Black country music landscape

DeFord Bailey

From the Greene County, OH library page: “Black artists have been part of the country music landscape since the beginning, with elements of African-American music, like blues, rock and roll, and southern gospel music, woven in. The banjo, an essential Appalachian music instrument, was introduced to the region by black slaves in the early 19th century (source: Smithsonian Music).”

It was probably in 2005, the year he was posthumously inducted, that I first learned about Country Music Hall of Fame member DeFord Bailey (1899-1982). “An influential harmonica player in both country and blues music, … Bailey was one of the Grand Ole Opry’s most popular early performers and country music’s first African American star… He grew up in a musical family that played what he called ‘Black hillbilly music,’ a tradition of secular string band music that drew upon the same core repertoire shared by rural Black and white musicians alike.”

From Opry.com:  “Harmonica wizard DeFord Bailey wasn’t merely one of the Opry’s first stars — he was the first musician to perform the Saturday that announcer George D. Hay coined the name of the world’s longest-running radio show that would become famous – the Grand Ole Opry. Bailey, whose tunes helped popularize his instrument in the United States, boasted another first, as well: He was the first musician to hold a recording session in Nashville, setting the stage for a scene that would change the world.”

Listen to Pan American Blues and an album

Ray

The multifaceted Ray Charles released an album in 1962, Modern Sounds in Country and Western Music, which became his first album to top the Billboard 200 charts, and it did so for 14 weeks. The follow-up release, Volume Two, got to #2.

Doug Freeman of the Austin Chronicle wrote of Charles’s influence through the album, stating:

Country and soul have always had a tenuous connection, undoubtedly exacerbated by the racial identifications of their respective fanbases. Yet despite the perceived disconnect between the two genres, the populist formats of both have always been more fluid and contiguous than is traditionally recognized. Elvis‘ melding of country and R&B may even arguably be considered the genesis of rock & roll, though that middle ground has largely only served to allow soul and country to remain segregated. With his 1962 Modern Sounds in Country and Western Music, Ray Charles created the benchmark for crossing the line, highlighting the similarities in sentiment often overshadowed by sound

Ray Charles (1930-2004) was posthumously inducted into the Country Hall of Fame in 2021.

Charley Pride

The black country artist I remember best growing up was Charley Pride. “During the peak years of his recording career (1966–1987), he had 52 top-10 hits on the Billboard Hot Country Songs chart, 30 of which reached number one.

“In the late summer of 1966… he was booked for his first large show, in Detroit’s Olympia Stadium. Since no biographical information had been included with those singles, few of the 10,000 country fans who came to the show knew Pride was Black and discovered the fact only when he walked onto the stage, at which point the applause trickled off to silence. ‘I knew I’d have to get it over with sooner or later,’ Pride later remembered. ‘I told the audience: ‘Friends, I realize it’s a little unique, me coming out here – with a permanent suntan – to sing country and western to you. But that’s the way it is.'”

Charley Pride (1934-2020) was inducted into the Country Music Hall of Fame in 2000.

Listen to Greatest Hits

Others

There are many more black country artists, such as Darius Rucker, formerly of Hootie and the Blowfish. Here are 12 Black artists shaping country music’s future (2021) and 13 Black country artists you need to know (2024). There is some overlap; the latter group includes Shaboozy, whose A Bar Song (Tipsy) dominated both the pop and country charts for weeks.

Beyoncé’s album Cowboy Carter did not receive any nominations at the 58th Annual Country Music Association Awards, presented in November 2024. Still, it won Best Country Album and Album of the Year at the Grammys in February 2025.

Listen to Texas Hold ‘Em

The most awarded songs #9

murder ballad about the 1866 death of Laura Foster

Hey, kids! I know you want even more of the most awarded songs #9. They’ve picked up Grammys and Oscars. They’ve been cited by Rolling Stone magazine, RIAA, ASCAP, CMA, and NPR. For all I know, maybe AARP.

70. I Love Rock ‘N’ Roll – Joan Jett and the Blackhearts. Joan Jett heard The Arrows play their version on a UK TV show, a year after they recorded it in 1975. This I hadn’t heard: “She first recorded the song in 1979 with two of the Sex Pistols, Steve Jones and Paul Cook.” Then she re-recorded it with the Blackhearts two years later.

