Sounds of the past | The Louvin Bros - Must You Throw Dirt In My Face - (Guess I’m Dumb) vs The Delmore Brothers ( + Wayne Raney) Red Ball To Natchez

 I always placed the Louvin Brothers behind The Delmore Brothers (especially with Wayne Raney!) but they are worth a listen always. I liked this one from later in 1962 . . . . . 

The Louvin Brothers - Must You Throw Dirt In My Face (1962)

Their last hit single before they broke up. 

Why must you come back now and haunt me?

The Louvin Bros - Must You Throw Dirt In My Face - Guess I’m Dumb

Why do I prefer the Delmore Brothers and Wayne Raney?

This . . . . from earlier in the late forties!

Red Ball To Natchez!

Wayne RANEY and The Delmore Brothers 

Raney was born on a farm with a foot deformity and could not do heavy labor. After learning to play harmonica at an early age, he moved to Piedras Negras, Mexico at age 13, where he played on radio station XEPN. He met Lonnie Glosson, his longtime musical associate, in 1936, and together they found work on radio in Little Rock in 1938. Later the pair worked for WCKY out of Cincinnati and played on syndicated radio. They also established a harmonica mail order business which ended up being enormously successful; they sold millions of harmonicas and played a major role in turning the harmonica into a widely popular instrument. Raney played with the Delmore Brothers in the years after World War II, then launched a solo career in 1948; his first two singles, "Lost John Boogie" and "Jack and Jill Boogie", both reached the Top 15 of the U.S. country charts. His 1949 single, "Why Don't You Haul Off and Love Me", was a #1 country hit and also hit the Top 40 of the pop charts. Raney played the Grand Ole Opry in 1953 and also worked on the California Hayride and the WWVA Jamboree. Late in the 1950s he worked as a DJ, record producer, and label owner, starting Rimrock Records. He wrote the Christian revival song "We Need a Whole Lot More of Jesus (And a Lot Less Rock and Roll)" which has been covered by numerous artists in a variety of styles: People!, The Greenbriar Boys and Linda Rondstadt, to name but three. He recorded country music into the early 1960s, including for his own label, and ceased the mail-order business in 1960. After returning to Arkansas, he recorded a gospel album called Don't Try to Be What You Ain't. Eventually he went into semi-retirement, running his own chicken farm and performing only occasionally in the late 1960s and 1970s. While he appeared sporadically on Hee Haw in the 1970s, he lost his voice in the 1980s and ceased performing; in 1990 he published an autobiography entitled Life Has Not Been a Bed of Roses. He died of cancer in 1993.

 

The Louvin Brothers and Special Guests Live At The Grand Ol' Opry 1961-1963 - FLOPPY BOOT STOMP

 Now this is what we want! Especially here on a sunny September Autumn morning!

YEEHAW!

THE LOUVIN BROTHERS

Second only to The Delmore Brothers and Wayne Raney in my book and first for many of you country folk out there (there's nobody there! ED) but Jobe has come up trumps (no, no, not that one!) this morning . . . .gimme that ole time religion! Yes sirree Bob!

The Louvin Bros (and Special Guests!) - The Grand Ole Opry 1961-63 - Floppy Boot Stomp

Brother Jobe he say:

"     Ladies (if we have any that follow us) and gentlemen I present to you "The Doors" of country music The Louvin Brothers. Jim Morrison, in this case is played by Ira Louvin. These are some of the things Ira did. In a drunken haze called his mother a "bitch" to which Charlie (the smaller one) proceeded to beat the shit our of Ira. Ira tried to strangle his third wife with a telephone cord which earned him six bullets 4 in the back, 2 in the hand. Called Elvis a white n-word which cost them in the long run when E never recorded any of their songs. Coming onstage (drunk), told his audience "Who let all these fucking drunkards in?" When he couldn't tune his mandolin would simply destroy it on and off stage. Born into poverty in Alabama with an abusive father that beat them relentlessly but a mother who taught them about singing. I could go on talking about their album titles "Tragic Songs Of Life," "The Two Sides Of The Louvin Brothers," "Satan Is Real" which the cover designed by Ira with a statue of Satan (which the brothers built) and fire and brimstone that almost got out of hand and fried the brothers. Loved by Gram Parsons, Emmy Lou Harris, Marty Stuart and many more. The irony of Ira dying in a car crash caused by a drunk driver while Ira had a warrant out for a DWI. Charlie going to the crash site and finding Ira's mandolin, (that Ira had built) without a scratch. And many many more harrowing tales. You should look into their career. Also if you're a fan of country music and not the bullshit that goes around calling itself country music you'll love this. One more thing about the commercials on this post, my broker advised me to buy stock in "Pet Milk" (look it up) and every time you buy a can, give it a mention, or pour it from the packet I get a residual. So I figure in a couple of weeks I'll be rolling in it and I can give up this shabby hobby once and for all. "

Oh you wanted more?

WAYNE RANEY

with The Delmore Brothers . . . . peerless stuff

I wish I had been born in Wolf Bayou, Arkansas!

and a favourite. . . . . . 

