1. Jamey Johnson Wikipedia

Find a Jamey Johnson - Living For A Song - A Tribute To Hank Cochran first pressing or reissue. Complete your Jamey Johnson collection. Shop Vinyl and CDs. Jamey Johnson AUG 17 Innsbrook After Hours. A tribute project to late songwriter Hank Cochran. A Tribute to Hank Cochran paired him with Willie Nelson. Find album reviews, stream songs, credits and award information for Living for a Song: A Tribute to Hank Cochran - Jamey Johnson on AllMusic - 2012 - As a rule, tribute recordings are a mixed bag;&hellip.

SONGS WRITTEN BY JOHN D. LOUDERMILK On these pages I try to give a list of 'all' the songs John D. Loudermilk has written and who covered them. I will never succeed completely, I know, but I try my best to give as many as possible. In this overview I chronologically ordered the songs which (probably) have been recorded, though I haven't found a cover to each song. But you could help me make it more complete, To Loudermilk page This is part 1, 1956-1960 The Colonial, Columbia, Universal-Cedarwood years To, 1960-1963 RCA, Hickory, Nashville, teen, hillbilly and novelty To, 1963-1969 RCA, Hickory, Nashville, country, bizarre and open minded singer-songwriter songs To, 1970 & later MIM, Europe, years of retirement To, Loudermilk singing traditionals and covering other songwriters To, unknown songs/covers - info wanted!

To a few sound samples of. Black=ain't got the music 'John Loudermilk' (composer credits on the US original 78), 'Johnnie Dee' om some other 1956 releases Most songs in the early years were originally released with 'Dee' as composer; later releases give Loudermilk JDL's first song, and a US top 10 hit! Original on Colonial as 'George Hamilton and the Country Gentlemen'. ← A Baby Ruth candy bar.

When the record came out, the Curtis Candy company, makers of Baby Ruth candy bars, sent a letter to Colonial record label demanding it be pulled for copyright infringement. By the time Colonial's lawyer replied, Curtis Candy had sent another letter advising the label to disregard the previous one: Sales had gone up 500 percent in the last month, as kids were eating the candy bars more and adults were sending roses and Baby Ruths to their sweethearts all over the country! Also recorded (overdubbed by George Hamilton!) as 'A Rose And A Candy Bar' for radio shows of other sponsors and the UK-market where the candy bar 'Baby Ruth' was an unknown item. Budget label release on Bell label, sound-alike covers of the hits of the day, music for the millions for 49 cents.

Singer was Barry Frank (real name, though many budget artists used a pseudonym), a good singer and some of his covers were better sung than the hit original, Al Kooper, looking back on his 1970 version: 'I grew up with the GHIV version. Really loved the sincerity of it when I was about 13. Referring to a rose and a Baby Ruth, he sings: I could have sent you an orchid of some kind, But that's all I had in my jeans at the time. I think I tried to duplicate that teen sincerity in every song I wrote in my teens and early twenties. I worship J.D. My version was just a jam in between takes of another song on the album 'Easy Does It' from 1970.

I was kinda goofing, but put it on the album nonetheless. So, if you hear it, its not ALL together serious.' Dee = Loudermilk JDL's original hit #38 Billboard pop charts; Cochran's cover hit #18. ←the rare picture cover of the 1956 promo release 'at present a student at Campbell college' In the original an innocent Bugs Bunny cartoon is being watched, but on the Coral single release, Don Cornell changes this into 'We may stop lovin', to watch Kim Novak, but she can't take the place of my honey!' Two Japanese cover releases, a 7' by rocker Keijiro Yamashita (1939-2011) and a LP by Masaaki Hirao, singer, actor. Sheet music for the versions of Eddie Cochran and Don Cornell.

