Home  ›  Bob Wills and Tommy Duncan Together Again

Bob Wills and Tommy Duncan Together Again

Written By Saturday, April 23, 2022 Add Comment Edit

American Western swing musician, songwriter, and bandleader

Bob Wills
Wills c. 1946

Wills c. 1946
Background information
Birth name James Robert Wills
Likewise known as "Rex of Western Swing"
Born (1905-03-06)March 6, 1905
Kosse, Texas, U.S.
Died May 13, 1975(1975-05-xiii) (aged 70)
Fort Worth, Texas, U.Due south.
Genres Western swing
Years active 1929‒1973
Labels Vocalion, OKeh, Columbia, MGM, Liberty
Associated acts The Strangers, Light Crust Doughboys, Texas Playboys

Musical artist

James Robert Wills (March 6, 1905 – May 13, 1975) was an American Western swing musician, songwriter, and bandleader. Considered by music authorities as the founder of Western swing,[one] [2] [3] he was known widely as the King of Western Swing (although Spade Cooley cocky-promoted the moniker "King of Western Swing" from 1942 to 1969).

Wills formed several bands and played radio stations effectually the South and West until he formed the Texas Playboys in 1934 with Wills on fiddle, Tommy Duncan on piano and vocals, rhythm guitarist June Whalin, tenor banjoist Johnnie Lee Wills, and Kermit Whalin, who played steel guitar and bass. Oklahoma guitar player Eldon Shamblin joined the band in 1937 bringing jazzy influence and arrangements. The band played regularly on Tulsa, Oklahoma, radio station KVOO and added Leon McAuliffe on steel guitar, pianist Al Stricklin, drummer Smokey Dacus, and a horn section that expanded the band's sound. Wills favored jazz-similar arrangements and the ring plant national popularity into the 1940s with such hits as "Steel Guitar Rag", "New San Antonio Rose", "Fume on the Water", "Stars and Stripes on Iwo Jima", and "New Spanish Ii Step".

Wills and the Texas Playboys recorded with several publishers and companies, including Vocalion, Okeh, Columbia, and MGM, frequently moving. In 1950, he had two top 10 hits, "Ida Carmine Likes the Boogie" and "Faded Dear", which were his final hits for a decade. Throughout the 1950s, he struggled with poor health and tenuous finances, just continued to perform ofttimes despite the decline in popularity of his earlier music as rock and roll took over. Wills had a heart attack in 1962, and a second one the next year, which forced him to disband the Playboys, although Wills continued to perform solo.

The Land Music Hall of Fame inducted Wills in 1968 and the Texas State Legislature honored him for his contribution to American music.[4]

In 1972, Wills accustomed a citation from the American Society of Composers, Authors and Publishers in Nashville. He was recording an album with fan Merle Haggard in 1973 when a stroke left him comatose until his death in 1975. The Rock and Coil Hall of Fame inducted Wills and the Texas Playboys in 1999.[5]

Biography [edit]

Early on years [edit]

He was born on a cotton wool farm in Kosse, Texas,[half dozen] to Emma Lee Foley and John Tompkins Wills.[7] His parents were both of primarily English ancestry but had distant Irish ancestry too.[8] [9] The unabridged Wills family was musically inclined. His father was a statewide champion fiddle player, and several of his siblings played musical instruments.[10] The family unit frequently held country dances in their home, and while living in Hall County, Texas, they as well played at "ranch dances", which were popular throughout west Texas. In this environment, Wills learned to play the fiddle and the mandolin early.[11]

Wills not only learned traditional music from his family, only he also learned some blues songs directly from African American families who worked in the cotton fields near Lakeview, Texas. As a child, he mainly interacted with African American children, learning their musical styles and dances such as jigs. Aside from his ain family, he knew few other white children until he was seven or eight years onetime.[12] [13]

New Mexico and Texas [edit]

The family moved to Hall County in the Texas Panhandle in 1913,[xiv] and in 1919 they bought a farm betwixt the towns of Lakeview, Texas and Turkey, Texas.[15] At the age of 16, Wills left the family and hopped a freight train, travelling nether the proper name Jim Rob. He drifted from town to boondocks trying to earn a living for several years, once nearly falling from a moving railroad train.[xvi] [17]

In his 20s, he attended barber school, married his first wife Edna,[xviii] and moved first to Roy, New Mexico, then returned to Turkey in Hall Canton (now considered his dwelling house town) to work every bit a barber at Hamm's Hairdresser Store. He alternated barbering and fiddling even when he moved to Fort Worth, Texas later leaving Hall County in 1929. At that place he played in minstrel and medicine shows, and, as with other Texas musicians such as Ocie Stockard, continued to earn money as a barber. He wore blackface makeup to appear in comedy routines, something that was common at the fourth dimension. Wills played the violin and sang, and had two guitarists and a banjo histrion with him. "Bob was in greasepaint and was the comic; he croaky jokes, sang, and did an amazing jig dance."[19]

Since in that location was already a Jim on the prove, the manager began calling him Bob.[19] However, information technology was equally Jim Rob Wills, paired with Herman Arnspiger, that he made his start commercial (though unissued) recordings in November 1929 for Brunswick/Vocalion.[20] Wills chop-chop became known for being talkative on the bandstand, a tendency he picked up from family, local cowboys, and the way of Black musicians he had heard growing up.[21] [22]