Wayne Rainey was born in Wolf Bayou, Arkansas. He started playing the harmonica at an early age and never stopped. He attended high school in Concord, Arkansas. He would wear the harmonica around his neck as he worked the farm fields, playing it when he could take a break. In an article around 1950 or so, they said he could remember the days when he would hitchhike from town to town in almost every state in the union and playing for whatever money he might be able to pick up at clubs and cafes. And he did this during the depression when jobs were scarce. 
As luck would have it, he was in a small town in Texas around 1934 and went into the local pool hall and started playing for the people there. The folks there liked him so much, he collected all of $3.75 for his efforts. It turns out the local radio station manager was there, too and immediately hired him to work for the station - XEPN out of Eagle Pass, Texas. And his musical career was off and running. 
He got married to his wife about 1942 or so and they had two kids when the article appeared in 1950, Wanda and Zyndall. 
Wayne was also a prolific songwriter and had already written over sixty tunes by then. The most popular of them was "Why Don't You Haul Off And Love Me?". They cite King records as mentioning that it had sold over a 500,000 copies of it. And was made even more popular when about a dozen other recording companies had artists covering it. 
Alton Delmore (December 25, 1908 - June 8, 1964) and Rabon Delmore (December 3, 1916 - December 4, 1952), billed as The Delmore Brothers, were country music pioneers and stars of the Grand Ole Opry in the 1930s. The Delmore Brothers, together with other brother duets such as the Louvin Brothers, the Blue Sky Boys, the Monroe Brothers (Birch, Charlie and Bill Monroe), the McGee Brothers, and The Stanley Brothers, had a profound impact on the history of country music and American popular music.

What dang fool said who are

The Delmore Brothers . . . . ?

Here with Wayne Raney . . . . . . . .






and on their ownsome later playing' electric geetar!



Bob Dylan was quoted in the Chicago Tribune, on November 10th 1985 as saying
 "The Delmore Brothers, God, I really loved them! I think they've influenced every harmony I've ever tried to sing

Alton Delmore (December 25, 1908 - June 8, 1964) and Rabon Delmore (December 3, 1916 - December 4, 1952), billed as The Delmore Brothers, were country music pioneers and stars of the Grand Ole Opry in the 1930s. The Delmore Brothers, together with other brother duets such as the Louvin Brothers, the Blue Sky Boys, the Monroe Brothers (Birch, Charlie and Bill Monroe), the McGee Brothers, and The Stanley Brothers, had a profound impact on the history of country music and American popular music The brothers were born into poverty in Elkmont, Alabama, as the sons of tenant farmers amid a rich tradition of gospel music and Appalachian folk.[1] Their mother, Mollie Delmore, wrote and sang gospel songs for their church. The Delmores blended gospel-style harmonies with the quicker guitar-work of traditional folk music and the blues to help create the still-emerging genre of country. In addition to the regular six-string acoustic guitar, the duo was one of the few to use the rare tenor guitar, a four-string instrument that had primarily been used previously in vaudeville shows.[2]
In 1925 Alton wrote his first song "Bound For the Shore" at the age of 13, (co-written with his mother). It was published by Athens Music Co.[2]
The Brother's did their first recording session for Columbia in 1931, recording "I've Got the Kansas City Blues" and "Alabama Lullaby", which became their theme song.[3] They signed a contract with Victor Records budget label Bluebird in 1933 and became regulars on the Grand Ole Opry variety program. Within three years, they had become the most popular act on the show.[4] Disagreements with Opry management led to the brothers leaving the show in 1939. While they continued to play and record music throughout the 1940s, they never achieved the same level of success they had with the Grand Ole Opry.[4]
In 1941, their song "When It's Time For The Whippoorwill To Sing" made the Billboard "Hillbilly" top three and by 1946 they had expanded from their acoustic two-piece arrangements into a full band, with bass, mandolin, steel guitar, fiddle, harmonica, and additional guitars. Some of those additional guitars were supplied by Merle Travis. The most important backup musician on these sides was Wayne Raney,[4] who played a "choke" style of harmonica that was heavily influenced by the blues. The Delmores were also leaning increasingly towards uptempo material that reflected the upsurge in Western swing and boogie-woogie.
By the end of 1947, they were also using electric guitar and drums. Raney (who also sang) in effect acted as a third member of the Delmores in the late '40s and early '50s, when they plunged full-tilt into hillbilly boogie. These are the most widely available and, in some ways, best Delmore Brothers sides. They were also the most successful, and in the late '40s the brothers reached their commercial peak, releasing a series of hard-driving boogies with thumping back beats and bluesy structures.
The Brothers recorded "Hillbilly Boogie," "Steamboat Bill Boogie," "Barnyard Boogie," "Mobile Boogie," "Freight Train Boogie," and even "Pan American Boogie." These were exciting performances featuring extended guitar solos that clearly looked forward to the rock era.
Their best-known song, "Blues Stay Away From Me," is regarded by some as the first rock and roll record. It was covered by Gene Vincent and the Blue Caps.
Rabon died of lung cancer in 1952.[4] Following Rabon's death, Alton suffered a heart attack, the loss of his father and his daughter Susan, all within a three-year period. He moved back in Huntsville, Alabama. He taught some guitar, did odd jobs, and devoted his creative energies to writing prose. He wrote a series of short stories and his autobiography, Truth is Stranger than Publicity, published posthumously in the 1970s.[2]
Over the course of their careers, the Delmores wrote more than one thousand songs. Some of the most popular were Browns Ferry Blues, Gonna Lay Down My Old Guitar and Fifteen Miles from Birmingham.[4]The Delmore Brothers were inducted into the Alabama Music Hall of Fame in 1989 and the Country Music Hall of Fame in 2001. Their pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame.[3]