com/links/index.php?category=3

http://www.cybergrass.com/modules.php?name=News&file=article&sid=459

http://www.bluegrassnow.com/links.php

How Four players Spent Their Summer Vacation

2005-04-07T12:44:00.000-07:00

This is cool!

http://www.resoguit.com/roundup.htm

http://www.resoguit.com/fame2.htm

The age old question. What's a dobro?

The first electric Steel Guitar player on the Grand Ole Opry, Clyde 'Boots' Harris

2005-04-07T07:52:00.000-07:00

Clyde "Boots" Harris ObituaryOctober 23, 2003

Clyde "Boots" Harris, 80, a noted musician and composer died Wednesday, October 22, 2003, at the Mississippi Baptist Medical Center. A funeral service will be held at 2 p.m. Friday from the chapel of Wright & Ferguson Funeral Home on High Street, burial will follow in Lakewood Memorial Park South. Visitation is 4-8 p.m. today and will resume at 1 p.m. Friday at the funeral home."
"Mr. Harris was born October 20, 1923, the son of the late George and Ada Harris in Henderson, Ala. and was reared in Opp, Ala. Boots, as he was affectionately known, learned to play guitar at an early age. A veteran of the U. S. Navy, he began his career in the music industry, forming a band with his brothers. Boots decided to move to Montgomery and search for employment and began playing with Hank Williams, Sr. and the Drifting Cowboys in 1941 at the age of 17, and continued for a year. In 1944, Boots wrote the song Georgia Steel Guitar, recorded by the Georgia Peach Pickers, and used as the band's theme song. He also recorded the song Mississippi with the band. A member of the Grand Ole Opry from 1942 to 1945, Boots was a master of his musical instrument and was the first allowed to play an electric steel guitar on the Opry stage. Mr. Harris' music has been heard on stage, radio, movies, and on television around the world. Boots moved to Mississippi in 1954, and began entertaining at Club Catherine, where he performed for 18 years with his band, the Boots Harris Band. Boots was a regular on the Farmer Jim Neal radio program. In 1976, Mr. Harris opened and operated Boots Hat & Cane Club, a club featuring the best traditional country music in Jackson, until his retirement in 1997. An avid sportsman, Boots enjoyed hunting and deep sea fishing. He was a member of Drakes United Methodist Church in Flowood."
"Survivors include: 62, Boncile "Bonnie" Harris of Jackson; daughter, Sylvia Goodwin and her husband, Joe of Jackson; son, Eiland Harris and his wife, Linda of Jackson; son, Jerry Harris and his wife, Nedra of New York, N.Y.; daughter, Donna Bryant of Jackson; daughter, Deborah Carlin and her husband, Bill of Jackson; son, Tim Harris and his wife, Teresa of Brandon; son, Tom Harris and his wife, Debbie of Jackson; 21 grandchildren, numerous great-grandchildren, and numerous nieces and nephews."

Another great steel guitar pioneer.

The one and only, Hank Williams Sr.

2005-04-06T07:18:00.000-07:00

This is one of my favorite Hank songs
I can really relate to it.

This song was written by Leon Payne
He wrote “Lost Highway,” and well he might have. Blind from birth, he hitchhiked across Texas and beyond, writing songs like “I Love You Because” (sung by Elvis at Sun Records, and for all the rest of his life) He played guitar, piano, trombone and drums, and they say when he was a member of Bob Wills and the Texas Playboys that he used to get restless and jump off the bus and hitchhike from gig to gig, but they don’t ever say why. The answer is in his songs.

I'm a rollin' stone all alone and lost
For a life of sin i have paid the cost
When i pass by all the people say
Just another guy on the lost highway
Just a deck of cards and a jug of wine
And a woman's lies makes a life like mine
O the day we met, i went astray
I started rolling down that lost highway
I was just a lad, nearly 22
Neither good nor bad, just a kid like you
And now i'm lost, too late to pray
Lord i take a cost, on the lost highway
Now boy's don't start to ramblin' round
On this road of sin are you sorrow bound
Take my advice or you'll curse the day
You started rollin' down that lost highway

This site has lots of Hank's songs

http://www.lyricsfind.com/h/hank-williams/

and his official website

http://www.hankwilliams.com/

and

http://home.online.no/~smpeders/ind-hank.htm

I got to meet his grandson Hank III a couple of years ago at the Bluenote in Columbia, Mo.
He's a real nice guy and great singer like his grandpa.

Here is his site

http://www.hank3.com/

and

http://www.tvcasualty.com/hank3/

Sacred Steel Guitars

2005-04-01T07:30:00.000-08:00

When I found this music in the library in Fulton, Missouri, I thought I had died and gone to heaven. I hope I can get a chance play this type of music someday.

http://www.campbellbrothers.com/

The Steel Guitar
Introduced in the United States around 1900, the Hawaiian, or steel, guitar differed from the standard Spanish-style guitar in that it Hawaiian guitars became the first and most popular style of electric guitars in the 1930s. The electric models were built out of solid wood, a type of construction that was not commercially adapted to Spanish-style guitars until the 1950s.
Steel Guitars were originally developed and popularized in Hawaii. Several Hawaiians have been credited with the invention, but actual inventor is not known. This sound was first popularized by Hawaiian groups, which were a big hit at the 1915 Panama-Pacific International Exposition in San Francisco. From there the sound of the Hawaiian guitar spread throughout the United States. From about 1915 to 1930, the major music publishers published a large number of Hawaiian guitar methods and songs.
The steel guitar is designed to be played horizontally using a sliding steel bar. This makes it much easier to play compared to fingering the strings of a classic spanish guitar. The lap-steel and pedal-steel are variations of this instrument. The ease of learning and playing the Hawaiian guitar made it popular with both users and teachers.
Over the last 100 years the form of the steel guitar has changed as users sought to expand the range of the instrument. The first incarnation was the resonator guitar, which used an internal resonator to make it louder. These guitars continue to be played by many country and bluegrass musicians. Additional necks and strings were added, and as the guitars got heavier, they were placed on the laps of players (lap steel guitars). The lap steel guitar is held in the lap facing the player. The player then presses a steel bar against the strings as the guitar is in 'open' tuning to generate the characteristic sound. The most recent iteration is an evolution into a tabletop guitar with pedals and knee levers attached to the strings (table steel and pedal steel guitars). This enables the player to change the tunings on the guitar as it was played.

Charles "Chuck" T. Campbell is known as a master of the sacred steel. This form of music originated in the House of God, a Holiness-Pentecostal church founded in 1903 by a Tennessee street preacher named Mary Magdalene Lewis Tate. In the 1930s a number of these churches began using the electric steel guitar to function as the central musical instrument of the religious service, easing the congregants through contemplative moments and propelling them to ecstatic celebration at other times. Charles Campbell, whose father was a bishop in the church, began playing steel guitar at age 11 and today is recognized as a great innovator and teacher in the tradition. Campbell developed a unique tuning and set-up for the pedal steel that is today emulated by a new generation of steel players. While younger players like Robert Randolph have taken the sacred steel sound into the secular world of arena concerts, Charles Campbell continues to teach the young and pay tribute to the elders. At the same time, he continually looks for new ways to give the steel guitar a personal voice of celebration and praise.

http://www.arhoolie.com/titles/515.shtml

http://www.b0b.com/tunings/sacredsteel.html

http://www.steelguitar.com/resource/tunings/sacredsteelers/sssetups.html

http://www.asklyrics.com/songs/Sacred_steel_lyrics/2.htm

http://www.airlyrics.com/songs/Sacred-steel-lyrics.html

http://ultimate-guitar.com/tabs/sacred_steel_tabs.htm

and Robert Randolph

http://www.robertrandolph.net/

http://www.bandbuilder.com/robertrandolph/index.php?ref_code=D19047

Missouri Archaeology Month Coming in September

2005-03-30T13:44:00.000-08:00

This is the time to start planning for events for Missouri Archaeolgy Month everybody!

Those who would like to get a jump on planning activities for Archaeology Month can download this year’s Program Planning Form from the MAS Web site at http://coas.missouri.edu/mas/archmonth/moarchmonth.html The purpose of the Program Planning Form is to let the coordinator gather information about activities that will take place around the state in September and publish that information in either a booklet or on the back of the Archaeology Month poster.Please get your information to Tim Baumann before the June 1, 2005, deadline!Happy Spring!Melody-- Melody Galen, Managing EditorMissouri Archaeological SocietyP.O. Box 958, Columbia, MO 65205(573) 882-3544 (573) 882-9410 (fax)(800) 472-3223 (in Missouri only)http://coas.missouri.edu/masGalenM@missouri.edu

From :
Mike Cooper
Sent :
Tuesday, March 29, 2005 6:26 PM
To :
"David White"
Subject :
Re: Missouri Archaeology Month 2005

Inbox
I think this is a great idea. Mike
----- Original Message -----
From: David White
To: cooperslanding@tranquility.net
Sent: Tuesday, March 29, 2005 11:02 AM
Subject: FW: Missouri Archaeology Month 2005
Hi Mike,
Would you be interested having an archaeological event at Cooper's Landing in September?
I would coordinate the event. I was thinking of having an arrowhead identification and information event. Maybe with a speaker or two if I can get some professionals to attend.
It would be a nice marketing piece for your place. Let me know what you think?
Thanks,
Dave

Forrest Rose, Columbia, Mo. Musician called home

2005-03-25T11:00:00.000-08:00

Musician, columnist Rose dies in Arizona
By TARA C. HEIN
March 21, 2005
Forrest Rose, 48, a musician and a columnist for the Columbia Daily Tribune, died early Sunday in Arizona while on tour with the band Perfect Strangers.
Rose collapsed about 1:30 a.m. MST while attending a jam session at a friend’s house after a performance. He was pronounced dead upon arrival at a Phoenix-area hospital. The cause of death was not immediately available.
Perfect Strangers had appeared earlier that night at an auditorium in nearby Avondale, Ariz., along with performers Buddy and Kim Tharp.
“They had a great show last night,” Buddy Tharp said. The band performed on Friday evening, the first of a two-stop engagement in Arizona.
Rose was an accomplished musician, a stand-up bassist who played with acclaimed bluegrass and folk performers, including Bill Monroe and his Bluegrass Boys and singer-songwriter David Olney. A fixture on the Columbia music scene, Rose has played with numerous local bands, most recently the Rank Sinatras and New Madrid Earthquake, a blues quartet.
Rose, a graduate of the MU School of Journalism, was a reporter for the Tribune before becoming a columnist. He wrote about a wide range of topics in his weekly column, including the city’s marijuana initiative, city growth, the name change of Missouri State University, spring gardening and national policy.
Rose also worked for MU Extension as an agriculture information specialist.

and

Help celebrate the life and times of Forrest Rose at the Blue Note this Friday, March 25th at 6:00 PM. There will be live music from several local musicians and plenty of memories to share.

and

Life stories: Forrest Rose
posted March 22, 2005
A service in memory of local musician and Columbia Daily Tribune columnist Forrest Rose will be 4 p.m. Friday at the Unitarian Universalist Church, 2615 Shepard Blvd. A celebration of his life will be at 6 p.m. at The Blue Note. Mr. Rose, 48, died early Sunday morning in Arizona while on tour with his band Perfect Strangers. A scholarship fund for Mr. Rose’s son, Brennan Rose, has been established. Contributions can be made to the First National Bank, P.O. Box 1867, 65205.

here is the band he was in recently

http://www.chrisbrashear.com/perfectstrangers.html

http://www.oldtimemusic.org/strangers.html

Last time Forrest and I played together was at the McBaine Country Club, McBaine Mo. A roadhouse bar that served good food. He was on upright bass and I was playing my Fender Champion lap steel on some old time country songs. He liked how it sounded and wanted to know what tuning I was using.
Open D.

non-pedal steel now in Bob Dylan's Band

2005-03-24T08:20:00.000-08:00

Here is a recent news flash.

Donny Herron(BR549) has just got the gig with Bob Dylan. He will be playing steel, fiddle, mandolin, and anything else he gets his hands on. Dylan also has hired Elana Fremerman, fiddler from "Hot Club of Cowtown" , so her and Donny have been working out twin fiddle parts on Dylan's songs.
Donny will do a great job and he deserves to get a good paying job like this.
Everyone go see this years Dylan tour with Haggard, and say congratulations to Donny.

Don Herron (b. Donald John Herron, Jr., September 23, 1962, Stubenville, Ohio) was raised in Moundsville, West Virginia. He first became interested in music when his parents took him to a square dance. He attended South Plains College where he majored in music. Don’s non-music jobs include dairy farming and driving a dump truck for Kern County in Bakersfield, California. He moved to Nashville at the suggestion of Gary Bennett, with whom he had played in Portland, Oregon.

Guys like Donnie Herron (BR5-49) have really sparked a new interest in playing the old bar slant style.

Pics of Donnie playing his non-pedal steel guitar.

http://www.arigonstarr.com/BR5-49/gayspage12.html

Jonathan returns to the USA from Iraq

2005-03-18T06:18:00.000-08:00

I got great news this week. My son returned to the USA from his second tour of duty in Iraq.
Thank God!! Semper Fi!

Scott Chinery collector of the finest instuments

2005-03-16T12:56:00.000-08:00

As a vintage steel guitar musician I found this information very special.
Very sorry to hear of Scott's death.