While in Fort Worth, Wills added the "rowdy urban center blues" of Bessie Smith and Emmett Miller, whom he idolized, to a repertoire of mainly waltzes and breakdowns he had learned from his father, and patterned his vocal style afterwards that of Miller and other performers such as Al Bernard.[23] His 1935 version of "St. Louis Blues" replicates Al Bernard'south patter from the 1928 version of the vocal.[24] He described his honey of Bessie Smith'south music with an anecdote: "I rode horseback from the place between the rivers to Childress to run across Bessie Smith... She was about the greatest matter I had ever heard. In fact, there was no dubiety about it. She was the greatest thing I ever heard."[25]

In Fort Worth, Wills met Herman Arnspiger and formed The Wills Dabble Band. In 1930 Milton Dark-brown joined the group equally lead vocalist and brought a sense of innovation and experimentation to the band, which became known every bit the Aladdin Laddies and and so shortly renamed itself the Light Crust Doughboys because of radio sponsorship by the makers of Lite Crust Flour. Dark-brown left the band in 1932 to form the Musical Brownies, the first true Western swing band. Brown added twin fiddles, tenor banjo and slap bass, pointing the music in the direction of swing, which they played on local radio and at dancehalls.[26]

The Texas Playboys [edit]

Later forming a new band, The Playboys, and relocating to Waco, Texas, Wills institute enough popularity in that location to decide on a bigger marketplace. They left Waco in January 1934 for Oklahoma City. Wills shortly settled the renamed Texas Playboys in Tulsa, Oklahoma, and began dissemination noon shows over the l,000-watt KVOO radio station, from the stage of Cain's Ballroom. They also played dances in the evenings.[ citation needed ] Wills largely sang blues and sentimental ballads. "One Star Rag", "Rat Cheese Under the Loma", "Have Me Back to Tulsa", "Basin Street Blues", "Steel Guitar Rag", and "Trouble in Listen" were some of the songs in the all-encompassing repertory played by Wills and the Playboys.[27] [28]

Wills added a trumpet to the band inadvertently when he hired Everet Stover as an announcer, not knowing that he had played with the New Orleans symphony and had directed the governor's ring in Austin. Stover, thinking he had been hired equally a trumpeter, began playing with the band, and Wills never stopped him. Although Wills initially disapproved of it, young saxophonist Zeb McNally was eventually hired. Wills hired the young, "mod-style musician" Smoky Dacus as a drummer to residue out the horns.[sixteen]

"Blue Yodel No.1" (written by Jimmie Rodgers) recorded June 8, 1937 – Bob Wills and His Texas Playboys – Tommy Duncan [vocal solo/yodelling], Herman Arnspiger [guitar], Sleepy Johnson [guitar/fiddle], Johnnie Lee Wills [banjo], Leon McAuliffe [steel guitar], Joe Ferguson [bass guitar], Smokey Dacus [drums], Bob Wills [fiddle/vocals], Jesse Ashlock [fiddle], Cecil Brower [fiddle], Al Stricklin [piano], Everett Stover [trumpet], Robert Dunn [trombone], Ray DeGeer [clarinet/sax], Zeb McNally [sax])

He continued to expand the lineup through the mid to late 1930s. The addition of steel guitar whiz Leon McAuliffe in March 1935 added not only a formidable instrumentalist, only also a second engaging vocalist. Wills and the Texas Playboys did their first recordings on September 23–25, 1935, in Dallas. Session rosters from 1938 show both lead guitar and electric guitar in add-on to guitar and steel guitar in the Texas Playboys recordings.[29] About this time, Wills purchased and performed with an antique Guadagnini violin. The musical instrument, worth an estimated $7,600 at the time, was purchased for only $ane,600.[16] In 1940, "New San Antonio Rose" sold a million records and became the signature song of The Texas Playboys. The "front line" of Wills' orchestra consisted of either fiddles or guitars after 1944.[thirty]

Pic career [edit]

In 1940, Wills, along with the Texas Playboys, co-starred with Tex Ritter in Take Me Back to Oklahoma.[31] Altogether, Wills appeared in 19 films, including The Solitary Prairie (1942), Riders of the Northwest Mounted (1943), Saddles and Sagebrush (1943), The Vigilantes Ride (1943), The Concluding Horseman (1944), Rhythm Round-Up (1945), Blazing the Western Trail (1945), and Lawless Empire (1945).[26]

Swing era [edit]

In Dec 1942, afterward several band members had left the group, and as World War II raged, Wills joined the Ground forces at the historic period of 37,[32] [33] but received a medical discharge in 1943.[34] [35] After leaving the Regular army in 1943, Wills moved to Hollywood and began to reorganize the Texas Playboys.[36] He became an enormous draw in Los Angeles, where many of his fans had relocated during the Nifty Depression and World State of war II in search of jobs. Monday through Friday, the band played the noon 60 minutes timeslot over KMTR-AM (at present KLAC) in Los Angeles. They besides played regularly at the Mission Beach Ballroom in San Diego.[37]