Viktor Huganet (2016, EP Remember Eddie Cochran, good rock guitar from Toulouse, France) Joe Tanner (pic left: Joe ±1945 as a teenager), guitarist of Colonial houseband The Bluenotes, was an important element in Johnny Dee's early recordings. He arranged 'A Rose and a Baby Ruth' and played the distinctive guitar break on 'Sitting in the Balcony'. The Bluenotes (pic right, Joe Tanner (gtr), Pat Patterson, Tom Underwood, Ralph Harrington) played on sessions for the Colonial label, and recorded JDL's composition 'Page One' (see below). Joe Tanner later worked for Monument and Roy Orbison. His arrangement of Roy's hit 'In Dreams' and playing on 'Oh Pretty Woman' are some of his major feats.

Joe's custom made Rickenbacker 12 string electric guitar on 'Oh Pretty Woman' gave the record its irresistible sound. Joe was called 'The Absent-minded Guitar Player' around Nashville, as he was constantly forgetting appointments and studio commitments, even forgetting to bring his guitar to a performance. Joe died in the early 1980's of a sudden heart attack. (Based on info supplied by Joe's cousin Jim Callahan, who tells about his cousin on his ) My Big Brother's Friend.

Carol Hughes (Apr. 1957, Mercury 71095) Cecelia Batten recorded for Colonial and worked with Joe Tanner and Johnny Dee. She had two 45 rpm releases for Colonial. I was lucky to be able to contact her, she wrote me about her career: I was a college student at the University of North Carolina when we cut that. I remember the duets see below with him and I don't know what happened to them. They were fun and I can't imagine why Orville Campbell, the owner of Colonial Records, never released them. I never made any more records.

A group of University musicians and I were in a talent show and we mocked Elvis Presley for a laugh. An agent from New York saw it and interviewed me about becoming 'a female Elvis Presley' but I wasn't interested in that!

I had won some small time talent shows and won trips to Miami and Cuba where I sang on radio and television and preformed in clubs. (Castro was still in the mountains.) I sang with local dance bands in college and had a TV show with a local disc jockey.

Orville took an interest and that is how I got in on making the recordings. Everyone was so nice and we had a lot of fun.

I went on tour to promote the record on radio and TV shows where I lip-synched the record. Everybody did that way back then. Johnny Dee and all the musicians were very talented and very nice. They were a few years older than me and all married to nice ladies. They were very professional and always a pleasure to work with. We had many laughs together. Johnny always had that great big smile on his face.

I remember one time we were entertaining at a Veteran's Hospital outside of Washington, D.C. And were getting ready to go on stage when Joe Tanner, the guitarist, discovered he had lost his only guitar pick in the men's room.

All the musicians ran in there to find it. We got on stage just in time. I never did ask them where they found it. I was laughing so hard I could hardly sing.

Joe was such a sweet guy. They were fun times and I loved performing. I moved to New York City after graduating from the University and did a few club gigs and some Off Broadway shows and some singing commercials, but nothing really big. I was just enjoying life. I fell in love, got married, and had two children. I sang a few times after that for fun.

Some years later two very talented friends from my small town in North Carolina wrote and produced a musical called 'Like Diamond Rings' about a small town's effort to attract industry. I came down from New York City to sing the female lead. Believe it or not, the show got a good review by the New York Times! That was my last public appearance. How's that for going out on a high note, if you pardon the pun.

They were wonderful days and they were all wonderful people.I remember them all fondly. Johnny Dee deserved a lot of recognition. He was an especially talented person and a very good-natured guy who wrote happy songs. And he wrote a lot of them! Thank you Cecelia for sharing your memories! Newspaper clipping from July 1957: Johnny and Cecelia performing in Danville, Virginia It's Gotta Be You.

Two pictures. The photos were taken August 22th.

1957, at the recording session for Colonial that took place at WUNC, Swain Hall, University of North Carolina, Chapel Hill, NC. Probably at this session, the Ebe Sneezer songs were recorded. So in fact we see here Ebe Sneezer & his Epidemics, who were in fact Johnny Dee and the Bluenotes. Left: front 'Ebe Sneezer', far right with guitar Joe Tanner, and the three Epidemics back-up chorus from L to R, probably, Pat Harrington, Tom Underwood, Ralph Harrington.