Scott Chinery was best known as the owner of one of the world's most impressive and extensive guitar collections. But his greatest accomplishment wasn't the fact that he acquired more than 1,000 instruments-his foremost achievement was making the general public realize that the guitar is a work of art and an important icon of American culture. Scott worked ardently to elevate respect for guitars and to make Americans realize that the guitar was a valuable national treasure. Perhaps his most significant contribution was inspiring the Smithsonian Institution's Museum of American History to devote an exhibition to the American guitar. But that was just one of many accomplishments Chinery achieved. He also loaned his instruments to the Boston Museum of Fine Arts' Dangerous Curves: Art of the Guitar exhibit, sponsored numerous guitar shows where he displayed his instruments, provided his guitars to Steve Howe and Martin Taylor to record their duet album Masterpiece Guitars, and shared his collection with everyone in the book The Chinery Collection.
However, Scott's proudest personal achievement was the Blue Guitar collection. Inspired by a magnificent blue sunburst D'Aquisto Centura Deluxe that he considered one of the most perfect guitars he had ever played, Chinery commissioned 22 of today's top luthiers and asked them to build what they thought was the ultimate archtop guitar. His only stipulation was that the guitar must have a similar blue finish to the D'Aquisto. Scott wanted to show people that many of today's guitar makers are producing exquisite instruments that are as desirable and precious as the most coveted vintage guitars.
Scott was always generous with his collection and his enthusiasm rubbed off onto anyone with even a passing interest in guitars. One of the most exciting experiences I've ever enjoyed as a guitar collector was the time that Scott Chinery invited me to spend three days doing an extensive photo shoot of his vintage guitar collection for Vintage Gallery magazine. I was impressed by Scott's massive collection, but I was even more impressed by his passion for the instrument. Whereas many collectors would hover over their prized possessions like mother hawks, Scott encouraged me to handle and play these instruments and experience their magic in my own hands. But even more remarkable was how Scott welcomed everyone who shared his love of the guitar. He even invited total strangers who asked to see the collection into his home and treated them like lifelong friends.
The guitar collecting community suffered a tragic loss when Scott Chinery suddenly passed away on October 24, 2000. He was only 40 years old, but the enthusiasm and respect for guitars that he inspired will live on for many generations to come.

http://www.themomi.org/museum/Chinery/index2.html

http://www.chesapeake.net/~paolino/trionic/chinery.html

http://invention.smithsonian.org/centerpieces/guitars/noframes/00chin.htm

Scott Chinery is a true collector in every sense of the term. With a collection of over 600 instruments, he has certainly achieved "critical mass." However, his collection is distinguished by its quality, not the quantity of instruments. Chinery's collection of archtop acoustics and instruments by the Larson brothers of Chicago is one of the most extensive in the world, and it contains numerous examples of unsurpassed quality and importance. I know of no other guitar collection that I consider more comprehensive in its scope.
Chinery has paid record prices for some pieces such as the one-of-a-kind teardrop-shaped D'Angelico New Yorker and the Tom Van Hoose Super 400 Collection. He is an astute investor who is bold enough to set precedents and lead the market. The resources Scott has invested in guitars have turned out not only to be a good investment for him, but have promoted general interest in guitars and elevated the market as a whole.
Scott's devotion to guitars and furthering knowledge of the field is highly evident. His responses to our questions provide the best possible insight into the mind of one of the world's most foremost collectors.
What motivated you to become a collector?
When I was about 16, I came across my first vintage guitar, an Orpheum archtop. You've heard of love at first sight -- well I have to admit that ever since that day I have been passionate about these works of art. To me, merely holding an instrument in my hands made by C.F. Martin over 150 years ago is an honor and privilege that I am extremely grateful for. The guitar's genius, beauty, and magnificence never ceases to amaze me.
Does your collection have a theme or a focus?
I've endeavored to represent many facets of the guitar in my collection. A person viewing my collection can see the art develop from the 1830s, forward.
How many instruments do you have?
617
Do you view your collection as one large unit or as several independent collections?
I have many collections within the collection, from very specific subcollections like Stauffer Martins to a very complete representation of Larson Brothers instruments, including mando-type instruments. I felt that continuity is important in putting together a great collection.
Do you think your collection will ever be complete, or will it be an ongoing lifetime project?
I don't believe it's possible for me, either financially or logistically, to complete the collection. The next phase for me will be promoting and sharing the guitars, rather than making heavy purchases.
How did you acquire your knowledge of guitars?
When you love something, it's easy to learn. I've had the benefit of knowing some of the world's leading experts on vintage guitars such as George Gruhn, Tom Van Hoose, Jay Scott, Larry Acunto, Stan Jay, and Larry Wexler, to name a few. These people have been a huge help to me.
Have any individuals, dealers, collectors, or institutions been influential role models?
In terms of collectors, I greatly admire and respect Akira Tsumura. He has so much vision and has been so generous with his collection. Although I've never met him, he has been a great influence on me. Tom Van Hoose has also been an enormous influence as has Hank Risan, Jay Scott, and Mac Yasuda.
You, George, have probably done more to promote the vintage guitar scene than anyone else through your writing, lecturing, and aggressive promotional endeavors. Through your 20+ years in the field you've maintained an unequaled passion, love, and reverence for the guitar. When I was a teenager, I used to devour your articles, and I'm happy and proud to call you my friend. Tom Wheeler has also been a great ambassador of goodwill and knowledge, and I have a great respect and admiration for him.
I also respect Jimmy Wallace, Stan Jay, Larry Wexler, Mike Carey, Larry and Jim Acunto (20th Century Guitar), Al Greenwood (Vintage Guitar), Chris Gill (Vintage Gallery), John DiBlasi, Craig Brody, Norm Harris, Dave Crocker, Larry Briggs, Gary Burnette, John Sprung, Steve Howe, Jimmy Brown, Fred Oster, Scot Arch, Jay Levin, Scott Freleich, Mick Kempf, Dave Epstein, Mike Longworth, Rudy Pensa, Chris Trigg, Jim Reynolds, Gil Southworth, John Kinnemeyer, Elliot Mechanic, and Tony Bacon.
Repairman Mark Simon of Bridgewater, New Jersey, has been instrumental to the success of the Chinery Collection. In my opinion, he's the most gifted artisan in the genre. His work and talents are greatly appreciated, and he is the only person whom I will let work on my guitars.
Last, but not least, James L. D'Aquisto deserves special thanks. I think he's the greatest guitar maker that ever lived, and his instruments and genius have enriched the lives of everyone who has ever had the honor of meeting him or playing one of his masterpieces. I am in awe of this man's talents.
Are you engaged in any projects such as books or videos?
I've been working hard on a definitive book/video/CD that will feature my collection as well as some of the world's other great collections. I want to give everyone an opportunity to experience these instruments, and I am confident that this project will present vintage guitars in a way that has never been done before. Enthusiasts will see, hear, and "feel" these guitars as if they were playing each one themselves. I am quite excited about this project.
What are your musical tastes and who are your favorite artists?
My personal music tastes vary from one end of the spectrum to the other. Collecting different types of guitars has helped me nurture an appreciation of many different playing styles. I love Duane Allman's work and consider him to be one of the greatest guitarists who ever lived. His slide work on "Statesboro Blues" is the zenith of the art. I encourage all guitarists to listen to this guitar legend's work. In my opinion, he was to the guitar what Einstein was to physics!
I also enjoy Stefan Grossman, Christopher Parkening, Mark Knopfler, Steve Howe, and the late, great, Joe Pass. These people, as well as many others, have provided joy, inspiration, and passion with their talent and have helped elevate the guitar in our collective consciousness.
Do your musical tastes affect the type of instruments you collect?
It's natural that you'd focus more deeply on instruments for which you have an affinity. My personal playing tastes are more acoustic oriented than electric, so you will see that in my collection, although I have also endeavored to represent many fine electrics as well.
What type of music do you play?
I play a lot of different styles. I have classical training, and I enjoy listening to and playing classical music. I also enjoy playing blues, ragtime, and other finger styles. I play every day and can think of very few things in my life that compare to my love of guitar.
What are your favorite instruments to play?
I have many favorite playing instruments in my collection. These instruments are particularly special to me. I define them as favorites solely on their sound and playing merits, which, of course, approaches the essence of the art.
My 1994 D'Aquisto Centura Deluxe is an absolutely awe-inspiring instrument. Without a doubt, it's the loudest, clearest, most perfect guitar I have ever played, and I have played thousands and thousands of guitars! This guitar roars like nothing else when called upon or sings in a voice so sweet that listeners wonder whether they are listening to a guitar. This guitar is my favorite, without question.
I have an 1898 Orville Gibson that's a joy to play and listen to. Its small-body design is as innovative and unique today as it was almost 100 years ago. Orville's design utilizes a carved or arched top and a flat unbraced back that vibrates like a flat-top. With this guitar you get the roundness of a flat-top with the projection of an archtop.
My 1830s C.F. Martin Stauffer-style custom is an anomaly. It is deeper and wider than any other C.F. Martin guitar that I have ever seen from this period. It's totally original and has the most thunderous and impressive sound that I have ever heard from a gut-stringed instrument. It plays like silk and even beats the finest Hausers and Fletas. This guitar is truly incredible.
You called my 1920s Larson Brothers guitar "the big boy," and at 21" across its lower bout, it's a veritable giant! Just looking at it is intimidating, but playing it is a spectacular experience. This monster produces a sound that reminds me of a loud harpsichord and double bass cello in one instrument! I remember reading your "Rare Bird" column years ago, in which you said that you were keeping this guitar as your personal instrument. I don't know why you changed your mind, but I'm happy you did!
My 1957 D'Angelico Teardrop, which is the centerpiece of my collection, possesses everything that makes a guitar collectible, but few people realize that it possesses a magnificent sound. In terms of power and bass response, the teardrop puts everything else to shame! When sitting in front of it, even at a distance, you feel like you're getting punched in the chest every time the bass is attacked. Everyone who plays this guitar says that the teardrop is one of the world's greatest guitars.
These are only a few of my favorite playing instruments. I have 15 more that I play every day. These guitars include a 1920s Dyer Symphony harp guitar, a 1959 Les Paul sunburst, a 1940 Wilkonowski archtop violin guitar, a non-cutaway 1993 D'Aquisto Solo, a non-cutaway 1993 D'Aquisto Avant Garde, a 1930 Martin OM-45, a cutaway 1993 D'Aquisto Solo teardrop, a 1985 D'Aquisto Jazzmaster solidbody, a 1955 Stromberg master 400 cutaway, a 1949 D'Angelico 19" oval-hole, non-cutaway Excel, a 1930s Gibson Advanced Jumbo, a rosewood 1939 Gibson J-200, a 1910 Bohmman harp guitar, a 1956 Gretsch White Penguin, and a 1934 Gibson Super 400 prototype.
Is personal playing use a major factor in purchasing an instrument for your collection?
Sometimes, but not always. My foremost goal is to preserve these treasures for future generations and do my best to promote this wonderful genre. Many times I purchase a guitar because I like it--other times because it belongs in the collection.
What factors do you consider in judging whether an instrument merits inclusion in your collection?
Historical importance, condition, rarity, and value, as well as my personal feelings; and how it may fit into a slot or spot.
Do you collect celebrity-owned instruments?
No, I neither can relate to nor justify the value or excitement in these types of instruments, unless the piece itself is historically important in spite of the celebrity aspect. To me, the mere fact that an instrument passed through a celebrity's hands is not important, although I certainly do recognize that there are people to whom this is important.
Is monetary value or investment potential a major factor in selecting instruments for your collection?
It is relevant, but not at all encompassing. I collect out of love and passion, and any investment rewards are secondary to me. I do, however, believe that these instruments, because of their cultural significance as well as their broad-base appeal, are excellent investments, and I feel there are no better collectibles in terms of investment!
What are your future plans for the collection?
I plan to continue aggressively promoting, displaying, and sharing these wonderful instruments with everyone in every way I can. To me these fine guitars are works of art that rival a Picasso or Renoir. My goal is to assist in their care. I am not the owner of these instruments; I am merely their caretaker. They will be here long after I am gone, and it is my privilege and honor to take care of them so that our children and children's children may enjoy them.
Ultimately, I want these instruments housed in a museum where they can be viewed and even played by anyone and everyone who appreciates and loves the guitar as much as I do.
How is your collection housed?
About 250 pieces are on display in a special wing of my house, which was developed for the collection. The room contains display cases and has a state-of-the-art heat/humidification system so that the instruments are perfectly maintained. The balance of the instruments are stored in another area that also has a similar system. All of the guitars are constantly maintained and restrung at least twice a year. People come to see, play, and photograph the collection every day. The instruments are also loaned out for research, and portions of the collection are sent all over the country for display.
What future plans do you have for the collection's physical storage and display?
My goal always has been to create a museum that will house the collection and that will allow people to come and see and even play these masterpieces anytime and free of charge. These treasures do not belong to me, they belong to history, and I consider it an honor to care for and share these wonderful instruments. I hope I'll be able to do this within the next few years. This is a huge undertaking that takes much time and money.
In the meantime, I will continue to play my part in the development and promotion of this most noble genre. I passionately love these instruments and am happy to contribute in any way I can.
How do you view your role in the market?
I view myself as a small player in a large and important field. My focus going forward is to share my collection with others. As I said before, I'm merely the caretaker. I like to think that this is the best approach, and if I have attained any influence in this market, this is the philosophy I embrace. I hope that collectors, dealers, and enthusiasts can work together towards one common goal -- the preservation and promotion of the guitar.
Do you have any advice for a person interested in starting a guitar collection?
My advice is to learn as much as you can before jumping in too fast. Read, read, read! This is a field where there is an abundance of great literature available. Subscribe to 20th Century Guitar, Vintage Guitar, Guitar Player, and Vintage Gallery right away. These excellent publications will inform and inspire you. Then go to your local book store and purchase books like American Guitars by Tom Wheeler, Gruhn's Guide To Vintage Guitars, Acoustic Guitars And Other Fretted Instruments, and Electric Guitars and Basses by George Gruhn and Walter Carter, The Ultimate Guitar Book by Tony Bacon, Martin Guitars by Mike Longworth, Gibson Electrics by Andre Duchossoir, The Guitars of the Fred Gretsch Company by Jay Scott, and The Super 400 -- The Art Of The Fine Guitar by Tom Van Hoose, to name a few. If you cannot find one of these books at your bookstore there are some excellent mail order houses like J.K. Lutherie, who carries everything. I also encourage people to visit guitar shows. This is an exciting place for a guitar lover. Also, frequent reputable dealers like Gruhn Guitars and Mandolin Brothers. These dealers will help you learn the ropes and are honest. There are plenty of great dealers around the world. If you have a question about a dealer, I recommend you contact one of the magazines for a reference. Spend as much time as you can with knowledgeable people, and collect instruments that fulfill you. This is ultimately what matters.
What do you see as the future potential of the vintage guitar market?
I feel that this market is ready to skyrocket. The guitar is such an integral part of our culture. It has been at the foundation of social trends that have defined us. Auction houses like Sotheby's and Christie's are becoming involved with vintage guitars for the first time, and to me this signals that vintage guitars are coming of age. I believe that a million dollar non-celebrity vintage guitar sale will occur within the next six years. As we pass into the next century, it is natural that we will become retrospective, and the cultural icons of the previous century will take on greater significance. Also, it will be a time when a new generation will come into wealth. This is the generation of the guitar. I have no doubt that the great guitars of the 19th and 20th centuries will transcend fine art in the 21st century. D'Aquistos and Martins will be the Picassos and Van Goghs to a new generation with wealth and a passion for the guitar

http://www.harpguitars.net/history/chinery.htm

Keep the legendary Jerry Byrd in your prayers

2005-03-15T08:11:00.000-08:00

If any one steel guitar player can be credited for inspiring the most people to play this instrument, it would have to be Jerry Byrd, known as the king of steel guitar. It was Jerry in the late forties and fifties, who was on the majority of all country recordings. He was the first steel guitarist to have a major recording deal and released many instrumentals on King, Mercury and RCA, all major labels at the time. This absolute true master of the steel guitar has to be the point where it all started for country steel guitar. With this tiny touch on history, I have decided to forward this newsworthy email from my friend Harley Morris to everyone: My very best friend,Jerry Byrd,is back in Kaisers Hosp. in Honolulu. He was admitted yesterday(Saturday)morning per his own request. As you probably know,Jerry has had a rough time of late...many great days followed by sudden very bad days. His Brother,Jack,has been with him for a few weeks now and reports there is progress in Jerry one day and sudden let downs the next. Jerry has,according to his Daughter,Lani,requested his "Living Will" be given to his Doctor and it must be followed. This is very sad and serious news for me and others around the world and I dread what may follow. God Bless a great man and a very dear and solid friend. Jerry has given his life to Steel Guitar,no doubt about that,and he has been the Icon in the music field,especially Hawaiian Steel Guitar.