He commanded enormous fees playing dances at that place, and began to make more creative employ of electrical guitars to replace the big horn sections the Tulsa ring had boasted. For a very brief period in 1944, the Wills ring included 23 members,[34] and around mid-year he toured Northern California and the Pacific Northwest with 21 pieces in the orchestra.[38] Billboard reported that Wills out-grossed Harry James, Benny Goodman, "both Dorseys, et al." at Civic Auditorium in Oakland, California in January 1944.[39]

Wills and His Texas Playboys began their first cross-country bout in Nov 1944, and appeared at the Yard Ole Opry on December xxx, 1944. According to Opry policy, drums and horns were considered pop instruments, inappropriate to country music. The Opry had ii western swing bands on its roster, led by Pee Wee King and Paul Howard. Neither were allowed to use their drummers at the Opry. Wills' band at the time consisted of ii fiddlers, ii bass fiddles, ii electrical guitars, electric steel guitar, and a trumpet. Wills'south then-drummer was Monte Mountjoy, who played in the Dixieland style. Wills battled Opry officials and refused to perform without his drummer. An attempt to compromise by keeping Mountjoy behind a curtain complanate when Wills had his drums placed front end and eye onstage at the last infinitesimal.[40]

In 1945, Wills' dances were drawing larger crowds than dances put on by Tommy Dorsey and Benny Goodman. That year, he lived in both Santa Monica and Fresno, California.[34] In 1947, he opened the Wills Point nightclub in Sacramento, California and connected touring the Southwest and Pacific Northwest from Texas to Washington Country. In Sacramento, he circulate shows over KFBK, a station whose accomplish encompassed much of the American West.[41] Wills was in such high demand that venues would book him fifty-fifty on weeknights, considering they knew the show would still be a draw.[37]

During the postwar period, KGO radio in San Francisco syndicated a Bob Wills and His Texas Playboys show recorded at the Fairmont Hotel. Many of these recordings survive today every bit the Tiffany Transcriptions and are available on CD.[1] They show off the ring's strengths significantly, in role considering the group was non confined to the three-minute limits of 78 RPM discs. On April 3, 1948, Wills and the Texas Playboys appeared for the inaugural broadcast of the Louisiana Hayride on KWKH, broadcasting from the Municipal Auditorium in Shreveport, Louisiana.

Wills and the Texas Playboys played dances throughout the Westward to more than 10,000 people every week. They held dance attendance records at Jantzen Beach in Portland, Oregon; Santa Monica, California; Klamath Falls, Oregon; and at California's Oakland Auditorium, where they drew 19,000 people over two nights.[42] Wills recalled the early days of what became known as Western swing music in a 1949 interview: "Here'south the way I figure it. We sure non tryin' to take credit for swingin' it."[43]

Withal a binge drinker, Wills became increasingly unreliable in the belatedly 1940s, causing a rift with Tommy Duncan (who bore the burden of audition anger when Wills'due south binges prevented him from appearing). It ended when he fired Duncan in the fall of 1948.[ citation needed ]

Later years [edit]

Having lived a lavish lifestyle in California, Wills moved back to Oklahoma Metropolis in 1949, then went back on the road to maintain his payroll and Wills Point. He opened a second guild, the Bob Wills Ranch House in Dallas, Texas. Turning the lodge over to managers, later revealed to be quack, left Wills in drastic financial straits with heavy debts to the IRS for back taxes. This caused him to sell many assets, including the rights to "New San Antonio Rose".[44] It wrecked him financially.[ commendation needed ]

In 1950, Wills had two pinnacle ten hits, "Ida Red Likes the Boogie" and "Faded Love". After 1950, radio stations began to increasingly specialize in ane form or another of commercially popular music. Although usually labelled "land and western", Wills did not fit into the style played on popular state and western stations, which typically played music in the Nashville sound. Neither did he fit into the conventional sound of pop stations, although he played a good deal of popular music.[45]

Wills connected to appear at the Bostonia Ballroom in San Diego throughout the 1950s.[46] He continued to bout and record through the 1950s into the early on 1960s despite the fact that Western Swing's popularity, even in the Southwest, had greatly diminished. Charles R. Townsend described his drop in popularity: Bob could depict "a thousand people on Monday night betwixt 1950 and 1952, but he could not do that by 1956. Entertainment habits had changed."[47]

On Wills' render to Tulsa late in 1957, Jim Downing of the Tulsa Tribune wrote an article headlined "Wills Brothers Together Again: Bob Dorsum with Heavy Trounce". The article quotes Wills as saying "Stone and coil? Why, human being, that'due south the same kind of music we've been playin' since 1928! ... We didn't telephone call it rock and roll dorsum when nosotros introduced it equally our style back in 1928, and we don't phone call it stone and whorl the fashion we play it now. Simply it'due south simply basic rhythm and has gone by a lot of unlike names in my fourth dimension. Information technology's the same, whether you just follow a drum shell like in Africa or surround it with a lot of instruments. The rhythm's what's important."[48] The use of amplified guitars accentuates Wills's claim; some Bob Wills recordings from the 1930s and 1940s sound like to rock and coil records of the 1950s.[49]

Fifty-fifty a 1958 render to KVOO, where his younger blood brother Johnnie Lee Wills had maintained the family's presence, did not produce the success he hoped. He appeared twice on ABC-TV's Jubilee USA and kept the band on the road into the 1960s. Subsequently two heart attacks, in 1965 he dissolved the Texas Playboys (who briefly continued as an independent unit) to perform solo with house bands. While he did well in Las Vegas and other areas, and made records for the Kapp Records label, he was largely a forgotten figure—even though inducted into the Country Music Hall of Fame in 1968. A 1969 stroke left his right side paralyzed, ending his active career. He did, nonetheless, recover sufficiently to announced in a wheelchair at various Wills tributes held in the early 1970s. A revival of interest in his music, spurred by Merle Haggard's 1970 album A Tribute to the Best Damn Fiddle Player in the World, led to a 1973 reunion album, teaming Wills, who spoke with difficulty, with primal members of the early band, likewise as Haggard.