69. Fortunate Son – Creedence Clearwater Revival. John Fogerty said that the song “speaks more to the unfairness of class than war itself. It’s the old saying about rich men making war and poor men having to fight them.” Got that right.

68. Stand By Your Man – Tammy Wynette. It was a crossover hit, #1 country for three weeks in 1968. In early ’69, it went to #11 adult contemporary and even #19 pop. Lyle Lovett did a cover, which shows up at the end of the 1992 movie The Crying Game.

67.  Georgia On My Mind – Ray Charles. It was a Hoagy Carmichael song from 1930. Three decades later, Brother Ray had a #1 pop hit. In 1979, Ray Charles’s version was designated the official state song of the Peach State.

66. Papa Was A Rollin’ Stone – The Temptations. Dennis Edwards said in an interview that the long instrumental intro made him so angry that he barked out that first line, just the way producer Norman Whitfield wanted. This was the last of the Tempts’ four #1 pop hits.

A bad mother…

65. Theme from Shaft – Isaac Hayes.  The movie Shaft had a black director, a primarily black cast, and music composed and performed by a black artist. In 1971, this was a BFD. The theme has entered the culture, from Sesame Street and The Simpsons to The Wire and The X-Files. “Damn right.”

64. I Can’t Stop Loving You – Ray Charles. The song was from a B-side by Don Gibson in 1958. Brother Ray’s take went to number one on the U.S. R and B (10 weeks!), pop (5 weeks), and Adult Contemporary (5 weeks) charts in 1962. It was a hit in the UK and Sweden too.

63. Heartbreak Hotel – Elvis Presley. His first hit on his new label RCA Victor in 1956. “Presley accepted [Mae Boren] Axton’s offer of a third of the royalties if he made the song his first single on his new label.”

62. The Thrill Is Gone – B.B. King. Roy Hawkins’ recording of the song got to #6 on the Billboard R and B chart in 1951. It was written by Hawkins and fellow West Coast blues musician Rick Darnell. But King’s version in 1970 went to #3 R and B, #15 pop, and became one of his signature songs.

61. Tom Dooley – The Kingston Trio. A lot Most of my father’s folk collection was of black musicians such as Leadbelly, Harry Belafonte, and Odetta. But surely the Kingston Trio was represented, for I recall hearing this song in my home. This is a murder ballad about the 1866 death of a woman named Laura Foster by a guy named Tom Dula, with a poem by Thomas Land written shortly thereafter. The first recording of the song was c. 1929.

Music Throwback: We Are the World

I didn’t buy the single which was #1 for four weeks on the pop charts and two weeks on the soul charts.

This being the birthdays of both Ray Charles (b. 1930) and Bruce Springsteen (b. 1949), the song We Are the World came to mind. Both singers had significant solos on the track.

Let’s back up. Back in 1983-1985, there was a terrible famine in Ethiopia. In reaction to the television reports, Bob Geldof (Boomtown Rats) and Midge Ure (Ultravox, Thin Lizzy) wrote Do They Know It’s Christmas? in 1984. “It was first recorded in a single day on 25 November 1984 by Band Aid, a supergroup put together by Geldof and Ure and consisting mainly of the biggest British and Irish musical acts at the time.” It was re-recorded three times: in 1989, 2004, and 2014 for various charities.

American singer Harry Belafonte thought that if a bunch of Brits could do this, what could Americans do? Initially thinking of a benefit concert, Belafonte was convinced by “Ken Kragen, who managed an impressive roster of talent, that they could raise more money and make a bigger impact with an original song; Belafonte agreed…”

From Rolling Stone: “‘Check your egos at the door’ read the sign on the front door of A&M Studios in Los Angeles on the night of January 28th, 1985. Producer Quincy Jones had placed it there because dozens of the nation’s biggest singers were walking through that door, and he had exactly one night to cut a record that would save lives by raising money to help alleviate a famine in Ethiopia.

“The result, USA for Africa’s We Are the World, was released… on March 7th, 1985, written by Michael Jackson and Lionel Richie. By all accounts, some people, especially the rockers, didn’t particularly like the song. But it was Springsteen who refused to undermine the process and kept that faction in check.

Here are the lyrics, with indicators of the soloists.

The success of the Band Aid and USA for Africa singles led to benefit concerts such as Live Aid, also in 1985 and the various Farm Aid concerts.

I didn’t buy the single which was #1 for four weeks on the pop charts and two weeks on the soul charts (and #76 on the country charts) and sold four million copies in the US alone. I bought the album, which also sold well, but was lightly regarded.
Listen to:

Do They Know It’s Christmas (1984) here or here

We Are the World here or here (long version)

Queen at Live Aid here

We are the World (2010), for Haiti here

The making of We Are the World here

Music Throwback Saturday: I’ll Be Good To You

I was in a doctor’s office back in October 2015 which played surprisingly good, and eclectic, music.

Quincy_Jones_-_Back_On_The_Block-frontBack in 1989, I picked up this album produced by Quincy Jones, called Back on the Block. “The album features legendary musicians and singers from across three generations, including Ella Fitzgerald, Miles Davis, Joe Zawinul, Ice-T, Big Daddy Kane, Sarah Vaughan, Dizzy Gillespie, George Benson, Luther Vandross, Dionne Warwick, Barry White, Take 6, Bobby McFerrin, Al Jarreau, Al B. Sure!, James Ingram, and El DeBarge.”

The album went to #9 on the Billboard album charts and was so eclectic that it hit #1 on both the Top Contemporary Jazz Albums and Top R&B/Hip-Hop Albums charts.

The first single of the collection was I’ll Be Good To You, featuring Ray Charles and Chaka Khan. It was a hit, #18 on the US pop charts, and #1 for two weeks on the rhythm and blues charts in 1990.

I was in a doctor’s office back in October 2015 which played surprisingly good, and eclectic music. I hear I’ll be Good To You, but it’s surely not the Quincy version. It turns out that it was by The Brothers Johnson, who I’ve mentioned on this blog before.

How did I miss this version, written by the Brothers Johnson (George and Louis) and Sonora Sam, and produced by Quincy? It got up to #3 for three weeks in 1976, as well as #1 on the r&b charts.

I’ll Be Good To You:
Quincy Jones, Ray Charles & Chaka Khan

The Brothers Johnson
The Brothers Johnson
The Brothers Johnson on Midnight Special

Quincy Jones turns 83 on March 14.

Music Throwback Saturday: I Don’t Need No Doctor

It’s quite likely that I heard the Humble Pie version before I heard the Charles iteration,

ashford-and-simpsonAs is my custom, I was playing a bunch of the music of Ray Charles, in honor of his birthday on September 23. (It was also Bruce Springsteen’s birthday that same day.)

One of the songs on a greatest hits album was I Don’t Need No Doctor, written by the great Nick Ashford and Valerie Simpson, with Jo Armstead. But I remembered a very different version in my LP collection.

Humble Pie was “an English rock band… during 1969. They are known as one of the… first supergroups… The original band lineup featured lead vocalist and guitarist Steve Marriott from the Small Faces, vocalist and guitarist Peter Frampton from The Herd, former Spooky Tooth bassist Greg Ridley and a seventeen-year-old drummer, Jerry Shirley.

“In 1971 Humble Pie released… a live album recorded at the Fillmore East in New York entitled Performance Rockin’ the Fillmore. The live album reached No. 21 on the US Billboard 200 and was certified gold by the RIAA… But Frampton left the band by the time the album was released and went on to enjoy success as a solo artist.”

It’s quite likely that I heard the Humble Pie version on college radio, or some other FM radio hit before I heard the Charles iteration when I was listening primarily to Top 40 back in my hometown, since Ray’s take didn’t chart high enough.

There are several more versions of the song – The Sonics, The Chocolate Watch Band, New Riders of the Purple Sage, metal bands W.A.S.P. and Great White, The Nomads, Styx, John Scofield, John Mayer, and jazz singer Roseanna Vitro, among others.

I Don’t Need No Doctor:
Ray Charles, #72 US pop, 45 R&B, 1966
Humble Pie, #73 US pop, 1971 (Billboard Hot 100)

Ramblin' with Roger
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