http://www.jerrybyrdfanclub.com/

http://www.well.com/user/wellvis/jbyrd.html

http://www.showandtellmusic.com/pages/galleries/gallery_i/jerrybyrd.html

http://www.booklineshawaii.com/BOOK/bmu/241311.html

http://www.hsga.org/main/cover.html

http://www.steelguitarcanada.com/cdcass/byrd.htm

http://www.skobrien.com/sshawaiian/ChordFinder.asp

This is amazing! Blogshares

2005-03-11T07:42:00.000-08:00

I found this by accident yesterday.

http://blogshares.com/blogs.php?blog=http://daviddeanwhite.blogspot.com%2F

A message from the Steel Guitar Capitol of the World

2005-03-10T09:02:00.010-08:00

Hello fellow players, Here we are witnessing the end of the first generation of the great steel guitarists who made steel guitar the incredibly loved instrument that it is today. The steel guitar shows around the United States and the thousands of new players that I get to meet every year through my store, email and doing live shows, proves that this instrument is universally loved by all who give it a chance. Everyday, I am hearing from more and more new players who have never had the opportunity to experience the ferocious speed and gargantuous chords that were so masterfully played by one of the greatest steel guitarists who ever lived, Mr. Curly Chalker. Those of us who experienced his playing in the fifties, sixties and seventies, were treated to a steel guitar sound that no one has ever duplicated. Nashville, in my opinion, is still reaching for the bar set by the great Curly Chalker Trio that played music row nightclubs in the seventies. Naturally, what Curly played on the Hee-Haw show did not represent his great playing talent, even though it too was very good. I received an email last week proclaiming that this person was a great admirer of one of the living legends of today and wasn't familiar with Curly because he was from an era gone by. This is what got me thinking about the steel guitar era that we are at the end of. The new players today, unknowingly, are directly influenced by great players such as Bud Isaacs and Curly Chalker. The skill, technique and style of playing steel guitar gets passed down from generation to generation. The people you are learning from today, got their knowledge the people who were playing many years ago and those people learned to play from people who were playing many years before that. This is why I feel it's important for you to know where the skills you are learning came from. It is good to know some history of the guitars, the players and the major recordings that inspired people to learn to play so you can be a better mentor to those who will follow behind you. One of the very first and most important milestones in the history of steel guitar was the smash hit song "Slowly" sung by Webb Pierce in 1952 and featuring the Bigsby steel guitar of Bud Isaacs. This is the recording that introduced the E to A triad that was and is the basis for today's E9th tuning. This recording was followed by "More and More" featuring even more of Bud Isaacs and his style. As far as the C6th tuning goes, there are certain pedal changes that have to be standard in order to get all the basic chords that make up all great standard and jazz tunes. Curly Chalker set the standard for C6th pedal playing in the mid fifties. Most of today's standard styles were offshoots of these two tremendous original innovators. Reverently remembering that there were many exquisite players who sprung into being during this era and these all are people who should be remembered today, Bud Isaacs and Curly Chalker should be the ones carrying the credit for creating these styles. We are talking pedal steel guitar here and not non-pedal guitar which has it's own legendary heroes such as Jerry Byrd, Herb Remington, Joaquin Murphy, Noel Boggs, Bobby Koefer, Slim Idaho and Don Helms. Remember, pedal steel guitar as we know it today, is technically only about 53 years old which means the great masters who built this dynasty are leaving us quickly and deserve to be remembered by us. Yes, as I previously stated, all of us today are witnessing the end of the founding era of steel guitar. Many of you younger players may not remember all of these greats and may not have had the chance to meet many of them, but the legacy they left behind is being carried on every time you sit down behind your steel guitar. Your buddy, Bobbewww.steelguitar.net http://by102fd.bay102.hotmail.msn.com/cgi-bin/compose?mailto=1&msg=8CF9233A-8F62-4BFC-9BB6-B274271F490C&start=0&len=5658&src=&type=x&to=sales@steelguitar.net&cc=&bcc=&subject=&amp;amp;body=&curmbox=00000000-0000-0000-0000-000000000001&a=7dc6c79464ea4563b1b1259ff506f285 www.bobbeseymour.com P.S. Each generation gets to stand on the shoulders of the previous generation and then raise the bar for the generation that follows. The opportunity to raise the bar lies in the hands of each and every steel player. Hopefully, my teaching videos will inspire you to do just that. Check them out at www.steelguitar.net/sale.html

check out

http://www.steelguitar.net/

and

http://www.bobbeseymour.com/

and

http://jimphelps.com/curls.html

and

http://www.tommywhite.net/index.htm

Why NON pedal steel

2005-03-09T08:51:00.000-08:00

The last time I played in public a guy came up to me and said, "where's the pedals?"
I responded, "I don't need them."

The world's first electric guitar was created in 1928 by George Beauchamp with the help of craftsman Harry Watson. Business partner Adolph Rickenbacker liked to call Beauchamp's invention the "pancake," but it was eventually the "frying pan" nickname that held fast.
http://www.rickenbacker.com/us/gal01.htm

Birth of the pedal steel guitar

Made by Paul Bigsby

http://www.bigsbyguitars.com/history.html

and

Buddy Emmons, Shot Jackson and the Birth of the Sho-Bud Steel Guitar. by Buddy Emmons
In 1955 at the age of eighteen, I moved from Detroit to Nashville to become a member of the Little Jimmy Dickens band. I was playing a Bigsby pedal steel, manufactured at a rate of one per month with a two year waiting period. By 1956 the inside neck of my triple neck Bigsby had become a place to experiment with bass string tunings, 16 string tunings in octaves, and steel guitar tunings in general. Meanwhile, unbeknownst to me, another steel guitar player by the name of Shot Jackson was watching the different stages of my experimentation.
My formal introduction to Shot was at a WSM radio show called The Friday Night Frolic. After telling me he had been observing my "wild ideas", as he put it, Shot asked if I'd be interested in helping him design a steel guitar around a pedal mechanism he had in mind. He saw the Bigsby backlog as a window of opportunity and a chance to offer an alternative that would satisfy the demand for a pedal steel. Shot handed me a piece of polished aluminum with a funny looking curly Q on the tail end and said, "This is the keyhead, what do you think?" I thought it was a long way from a pedal steel but I also thought it was pretty neat looking so I told him so and accepted his offer.
We started in Shot's garage with Shot doing the layout, assembly, and mounting of the pedal mechanism. My job was to build and finish the cabinets. The Stratosphere Guitar Company wound the first pickups, shipped them to us, and we housed them in red fiberglass covers. After a few months, Shot integrated the mechanics of a sewing machine bobbin into a pickup winder of his own. His single coil design is still a popular choice among some steel players today including myself.
A wood neck insert was used between the keyhead and changer head to avoid tuning problems associated with a one-piece aluminum neck. We used bird's eye maple for the cabinet with a decorative wood inlay around the edge to give it a slimmer appearance. The twenty-five inch scale fret board and a keyhead without rollers gave sustain and tonal quality unmatched by any other guitar. There were a lot of "squeaky" noises coming from the strings pulling across the bare aluminum slots in the keyhead but who cared? It was a pedal steel guitar.
We sold our first Sho-Bud, an eight string single neck, to Don Warden, steel guitarist for Porter Waggoner. Don sang in Porter's trio, so his pedal rods were lengthened to allow him to play and sing from a standing position. Among the first double neck players were Sonny Curtis, Ben Keith, George Edwards, Jimmy Day, and myself. In the latter part of 1957 I went to work with Ernest Tubb to have a playing job and to showcase the new guitar to potential customers on the road.
The pedal tuning in early 1957 was E, B, G#, F#, D, B, G#, and E. If there were no specific requests for the number of pedals or changes, the guitar was assembled with whatever setup I was using at the time. The original E to A triad pedal change pulled the two strings with one pedal. In the latter part of 1957, I assigned the B and G# string to pedals one and two to increase the melodic and harmonic potential of the tuning. To the best of my recollection, the first recording I used the split pedals on was Ernest Tubb's "Half A Mind".
By 1959, we had moved Sho-Bud to a building on Nesbitt lane in Madison Tennessee. Ira Louvin of the Louvin Brothers was hired to repair acoustic instruments and perform custom inlay work using abalone and different types of exotic wood. Zane Beck, founder of the ZB guitar also worked at the Nesbitt Lane location. From there, Shot moved the business downtown to Broadway a few doors from Tootsie's Orchid Lounge, making it the best of both worlds for musicians.
Between the years 1957 and 1959, Jimmy Day added an E to the middle of the tuning and Ralph Mooney added a high G#. We experienced a lot of string breakage with the G# so we reduced the twenty-five inch scale to twenty-four and a half inches. In 1964, after the Sho-Bud progressed to ten strings per neck, I added an F# and D# to the tuning to have diatonic notes that would further extend the melodic possibilities. I used the tuning with a Sho-Bud for the first time on a song called "You Took Her Off My Hands" from the Ray Price "Burning Memories" album.
A footnote regarding the diatonic tuning evolution: We were on the road three weeks prior to Ray's scheduled recording date when the idea came to me. The linkage in Shot's pedal system was permanently welded, making the ninth and tenth string positions the only choice for the F# and D# notes. This required the thumb and finger to alternate from the front to the back of the tuning for the diatonic effect, which was awkward at best. It was an interesting sound but the difficulty involved in using it gave me thoughts of trashing the idea. Then I started seeing the two strings on the guitars of some serious players around town. I smiled and thought to myself how ironic it would be to quit using it and become dated by my own creation. It was then that I asked Shot to reconfigure the undercarriage of my Sho-Bud so the diatonic notes would be in the first and second string positions for easier access.
I left the Sho-Bud Company in the early sixties after having designed my own pedal steel but Shot and I remained close friends throughout the years. I would drop by the Broadway location to visit Shot from time to time and the first thing he would ask in front of his Sho-Buddies was, "Hey, Hame Jaw, are you still playing Brand X?"
Shot Jackson had the talent and experience to build a pedal steel and make it a success on his own. I'm grateful that he chose not to. The fact that the Sho-Bud guitar is still around and still the favorite of many steel guitarists is a lasting tribute to his contribution and our combined efforts. He had an idea, ran with it, and made a difference.
http://www.planet.eon.net/~gsimmons/shobud/buddy.html

and

http://www.amug.org/~a249/

I just prefer the sound of a non pedal steel guitar

Here is a kindered spirit

http://rickalexander.com/BigSteel/RAStringmasterT8.html

and another

http://www.billchaviers.com/page3.html

These brothers put the steel guitar (NON PEDAL) on the music map of the world.

Santo & Johnny were two brothers from Brooklyn who had a huge number one instrumental hit in 1959 and several lesser hits.
Santo Farina was born in 1937 and his brother Johnny in 1941, both in Brooklyn, New York. Santo played steel guitar and Johnny played rhythm guitar. They wrote and recorded Sleep Walk and leased it to Canadian American Records in 1959. The song became an instrumental hit, and it reached the number one spot on the pop charts.
They followed Sleep Walk with five lesser entries on the charts from 1959 to 1964, the most successful of which was Tear Drop. They had some hit albums that featured their unique sound, including Santo & Johhny and Encore in 1960, and Hawaii in 1961.

The song was "Sleep Walk"
http://www.sleep-walk.com/

As a music preservationist/performing/songwriter/musician I am proud to continue the tradition of the NON pedal steel guitar.