Wills died in Fort Worth of pneumonia on May 13, 1975.[fifty]

Personal life [edit]

Bob Wills was married half-dozen times and divorced five times. He was twice married to, and divorced from Mary Helen Brown, the widow of Wills' ex-ring fellow member Milton Brown.

  • Edna Posey, married 1926, divorced 1935 (one daughter, Robbie Joe Wills)
  • Ruth McMaster, married 1936, divorced 1936
  • Mary Helen Brown, married 1938, divorced 1938, remarried 1938, divorced 1939
  • Mary Louise Parker, married 1939, divorced 1939 (ane daughter, Rosetta Wills)
  • Betty Anderson, married 1942 (four children, James Robert 2, Carolyn, Diane, and Cindy Wills)[51] [52] [53]

Legacy [edit]

Wills' style influenced performers Buck Owens, Merle Haggard, and The Strangers and helped to spawn a style of music now known as the Bakersfield Sound.[ citation needed ] (Bakersfield, California was one of Wills' regular stops in his heyday). A 1970 tribute album by Haggard, A Tribute to the All-time Damn Fiddle Actor in the World (or, My Salute to Bob Wills) directed a wider audience to Wills' music, as did the appearance of younger "revival" bands like Comatose at the Wheel and Commander Cody and His Lost Planet Airmen plus the growing popularity of longtime Wills disciple and fan Willie Nelson. By 1971, Wills recovered sufficiently to travel occasionally and announced at tribute concerts. In 1973, he participated in a final reunion session with members of some the Texas Playboys from the 1930s to the 1960s. Merle Haggard was invited to play at this reunion. The session, scheduled for two days, took place in December 1973, with the anthology to be titled For the Last Time. Wills, speaking or attempting to holler, appeared on a couple tracks from the commencement day's session but suffered a stroke overnight. He had a more severe one a few days later. The musicians completed the album without him. Wills by so was comatose. He lingered until his death on May 13, 1975.

Reviewing For the Terminal Time in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "This double-LP doesn't stand for the ring at its peak. But though earlier recordings of nearly of these archetype tunes are at least marginally sharper, it certainly captures the relaxed, playful, eclectic Western swing groove that Wills invited in the '30s."[54]

In addition to being inducted into the Country Music Hall of Fame in 1968,[55] Wills was inducted into the Nashville Songwriters Hall of Fame in 1970, the Stone and Whorl Hall of Fame in the Early Influence category along with the Texas Playboys in 1999, and received the Grammy Lifetime Accomplishment Award in 2007.

From 1974 until his 2002 death, Waylon Jennings performed a vocal he had written called "Bob Wills Is Nevertheless the King". Released equally the B-side of a single that was a double-sided hitting, information technology went to number ane on the land charts. The song has become a staple of classic state radio station formats. In addition, The Rolling Stones performed this song live in Austin, Texas at Zilker Park on their A Bigger Bang Tour, a shout-out to Wills. This functioning was included on their subsequent DVD The Biggest Bang. In a 1968 consequence of Guitar Player, rock guitarist Jimi Hendrix said of Wills and the Playboys: "I dig them. The Grand Ole Opry used to come up on, and I used to watch that. They used to have some pretty heavy cats, some heavy guitar players." In fact, Bob Wills and His Texas Playboys only performed on the Opry twice: in 1944 and 1948. Hendrix virtually surely referred to Nashville guitarists.

Wills ranked #27 in CMT's 40 Greatest Men in Country Music in 2003.

Wills' upbeat 1938 song Ida Red was Chuck Berry's master inspiration for creating his outset rock-and-roll hitting "Maybellene".

Fats Domino once remarked that he patterned his 1960 rhythm section afterward that of Bob Wills.[56]

During the 49th Grammy Awards in 2007, Carrie Underwood performed his song "San Antonio Rose".[57] Today, George Strait performs Wills' music on concert tours and records songs influenced by Wills and his Texas-style swing.[58]

The Austin-based Western swing band Comatose at the Wheel accept honored Wills' music since the band's inception, mostly notably with their continuing performances of the musical drama A Ride with Bob,[59] which debuted in Austin in March 2005 to coincide with celebrations of Wills' 100th birthday.

The Bob Wills Birthday Celebration is held every yr in March at the Cain's Ballroom in Tulsa, Oklahoma with a Western swing concert and dance.

In 2004, a documentary flick about his life and music, titled Fiddlin' Man: The Life and Music of Bob Wills, was released past VIEW Inc.