Right: Cecelia Batten at that same session. Not sure what song is being recorded. Somebody Sweet. Billboard's review spotlight, Nov. 1957 of They Were Right: 'Dee, who hasn't been able to follow his hit, Sittin' in the Balcony, with another sofar, may have the right contender with this effort. He registers well with excellent choral support by the Blue Notes on a simply presented ballad-type with highly effective guitar and drum backing. Teens could go far for it.

Flip is an attractive rockabilly item Somebody Sweet' When DOT released the single, Billboard's review (Feb. 1958) considered Somebody Sweet the A-side: 'The tune has a folkish, gospel feel.

Dee's vocal is rendered with good chorus and ork support. This could step out' They Were Right Somebody Sweet. Adam C Burke (2004, CD You Can't Judge A Man By His Covers) Mary Klick, was born in Washington County, Maryland, in the early 1920s, in a family of 10 children. Mary, a beauty crowned Miss Hagerstown 1948, played guitar and sang harmony in Jimmy Dean's band The Texas Wildcats.

Around 1950, she was working with Rose Lee Maphis in a duet as The Saddle Sweethearts. They were featured on the 'Old Dominion Barn Dance', a radio show for WRVA, aired from coast to coast. In the mid 1950s Mary worked for Connie B.

Gay's Town & Country TV broadcasts, singing with Patsy Cline, Billy Grammer and George Hamilton IV. At the end of the decade she was a regular on Jimmy Dean's network TV shows. She then recorded her three 45-records: Columbia 4-41048 Castaway/ Humble Heart (Nov. 1957); Columbia 4-41138 It's Easy To Say You're Sorry / Stay Beside me (Mar. 1958); Columbia 4-41289 I'm Gonna Catch You Baby / We Should Be Together (Nov. These three records did not sell too well. It seems kind of strange that this professional artist, who got so much nationwide TV fame, released so few sides on vinyl.

Nowadays Mary Klick Robinson lives in Leesburg, VA. →right rare footage of Mary singing 'Bill Bailey' for Dutch TV (1963), click to play → This Time I Would Know. Lost Country (2003, CD Turn Your Radio Around, Jim Colegrove's Texas band) Arnie Derksen, a Canadian rockabilly artist, recorded 3 Loudermilk songs, of which only 1 was released in 1959 and the 2 others 30 years later on a Bear Family compilation album.

See covers below. Left: 1989 compilation LP on the Bear Family label right: a 1990s promotional picture.

Arnie (born 1932 in Saskatchewan, Canada) played dance halls with his band until he saw Bill Haley play in Vancouver and was converted to rock. In a recent interview, he says: I couldn't believe what they were doing on stage. He was the one that broke the ice. Arnie started doing Presley songs, and soon was advertised as Canada's Elvis Presley. When he could join a weekly C&W music show from the CBC Winnipeg for radio and TV, it opened up a lot of work.

He toured with Jerry Lee Lewis. In 1958 he was signed by Decca and moved to Nashville to record. His 4 singles did not give him the break and he returned to working clubs.

In Las Vegas, Derksen remembers: Charles Heston was in the audience, he stood up and shouted Bravo!, and Sammy Davis Jr walked in with an entourage of 27 people. In the 1970s Derksen worked in clubs in Seattle, in the 1980s he started performing at senior centers at the weekends and in 2005, age 73, see picture at the right, he still is doing a few hundreds of shows a year. I'd Like To Be Alone. Famous arranger George N Terry wrote a piano arrangement to the song. However on the recording no piano is heard, just guitar, bass, a little rhythm and the buzzer of the bus (special effects by Bob Farris). First release by Billy Graves was a poor monotonous rendition (the record was a #21 local breakout hit in Minnesota in May 1959). Surprisingly, this obscure record was picked up in Germany to be used for the debut record of Audrey Arno.

She was a German-born singer/ dancer of a French/ Italian circus family. Audrey later recorded in France some hit records and worked in Las Vegas' Moulin Rouge in the 1970s. She died circa 2004 in Las Vegas.

Loudermilk himself did a great version on the B-side of his Tobacco Road. In Brisbane, Australia the song was picked up by the radio and it scored a local #27 hit in July 1960, 4 weeks Top 40. Definitive killer version was recorded in Australia by Scottish born Betty McQuade, with a great back-up by Melbourne's Thunderbirds. A rock & roll classic. Betty's hit led to more Australian covers.

The song was eventually voted in a newspaper's poll The #1 Rock song of the 20th century in Australia! What is the Midnight Bus about? In the song, the Midnight Bus drove from Durham, NC to South Carolina. Loudermilk told me: In my hometown of Durham, that was the way the kids used to elope.

Now back before everybody had a car, those who either got pregnant or wanted to get married early, they just got on the bus and went down to South Carolina, 'cause you could marry at 14 down there! So they'd get on the bus and get married and come back, the next day to tell all their friends: look, we're married, ha ha!

A great song, swinging, moving, jazzy. Both ladies cover the song in a great, powerful way. Harvie Vanderpool came from a musical family.

Daddy had a gospel quartet and did local radio shows in Dayton, OH. Harvie was signed to King Records by Syd Nathan in 1954 when she was 13. Her brother Fed Vanderpool recorded as Van Houston for Columbia, he was the first to record Patches (later Dickey Lee's hit) and Statue of a Fool (later by Jack Greene and Ricky Van Shelton), but Columbia never released those two as singles as they thought they were too morbid. More about Sara(h) Northcutt, who recorded the song as 'Leav'n Woman', see section below. Sara(h) Northcutt ← publicity pic in Billboard, April 1960 → picture sleeve (spells 'Sara') and label scans (spell 'Sarah') from the obscure RKO 1840 release, later released as Boyd 1840. The record was released in April 1960, and got a 3-star review in Billboard. The fantastic 'Leav'n Woman' was described as an interesting jazz-blues effort.

Who was this Sara(h) Northcutt who recorded these 2 Loudermilk songs? For quite a time I had searched to learn more about this intriguing singer, until finally I was surprised when an e-mail came in and Sara (no h - that was their mistake) wrote to me about her career and the recording: My agent and I went to Nashville to the RCA Victor Studio to make a recording. When we got there John Loudermilk was at the studio, and after hearing me sing, he said he would like for me to record some of his songs. We went to his home and went through some of the songs, and came out with about four or five to choose from. It was John D.

That chose Leavin Woman Blues, which I dearly loved, and Don't Quit for the flip side. The Jordanaires, who usually backed Elvis Presley, were the backup group on the record.

I especially liked Gordon Stoker. He was very nice to me, and gave me some good pointers. John said he was well plesed with the record and thought it would be a hit. That was the only recording I did.

However, I even had my own radio show while I was going to the University, and eventually went to Hollywood and sang in a nightclub, Maximes on the strip. As a matter of fact, I do have a couple of publicity shots, one where I was getting on the airplane bound for Hollywood. That was a big thing back in those days.

I must say, it was quite an experience and one that I wouldn't have missed for the world. Thank you Sara for contacting me and telling me about the recording! Sara now is practising attorney in California and has been in practice over 20 years. (The Ballad Of) Baby Doe.

'Another song Marijohn and I wrote was a song about The Baby Doe, about the Matchless Mine out in Colorado. Marijohn had been out there. I hadn't been at the time, but Marijohn, of course, coming from out there in the West, had traveled extensively out there and she told me about the mine and Baby Doe. It was strictly a folk-narrative, and I thought it was a mighty good song', JDL comments in Darryl E. Hicks biography on Marijohn Wilkin. The Ballad of Baby Doe also is an American opera (!) of 1956.

Hart Curl, NC disc jockey and good friend of Loudermilk, recalls an anecdote Bill Tunstall once told him: 'John D lived in a big house with a big car, which he offered to let me drive. John and I were riding down a four-lane highway, when John got the idea for the song Amigo's Guitar. He stopped in the middle of the highway and finished the song. I never rode with John after that!' (source: Curl's Corner, thanks Mike Spicer for sending me a print of this newspaper column).

←EP-release by Dodie Stevens that included Amigo's Guitar In 1990 Canadian playwright Joan McLoad wrote 'Amigo's Blue Guitar'. In this play dealing with cultural barriers, the song has a central role.

Key character Martha sings it. Recent cover by Nashville's Laura Cantrell, who released (2011) a great tribute cd Kitty Wells Dresses. In South Africa, it was a very popular song. There were at least 4 covers in Afrikaans, translated as 'Amigo se Ghitaar' (or 'Kitaar', 2 ways to spell it).

Left the version by a Paul Robinson on an EP, probably released in the sixties. Loudermilk's signature song.

Jamey Johnson Wikipedia

Contrary to what some sources say, the song is NOT inspired by the 1933 play by Erskine Caldwell, but based on a place in East Durham that Loudermilk knew well in his youth. The song is partly autobiographical, partly not. Tobacco Road actually was a grassy strip in East Durham, where hogsheads of tobacco were rolled down to the warehouse.

So rough that the police would not venture there at night. Read the about the place. Loudermilk wasn't 'born in that dump', nor 'mamma died' and he never saw 'daddy got drunk'. But he knew Tobacco Road's reputation and actually saw it from a teenage job delivering telegrams, 'to take money orders down there every saturday night and everybody would all be drunked up' (Info based on the booklet of the Bear-cd). Tobacco Road in fact was Marvin's Alley, a street in East Durham that's now called Morven Place. In the 1950s, the alley was a crime haven, dominated by prostitution and gambling.

I was born in a dump. JDL's birthplace s at 8th and C streets in West Durham NC. JDL lived as a kid in this house, on Dezern Place, West Durham. (pics from the Old West Durham Neighborhood Association Web site). Later, John lived in Few Gardens in East Durham. Tobacco Road originally was done as a folk song.

Listen to a (Southern Folklife Collection) Loudermilks first Columbia-version still is one of the best performances of the song. Strong and sober. But the 45 rpm release didn't sell.

At the time, Billboard considered it the B-side of Loudermilk's release (Midnight Bus as A-side), and wrote: Interesting tale of a back-shack existence. The tune has a minor flavor employing a repetitive figure.

Loudermilk wrote the tune and handles it with conviction. Only place in the world where the record sold a little was Brisbane, Australia, where it reached a #27 position on the charts in 1960, though the flip Midnight Bus was chosen as the A-side at the time. Loudermilk later re-recorded Tobacco Road for his RCA and WB albums in a more country way. Lou Rawls gave the song a soulful treat, the UK band The Nashville Teens gave it the beat treatment, and afterwards the Jefferson Airplane, who knew the Lou Rawls version, recorded it and turned the song into a rock standard in the sixties. An endless string of rock, blues, garage, beat, punk etc versions since then have been recorded. Little Michael Jackson sang it on the audition sessions of The Jackson Five for Motown in 1968 (video of it circulating). In recent years many blues versions of the song came out.

Lyrics (published in UK, the Nashville Teens hit version) TOBACCO ROAD w & m by John D. Loudermilk ©1960 Cedarwood I was born in a dump, Mamma died and daddy got drunk, Left me here to die or grow In the middle of Tobacco Road. Wo wo wo Grew up in a rusty shack, All I owned was hangin' on my back. Only you know how I loathe This place called Tobacco Road, But it's home.

The only life I've ever known Only you know how I loathe Tobacco Road Gonna leave get a job With the help and the grace from above Save my money get rich I know, Bring it back to Tobacco Road. Wo wo wo Bring dynamite and a crane, Blow it up, start all over again. Build a town, be proud to show, Give the name Tobacco Road But it's home. The only life I've ever known I despise you 'cos you're filthy, But I love you 'cos you're home. (source: Country Hall of Fame No4 John D. George Hamilton IV (Feb.

1960, ABC 10090) In 1959 three young Norwegian actor-sailor-singers who worked for the motion picure 'Windjammer' formed The Windjammers, and recorded an album for RCA. On the album two unique Loudermilk covers can be found, see below. How did the group come to record these songs?

Sven Libaek, one of the Windjammers, wrote me: John Loudermilk and Chet Atkins were instrumental in signing The Windjammers to the RCA label at the time, and John and Chet produced the album. Jack Clement was credited as 'producer' on the album, however the whole album would never have happened without John and Chet and in real terms they were the producers. 'March of the Vikings' was written specially for us. 'Beatnik Bill', from memory, I think was a song that John had previously written, and he felt it suited us. The Norwegian lyrics in 'March' are based on an old Norwegian folk song.

It is actually a pretty funny story. The line: 'Kjerringa klipte lurvetufsa si' actually means: 'The old woman clipped her goat' - however, with a bit of imagination, the word 'lurvetufsa', which in the song refers to her 'goat', could also refer to a very private part of her body, and of course Norwegians have a lot of imagination. We had a lot of fun singing it live in English speaking countries, as we would always find out if there were any Norwegians in the audience when the burst of laughter would reverberate throughout the venue. All the English lyrics were of course Loudermilk's.

It was a great thrill to work with those two legends. Chet Atkins actually played on several tracks on the album and the rest of the extra musicians just improvised around the already existing Windjammer arrangements without any music being written out.

They told us to sing the songs to them once, and off they went. We were very impressed with it all at the time. Sven Libaek was to become an important composer, arranger, producer, orchestral leader in Australia. He recorded over 30 albums. March of the Vikings.

Contents. Critical reception Thom Jurek of rated the album 4 stars out of 5, saying that 'Johnson doesn't attempt to draw attention to himself, but instead, presents a series of excellent performances of Cochran's songs with himself as an anchor.' 's Stephen Deusner rated it 3½ stars, saying that Johnson and the others involved 'treat these songs gingerly, even going so far as to gently re-create the countrypolitan arrangements of the originals. If that makes the album sound overly familiar at times, it also means Johnson never strains to update these songs or argue for their relevance.' He criticized the album's length, and thought that it could have used younger artists for variety. Along with strong critical acclaim, the album was nominated for the.

Track listing No. Dooney and bourke official site. Title Writer(s) Guest vocals Length 1.

' Hank Cochran 3:04 2. ' Cochran, 4:42 3.

'A Way to Survive' Cochran, Moneen Carpenter and 3:02 4. ' Cochran 3:17 5. 'You Wouldn't Know Love' Cochran, Dave Kirby 2:43 6. 'I Don't Do Windows' Cochran of 3:23 7. 'She'll Be Back' Cochran, Dale Dodson, Red Lane 2:45 8. 'Would These Arms Be in Your Way' Cochran, Lane 3:38 9. ' Cochran, Lane, 3:10 10.

'A-11' Cochran 2:20 11. 'I'd Fight the World' Cochran, Joe Alison 3:25 12. ' Cochran 5:08 13. ' Cochran, Gosdin, 3:21 14. 'Love Makes a Fool of Us All' Cochran, Glenn Martin 3:14 15. 'Everything but You' Cochran, Willie Nelson Vince Gill, Willie Nelson, Leon Russell 3:34 16. 'Living for a Song' Cochran, Bo Roberts, David James Holster Hank Cochran, Merle Haggard, Kris Kristofferson, Willie Nelson 3:12 Total length: 53:58 Personnel Musicians.

Shelly Anderson – mastering assistant. Daniel Baciagalupi – mastering assistant. Venus Barr – production assistant. Drew Bollman – engineer.

Paul Bowman – assistant engineer. Sorrel Brigman – assistant engineer. Buddy Cannon – producer. T.W.