I do have a dream

2005-03-08T12:04:00.000-08:00

I always thought that I never really had a dream to aspire to as I have grown over the years. My life always seemed like I was just "staying alive." Kind of like the song by the Bee Gee's.
It struck me today that I do have a dream and I am living it. My dream is to be a performing/songwriter and musician.
Are you living your dream? Are you planning to live your dream?
http://www.comomusic.com/displaybands.php?bandid=773

Over 1000 viewings and over 100 downloads On NoRecord label

2005-03-04T13:57:00.000-08:00

I am glad to report my site on NoRecord label has been very active.
Stop by for a visit and a listen.

http://www.norecordlabel.com/newmusicpage.php?b_id=3182

Let's all chip in for Don and Ms. Hazel

2005-03-04T08:29:00.000-08:00

Here is a update on Don Helms' health from his friend and associate Michael Panasuk. Please keep Don in your thoughts and prayers.Although Uncle Don is making some progress and doing fairly well, it looks like it is going to be quite some time before he is able to get back on the road and perform at the level he has become accustomed to. So in order to help Don and Miss Hazel out during his recovery time, we plan to release a new CD on Don’s birthday, February 28th. I will give you the complete details as soon as possible. But I can tell you right now, it’s going to be an ‘ear opener‘. Especially for anyone who has not heard the Hall of Fame steel guitarist sing. Yes, you read that right. Several tracks will feature Don’s vocal and songwriting talents. Again, Don and Hazel want to thank everyone for their support and prayers.Thank you,Michael PanasukCPR Records

and

CPR Records is proud to announce the release of a new Don Helms CD:DON HELMS Pickin’ & Singin”.This incredible collection contains, not only Don’s signature guitar licks, but also some very rare vocal cuts by the Hall of Fame steel guitarist himself.The album could easily have been titled: “Pickin’, Singin’ and Writin’” sinceUncle Don penned several of the great songs found on this memorable CD.Guaranteed to take you ‘back when’, when Country Music knew what part of the Country it was from!We invite you to sit back, relax and enjoy a slice of Country Music History,and the sound that defined Hank Williams and an era that will forever stand the test of time.1. Honky Tonkin’2. On the Banks of the Old Pontchartrain3. Introducing Don’s Singing Debut4. May You Never Be Alone Like Me5. I Just Don’t Like This Kind of Livin’6. Somebody’s back in Town7. Window Shopping8. Blue Steel Blues *9. Big News 10. Theme Time11. White Silver Sands* with Hank WilliamsAll vocals by Don HelmsPlease send a check or money order for $19.95 payable to Don Helms CPR Records122 Riviera DriveHendersonville, TN 37075P.S. Don will personally sign every CD.

and

CPR Records122 Riviera Drive Hendersonville, TN 37075-3453 CDs by Don HelmsDON HELMS: 50 Years of Legendary Steel Guitar.What else can we say? An important collection of songs that epitomize Don’s illustrious career in Country Music. Don defines the Hank Williams sound, collaborates with Chet Atkins and delivers a personal message just for you. If you truly love “real” Country Music, this one’s for you!________________________________________________________________________DON HELMS and The Drifting Cowboys Band: Live from England, 1980.A great live concert! Over an hour of non-stop musical enjoyment. The next best thing to being there! Don Helms passionately plays his famous licks on all their classics. The only thing missing is Hank, and he’s there in spirit. Limited Collectors Edition, personally signed by Don.________________________________________________________________________DON HELMS: “BACK THEN”If you like stories about how it used to be, then you’re going to love this CD. Kick back and let Uncle Don tell you what is was really like working for Hank Williams... Fishing, fooling around or finding him drunk. Being the best friend of Country Music’s first Superstar. A great stroll down memory lane. Limited Collectors Edition, personally signed by Don.________________________________________________________________________DON HELMS: “BACK THEN” Volume IIUncle Don continues his incomparable story telling about the Country Stars he’s worked with and the hit records he’s played on. Don talks you through his illustrious career, including a stirring rendition of Hank’s death like nobody else can. He was there Back Then and this is your chance to relive those cherished memories with him.Limited Collectors Edition, personally signed by Don.________________________________________________________________________ CDs by Don HelmsTHE DRIFTING COWBOYS BAND Radio ShowIn 1978, 25 years after the band broke up, Don Helms and Jerry Rivers decided it was time to put the group back together again. To commemorate the auspicious occasion, they recorded several radio shows with Grant Turner for Hadacol. The shows were recorded, put on the shelf and forgotten, until nearly a quarter century later. Fortunately, we have preserved the best shows just as they were originally presented all those years ago. Along with Don and the Drifting Cowboys Band, you will hear from some very special guests like Mac Wiseman, Harold Morrison, and the irrepressible Duke of Paducah. CD includes the first two shows. Truly a collectors item. Personally signed by Don.________________________________________________________________________DON HELMS All Time Country FavoritesClassic Recordings of Classic Songs. What more can we say. The play list reads like a who’s who of Country Music Hits. KAWLIGA *** I WALK THE LINE *** GONE *** FIRE BALL MAIL*** I’M WALKIN’ THE FLOOR OVER YOU *** I CAN’T HELP IT *** HEY GOOD LOOKIN’ *** FOUR WALLS *** I’M SO LONESOME I COULD CRY *** THERE’LL BE NO TEARDROPS TONIGHT *** COLD, COLD HEART *** JAMBALAYA *** Recorded in the heyday of the Nashville Sound, meticulously presented to you for your private collection. Personally signed by Don._______________________________________________________________________GOSPEL FAVORITES 10 OF DON’S FAVORITE INSPIRATIONAL SONGS:I’LL FLY AWAY HOUSE OF GOLDGONE HOME IT’S NO SECRETWINGS OF A DOVE FARTHER ALONG THE OLD RUGGED CROSS AMAZING GRACE JUST A CLOSER WALK WITH THEE I SAW THE LIGHT _______________________________________________________________________CPR Records122 Riviera DriveHendersonville, TN 37075-3453 SHIP TO: _______________________________________________________________________________________________________________________________________________________________CDs are $15.00 each, plus S&H. Photographs are 5.95 each including S&HPlease ask for International shipping rates.___________________________________________________________50 YEARS OF LEGENDARY STEEL GUITAR (Also available in cassette)------------------------------------------------------------------------------------------------------------------------------------------------------LIVE FROM ENGLAND, 1980------------------------------------------------------------------------------------------------------------------------------------------------------BACK THEN------------------------------------------------------------------------------------------------------------------------------------------------------BACK THEN, Volume II------------------------------------------------------------------------------------------------------------------------------------------------------THE DRIFTING COWBOYS BAND Radio Show------------------------------------------------------------------------------------------------------------------------------------------------------DON HELMS: All Time Country Favorites------------------------------------------------------------------------------------------------------------------------------------------------------GOSPEL FAVORITES ------------------------------------------------------------------------------------------------------------------------------------------------------PICKIN’ & SINGIN’________________________________________________________________________________________PHOTOGRAPH: Circa 1951, B&W, Hank and the Drifting Cowboys______________________________ PHOTOGRAPH: Circa 2003, Color, Don Helms & Steel at the Opry______________________________Number of CDs ------------Total for CDs _________________________S&H for 1 CD is $4.95S&H for 2 CDs is $7.95 S&H _________________________S&H for 3-5 CDs is $9.95S&H for 6-10 CDs is $10.95TOTAL _________________________U.S currency only. Please make Money Orders or checks payable to Don Helms: CPR Records 122 Riviera Drive Hendersonville, TN 37075 Please allow up to 4 weeks for delivery.Thank You Very Much For Your Order!andThanks for listening!

The Wisdom of Will Rogers

2005-03-02T14:15:00.000-08:00

Everything is funny as long as it is happening to somebody else. --Will Rogers (1879 - 1935)
Even if you are on the right track, you'll get run over if you just sit there. --Will Rogers
The minute that you read something that you can't understand, you can almost be sure it was drawn up by a lawyer. --Will Rogers
Income tax has made liars out of more Americans than golf --Will Rogers
Everyone is ignorant, only on different subjects. --Will Rogers
A man only learns in two ways, one by reading, and the other by association with smarter people. --Will Rogers Humorist
Good judgment comes from experience, and a lot of that comes from bad judgment. --Will Rogers
We can't all be heroes because someone has to sit on the curb and clap as they go by. --Will Rogers

and

The taxpayers are sending congressmen on expensive trips abroad. It might be worth it except they keep coming back!
You can't say civilization isn't advancing; in every war they kill you in a new way.
People are getting smarter nowadays; they are letting lawyers, instead of their conscience, be their guide.
I'm not a member of any organized political party, I'm a Democrat!
Everything is changing. People are taking the comedians seriously and the politicians as a joke.
Always drink upstream from the herd.

DDW

Real time panorama of the Missori River

2005-02-25T12:29:00.000-08:00

Watch the Missouri River from Coopers's Landing.

http://www.video-monitoring.com/usgs_missouri/cam.htm

Cooper's Landing

http://www.cooperslanding.net/Home%20Page.htm

Timbre Creek is born

2005-02-25T08:34:00.000-08:00

"Timbre Creek" will be playing Sundays at the Hitching Post in Hartsburg Mo, from 1 - 3 pm.

Country River is a duo. Don on Guitar, Vocals and Pedal Bass (it's the running gear of a Hammond organ). Dave on Double Neck NON pedal steel guitar (Gibson Console Grande) and 6 and 7 string Richard DeNeve resophonic guitar (Dobro). We met by chance and have a shared love of this great American Music.

Sounds Like
BR5-49, George Strait, Merle Haggard, George Jones, Asleep at the Wheel
Influenced By
Hank Williams Sr., Bob Wills, Ernest Tubb, Buck Owens, Patsy Cline

Oh What a Lucky Man he was

2005-02-24T07:27:00.002-08:00

Here is one of my favorite beaches.
It is located on the Isle of Palms near Charleston South Carolina.
My best friend and "brother" Tom lives a few blocks from here
http://www.jammercam.com/

Tom is a lucky man for living in such a beautiful place.

Be sure to click on the "Surf Cam."

I love walking along this beach.

The End of The Road

2005-02-23T06:38:00.000-08:00

The End of the Road written and sung by Sir Harry Lauder Ev'ry road thro' life is a long, long road, Fill'd with joys and sorrows too, As you journey on how your heart will yearn, For the things most dear to you. With wealth and love 'tis so, But onward we must go. Chorus: Keep right on to the end of the road, Keep right on to the end, Tho' the way be long, let your heart be strong, Keep right on round the bend. Tho' you're tired and weary, still journey on, Till you come to your happy abode, Where all the love you've been dreaming of, Will be there at the end of the road. With a big stout heart to a long steep hill, We may get there with a smile, With a good kind thought and an end in view, We may cut short many a mile. So let courage ev'ry day Be your guiding star always. Chorus:

Life is short ........make the best of it

DDW

May he rest in Peace

2005-02-22T06:26:00.000-08:00

Local music ‘legend’ Wheeler dead at 58
By LIZ HEITZMAN of the Tribune’s staff
Published Monday, February 21, 2005
Last spring in an interview with the Tribune, Jerome Wheeler said playing music made him feel more alive than doing anything else.
Ed Pfueller photo
Jerome Wheeler performs in April 2004 during a set at D’Agostinos. Wheeler died yesterday at age 58. It seems fitting that the man whose love of the Missouri River colored many of his songs will be remembered with a wake Saturday at the riverside venue of Cooper’s Landing.
Wheeler, 58, died yesterday after a long battle with congestive heart failure. In addition to the wake, a potluck will be held at 6 p.m. Thursday at Unity Center, 1600 W. Broadway, followed by a 7 p.m. memorial.
Wheeler played in many bands during his life and wrote a number of musicals. Early in his musical career, he saw some success with his group, Celebrated Rennaisance Band, which scored radio play with its "Vibration 2.2," released in 1969.
While Wheeler never found the national spotlight again, he is well known among musicians in Mid-Missouri. "He had a reputation for perhaps being one of the greatest songwriters this area has ever seen," said fellow musician Pete Szkolka.
Those who knew him said the Missouri River was a common theme in his works. One of his many bands is called "River Cowboy," whose members include Lee Ruth.
Ruth said today he first saw Wheeler perform in 1964 at The Chez.
"He was kind of a larger-than-life figure in Columbia," Ruth said.
Wheeler was prolific until his death. He continued to write songs, even while in and out of the hospital as his health declined. About a year ago, he released "In Search of the Dot Commies," recorded in Szkolka’s studio.
Szkolka said he began working with Wheeler about 30 years ago and was musical director for Wheeler’s rock opera, "B Movies from Outer Space," which played at The Blue Note, among other local venues. "It was a science-fiction rock opera about a bunch of people who went through a portal and ended up on another planet," Szkolka recalled. "It was a cheesy melodrama. It was meant to be funny."
Friend Doireann O’Brien described Wheeler as "the most kind, loving, understanding and humorous person." She said he requested his memorial not be marked by sadness but celebration and, of course, music.
"He was dearly loved by many people and will be missed," she said.
While Wheeler lived in Boston and St. Louis at times, Columbia and Boone County were his home.
"He would show up in town again, and we would pick up right where we left off," Ruth said. "He was just an ongoing presence in the community and in my life. It’s not going to happen again, and I’m going to miss that."
O’Brien said Wheeler asked that his ashes be spread in the Missouri River, and she plans to do that this spring.
http://www.columbiatribune.com/2005/Feb/20050221News002.asp
Jerome was a very talented musician and writer.

Come jam with me

2005-02-17T10:47:00.000-08:00

This evening I will be jamming at the Boone County Historical Museum from 5 -7 pm.

http://chamber.columbia.mo.us/visitlink.asp?url=http://members.sockets.net/~bchs/

I will be playing my 1980 piano black California made Dobro. This guitar was upgraded and set up by the legendary Ferrell Stowe and has that genuine vintage dobro sound. Think Josh Graves.
I will be playing with some old time fiddlers and other traditional music lovers.

Later, I will be playing at the Cherry Street Artisan Cafe, Columbia, Mo. from 730 -930 pm. with the Sloe Jammers playing bluegrass and traditional tunes.

http://www.cherrystreetartisan.com/

Here I will be playing my 7 string DeNeve resophonic guitar in G 6th tuning.

If your in the neighborhood, drop by and pick a few tunes with me.

MRCC

2005-02-16T06:27:00.000-08:00

Well, it has started. I agreed to be a member of the steering committee for the Missouri River Cultural Concervancy. I missed one meeting last week due to icy roads and all hell has broken loose.

Pippa reported a problem with calling our group MRCC. The Missouri Rural Crisis Center is already using this acronym. We decided to try to identify another name and acronym for our group, such as: Boone’s Lick Cultural Conservancy (BLCC)

Subject :
New Name for our Video Production Company

Lets exchange some ideas for a new name for our group. Please make some suggestions. Mike

DAVE,
its time we take this bull by the horns and make it work for all involved. liberal or conservative! its too good of an idea to let it run into kaos . some one needs to drive the bus. no matter what thier political persuation . I think its safe to say osama is out of the pool. FIL AND ELAINE

From :
Steve Jerrett
Sent :
Wednesday, February 16, 2005 11:49 AM
To :
David White
CC :
cooperslanding@tranquility.net, hkfletch@hotmail.com, jeromewheeler@mchsi.com, jeff.wheeler@uncommonlight.us, albedo1000@aol.com, alwayscherished@aol.com, dearnley@earthlink.net, pletsky@coin.org
Subject :
Re: New Name for our Video Production Company

If you do a Google search on MRCC, a lot of organizational names come up (including Montana Raptor Conservation Center). Even by the 4th page of the search results, Missouri Rural Crisis Center does not appear.

I find myself in agreement with David about keeping the name.

David White wrote:

I suggest we keep the name intact.

(Subject :
Re: New Name for our Video Production Company

I AGREE! ALSO LETS APPOINT A LEADER A PERSON IN CHARGE. THE BUCK STOPS HERE KIND OF PERSON . WHAT DO YOU THINK ?
FIL & ELAINE DiMaGGIO)

Steve Jerrett
Folk Alliance KOPN Music Director KOPN's Sunday Morning Coffeehouse Missouri River Cultural Conservancy Columbia, MO A Sing Out! Radio Partner

In my opinion.
Without a consensus on vision statement, a values statement and a mission statement the project is adrift.

DDW

ps This is another piece of the pie

From :
Mike Cooper
Sent :
Wednesday, February 9, 2005 8:55 PM
To :
"David White"
Subject :
March Meeting

MRCC

Inbox
Dave this is the meeting I was talking about. I remember you saying you would be willing to be our representative[I DID NOT!]. Mike"The City of Columbia, the Columbia Cable Task Force, and Columbia Access Television (CAT), wish to acquire contact lists of interested Columbians who'd like to participate in focus groups hosted by the Buske Group, the consulting firm hired to assist the city in contract negotiations for the city's cable franchise with Mediacom Cable. Discussion topics will include cable, telephony, public access, high-speed internet, all aspects of Mediacom's business dealings with the city of Columbia. This particular request at comomusic is for music, art, and cultural groups, or members of those groups (musicians included). Of course, we'd love to hear from other organizations which have not already been contacted! If you'd like to participate, please send your contact information (Name, organization or group, phone number, and e-mail address) to: http://by102fd.bay102.hotmail.msn.com/cgi-bin/compose?mailto=1&msg=71CE433F-A81F-4452-97ED-9DB3CFDC9CA4&start=0&len=5711&src=&type=x&amp;amp;amp;to=info@cat3.tv&cc=&bcc=&subject=&amp;amp;amp;body=&curmbox=BDEDEBCA-C6E8-4C9F-8142-0942E1A5B794&a=120dd0e6a6d90ec20845cc23660251b6 Invitations to participate will be sent out around the first or second week of February. We request that those contacted please RSVP no later than February 28, 2005. The focus group meetings will take place March 15,16, and 17 in designated areas around Columbia. Your participation and input is important!! Please join us. Thanks! Jeff Bassinson, secretary Columbia Access Television Corporation (CATCORP)"

Come one come all

2005-02-15T09:09:00.000-08:00

Subject: Party Friday at Coop's!
Message from Missouri River Relief- ALL ARE INVITED!We want to invite you to a party on Friday, February 18th at Cooper'sLanding to help us celebrate River Relief's coming out for 2005. It's achance to visit with your river buddies and help solidify plans for our 2005 events. Food & music will be provided at Mike Cooper's at 7:00. Be sure to let anyone you think might be interested know and bring them, too. See you Friday! (Dee's cooking & Naked Dave [ FYI , THIS IS NOT DAVID DEAN WHITE]& friends performing) Bring your instrument, I'm sure the mic will be open at various points.

Double Duty

2005-02-14T13:51:00.000-08:00

This past sunday I played at the Hitching Post in Hartsburg, Mo. with Don from 1 - 3 pm.
I played my Gibson double neck Console Grande and my twin DeNeve Dobros.
My 7 string and 6 string.
Then I played with Cedar Creek at Coach's in Holts Summit, Mo. from 4 - 730 pm.
I played my Fender triple neck String Master and my twin DeNeve Dobros.

Lots of good music, fun, laughter and applause.

The one thing everyone on earth has in common is.................we ALL want to be appreciated.

Band 101 or DIY # 4

2005-02-09T06:45:00.000-08:00

I was originally going to write an article about how to record your band’s demo on a 4-track cassette recorder. But after about 20 minutes of writing, I realized that there was way to much information to consider. But as I was talking to a friend about this, we got into the classic analog vs. digital debate. As a result, I thought it would be cooler to try to explain why I think it’s easier to record with the analog format, and how to go about setting input levels on your 4-track.
Now admittedly, if you have absolutely ZERO familiarity with recording equipment and practices, this is probably going to go directly over your head. And conversely, those of you who are total gear sluts who have been mastering your craft for the last 10 years will no doubt find this boring and completely elementary. I’m writing this for those of you who got a 4-track last Christmas and have done a little knob turning, but never really bothered to read the manual. This is for the average basement band desperately trying to pound out their first demo. So anyway – enough with the disclaimers and backstory, huh? Where’s the beef?
In the last few years, digital recording equipment has gotten ridiculously inexpensive. Five years ago, you could spend multiple thousands of dollars on a piece of equipment that can’t even compete with the gear you can get for around $500 today. No big shocker, huh? The digital world moves fucking fast. It only took 6 months for my Pentium 166 to go from “the shit” to “piece of shit”. This is why I hate computers and digital recording equipment. At one time, I was the envy of my peers with my Fostex FD-8. Now, I use it as a door stop. However, this is an analog article. So, all I’m going to say is, if you’re wanting to go digital, it’s easier/cheaper to upgrade computer hardware and then Kazzaa the newest version of Cool Edit Pro, Cakewalk, Cubase or whatever DAW software you prefer, than to continuously buy new standalone machines. Did I just use the word “Kazzaa” as a verb? So, what does this mean to us analog junkies? Well, due to their increasing sophistication and plummeting prices, people can’t jump on the digital bandwagon fast enough. As a result, there are ridiculous bargains to be had on Ebay. Don’t believe me? I saw an 8-track ¼” Fostex reel-to-reel deck go for around $160 – free shipping. Now that’s just f’in dumb. But I’m digressing… I’m finding that a lot of recording newbies are convinced that the only way to get a decent recording is if they go digtal. But the problem is that most of them don’t have a basic fundamental understanding of recording principles. As a result, they end up with cd quality, 32 bit, 48,000k sampling rate recordings of total dogshit.
Digital recording is difficult. Why? Whenever you’re recording a signal, digital or otherwise, you want that signal to be as “hot” as possible (if you’re not familiar with the concept of signal-to-noise ratio, do a Google search and read up). In order for this to happen, you want those peak meters to be hitting 0dB with as much consistancy as possible. Now, when we say a signal is “hot”, we are refering to the amount of gain that is initially going to the channel input. This has nothing to do with the volume level that is effected by the channel fader. These are two very different things. If a signal isn’t hot going in, all you’re going to do with the channel fader is make a luke-warm signal really loud. And the more you crank up the channel fader, the more you’re also cranking up the background hssssssssssssssssssssssssssssss.
Without getting into digital mathematics, 0dB is the most a computer can understand. A computer doesn’t know how to audibly represent +3dB. This is what causes a digital signal to distort so horribly so quickly. There is no digital headroom for a signal that breaks the 0dB threshold. The computer simply doesn’t understand what to do with the excess signal. That’s why it’s sort of like one of the commandments of digital recording – THOU SHALT NOT ALLOW THY SIGNAL TO EXCEED 0dB AT ANY TIME FOR ANY REASON! As a result, various compression (or as I like to call it, “the devil’s black magic”) techniques have to be used to prevent the digital signal from clipping. However, if you don’t have access to a live compressor during recording (which is VERY common among most basement demo sessions), you simply have to keep throttling back the gain until the signal stays below 0dB. This succeeds only in decreasing the “hotness” of your signal. However, in the analog world, this isn’t the case. Many recording engineers use 0dB as merely a reference point. When using an analog medium, it’s actually preferable to have your signal peaking somewhere between +3 to +6dB. This is great for a number of reasons. Obviously if an analog signal can safely peak at +6dB, it will allow the signal average to stay closer to 0dB more consistantly. The other reason is that analog distortion comes on very slowly, and is infinately easier on the ears. And as such, it can actually be used to enhance a recording. In fact, the term “tape saturation” refers to a controlled amount of analog distortion that is deliberately put to tape. Tape saturation is usually what most people are refering to when they say an analog recording has a lot of “warmth”. This is also the same sound that so many digital plug-ins and mastering programs are trying to replicate. Hmmmmm, digital trying to replicate analog? So for all you kids just getting your feet wet with all this recording stuff -- I say go analog. The additional 3 to 6dB of headroom in analog recordings allows more room for error when you’re trying to learn how to properly adjust gain settings. It allows you to keep a hotter signal without all the nail-biting pressure of keeping things below 0dB. Your recordings will have better presence, more clarity and a fuller sound. Now, I know that there are tons of people that want to dog analog because of tape hiss. Shit, everytime I hear a cassette recording with excessive hiss, I always ask how they went about setting their levels. Nine times out of ten, they weren’t properly adjusting input gain. They were simply using the channel fader to adjust the level. And as a result, it’s not TAPE hiss – it’s SIGNAL hiss! It’s all that background noise they jacked up with the channel fader. But how do you make sure your signal is hot from amp to tape? Good question.
The simplest setup in most DIY settings is a mic picking up the sound from an amp and dumping it straight into the 4-track channel input. Assuming that the amp is plenty loud, all we really need to do is properly adjust the input gain to make sure the signal is hot. The exact steps can vary depending on the features of your 4-track, but the ideology is the same.
The cheapest 4-track I’ve ever worked with had individual channel faders, a master volume fader and a single master peak meter – THAT’S IT! Contrary to what I said earlier, with these boxes, the channel fader is the only way to adjust signal level. If this is the case for you, simply lide the master volume fader to 0dB and then adjust the input channel fader until the loudest attacks of the signal peak somewhere between +6 or +3dB.
This works great if you’re only recording one track at a time. The problem with this setup is that you can’t monitor each channel individually because there is only one master peak meter. Since the collective level of multiple signals will be louder than any one signal by itself, you’re obviously going to have to adjust one or more of the channel faders to maintain a decent mix.
So, if you’re monitoring more than one signal, all you can really do is make sure the individual track volumes are balanced well with each other, and then adjust the master fader. Basiclly, you have to sacrifice individual track hotness to maintain overall hotness. However, if you find that your channel faders keep creeping down, start over. Try to keep the individual tracks as loud as possible while maintaining a nice balance. Then use the master fader to keep the overall signal in the correct range. There’s really not much else that can be done with these little bastards. Most of the decent 4-tracks available these days have input gain controls and dedicated peak meters for each input channel. In this case, what you want to do is set the channel fader to 0dB, and then adjust the input gain until the signal is peaking appropriately. If your deck only has peak LEDs and no meter, do the same thing except adjust the gain until that little LED quickly flashes during the loudest attacks. But make sure it isn’t steadily lit up. The most sophisticated 4-track decks will have PFL (Pre-Fader Listen) buttons on each channel. This feature will allow you to get the most accurate reading. When this button is pressed, the peak meter is showing you the level of the signal before the channel fader has had a chance to effect it. This allows you to strictly measure input gain. If your deck has this feature, press the PFL button and then adjust the input gain until the signal is peaking appropriately. Now that you’ve got the input gain levels set for each channel, you can adjust your mix with the channel faders without adversely effecting the signal-to-noise ratio of a particular channel. So now if you have to bump up the fader on a particular channel, you wont be getting so much hsssssssssssss along with it. And that’s it! Not to tough, huh? Just remember, that each knob has a specific function. Gain isn’t volume and volume isn’t gain. I knew this guy who spent almost 6 months without understand how the gain pot on his mixing console worked. He once asked me why there were 2 volume controls on each channel, and wanted to know which one he should be using. So just to make sure we’re clear, input gain determines how hot a signal is as it enters the channel. The channel fader simply changes the volume of that signal “in the mix” – it has nothing to do with adjusting “hotness”. One last thing…
For those of you that want to hear just how good cassette recordings can be, you should regularly read the “Under the Radar” section in TapeOp Magazine. Some of that stuff is so good it makes me want to cry!