In 2011, Proper Records released an album past Hot Club of Cowtown titled What Makes Bob Holler: A Tribute to Bob Wills and His Texas Playboys and the Texas Legislature adopted a resolution designating western swing as the official State Music of Texas.[4] [60]

The Greenville Bedchamber of Commerce hosts an annual Bob Wills Fiddle Festival and Contest in downtown Greenville, Texas in November.[61] [62]

Bob Wills was honored in Episode 2 of Ken Burn'south 2019 series on PBS chosen Country Music.

In 2021, Wills was inducted into the Texas Cowboy Hall of Fame.[63]

Select discography [edit]

Albums [edit]

Year Anthology US Country Label
1949 Bob Wills Circular Upwards [10"] (HL-9003); originally issued in 1947 as a 4-disc 78rpm album set (C-128); and reissued in 1948 (H-ii) Columbia
1951 Ranch Business firm Favorites [10"] (E-91); too issued equally a 4-disc 78rpm album set (MGM-91), and a 4-disc 45rpm anthology prepare (K-91) MGM
1953 Erstwhile Time Favorites [10"] (LP-6000); issued every bit a limited edition 'Fan Club Members Only' release The Antones [Los Angeles, CA]
1954 Old Fourth dimension Favorites, Vol. 2 [10"] (LP-6010); issued as a limited edition 'Fan Social club Members Only' release The Antones [Los Angeles, CA]
1955 Country and Western Dance-O-Rama, No. two [ten"] (DL-5562) Decca
1956 Ranch House Favorites, Vol. 2 (Eastward-3352) MGM
1957 Bob Wills Special (HL-7036) reissue of Bob Wills Round Up plus 2 actress tracks Harmony
1958 Bob Wills and His Texas Playboys (DL-8727) Decca
1960 Together Again (with Tommy Duncan) (LRP-3173) Liberty
1961 A Living Legend (with Tommy Duncan) (LRP-3182)
1961 Mr. Words & Mr. Music (with Tommy Duncan) (LRP-3194)
1963 Bob Wills Sings & Plays (with Tommy Duncan) (LRP-3303)
1965 Bob Wills Keepsake Album No. one (LP-001) Longhorn
1966 From the Eye of Texas 33 Kapp
1967 Rex of Western Swing 43
1968 Hither'south That Homo Once again 24
1970 The Best of Bob Wills
1973 Bob Wills Plays the Greatest Cord Band Hits (re-release; originally issued in 1969) 28 MCA
The Bob Wills Anthology [2LP] Columbia
1974 For the Last Time [2LP] 28 United Artists
1975 The Best of Bob Wills, Vol. 2 [2LP] 36 MCA
1976 Remembering ...The Greatest Hits of Bob Wills 46 Columbia
Bob Wills and His Texas Playboys 'In Concert' [2LP] 44 Capitol
1977 24 Great Hits by Bob Wills and His Texas Playboys [2LP] 39 MGM
1991 Bob Wills and His Texas Playboys 'Anthology 1935–1973' [2CD] Rhino
1992 The Essential Bob Wills (1935–1947) Columbia/Legacy
2001 Kick Heel Drag: The MGM Years [2CD] Mercury/Universal
2006 Legends of Country Music: Bob Wills and His Texas Playboys [4CD] Columbia/Legacy

Singles [edit]

Year Single US Country Label
1935 "St. Louis Blues" / "Four or 5 Times" Vocalion 03076
"Good Old Oklahoma" / "Mexicali Rose" Vocalion 03086
"Osage Stomp" / "Get with It" Vocalion 03096
1936 "Sitting on Elevation of the Earth" / "Blackness and Blue Rag" Vocalion 03139
"I Can't Be Satisfied" / "Wang Wang Blues" Vocalion 03173
"I Own't Got Nobody (and Nobody Cares for Me)" / "Who Walks in When I Walk Out?" Vocalion 03206
"Spanish Ii Pace" / "Blue River" Vocalion 03230
"I Tin can't Give You Annihilation but Love" / "Never No More Dejection" Vocalion 03264
"Erstwhile Fashioned Love" / "Oklahoma Rag" Vocalion 03295
"Trouble in Mind" / "Weary of the Same Ol' Stuff" Vocalion 03343
"Basin Street Dejection" / "Red Hot Gal of Mine" Vocalion 03344
"Sugar Blues" / "Fan It" Vocalion 03361
"Smith's Reel" / "Harmony" [billed as 'Bob Wills and Sleepy Johnson'] Melotone 6-11-58
"Steel Guitar Rag" / "Swing Blues No. 1" Vocalion 03394
1937 "She'southward Killing Me" / "What'due south the Matter with the Manufactory?" Vocalion 03424
"Get Along Dwelling Cindy" / "Right or Wrong" Vocalion 03451
"Mean Mama Blues" / "Bring It on Downwards to My House" Vocalion 03492
"No Affair How She Done It (She's But a Dirty Dame)" / "As well Busy!" Vocalion 03537
"Dorsum Home Again in Indiana" / "Swing Dejection No. 2" Vocalion 03578
"Defended to You" / "Bleeding Hearted Dejection" Vocalion 03597
"White Heat" / "Bluin' the Blues" Vocalion 03614
"I'g a Ding Dong Daddy (from Dumas)" / "Rosetta" Vocalion 03659
"The New St. Louis Dejection" / "Oozlin' Daddy Blues" Vocalion 03693
"Playboy Stomp" / "Tie Me to Your Apron Strings Again" Vocalion 03854
1938 "Maiden's Prayer" / "Never No More Hard Time Blues" Vocalion 03924
"Steel Guitar Stomp" / "Sunbonnet Sue" Vocalion 03997
"Black Rider" / "Everybody Does Information technology in Hawaii" Vocalion 04132
"Keep Knocking (but You Can't Come In" / "Empty Bed Dejection" Vocalion 04184
"Alexander'southward Ragtime Ring" / "Gambling Polka Dot Blues" Vocalion 04275
"Tulsa Stomp" / "Trivial Red Caput" Vocalion 04235
"Loveless Beloved" / "Way Down upon the Swanee River" Vocalion 04387
"Moonlight and Roses (Bring Mem'ries of Y'all)" / "I Wish I Could Shimmy Like My Sister Kate" Vocalion 04439
"Oh, Lady Be Skillful" / "Oh You lot Beautiful Doll" Vocalion 04515
1939 "I Wonder if You Feel the Style I Practise" / "That's What I Like 'Bout the Due south" Vocalion 04566
"Whoa Baby" / "Little Girl, Go Ask Your Mama" Vocalion 04625
"San Antonio Rose" / "The Convict and the Rose" Vocalion 04755
"Y'all're Okay" / "Liza Pull Down the Shades" Vocalion 04839
"Argent Bells" / "Yearning Just for You lot" Vocalion 04934
"Beaumont Rag" / "The Waltz You Saved for Me" Vocalion 04999
"Ida Red" / "Carolina in the Morning" Vocalion 05079
"Dreamy Optics Waltz" / "My Window Faces the South" Vocalion 05161
"If I Could Bring Back My Buddy" / "Prosperity Special" Vocalion 05228
1940 "Don't Let the Deal Go Down" / "Drunk Blues" Vocalion 05282
"Blue Prelude" / "Sophisticated Hula" Vocalion 05333
"Pray for the Lights to Become Out" / "Twinkle Twinkle Little Star" Vocalion 05401
"Blue Bonnet Rag" / "Medley of Spanish Waltzes: La Golondrina / Lady of Kingdom of spain / Cielito Lindo" Vocalion 05523
"Yous Don't Love Me (but I'll Ever Care)" / "No Wonder" Vocalion 05597
"Lone Star Rag" / "I Don't Lov'a Nobody" OKeh 05637
"New San Antonio Rose" / "Bob Wills' Special" OKeh 05694
"That Brownskin Gal" / "Fourth dimension Changes Everything" OKeh 05753
"There's Going to Be a Political party (for the Erstwhile Folks)" / "Big Beaver" OKeh 05905
1941 "Accept Me Back to Tulsa" / "New Worried Heed" OKeh 06101
"Maiden's Prayer" / "Takin' It Dwelling house" OKeh 06205
"Twin Guitar Special" / "Lyla Lou" OKeh 06327
"Bob Wills' Stomp" / "Lil Liza Jane" OKeh 06371
"Corrine, Corrina" / "Goodnight Little Sweetheart" OKeh 06530
1942 "Cherokee Maiden" / "Ride On! (My Prairie Pinto)" OKeh 06568
"Dusty Skies" / "It'due south All Your Error" OKeh 06598
"Oh! You Pretty Woman" / "I Knew the Moment I Lost You" OKeh 06640
"Please Don't Exit Me" / "My Life's Been a Pleasure" OKeh 6681
"This Picayune Rosary" / "When It's Honey Suckle Fourth dimension in the Valley" (Unreleased) OKeh 6692
"Ten Years" / "Let's Ride with Bob (Theme Vocal)" OKeh 6692
"My Confession" / "Whose Heart Are Y'all Breaking Now?" OKeh 6703
1943 "Home in San Antone" / "Miss Molly" OKeh 6710
1944 "We Might as well Forget It" / "You're from Texas" 2 OKeh 6722
1945 "Bye, Liza Jane" / It Seems Like Yesterday" (Unreleased) OKeh 6734
"Smoke on the Water" 1 OKeh 6736
/ "Hang Your Head in Shame" three
"Stars and Stripes on Iwo Jima" i OKeh 6742
/ "You Don't Care What Happens to Me" 5
"Silver Dew on the Blue Grass Tonight" 1 Columbia 36841
/ "Texas Playboy Rag" 2
"White Cross on Okinawa" i Columbia 36881
/ "Empty Chair at the Christmas Tabular array"
1946 "New Castilian 2 Footstep" 1 Columbia 36966
/ "Roly Poly" iii
"Stay a Little Longer" 2 Columbia 37097
/ "I Can't Get on This Mode" 4
"Cotton Eyed Joe" / "Staccato Waltz" Columbia 37212
1947 "At that place's a Big Stone in the Road" Columbia 37205
/ "I'm Gonna Be Boss from Now On" 5
"Sugar Moon" 1 Columbia 37313
/ "Encephalon Cloudy Blues"
"Rose of Former Pawnee" Columbia 37357
/ "Bob Wills Boogie" four
"How Can It Be Wrong?" / "Punkin' Stomp" Columbia 37564
"Fat Boy Rag" / "You lot Should Accept Thought of That Earlier" Columbia 37824
"Liberty" / "The Kind of Love I Tin't Forget" Columbia 37926
"A Sweet Kind of Beloved" / "Cowboy Stomp" Columbia 37988
"Spanish Fandango"" MGM 10116
/ "Bubbling in My Beer" 4
1948 "Deep H2o" / "This is Southland" Columbia 38137
"Texarkana Baby" 15 Columbia 38179
"Keeper of My Heart" 8 MGM 10175
"'Neath Hawaiian Palms" MGM 10236
/ "Thorn in My Heart" 10
1950 "Ida Red Likes the Boogie" x MGM 10570
"Jolie Blond Likes the Boogie" / "Pastime Blues" MGM 10681
"Faded Love" 8 MGM 10786
"'Tater Pie" / "I Didn't Realize" MGM 10836
1960 "Heart to Heart Talk" (with Tommy Duncan) 5 Freedom 55260
1961 "The Image of Me" (with Tommy Duncan) 26 Freedom 55264
1976 "Ida Red" 99 Capitol 4332