DIY #3 from comomusic

2005-02-08T14:20:00.000-08:00

So you finally got around to getting your band’s website up and running. Good for you! Your band’s website is like your own personal P.R. representative that works 365 days a year, 24 hours a day. You’ve created a presence that can be instantly accessed by millions of people all over the world with just the click of a button. Now all you have to do is figure out how to get people to visit. Just because you have a website, doesn’t mean that anyone knows about it. Hopefully after reading this, you’ll pick up a few tips that will help that cheesy digital counter you put at the bottom of the page start to increase a little faster.
So how do you generate web traffic? It’s very cool these days for bands to consider themselves “artists” that don’t buy into commercial bullshit. Well like it or not, generating web traffic is all about strategic advertising. You might not actually be selling anything per se, but you are trying to make your band as visible as possible. This is all marketing 101. If you start thinking about it this way, you’ll be able to come up with some really creative ways for people to find your website. If not, here are some of the things I’ve found useful.
SEARCH ENGINES:Search engines are great, but you have to understand the nature of search engines for them to be of any use to you. Many people will submit their website to a search engine or web crawler database and expect to sit back and watch the traffic roll right in. That’s not exactly going to happen. One of the simplest and yet most commonly overlooked features for search engine optimization would be
tags. Most beginning site designers don’t understand the nature of search engines, and fail to take sufficient advantage of the information between the tags. Most simply type in the [title] of their website, and submit it to the search engine. So let’s say the [title] of my band’s website is “Guatama and the Spectulators Official Website”. In order for a search engine to make a meaningful search match, the user would have to type in something about “Guatama” or “Spectulators”. What are the chances of wandering music fans stumbling onto my website? Not real good. It’s going to be a good mix of people doing research on historical Hindu pacifists and gynecologists. This is where [meta] tags come in handy. With
tags, you can pass more useful information to a search engine. They allow you to describe the content of your site, as well as make use of keywords that might be of related interest. This is an excellent way to give you a better chance of making a match with a less specific search query. For example, if Guatama and the Spectulators was a klezmer band (a quick shout-out to the Klezmericans) from Great Falls, Montana, I could use the following
tags to help my site get better search matches:
With the use of these
tags, my page is likely to get better search results. Now I’ll be getting hits from people looking into information about the local Great Falls music scene to Jewish mothers trying to tie up loose wedding plans – not to mention those Hindu pacifists and gynecologists. By actually passing a description of the content of your website to the search engine, I’m able to make my site accessible to a wider group of people. Mind you, none of this will actually be displayed on the page itself. You’ll only be able to see this by viewing the page source. Now before you get caught up in trying to think of every possible related keyword, you should probably know that the “keyword” name is somewhat outdated and is only supported by a few web crawlers. However, the “description” name is still strongly supported by most search engines. So, try to be as descriptive as possible in a few sentences. I think the limit is around 250 characters. For more information about
tags and other search engine optimization tips, do a search at google.com.
POST LINKS EVERYWHERE!I’m sure you’ve noticed that COMOmusic.com has a section that allows local bands to post their existence. They also allow you to post a link to your band’s own website. There are hundreds of online music communities just like COMOmusic that will allow you to do the exact same thing. Morawk.com, Emergency Umbrella, and apparently there is some Omaha-related website that encourages bands from all over to post their listings. I like these local-scene-oriented type sites, because they tend to be comprised of a smaller, more tightly knit group of people who are genuinely interested in finding new local acts to support. Your mission is to find as many of these small music communities as possible, and post your band’s listing. There are a lot of larger music communities that are designed to help small bands gain exposure. But more often than not, you’ll just end up getting lost in a sea of nameless, faceless bands all struggling for the same web traffic. That being said, some of the better “large-scale” music communities that I like include IUMA.com, Garageband.com, and Stompinground.com (yes, that’s just one g). Almost all of these sites offer pretty much the same services; personal web site, audio clips, a link back to your band’s official page, etc. Mp3.com was left out for a reason – I hate them. They used to be a GREAT place for unsigned bands to get really good exposure. But now it’s just full of major label acts that clog up the listings. It’s pretty much worthless these days. But feel free to use them if you like. Communities such as IUMA and the like are nice because you can actually use their listings AS your band’s website. But these aren’t the only places you can go to post links to your site. What about other band’s websites? Link trading is a terrific way to not only gain web traffic, but also to gain a larger fan base. When you’re out playing shows, make some friends. Get to know some of the bands you like. Ask them if they have a website. See if they’ll trade links with you. Remember that tour notebook I talked about in the last installment? Use it to keep track of the URLs for other cool bands. This way you gain the potential of getting hits from fans of other bands.
GEURILLA MARKETINGEvery piece of merchandise related to your band should have your URL printed on it somewhere. Everyone writes the name of their band on top of those burned CDRs. Well, write your URL on there too! If they listen to it even one time, they’ll probably visit your website. Stickers are so fucking cheap that there’s no reason your band shouldn’t have a few hundred stickers on hand at all times. Make sure the URL is listed on there somewhere, and then hand them out at shows. Or get a few friends and run around town plastering those things on everything that’s nailed down. Some would argue that t-shirts should remain URL-free. I tend to agree. Especially if the URL is something like the following: www.shitty-free-webhosting.com/members/generic-subdomain/1987459/~your_band_name.html. However, if it’s a pretty simple URL and you can find a clever way to get it on there, go for it.
ONE LAST THING TO REMEMBER…You can post millions of links all over the internet and work on search engine optimization until your blue in the face. But by far, the best way to get more hits at your band’s website is to play as many kick-ass shows as possible. You’ve got a better chance of people visiting your website, if you can make people interested in your band. Because let’s face it, if nobody knows about your band to begin with, trying to increase web traffic to your site is the least of your problems. Remember, it’s all about advertising. It’s all about making your presence known, and getting people interested. Shows are your BIGGEST advertising weapon. So keep a creative marketing mind and play every show you can book, and I guarantee you’ll start seeing some results on that hit counter.

The country store and the super bowl

2005-02-07T06:33:00.000-08:00

Played music with Don , in his store at "Show me Farms," friday evening from 6:30 - 8:30 pm. He wants to play at "Woody's" in Ashland, Mo. They buy his meat for their steak dinners.
We worked on about 15 songs with him on vocals, guitar and pedal bass and me on steel guitar or dobro. It sounded really good.
Then on Super Bowl Sunday. Rick knocked on my door at 11 am and told me one of the singers for Cedar Creek was sick and did I know anyone who could fill in. As luck would have it, Mike, of California, Mo., had just contacted me to back him up on dobro as a duet playing red dirt music. So, we gave him a call and he sang from 2 - 4 pm at Coach's in Holts Summit, Mo. He did a good job on such short notice.

Gibson Console Grande

2005-02-04T10:52:00.000-08:00

Don Helms is the King of the Gibson Console Grande.

Mine is serial number 48. Nobody does a sunburst like Gibson. The single coil pickups sound so cool through my Fender Princeton.

Here is a pic of Don

http://www.steelguitarparty.com/helms.html

here is a pic of one that looks just like mine with a 7 and 8 string neck and P-90's pickups.

http://www.telapex.com/~cejjrpe/gibcg40s.htm

and an earlier version

http://www.telapex.com/~cejjrpe/gibcg.htm

The Console Grande was Gibson's top of the line steel guitar and for REAL country music, it does not get any better than this.

Some facts about cigarettes.

2005-02-03T06:29:00.000-08:00

What’s In A Cigarette?
Cigarette smoke contains over 4,000 toxic substances, many of which are known to cause cancer to humans.
In addition to the very addictive nicotine, cigarettes contain:
ARSENIC: used in rat poison
ACETIC ACID: hair dye and developer
ACETONE: main ingredient in paint and fingernail (polish) remover
AMMONIA: a typical household cleaner
BENZENE: rubber cement
BUTANE: lighter fluid
CADMINUM: found in batteries and artists’ oil paint
CARBON MONOXIDE: car exhaust fumes
CARBON TETRACHLORIDE: dry cleaning fluid
ETHANOL: alcohol
FORMALDEYHDE: used to embalm dead bodies
HYDRAZINE: used in jet and rocket fuels
HEXAMINE: barbecue lighter
HYDROGEN CYANIDE: poison in gas chambers
LEAD: batteries
METHANE: swamp gas
METHANOL: rocket fuel
NAPTHALENES: used in explosives, moth balls, and paint pigments
NICKLES: used in the process of electroplating
PHENOL: used in disinfectants and plastics
POLONIUM: radiation dosage, equal to 300 chest x-rays in one year
STEARIC ACID: candle wax
STYRENE: found in insulation material
TAR: road surface tar
TULUENE: embalmers glue

Cigarette smoking is the most common addiction. It is also one of the most difficult to overcome.
In this section you'll explore the rate of smoking in Canada and abroad, common health effects, death rates, the risks of secondhand smoke, the risks of smoking when pregnant, and the costs of smoking to the economy.
For example, you'll find out about the impact of secondhand smoke on the whole family, but especially children.

Smoking causes cancer, lung disease, heart disease and many other health problems.
Cancer
Tobacco smoke contains over 4,000 chemicals. About 50 of them, such as tar, ammonia, carbon monoxide, oxides of nitrogen and benzopyrene, can cause cancer. In Canada, lung cancer accounts for almost one third of cancer deaths in men and about one fourth of cancer deaths in women. Smoking is a major cause of cancers of the mouth, throat, voice box and oesophagus. Smoking is a contributing cause of cancers of the bladder, kidney and pancreas.
Lung disease
Smoking causes chronic obstructive pulmonary disease (COPD), a group of diseases that includes emphysema, chronic bronchitis and asthmatic bronchitis. COPD is called the "silent killer." Many smokers don't know they are affected until it is too late. There is no cure for these diseases and no way to reverse the damage. Ten percent to 15% of all smokers will develop COPD.
Cardiovascular diseases
Smoking causes heart disease, stroke and diseases of the blood vessels. Smoking and secondhand smoke make the heart work harder. Smoking decreases the amount of oxygen that is carried in the blood, increases the heart rate and decreases the size of blood vessels.
Smoking can cause severe damage to the heart and arteries. This can lead to heart attack and sudden death, stroke, peripheral vascular disease ("poor circulation") and aortic aneurysm.
Other health problems
There is growing evidence linking smoking to a number of other serious health problems.
Cataracts
Erectile dysfunction (impotency)
Gastroesophageal reflux disease (symptoms include heartburn and acid regurgitation)
Infertility
Hormone-related problems (including earlier female and male menopause)
Menstrual disorders
Sleeping problems
Thyroid disease
Tooth and gum disease
Ulcers and bowel disorders
Quick Facts
Smoking causes lung cancer and cancers of the mouth, throat, voice box and oesophagus.
Smoking is a contributing cause of cancers of the bladder, kidney and pancreas.
Smoking causes respiratory diseases.
Smoking causes cardiovascular diseases, including heart disease, stroke and diseases of the blood vessels.
Light cigarettes can yield levels of tar, nicotine and carbon monoxide that are much higher than the levels recorded on the sides of the cigarette packages.

Also,

http://www.cigarette.com/Quit%20Smoking%20Facts.htm

and

Tobacco Facts
Cigarette smoking is the number one preventable cause of death in the United States.
Smoking causes an estimated 434,000 deaths each year.
Twenty-five to forty percent of smokers will die as a result of smoking.
It is estimated that over 40 million people smoke in the United States.
There are an estimated 12 million users of smokeless tobacco in the United States.
Snuff dippers are exposed to over 10 times more cancer causing substances than cigarette smokers do.
The majority of people that smoke say that they want to quit.
Out of 48 million adults who smoke cigarettes, themajority are making serious attempts to quit.

"Golden Girl," my 7 string Richard DeNeve Dobro is back in action.

2005-02-02T06:20:00.000-08:00

I restrung my 7 string last night and tuned it to G 6th. Wow! It sounds fantastic. I will be playing it this evening with my Slo Jam group in Columbia, Missouri.

Here is great dobro site

http://www.resoguit.com/listen2.htm

and some cool guitaras

http://www.hsga.org/Joliet2002Pictures/Joliet2002Instruments.htm

some history

http://www.thanksforthemusic.com/history/old/steelguitar.html

pic of a 7 string Dobro

http://www.beardguitars.com/7string.html

cool tunings

http://cindycashdollar.com/site/tunings/

and another

http://www.neilsonguitars.com/tunings.htm#The%20Neilson%207%20string%20philosophy

Please pray for Don Helms and Miss Hazel

2005-02-01T06:24:00.000-08:00

On January 14th Don suffered a stroke. He was home watching television at the time. He told me his whole left side went numb, face drooped on the left and he could not speak. We talked on the phone yesterday and he is home now and recovering slowly. He is using a walker and his speech is returning. He plans on performing and playing steel guitar again too. Your the Man Don!!

Here are some info about Don

I just found out that Don Helms had a stroke on Friday, January 14th and is in the hospital. He's expected to have a full recovery. Please include Don in your prayers.--------------------I'm Country And Proud Of It.

Thanks for posting this Bob. I heard that he was getting better. Don Helms is a great steel player and a very nice man. I have met him many times and could listen to him play "Cold Cold Heart" all day.--------------------You're Known by the Company You Keep - Bill Phillips

Thanks Country Bob, For letting us know this.. Aint many of Ole Hanks Pickers around anymore and we sure need to keep them as long as [The Good Lord] sees fit. He's on our Prayer list for sure. Thanks again._____________] Cuz Jerry

I've seen Don with Jett, quite a few times. I finally got to meet this great man at Hank Fest last year. On David Church's cd "A Legend Froze In Time," David does a great interview with Don. Not to mention all the great songs. It's one of my favorite cd's.--------------------I'm Country And Proud Of It.

So sorry to hear about Don Helms.....pray he will be well soon. Another great one. Cuz ME.

What a shock! I just talked to Don on the phone on December 5, 2004. He had recently returned to the USA from Sweden. He is a wonderful man and an national treasure in my book. He belongs in the Country Music Hall of Fame.Please keep Ms. Hazel in all our prayers as well as for Don. They have been married a very long time.

I got an e-mail from Cuz Don via Marty Martel last week I believe, and it said that Don Helms was out of the hospital and almost completely recovered. In fact, Marty had just seen Don Helms earlier that day, shopping at Walmart!Cuz Rich

" Well Now Cuz Rich, This wondrful news to hear [Ole Shag] is Up and around and doing better. Thanks a Lots Cuz.__________] Cuz Jerry

some more info about Don Helms
A major contributor to this important evolution in contemporary music was Legendary Steel Guitarist Don Helms. Don's steel defines the rock-solid country sound in hundreds of legendary recordings with the likes of Hank Williams, Ernest Tubb, Patsy Cline, Jim Reeves, Loretta Lynn, Lefty Frizzell, Ray Price, Johnny Cash and Webb Pierce in addition to countless other top names in country music from the 1940's through the 1990's. By age 17, he found himself playing behind a young local radio personality named Hank Williams. Together they performed in small clubs and schoolhouses until Don went into the service in 1945. By the time Don was discharged in 1947, Hank was already signed on with Acuff-Rose publishing company and MGM records and was on his way to Shreveport's "Louisiana Hayride". Don was not ready to leave Alabama for Louisiana, but once Hank tore the roof off the Grand Ole Opry with "Lovesick Blues" in 1949, Hank convinced Don to join him in Nashville and the two helped make country music history. Hank's major hits of Cold, Cold Heart, Why Don't You Love Me, Your Cheatin' Heart, I Can't Help It (if I'm still in love with you) and a host of others are full of the rich, clearly identifiable sounds of Don's steel. Patsy Cline's original recording of "Walking After Midnight", Ernest Tubb's "Letters Have No Arms", Loretta Lynn's "Success" and Stonewall Jackson's "Waterloo" are other recordings highlighting Don's unique stylings. Since his Hank Williams days, Don has been in numerous bands with stars such as Ray Price, Ferlin Husky, Wilburn Brothers, Cal Smith and Hank Williams, Jr. In 1977, he joined the re-established Drifting Cowboys Band. Since October 1989, he has been playing behind Hank's daughter, Country Music Legend Jett Williams. He has received a number of special recognitions and was inducted in the Steel Guitar Hall of Fame in 1984. He and his wife Hazel continue to live near Nashville, as they have since the days of Hank Williams. His legacy in pioneering and defining the steel guitar is timeless...Don Helms is truly an American music pioneer and stylist whose mark on the country music world will be cherished and admired for years to come

Don is on the right in this pic playing his Gibson Console Grande

http://www.slidestation.com/Shows/Shows8.htm

Get well my friend,

David Dean White

Dobros, Guitars and Country Music plus Cedar Creek

2005-01-31T07:06:00.000-08:00

Played the Hitching Post in Hartsburg, Mo. (1-3) and Coach's in Holt Summit, Mo. (4-7).

Everyone had a good time.

Rick of Jefferson City, sat in on fiddle with Cedar Creek.

Here is some more DIY info from CoMomusic.com

Have Band, Will TravelI’m of the opinion that if you’re in a band, and you’re not playing shows, you’re not really in a band. You can have all the cds, stickers, and t-shirts with your band’s name on them you like. But let’s face it, unless you’re playing shows, nobody really gives a rat’s ass. Playing shows is probably the best part about being in a band. Actually finding venues and then convincing said venues to let you play however, can sometimes be the single most frustrating part. “So where should I look? Who do I call?” you may be asking yourself. Well, there are more resources out there for finding shows than you probably thought.FIND THOSE CLUBS -If you’re not planning on going out of town for a show, finding a venue can be as easy as flipping through the Yellow Pages. Check listings under “Bars”, “Clubs”, “Lounges”, or “Night Clubs”. You can find listings under all these categories in the Columbia area Verizon SuperPages. Community bulletin boards and websites (such as this one) can often have listings for local clubs in your area. You can find a list of thirty different venues in the Columbia area on ComoMusic.com’s local venue page.But what if your aspirations drive you farther? What if your band is ready for a full-fledged tour? Well don’t worry, there are plenty of books and even more websites out there with you in mind. You could start by picking up a copy of MaximumRockNRoll’s “Book Your Own Fucking Life”. This thing is packed with information that will help you hunt down venues, promoters, bands, and even record labels all over the country. For those of you in Columbia, I believe Whizz Records and The Peace Nook have it available for purchase. You can also find an online version at www.byofl.org. Granted, the magazine itself tends to cater to the punk rock world. But the majority of the clubs listed host a wide variety of bands.Musician’s Magazine also puts out an annual guide for touring and promotion. Ironically, it’s called “The Musician’s Guide to Touring and Promoting.” This is a VERY comprehensive periodical and might be a little more than most small bands would ever need. The entire publication is not available online. But you can modestly peruse the contents at www.musiciansguide.com/musicianmag/index.jsp. There are also countless websites with piles of information. Check the Arts > Music > Resources directory at www.google.com, and you’ll find a list that would take the better half of a year to completely digest. The best site I’ve found is probably http://www.powergig.com/.GET BOOKED -So now you’ve got a long list of prospective clubs. How do you go about actually getting a show at one of these places? Well, prepare to spend the next few weeks on the phone. But before you start recklessly calling clubs at random, here are a few pieces of advice you should arm yourself with.First, don’t be an asshole. Some club owners may sound curt, completely uninterested and even downright rude over the phone. Even still, when you call a club trying to get a show there for the first time, it’s in your best interest to be polite. I know this seems like it should go without saying, but you’d be surprised. Have someone from the band that has some reasonable people/communications skills make the calls. Yes, that’s right. That line of bullshit you keep putting on all your job applications is going to come in handy right about now.When you talk to the person at the club, don’t just say you’re in a band and you want to play a show there sometime. Conduct yourself with professionalism have some purpose. Try something like this:
“Hi, My name is [insert name] and I’m in the band [insert band name]. We’ve never played your club before and were looking to schedule some shows in your area sometime around [insert general date]. Do you have any openings around that time?” Simple, direct, professional and with purpose. Don’t be afraid to tell them you’re trying to assemble a tour. They may take you a little more seriously if they think you’re going to have some show experience. Give them an idea of the dates you’d like to try to fit in. All the while, you’re doing this without being an asshole. Be flexible. They may not have any openings for the exact date you want. If so, ask what they have. You’ve got to come back towards home sometime. Maybe you can pick up a show there on your way back.Invariably, they’re going to want to know what you sound like. They’ll probably ask you for a cd or tape of your band. Send one. Some places won’t even consider booking a band without hearing them first. So, have plenty of cds/tapes on hand to send to clubs. After sending a tape, check back after about 5 days or so to make sure they got it. Remember that most clubs get a lot of demos and occasionally forget to call people back. If you don’t hear back from them, be persistent about calling, but don’t pester them. For instance, if you actually talk to someone, and they say something like “Steve is in charge of booking, and he wont be back until Monday”, don’t call back until Monday. Otherwise you’ll just end up pissing them off. If during one of your calls the club agrees to book a show, pat yourself on the back, then immediately write down the name of the person you talked to and the date you talked to them. You’re going to find that documentation will play an important role in your not looking like an asshole. ALWAYS GET NAMES OF PEPOLE YOU TALK TO! And always leave your name and phone number. Even if the person says, “Oh, I think Steve has your number”. Fuck Steve. You’re not talking to Steve. Give your number to that person, and tell them to give it to Steve. But tell them without being an asshole. Get a little notebook. Use it to maintain your tour schedule and keep tabs of all the pertinent phone conversations you have with any of the clubs you plan to play. Obsessive? Maybe. Some people may not agree with me on this next point, and that’s fine. But I think it’s a good idea to come to an understanding about getting paid, when you initially book the show. This is a very important time to remember the rule about not being an asshole. Ask how they normally work out payments with travelling bands. Most of the time, you’ll get a percentage of the door. But bare in mind, you’re going to need gas money to get to your next show. See if the club will at least guarantee that much. After all, if playing that particular club puts you in a position that won‘t allow you to get to your next show, it’s going to be a total waste of your time. Above all else, a small band should remember that its first tour is not about raking in handfuls of cash. It’s about finding new fanbases and getting exposure. If you keep this in mind, you’ll be able to prevent yourself from getting depressed about how much money you’re NOT making. PRE-TOUR CONCERNS –By now you’ve probably got a nice long tour scheduled, and you’re ready to hit the road. But before you take off on your quest for fame, here’s a little checklist you might want to go over. There’s nothing worse than being stranded on the side of the road in the middle of the desert – in Utah. Trust me, I’ve been there.So whose van are you taking? Your own? A friend’s? Are you planning on renting one? Whatever you decide, make sure it’s ready for a nice long road trip. Get it into the shop for a tune-up. After that, have the oil changed. Head over to Jiffy Lube and get their Signature Service. They’ll top off all your major fluids – transmission, brake, power steering, windshield washer, and differential. I know because I once worked there for a two whole days.I can’t stress this enough: GET AAA! They offer roadside assistance and other handy services that can help you out in a pinch -- like when you get really shitfaced at one of the clubs and accidentally lock your keys in the van. You might have similar coverage with your current auto insurance. If you’re not sure, call and find out! I think AAA costs like $50 a month. But the first time you need to have the van towed, you’ll appreciate it. Just ask my old roommate. His band was on tour a whole 30 minutes before they hit a deer.Check your spare tire. Make sure its got air in it. It’s fairly demoralizing to change a flat tire with another flat spare. It’s not a bad idea to have a can of Fix-A-Flat either. While you’re at it, make sure your jack works, and that the lug wrench actually FITS the lug nuts on your wheel. [Insert witty ‘lug nuts’ joke here.]As far as equipment goes, just remember you’re going to be in this van for a while. So don’t try to cram all five of your guitars in there just because you can. You’re just going to create cramped quarters, and someone will eventually go crazy. Be sensible, don’t be an asshole. Bring only that which you can’t live without. That being said, one thing some bands might not consider is a couple of mics, and a powered mixer. If you’ve got one, bring it. If you don’t, screw it. Don’t rush out and buy one. If you’re only going to be playing clubs, this probably won’t even be necessary. But if you’re playing some guy’s party in his backyard, you’re going to need to mic those vocals somehow.Now that you know what equipment you’re bringing, write it down! Remember that notebook? List every piece of equipment that you’re taking with you in that notebook. Stencil your band’s name on the back of speaker cabinets, amp heads and equipment cases. People are a little less likely to walk off with gear that has someone else’s name on it in big white lettering. Get some locks too. If your guitar case has a little latch for a lock, lock it! Not everyone is as honest as you are.Always, always, always lock your van. I know this is another idea that seems obvious, but you can never be too safe with a van full of expensive equipment. If there are swing doors on the back, and there are handles that will allow it, you might consider chaining it shut with a padlock. And it’s a good idea to cover the windows somehow. You can tape newspaper over them, or completely block them out with paint. The less people know about what’s inside, the better.One of the best ideas I’ve ever seen for managing space and equipment was on Fugazi’s “Instrument” video. They actually diagramed how all the equipment would fit into their van. This does two things. First, it allows them to maximize the space in their van. Second, it catalogs all their shit. If everything has a place, and everything is in its place, you’ll know if you have all your stuff immediately before and after you play a show. There’s really no reason to not have directions to every club. You should have gotten at least local directions to each club when you booked the show. Yahoo Maps and MapQuest will also give you some pretty decent directions. The cool thing about these websites, is that you can actually map out each leg of your tour from show to show. The only thing I don’t like about these online directions is they tend to drive with blinders on. If there’s a detour that causes you to miss a turn, you could drive in circles for a while. So do yourself a favor and get a decent road atlas as well.You’re going to be living in a van with a few other people for God knows how long. Please, don’t stink. Bring clean clothes, and if room permits, some laundry detergent. Never underestimate the amount of clean underwear and socks you’re going to need. I’ve found that simply changing into clean socks can alter my entire outlook on life. And don’t eat experimental foods while you’re on tour. Stick with what you know will not give you diarrhea or horrible horrible gas. And it’s truly in your best interest to bring along a nice comfy blanket/sleeping bag and pillow. A tent can also be a nice alternative to sleeping in the van – again.If you’ve still got room in the van and merchandise to sell, bring it. This is a good way to prevent relying on the door to get paid. Find one of those big latching tupperware bins to store your merch, and get a small lockbox for your cash. Al Gore would be so proud. Stickers are so cheap, (I’ll explain that in a later article) it’s a good idea to just give a handful away. I’ve found that people will put just about ANY sticker on their car, guitar, amp, kick drum, computer…what have you. If they see your name, they’ll remember you.Lastly, I’d recommend bring a credit card that has some room for emergency purchases. I prefer Visa or MasterCard. They tend to be a little more ubiquitously accepted over AMEX and Discover. And as much as I hate cell phones, it’s not a bad idea to bring one. I’m sure most of you cool/hip kids have one of these thing already, and wouldn’t dare leaving it behind. But I’m tragically uncool and not hip, so I never would have thought to bring one. With the combined power of a good credit card and a working cell phone, you can squirm your way out of just about any jam. Play your shows –You did it! You’re really going on tour. This is actually the hardest part. Being around the same people day in, day out can wear people down. So remember the first rule – don’t be an asshole. This will keep the band together and make the entire experience a whole lot easier.It’s always a good idea to confirm shows a week and then a day before you’re scheduled to play. This will prevent you from showing up at shows that get cancelled suddenly.When you confirm your shows the night before, ask what time they want you to show up. Be on time, but don’t show up three hours early and bother them while they’re trying to work. If there are bands scheduled to play after you, stay and watch. Leaving early truncates the amount of money that could have been made at the door. If nothing else, you might make some new friends. Always be grateful and appreciative with the club owners. Don’t be an asshole. I mean, you want to be invited back, right? The Creepy Crawl in St. Louis has an insightful and hilarious list of annoying things that small bands do. I suggest you read it, and avoid doing those things at your shows. But all the confirmation and planning in the world wont prevent the “I had no idea” scenario. It’s happened to almost every band I’ve known and been in. It goes something like this:You show up at the club, and none of the employees have any idea there was supposed to be a show that night. You’re going to love your little tour notebook at this point. That’s when you whip it out and say “Well that’s funny because I talked to Toby on the 15th to book the show. Then I confirmed the show about a week ago with Bubba. And just last night I talked to Toby again, and he said everything was a go.” Let them know this is a big inconvenience for your band. Usually, you can guilt-trip them into forking over some gas money for their fuckup, and your troubles. If they continue to blow you off, I suggest throwing rule number one out the window and start acting like the largest asshole this side of the Mason-Dixon Line. Use their bathroom, and clog their toilet. I highly recommend taking a shit in the sink. Just don’t break stuff. They’ll most likely call the cops for that. COME HOME IN ONE PIECE –Now, that didn’t seem so tough, did it? It’s really just a lot of common sense and basic resource management. If you can remember 2 simple rules, you and your band will be just fine:First, be prepared. Murphy’s Law is in full effect during these things. If something can go wrong, it probably will. Second, don’t be an asshole. I’ve said it about 100 times during this article, so I hope you’re getting the importance. This means everyone. Club owners, hotel/restaurant employees, the guy at the gas station, other bands, and especially the other members of your own band. I’ve seen best friends go on tour and come home worst enemies. So play nice with others.

COMOMUSIC.COM

2005-01-29T18:14:00.000-08:00

Check this out for a great promotional and marketing tool for mid missouri.
http://comomusic.com/

Also, DIYFYI
Have you ever thought about booking a tour for your band? Do you ever think about recording your band’s demo in your basement? Is releasing a 7-inch record your idea of fun? Are you completely clueless as to how easy and cheap it is to get vinyl stickers made in mass quantities? Yes? Well, hopefully over the course of this column, I’ll be able to shed some light on how (and perhaps more frequently, how NOT) to go about getting some of these things accomplished.
For some of us, the idea of music-related DIY projects conjure up negative images of pretentious punk rockers carrying the most recent copy of MAXIMUMROCKNROLL under their precision-torn leather jackets, accusing everyone of destroying the local music scene. But this doesn’t have to be the case. Over the past few years tons of people, punk and otherwise, have come to understand the financial viability and pure fun of taking control of their own creative processes. And while the vast majority of my experiences with DIY have come from time spent in cahoots with many of these hoodlums and ruffians, I understand that there is a world of music outside this genre that likes to do things on their own terms as well. So I’ll try to keep this column as universally applicable and non-genre-biased as possible.
Some people embrace DIY because it allows them 100% creative control, and enjoy the satisfaction of having hands-on participation with their craft. For me, it was simply because I was ass-broke and couldn’t afford to pay for professional services. I was 16 when I played in my first band. When we decided to record a demo, I think we had around $200 between the five of us. We could have spent that money on a professional studio. That would have only paid for about five or six hours of studio time; just enough time to record about two songs – with no overdubs. Instead we bought a cheap-ass used 4-track cassette recorder and some even cheaper-ass Radio Shack microphones, and spent a little over two full weeks recording every song we had. The recording wasn’t nearly as nice as what we could have gotten from the studio, but we had more fun doing it our way. We even learned a few things.
I’ve had a lot of fun over the past ten years playing in bands, recording demos, playing shows, going on tour, releasing records and chasing down distributors. I’m hoping this column will provide you with some information that will help you avoid some of the terrible pitfalls I encountered along the way. And if nothing else, at least it will make me look really hardcore indie.
Next week I’ll be tackling the “dos and don’ts” of booking your own shows, and some of the harsher realities of even the smallest tours.

No Record Label

2005-01-28T06:22:00.000-08:00

I have been ejoying promoting my music on this site

http://www.norecordlabel.com/newbandpage.php?b_id=3182

So far I have had over 600 profile views.

Who knows? Lighting does strike.

Tales of the life of a musician

2005-01-27T09:08:00.000-08:00

REQUESTS Musicians are expert mind readers. Only refer to your requests with the phrase "play my song", or "it goes something like this" then hum a few bars! We have a chip implanted in our heads with an unlimited database with the favorite tunes of every patron who ever walked into a bar & all songs ever recorded, so feel free to be vague, we love the challenge. If we do not remember exactly what tune you want, we're only kidding. Bands know every song ever recorded, so keep humming. Hum harder if need be, it helps jog the memory. If a band tells you they do not know a song you want to hear, they either forgot that they know the tune or they are just putting you on. Try singing a few words for the band. Any words. If one member halfway knows part of a chorus, the rest of the band will instantly learn the entire song by osmosis. Knowing this, if the band still claims to not know your song, it helps to just keep requesting the same song every time there is a break. It also helps to scream your request from across the room several times per set followed by the phrases, AW COME ON! and, YOU SUCK! Exaggerated hand gestures expressing disapproval from the dance floor are a big help as well, such as the thumbs down or your middle finger. Put-downs are the best way to jog a band's memory. This instantly promotes you to the status of "Personal Friend Of The Band." Entertainers are notorious fakers & jokesters and never really prepare for their shows. They simply walk on stage with no prior thought to what they will do once they arrive. An entertainer's job is so easy, even a monkey could do it, so don't let them off the hook easily. Your request is all that matters. If a metal band had played at the club a few weeks ago, the next band that follows will automatically know every metal tune the previous band ever played, even if the current band is a blues or country band. It's the law. Feel free to yell AC DC or SLAYER!! to a band that plays strictly originals or jazz for example. Conversely, Deadheads may yell for Grateful Dead tunes at a dance or metal band. IMPORTANT: When an entertainer leans over to hear you better, grab his or her head in both hands and yell directly into their ear, while holding their head securely so they cannot pull away. This will be taken as an invitation to a friendly & playful game of tug of war between their head and your hands. Don't give up! Hang on until the singer or guitar player submits. Drummers are often safe from this fun game since they usually sit in the back, protected by the guitar players. Keyboard players are protected by their instrument, & only play the game when tricked into coming out from behind their keyboards. Though difficult to get them play, it's not impossible, so keep trying. They're especially vulnerable during break between songs. TALKING WITH THE BAND The best time to discuss anything with the band in any meaningful way is at the middle of a song when all members are singing at the same time (such as a multi harmony part). Our hearing is so advanced that we can pick out your tiny voice from the megawatt wall of sound blasting all around us. Musicians are expert lip readers too. If a musician does not reply to your question or comment during a tune, it's because they didn't get a good look at your mouth in order to read your lips. Simply continue to scream your request & be sure to over emphasize the words with your lips. This helps immensely. Don't be fooled. Singers have the innate ability to answer questions & sing at the same time. If the singer doesn't answer your questions immediately, regardless of how stupid the question may seem, it's because they are purposely ignoring you. If this happens, immediately cop an attitude, we love this. HELPING THE BAND If you inform the band that you are a singer, the band will appreciate your help with the next few tunes, or however long you can remain standing on stage. Just pretend you're in a Karaoke bar. Simply feel free to walk up on stage & join in. By the way, the drunker you are, the better you sound, & the louder you should sing. If by chance you fall off the stage, be sure to crawl back up & attempt to sing harmony. Keep in mind that nothing assists the band more than outrageous dancing, third & fourth part harmonies, or a tambourine played out of tempo. Try the cow bell, they love the challenge. The band always needs the help & will take this as a compliment. IMPORTANT: Remember to allow enough time to make it from the stage to the bathroom in case of an emergency. On stage accidents are bad form. The band will carry on. BONUS TIP: As a last resort, wait until the band takes a break and then get on stage and start playing their instruments, they love this. Even if you are ejected from the club, you can rest assured in the fact that you have successfully completed your audition. The band will call you immediately the following day to offer you a position. See you at the next gig, The band

Take The Quiz

2005-01-25T07:19:00.000-08:00

Try it.

3 names you go by:
1) Dave 2) David 3) David Dean White

3 Screen Names You Have:
1) supromanz 2) skymon66 3) daviddeanwhite6

3 things you like about yourself:
1) I am a Christian 2) I am a father 3) I am a musician

3 things you hate/dislike about yourself:
1) I like myself but there is always room for improvement 2) ditto 3) ditto

3 parts of your heritage:
1) Scotch 2) Irish 3) Unknown

3 things that scare you:
1) Heights 2) Debt 3) Iraq

3 of your everyday essentials:
1) Coffee 2) Music 3) Feeding my animals

3 things you’re wearing right now:
1) Long sleeve white pinpoint button down shirt 2) Warm green socks 3) Tan hiking pants

3 of your favorite bands/artists (subject to change at any time):
1) Gruene County 2) Little Village or Bobby King and Terry Evans 3) Alison Krauss and Union Station

3 of your favorite songs at present:
1) Carry Me Across The Mountain, Dan Tyminski 2) Rednecks, White Socks And Blue Ribbon Beer, Johhny Russell 3) Denver Blues, Tampa Red

3 new things you want to try in the next 12 months:
1) Learn to use my tascam recording machine 2) Learn to use my electronic drum machine 3) A Beard model E dobro

3 things you want in a relationship (love is a given):
1) Trust 2) Excitement 3) Fun

2 Truths & A Lie:
1) This to shall pass 2) Innocent till proven guilty 3) Failing to prepare is preparing to fail

3 Physical Things About A Love Interest That Appeal To You:
1) Hands 2) Eyes 3) Legs

3 things you just can’t do:
1) Carry a grudge 2) Quit trying 3) Not die

3 of your favorite hobbies:
1) Writing songs and making cd's 2) Playing Music to a live audience 3) Hunting for Indian Artifacts

3 things you want to do really badly right now:
1) Write 10 songs for Lewis and Clark Part Two: From the Missouri Breaks to the Pacific 2) See my son Jonathan return from Iraq unharmed 3) Find out my daughter Laura has a job she likes in L.A.

3 careers you’re considering:
1) Professional musician 2) Music publisher 3) Performing songwrither

3 places you want to go on vacation:
1) Panama 2) Isle of Palms South Carolina 3) Hawaii

3 Kids' Names:
1) Lauren
2) Nathan
3) Jacob

3 things you want to do before you die:
1) Play on the Grande Ole Opry 2) Have hit songs 3) Tour the World with a working band

3 people who have to take this quiz now:
1) Darren 2) Greg Gardner 3) Jason Boland

Don and his amazing pedal bass

2005-01-24T11:03:00.000-08:00

Played dobro with Don at the Hitching Post in Hartsburg, Mo. on sunday as a warm up to the show at Coach's in Holt Summit, Mo.
Don is amazing. He sings, plays guitar and plays a pedal bass all at the same time and never misses a beat. He sits on a bar stool, guitar in hand with one cowboy boot off playing the pedal bass with his left foot and singing. The crowd really liked our sound and gave us lots of very positive feedback.
Sometimes less is more. The Les Moore duo.
Later, the show at Coach's went great. Big crowd, free beer, chili and cornbread. Lots of applause. Great time.

From the Beer Barrel Polka to the Orange Blossum Special

2005-01-22T13:29:00.000-08:00

Wind is blowing something fierce today.
I am just relaxing today after the show in Tebbets last night. The place was jumping and the folks were drinking and dancing. We played a wide mix of songs and instrumentals.
Lots of Hank Sr. (Your Cheating Heart) tunes, Western Swing (Steel Guitar Rag) and even a Polka (Beer Barrel Polka) thrown in for good measure.
A good time was had by all and plenty of good food and laughter to boot.

Current gigs

2005-01-21T09:00:00.000-08:00

Played at the Boone County Historical Museum, Columbia, Mo., last evening from 6 to 8 pm.
Played my 1980 piano black Dobro.
Tonight. Playing at the bar in Tebbets, Mo., again. It's a party for the husband of the owner. Her husband is in the Army reserves and is returning from Iraq.
Will be playing my Fender Triple Neck Steel Guitar.
Sunday. Playing at the Hitching Post in Hartsburg, Mo. from 1230 to 3 pm.
Playing my Richard DeNeve piano black Dobro acoustically.
Also, playing at Coach's tavern, Holts Summit, Mo., from 4 to 6p pm.
Playing steel and amplified dobro.
Ya'll come.
DDW

ps

here is a nice one http://www.gregboyd.com/img.asp?img=/images/resophonic/BeardMikeA_Dec04_1.jpg

Words of Wisdom for musicians from a professional

2005-01-20T09:26:00.000-08:00

1. Dress: I believe that if you are paid to appear, you owe the audience at least to show up in matching uniforms. In the years that we have been playing, we have gone through about 5 or 6 sets of tuxes, 4 or 5 western uniforms, and many many matching shirts and pants. It is amazing how much the audience responds to a well dressed band. You don't have to be the world's greatest singer or picker, but if you look the part, I guarantee you will sound and go over better with the crowd. I can't believe how some bands show up looking like they just climbed out of a garbage truck. Allen Jackson used to bug me with the jeans with the holes in the knees, not to mention the torn t shirts used in "Achy Breaky Heart".

2. Volume! What has happened to the band business with this super loud volume? They may be good pickers, but when it's so loud that your ears hurt, I can't believe this is music. I guess I'm too old to appreciate it, since I'm too old to rock and barely able to roll. Ha.

3. No band member should EVER turn his back to the crowd. I watched a band one time and the bass player stood with his back to the crowd all night. To me, this is an insult to your audience.

4. SMILE! To me, a band that smiles and looks like they are having a good time actually infects the crowd, and they in turn will have a good time. I knew an old time musician who played big bands in New York during the early days when big bands were popular, and he said he worked with on band leader who insisted that as soon as they set up the band, he made them sit for 10 or 15 minutes of smile practice. This was during rehearsal, and they sat there holding their instruments and simply smiled. Not a bad idea.

5. How to handle a mike. I have found that whenever I need to talk to a band member between songs, I talk to him over the mike, so the people in the audience can hear what you are saying. It does not look good for me to talk off mike, as they feel they are left out of the proceedings. This might not apply if you have something short to say, but if you are just bantering, they want to know what is going on.

6. Dynamics. Our band has worked on this and have it down to a "T". If we are doing a ballad, like a Jim Reeves song, they quiet down to a whisper during the vocal, and come up on the break. The crowd really responds to the use of volume control. And I loved your comment about the brrrumph at the end of every song. This just destroys a good ballad, and should be used ONLY on a big show instrumental as a finish. Never on anything else.

7. Public Relations: We have found that on every break, My drummer and I go to every person in the crowd and talk to the people and take requests. It has really paid off, even on a dance job. We also hand out band schedules and generally get to know as many as possible. I believe that you don't have to be a Nashville personality, but people want to get to know you, and it has resulted in a big following for a local band. Besides, it's so nice to get all those compliments! Maybe several musicians should get together on the internet and write a "how to" book for the new guys coming up. I know I learned a lot over the years from talking to old time musicians about what works and what doesn't. Just an idea form an old-timer in the business. I started singing when I was 5 and am still at it and still learning.

Songwriting again with my trusty 1995 Martin HD-28

2005-01-18T11:47:00.000-08:00

The clock is ticking away the minutes and I need to finish Lewis and Clark Part Two: From the Missouri Breaks to the Pacific.

I write my songs with my Martin HD-28 serial number574330. I bought it at Morgan Music in Lebanon, Missouri 6/28/96.

I waited 48 years to get my Martin.
http://www.martinguitar.com/history/timeline.html
http://www.martinguitar.com/history/dreadnought8.html
http://www.martinguitar.com/history/dating.html
http://www.provide.net/~cfh/martin.html

Here is a pic of one

http://www.picknparlor.com/martin_hd28.htm

and

http://www.gruhn.com/photo/AA6766.jpg

I have a Barcus Berry pickup in it for amplification too.

It has never let me down.

"I feel safe with a Martin." Johnny Cash

Well I better get to songwriting, time flies when your having fun.

What I learned from Jerry Douglas

2005-01-16T19:37:00.000-08:00

I played at Coach's in Holt Summit Missouri today and the audience really responded well to my Richard DeNeve, mahogany, piano black dobro with a McIntyre pickup. It is one of a pair of Millenium resophonic guitars I ordered from Dick. This one is "Black Beauty." Serial number 0011. The way Dick numbers his guitars is this is the 11th guitar he made in the year 2000. Dick is a luthier from Pennellville, New York, who specializes in building resophonic guitars. Also, my good friend, the legendary Ferrell Stowe upgrade this guitar for me to give it maximum tone and clarity. He did a great job too. This resphonic guitar has a great professional voice.
Here is a pic of some of Dick's fine guitars.
http://www.squareneck.com/DeNeveFrame.htm
http://digital-ink.net/UM_files/gg-dnev1.html
http://www.resoguit.com/inst1.htm#deneve

Also, the audience enjoyed me playing this dobro though my Fender Blues Jr. amp and that it was loud enough to hear well.

Last time I saw Jerry Douglas ("world's greatest dobro player") one of things I noticed was that all his guitars had pickups with a patch cord. Also, he played all of his guitars through an Ernie Ball volume pedal like mine. He had a variety of stomp boxes as well.
He did use a mic plus amplifing his dobro with a pickup. This gives much more volume control of the instrument instead of just amplifying it with just a mic. Also, with the volume pedal you can set the amount of amplification.
It makes a big difference in the quality of sound the audience experiences.

Jerry played a Sheerhorn, Beard, Guensey and Gibson dobro the night I saw him. They all sounded great.

But my DeNeve sounds just as good.