See also [edit]

  • Aragon Ballroom (Ocean Park)

References [edit]

  1. ^ a b Mazor, Barry (February 11, 2009). "The Tiffany Transcriptions, Dorsum and Better". The Wall Street Journal. Archived from the original on February 7, 2015. Retrieved Jan 13, 2010.
  2. ^ Wolff, Country Music, "Big Balls in Cowtown: Western Swing from Fort Worth to Fresno", p. 29: If any single person deserves to be considered the 'father' of western swing, information technology must exist Bob Wills."
  3. ^ West, "Trails and Footprints", p. 39: "Snyder [Texas] hosts the West Texas Western Swing Festival ('Come Fiddle Around in Snyder'), recognizing the regional origins of the father of western swing, Bob Wills, from Turkey (a scrap more than than a hundred miles due north in Hall County) ..."
  4. ^ a b "82(R) SCR 35 – Enrolled version – Neb Text". Legis.state.tx.us. Archived from the original on Feb 7, 2015. Retrieved October 7, 2015.
  5. ^ "Inductee Explorer | Rock & Whorl Hall of Fame". Rock & Roll Hall of Fame. Archived from the original on March 29, 2018. Retrieved March 28, 2018.
  6. ^ This Tiny Texas Town is a Must-See for Bob Wills Fans Archived April 14, 2018, at the Wayback Car Retrieved 2018-04-13.
  7. ^ "Ancestry of Bob Wills". Wargs.com. Archived from the original on September 14, 2007. Retrieved May 2, 2010.
  8. ^ San Antonio Rose: The Life and Music of Bob Wills past Charles Townsend and Charles R. Townsend, p. ii
  9. ^ Charles R. Townsend (1986). San Antonio Rose: The Life and Music of Bob Wills. p. two. ISBN978-0252013621.
  10. ^ Milton Chocolate-brown and the Founding of Western Swing. Cary Ginell. 1994. University of Illinois Press; ISBN 0-252-02041-3.
  11. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 17; ISBN 0-252-00470-one.
  12. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. iv; ISBN 0-252-00470-i
  13. ^ Denize Springer (February 23, 2005). "SF State News". San Francisco State University. Archived from the original on November 17, 2007. Retrieved May 2, 2010.
  14. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 3; ISBN 0-252-00470-1
  15. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. Academy of Illinois. p. 16; ISBN 0-252-00470-1
  16. ^ a b c Hubbin' It. Ruth Sheldon. 1995. Country Music Foundation Press. first published 1938, pp. 76, eighty, 81; ISBN 0-915608-18-9
  17. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois, pp. fourteen, 21–22; ISBN 0-252-00470-1
  18. ^ Wilonsky, Robert. "Junior or Joke?". Houston Printing . Retrieved Baronial 12, 2021.
  19. ^ a b San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 45; ISBN 0-252-00470-1.
  20. ^ Land Music Records – A Discography, 1921–1942. Tony Russell. 2008. Oxford University Printing. p. 960; ISBN 978-0-19-536621-1
  21. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. Academy of Illinois. p. 107; ISBN 0-252-00470-ane
  22. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 46; ISBN 0-252-00470-1.
  23. ^ Milton Brown and the Founding of Western Swing. Cary Ginell. 1994. Academy of Illinois Press. pp. 32–33; ISBN 0-252-02041-3.
  24. ^ Milton Brown and the Founding of Western Swing. Cary Ginell. 1994. University of Illinois Printing. pp. 245–46; ISBN 0-252-02041-3.
  25. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 40; ISBN 0-252-00470-1.
  26. ^ a b "Texas Music History Online". ctmh.its.txstate.edu. Archived from the original on November ii, 2007. Retrieved May 2, 2010.
  27. ^ Friskics-Warren, Bill (December 24, 2006). "Bob Wills: His Rollicking Roots Are Showing". The Washington Post. Archived from the original on December 23, 2016. Retrieved Nov xv, 2014.
  28. ^ Dance Across Texas. by Betty Casey. 1985. University of Texas Press. p. 43; ISBN 0-292-71551-X.
  29. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. page 342, 343. ISBN 0-252-00470-1
  30. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. Academy of Illinois, p. 237; ISBN 0-252-00470-1
  31. ^ Take Me Back to Oklahoma at IMDb
  32. ^ "Bob Wills Joins the Army". Billboard. December 26, 1942. p. 18. Archived from the original on May v, 2016. Retrieved March 21, 2013.
  33. ^ Townsend, Charles R. "Handbook of Texas Online – Wills, James Robert". Texas Handbook Online. Archived from the original on September 30, 2020. Retrieved April 14, 2021.
  34. ^ a b c "History". bobwills.com. Archived from the original on April 21, 2010. Retrieved May 2, 2010.
  35. ^ "Bob Wills : Biography". CMT.com. Archived from the original on December 2, 2006. Retrieved May 2, 2010.
  36. ^ San Antonio Rose. page 229
  37. ^ a b San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 241. ISBN 0-252-00470-1.
  38. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 350. ISBN 0-252-00470-1.
  39. ^ Billboard February five, 1944. Vol. 56, No. 6. p. 62.
  40. ^ Southwest Shuffle: Pioneers of Honky Tonk, Western Swing, and Country Jazz by Rich Kienzle p 255
  41. ^ Gerald Westward. Haslam. Workin' Homo Blues: Country Music In California. University of California Press. 1999. p. 82; ISBN 0-520-21800-0.
  42. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 252. ISBN 0-252-00470-1.
  43. ^ A. Schneider. "Honky Tonks, Hymns and the Blues". NPR. Archived from the original on September 14, 2013. Retrieved May ii, 2010.
  44. ^ Townsend, Charles (1986). San Antonio Rose: The Life and Music of Bob Wills. Academy of Illinois Press. p. 263. ISBN978-0252013621.
  45. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 281. ISBN 0-252-00470-one.
  46. ^ "San Diego Concert Archive". San Diego Concert Archive. Dec 31, 1999. Archived from the original on February half-dozen, 2019. Retrieved Oct 7, 2015.
  47. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 267. ISBN 0-252-00470-i.
  48. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. pp. 268–69. ISBN 0-252-00470-i.
  49. ^ "Junior Barnard". Texasplayboys.cyberspace. Archived from the original on Apr 16, 2016. Retrieved Oct 7, 2015.
  50. ^ "Milestones". Time. May 26, 1975.
  51. ^ "Bob Wills | Encyclopedia.com". Encyclopedia.com . Retrieved Baronial 12, 2021.
  52. ^ "Rosetta, My Rosetta". Austinchronicle.com . Retrieved August 12, 2021.
  53. ^ "TSHA | Wills, James Robert". Tshaonline.org . Retrieved August 12, 2021.
  54. ^ Christgau, Robert (1981). "Consumer Guide '70s: W". Christgau'southward Record Guide: Stone Albums of the Seventies. Ticknor & Fields. ISBN089919026X . Retrieved March 22, 2019 – via robertchristgau.com.
  55. ^ "Wills swings into Rock and Roll Hall of Fame | Amarillo.com | Amarillo World-News". Amarillo.com. May eleven, 1999. Archived from the original on November 23, 2015. Retrieved October 7, 2015.
  56. ^ San Antonio Rose: The Life and Music of Bob Wills. Charles R. Townsend. 1976. University of Illinois. p. 293. ISBN 0-252-00470-1.
  57. ^ "Dixie Chicks Enjoy Sweet Victory at Grammys". Country Music Television. Feb 12, 2007. Archived from the original on February 18, 2008. Retrieved March iv, 2013.
  58. ^ "Week 23: George Strait, The Exception". The A.V. Club. November 17, 2009. Archived from the original on February 19, 2013. Retrieved March 4, 2013.
  59. ^ "A Ride With Bob". A Ride With Bob. Archived from the original on May 9, 2008. Retrieved May two, 2010.
  60. ^ John P. Meyer, "Texas legislates an official country music: Western swing" Archived May 27, 2011, at the Wayback Machine, Pegasus News, May 24, 2011.
  61. ^ "Fiddle festival, competition honoring Wills to start playing today". Heraldbanner.com . Retrieved January sixteen, 2020.
  62. ^ "Near". Bobwillsfiddlefest.com . Retrieved Jan sixteen, 2020.
  63. ^ "Inductees". Texas Cowboy Hall of Fame . Retrieved September eight, 2021.

Bibliography [edit]

  • Townsend, Charles R. (1998). "Bob Wills". In The Encyclopedia of Country Music. Paul Kinsbury, Editor. New York: Oxford Academy Printing. pp. 594–95.
  • Due west, Elliot. "Trails and Footprints: The Past of the Time to come Southern Plains". The Future of the Southern Plains (pp. 17–37) edited by Sherry Fifty. Smith. University of Oklahoma Press, 2005. ISBN 978-0-8061-3735-3
  • Whitburn, Joel. The Billboard Book of Superlative twoscore Country Hits. Billboard Books, 2006. ISBN 0-8230-8291-ane
  • Wolff, Kurt; Orla Duane. Country Music: The Rough Guide. Rough Guides, 2000. ISBN 1-85828-534-eight

External links [edit]

  • Official Web site and virtual museum
  • Texas Playboys Web site
  • Country Music Hall of Fame and Museum
  • The Bob Wills Tiffany Transcriptions
  • Famous Texans
  • Bob Wills at Find a Grave

buttsoutte1975.blogspot.com

Source: https://en.wikipedia.org/wiki/Bob_Wills

0 Response to "Bob Wills and Tommy Duncan Together Again"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel