One of country music's most distinctive voices and legends was a man
born on a ranch in a small town called Crisp, Texas that fans worldwide
came to know as the Texas Troubadour, Ernest Tubb. You may not find
Crisp on any map, as a quote attributed to Ernest might attest
to "it's hardly a wide place in the road." He considered San Antonio
his home town for that's where he had spent much of his early life.
His story and career
many will know already, but it's a story worth telling over and over
about a man who left his mark and influence on the music he loved dearly.
On more than one occasion in his early song folios, it was mentioned
that Ernest couldn't really recall when he first started singing
or performing. His youth was spent on the farm and ranch but when
work was done, he would attend the local old time dances, that seemed
to be a part of the scene in many a rural area. And it was there
that he started his entertainment training, by singing "...the old time
songs accompanied by the small string bands that played for these gatherings."
Like many singers, Ernest found an interest in music and singing
at an early age. While growing up in Texas, Ernest found his musical
inspiration in the Blue Yodeler himself, Jimmie Rodgers as many did back
then and still do today. Jimmie Rodgers was more than just a passing
interest for Ernest - he started off trying to sing like his hero,
but once he lost the ability to yodel, he still found other ways
to honor the man. But that's getting ahead of the story a bit. We'll
see how Jimmie Rodgers was a part of his career as we tell Ernest's story.
The beginning of this legend's career found him playing his first
mail order guitar with a string band over a station in San Antonio.
He found work initially singing over radio station KONO in San Antonio,
Texas. But his popularity was such that he soon had his own program.
singing the many tunes of Jimmie Rodgers he had learned by listening
to the records of his hero and would do his own renditions on his radio
show, accompanying himself on his guitar. He even wrote a song
about that first experience, "When I First Began To Sing." We learn
along the way that while he had the desire to be a singer and radio
star, the reality was that those jobs didn't pay enough to make ends
meet. He took a job with a local drug store, becoming manager but
kept up his efforts on the radio in his spare time.
About this time in Ernest's life, Ernest had met a lady named Elaine Cook.
They were married on May 26, 1934. Like many country songwriters,
they found their inspirations for their tunes in their own
life experiences. Ernest found inspiration in his wife
and the song "Blue Eyed Elaine" is testament to that. Even Gene
Autry recorded the tune for the OKeh label. An early article
indicates that she did some singing herself and while they were
in San Angelo later, actually made some personal appearances
with Ernest. But raising two children was demanding of
her time and efforts and she retired from performing.
Ernest and Elaine had two children, daughter Violet Elaine who was affectionately
known as Scooter Bill and son, Justin Wayne, who later grew up
to be a country star and member of the Grand Ole Opry himself.
We mentioned Ernest's songwriting and where he got his inspirations
these early days in his career. There are other early tunes that he
wrote that gave us some insight into what was happening in his life
then, intended or not. Tunes such as "My Baby and My Wife", "Our Little
Yodeling Boy" and the sad tune, "Our Baby's Book", perhaps a way for
Ernest to deal with the grief they felt at the loss of their son,
Rodger Dale Tubb (born July 19, 1938, died September 9, 1938),
when he was only seven weeks old. In a 1969 interview, Ernest talked
about this song. He said he never mentioned it was a true song until
about ten years after he released it. Yet, he said in the first year
or so after it was released, he had heard of nearly 300 babies that
were named Rodger Dale. He said, "The people, they didn't have
to ask if it was a true song, and I still run into people that mention
it to me and introduce their children as Rodger Dale."
In an early article on Ernest's career, it tells of how Ernest found
himself one day looking through the telephone directory for San Antonio
and finding the name, Mrs. Jimmie Rodgers. As one who idolized Jimmie,
Ernest took a chance and when he found it was indeed the wife of his
idol, struck up enough courage to introduce himself and ask if he could
get a picture of Jimmie, how Jimmie was his idol and invited her to
listen in to his programs on KONO. She graciously took the time and
fulfilled his request for the photo, but not much else was heard from
her after that for a time. Mrs. Rodgers wrote in a letter to the Ernest Tubb Fan Club journal
in the Winter of 1958, that she had first met Ernest in 1936.
But the listening audience for his programs now included Mrs. Jimmie Rodgers,
or Carrie as she was known. She took a liking to Ernest's singing and efforts. Eventually,
Ernest got to meet and know her, establishing a life-long friendship.
Mrs. Rodgers so liked Ernest, that she gave him the guitar that Jimmie
had used. She encouraged Ernest, and in fact also tried to help promote
him for a time, too, becoming his manager. She also encouraged Ernest to sing in his own
style rather than trying to copy Jimmie.
We can read of her endorsement of Ernest in one of the early song folios
published by him, whether her words or the words attributed to her
by a writer at the publishing company, the sentiment is there:
Of all the artists I've auditioned since the passing of my husband,
Ernest Tubb is my choice. I think America's Blue Yodeler would have been proud
of my having selected Ernest Tubb to sponsor as he has proven worthy in every respect.
He has the voice, personality and ability to put the feeling into his
songs that have won him many admirers among Jimmie's fans and Ernest is
very grateful, as Jimmie Rodgers has been his inspiration since his youth.
For radio work and personal appearances, as well as recordings, I am
proud to extend to Ernest the privilege of using Jimmies famous guitar,
for which privilege he has expressed his gratitude.
MRS. JIMMIE RODGERS
Then it came time to leave San Antonio, and his career took him
to San Angelo, a town in southwest Texas. He was based there for a
few few years, working for a mattress company, who also sponsored
his show. During this time, he hooked up with the Victor Company
and recorded eight sides for their Blue Bird label during 1935 and 1936.
He was later signed by Decca records and did his first record for them
in April 1940.
In early 1941, Ernest moved to Ft. Worth and began doing several
programs over radio station KGKO. It was a different spot for him
this time for the radio job was his only job. His initial
pay was on the low side, but soon, a sponsor, Universal Mills
stepped into the picture and helped Ernest get more visibility.
It was around this time he wrote the all-time country classic tune,
"Walking the Floor Over You." By this time he had also secured
a recording contract with Decca and when this song was finally released,
it was a bonafide hit and topped the jukebox hit parade. Among the notables
that recorded his tune was the pop crooner of the day, Bing Crosby.
With his recordings becoming favorites of the fans everywhere, it
opened doors for him as you might expect - the movies were one, an
aspect of his career that we touch on elsewhere in this essay. Ernest
had also been with Decca records for three years now. Then came
the famed WSM Grand Ole Opry.
We learn in a question and answer type column in the Winter 1958 issue
of his Fan Club Journal, Melody Trails, of how the Opry came calling
on him. He mentions that Constance Keith, of Birmingham, Alabama mentioned
Ernest Tubb to J. L. Frank after one of Ernest's appearances in Birmingham.
That led to a guest appearance on the Grand Ole Opry in January of 1943.
He said they then asked him to stay as a member of the cast.
This appears to have happened a bit after
the release of "Fighting Buckaroo".
Another life-long fan of Jimmie Rodgers also joined the Opry
about the same time as Ernest and would become one of his friends,
the Singing Ranger from Canada, Hank Snow.
Along the way, Ernest and Elaine parted ways and divorced. On June 3, 1949,
Ernest married his second wife, Olene, who's birthday is on January 26.
Together they had five children:
- Erlene Dale, born March 25, 1951 (Easter Sunday)
- Olene Gayle, born March 4, 1952
- Ernest Dale Tubb, Jr., born December 12, 1956
- Larry Dean Tubb, born May 28, 1958
- Karen Delene, born May 1, 1960
By the late 1950s, there was a new singer and sound being heard on
the radio waves causing quite a stir, especially among the younger
crowd. A fellow by the name of Elvis Presley had come of age. But
while perhaps country music struggled a bit to retain its audience
or even define itself, Ernest's popularity with the fans didn't seem
to lose much. In the fall 1958 issue of his fan club magazine, "Melody
Trails", they list a couple of popularity polls from radio stations. One
poll from a Louisville station (call letters unknown) shows that in
Spring of 1958, Ernest was number two in popularity to Marty Robbins
at the time and finished ahead of other legendary artists such as
Ray Price, Johnny Cash, Carl Smith, Hank Snow and Hank Williams.
Another poll from radio station WKNX in Saginaw, Michigan, showed
that Ernest was still in the Top Five there, finishing behind Faron
Young, Elvis Presley and Johnny Cash.
Off and on we find a few tidbits about Ernest beyond the singing
and performing that articles of the era often did. Such as
he enjoyed movies and boxing. Reading was a past time of his and
Zane Grey was one of his favorite authors. His favorite color was blue.
He mentions once he would have been a writer if he had not done
singing for his career. Though one might state that his songwriting
may qualify a bit as 'writing' in one sense. His home he shared with Elaine
when they lived in Nashville - considered a rest haven from the days, weeks
and months on the road included horses, "...a big bunch of white leghorn
chickens and several dogs."
The Texas Troubadours
One aspect of Ernest Tubb aside from that distinctive voice and manner
was the "sound" he achieved and was known for on his recordings
and his personal appearances. The band through the years contained
many names fans will remember.
While with WSM at one time, he had a full broadcasting schedule
over the air. On Saturday's he would host the Opry House Matinee
show that was carried over the Mutual Broadcasting System radio
network. The show was on from noon to 1:00pm CST, sponsored
by the Ralston-Purina Company. The broadcasts originated
from the Princess Theatre in Nashville. Later in the day,
from 7:00pm to 7:30pm, he did a show sponsored by Carter's Champion
Chicks. Ernest would handle the emcee chores and the band was a
part of the entertainment, too. His band back then included
Jimmie Short on the electric guitar, Leon Short on the straight
guitar, Johnny-boy Sapp on the fiddle, Ray "Kemo" Head on the electric
Hawaiian Steel guitar and "Little" Jack Drake on the bass.
Late in 1956, The Texas Troubadours consisted of Dickie Harris, Jack Drake,
Rusty Gabbard and Billy Byrd. Arthur "Rusty" Gabbard was a bit of an
star on his own for some time - at one time he had his own group,
Rusty Gabbard and the Valley Boys around 1950. He was also a songwriter,
writing or sharing writing credit on such tunes as "Would You Like
To Have A Broken Heart", "I Suppose", "You Can't Pick All The Roses",
and the country classic he penned with Ray Price, "I'll Be There (If You
Ever Want Me)".
The talents that Ernest had in the Texas Troubadours is legendary perhaps.
The band was also part of many of his other efforts early in his career,
not just the long and winding road of personal appearances. They were
also in the movies he did in Hollywood - in one movie, he had Jimmy
Sapp on fiddle, Jimmie Short on electric guitar, Leon Short on straight
guitar and Tommy Paige on bass fiddle.
Billy Byrd is probably one Troubadour most associated with the "Ernest Tubb style"
than most, with that unique guitar sound that is found in many of Ernest's recordings.
But Billy had quite a career himself. He had worked with the Francis Craig
Orchestra, Wally Fowler's Quartet, Owen Bradley before becoming a member
of the Troubadours.
Rusty Gabbard was a recording artist in his own right before becoming a part
of the Troubadours. While with the group, Rusty handled the emcee chores
for their shows and was on the MGM Record label.
Ray "Kemo" Head was one of the original Texas Troubadours, and left for
a while before rejoining the band again in 1957 or so.
Cal Smith, was a member of the Texas Troubadours later on in Ernest's career,
and became a star in his own right with such hit classics as "Hello Country Bumpkin"
and "The Lord Knows I'm Drinking".
Jack Greene became a member of the Texas Troubadours in June of 1962 and went on to
his own career, recording the all time classic, "There Goes My Everything"
as well as "Statue of A Fool" and a long-time member of the Grand Ole Opry, too.
But he was a seasoned pro prior to joining Ernest, Jack was singing and performing
on radio and TV with various other groups from 1944 through 1958. He was in the military
from 1951 to 1953, where upon return to a normal life, became a member
of the Peachtree Cowboys that had a show on WSB-TV in Atlanta, Georgia. In 1958,
he formed his own group, The Cherokees.
With the long road tours and personalities, the band had its share
of turnover over the years, with some members leaving for a while to only
be talked back into joining Ernest. And as you can see, he did find
some talent along the way that was a part of his sound and shows.
The Midnight Jamboree
One of the lesser documented facets of his career was the radio show
he started after joining the Opry - the Midnight Jamboree. He had
opened a record shop on Broadway in Nashville, just around the corner from the
Ryman Auditorium where the Opry was, giving him a ready made customer
base as fans would be sure to see it and stop in while in town to see
the Opry. Today, some folks might call that knowing your target market.
Other stars would find it in them to open up similar endeavors on Broadway.
Hank Snow at one time had his own music store where he would provide
musical instruction. The author remembers one visit to Nashville,
rummaging through Little Roy Wiggins' Steel Guitar City and has a Jim Reeves
song folio as a memento of that visit. Today, many of those stores are long
since gone, but the original Ernest Tubb Record Shop is still there on \
Broadway, even though the Midnight Jamboree is now held at the Music Village
store near Opryland. But we digress.
Some Opry stars found it beneficial to buy advertising time on the Opry or over
WSM. Roy Acuff had done so to promote his song books and he relates in his
autobiography how those song books enabled him to raise his lifestyle
and better able to pay his band and bills. Ernest wanted to promote his
Record Store of course and did so in a sense with the Midnight Jamboree
that came on immediately after the Opry's last round of applause was heard.
The Midnight Jamboree turned into a bit of history and institution in and
of itself. Perhaps by Ernest's own business savvy. Perhaps out of a desire
to help up and coming artists or local regional artists get a chance
to be heard over a clear-channel radio station such as the famed WSM. Perhaps
out of being at the right place at the right time. The Jamboree struck a chord
with the listening audience and found its place in country music history.
The show was seemingly informal for the most part as its emcee Ernest Tubb
set the tone. Early on in the show's history, Ernest devoted a spot in the
show where a song by his hero, the Blue Yodeler Jimmie Rodgers was featured
and there would usually be some "special" going on for fans to buy a record
(or today a CD) by Jimmie. That tradition is still carried on today.
Beyond the setting in the record shop and promoting not only his recordings,
but also those of the artists who stopped by to appear on the show, he put
the spotlight on some of the young talent of the day. Through his many
travels on personal appearances, Ernest's shows would often include a performer
or two from the local areas where he was appearing as part of the show and would
usually be part of the opening acts. This gave them a chance to be heard
by a larger audience. Ernest seemed to enjoy encouraging these performers,
asking them to tour with them while they were in the area or inviting them
to Nashville to appear on the Midnight Jamboree.
Perhaps it was his way of laying a foundation of goodwill for country music
in doing so. But appearing on the Midnight Jamboree and being introduced
on the air by him was for some a night that is forever remembered and a story
often told back home to fans. Read the story of Ray and Kay, the Banjo Kids
and Ray's appearance on the Jamboree. For some, they got a chance to live
that dream in Nashville and the music business and perform on a national
stage and took that joy lasted in their hearts for years to come. For some,
that visit led to introductions by Ernest to others in the business - a chance
to make contacts. Some would get offers or encouragement. Some would be able
to make the move or the next step. Some would not. Each of those trips has
their own story, their own memories.
In June of 2002, we had the opportunity to take in the Midnight Jamboree.
Yes, Ernest is gone. But it is still unmistakably a tribute to Ernest and
his career. No longer do folks have to stand in the aisles of the record store,
there's now a small theatre for folks to take in the show. The emcee during
our visit was another link to country music's history - Carol Lee Cooper,
daughter of Wilma Lee and Stoney Cooper. The opening strains of Ernest's famous
hit "Walkin' The Floor Over You" still opens the show. A tribute to Jimmie Rodgers
is still done. True to another tradition of Ernest, the Osborne Brothers introduced
an act making their very first appearance on the national radio stage, much in the
way that Ray did decades ago. You could see that nervousness. But once that first
chord was struck and the first notes sung, they had the attention of their audience.
They were a family gospel singing group, with one teen-aged gal leading the way
on harmonies. They got a rousing ovation from the audience. And Sonny Osborne
couldn't help but comment and tell folks about the nervousness that people feel
when they go stage at such a performance. He spoke of the fear they all felt at one
time, but when the time comes, the innate talent takes over. He smiled as one who
had been there done that. And you just know somewhere in the wings, Ernest was
offering up his own round of applause and smiles.
A September 1973 feature article on the Midnight Jamboree lays testament
to the impact the show had:
"Possibly the largest single contribution
the "Midnight Jamboree" has made is to allow unknown country entertainers
an opportunity to reach a national, even international audience."
That's not to say that only unknown artists appeared on the show. The same
article fills us in on the many stars that were on he show before they
found their place in the hearts of fans such as Johnny Cash, Elvis
Presley, the Wilburn Brothers, Charley Pride and Loretta Lynn. In fact,
Loretta's stints on the Jamboree were so popular that one night when
the Opry was short-handed, they called on her to fill a spot. She eventually
did more than that in her career. Tennessee Ernie Ford was on the show
one Saturday night about to sing a song called "Anticipation Blues", about
a father-to-be and wouldn't you know it, he received a call that night that
his wife had just given birth and he announced the news to the fans and
treated them to the song.
Interestingly, that same article seems to have a bit of a misstep about
his first hit when he first became a regular on the Opry in 1943. The 1973
article says that Ernest did the show when Quote. "I Walk the Line", his biggest
seller, was a hit. Unquote. We think maybe they meant to refer to "Walkin'
The Floor Over You". Ernest also mentioned that he never signed a contract
with the Opry, so he always joked, "...they can't fire me because they never
Such a legacy is perhaps lost in today's Top 20 or 30 playlist mania or the
aim to please some demographic segment of a market that an executive somewhere
thinks a pot of gold exists. But before someone can reach that stage, one has
to be seen and heard. Or at least a chance to be seen and heard. A show such as this
is needed. To the stars who carry on this tradition, for finding that
talent they hear during their travels and giving them their chance - shows
a heart in the right place, for someone has to be able to nurture the next
generation that will follow them.
Hollywood and Movies
Early in his career, he tried his luck with Hollywood as many stars
did back then, usually in western movies or some type of other setting
that allowed them to include a few tunes. In one of his song folios
we found news of his starring roles in a couple of Columbia Pictures
movies - "Fighting Buckaroo" and "Riding West", co-starring
Charles Starrett. Perhaps in a sense, these were ahead of their times
for back then, they had no "MTV" or "CMT" or "TNN" to play such 'videos'
of their musical efforts. They were used to reach audiences and
of course, to spark interest in their recordings.
During his early years when his and other Opry stars popularity was
such that Hollywood beckoned to make movies, albeit, perhaps more
or less B-movies, or preludes to today's videos that showcased
their musical talents, but nonetheless, we have several of efforts
that were of note in this early part of his career. One
was "Fighting Buckaroo" made for Columbia Studios in 1943. This featured
Columbia's western star at the time, Charles Starrett along with
Kay Harris and Arthur Hunnicutt.
In 1944, Ernest
also appeared with Starrett in the flick, "Riding West" and as you
might expect, also did a few tunes. The cast of characters included
Shirley Patterson, Arthur Hunnicutt, Wheeler Oakman, Blackie Whiteford,
Clancy Cooper, Billy Wilkerson and others. Fans also got to see Johnny
Bond (who co-wrote "Tomorrow Never Comes" with Ernest) along
with the Texas Troubadours of the day.
The year of 1944 also saw him appearing in a movie for Republic called "Jamboree", directed
by Joseph Santley. Some of the supporting cast that Ernest worked with
on that movie included Rufe Davis, George 'Shug' Fisher, Don Wilson, Freddie Fisher,
Ruth Terry and Edwin Stanley among others.
Another effort was the 1947 movie "Hollywood Barndance" which starred Ernest Tubb
and had as the leading lady, Lori Talbott along with others such
as Red Herron, Helen Boyce, Frank McGlynn Sr., Phil Arnold, and
Ann Kunde. An interesting aspect of
this picture is Ernest as a clarinet player. We also get to see
on screen, Jack Guthrie. Jimmie and Leon Short, Texas Troubadour members
are also in the movie. The movie seems
typical of some of the country music films of that era, a loose story
woven together that also included their band in roles and offered
up situations to let them showcase their songs of the day. Maybe in
one sense, they were decades ahead of what we now take for granted on those
musical cable TV channels. While these may not have received Academy Award
consideration back then, the fans flocked to them - in 1947, the Hollywood Barndance
had fans standing outside the Rialto Theatre in Dallas to see this film starring
one of their own native sons.
The Song Books / Folios
Along the way, Ernest learned the value of the song folios not
just to allow fans a chance to play their favorite tunes by the artist,
but also as a way of adding a personal note to keep in touch with
fans and provide a bit of news and promote his latest efforts. And
he'd always thank the fans for their support and others who had helped
him in those efforts.
Country music stars through the years learned that one way to gain fan
interest in their music as well as earn a few extra dollars beyond their
recordings and personal appearances, was the song folio. It enabled the fans
to take home the music of their favorite star to play themselves. Roy Acuff
has mentioned how it enabled him to take a step up the ladder in his career
and better able to take care of his family and band. Ernest was quite prolific
in the number of song folios we have come across doing our research.
We would also state that Ernest was quite generous to his fans in what he
included in those song folios. In some cases, certain publishing houses,
American Music, for example, would often not include not much more than a photo
on the cover and just the songs inside - no little personal tidbits or other
photos. But fans weren't the only audience, in one folio, he thanked fellow
radio artists of the day for favoring him and playing his tunes, too, adding
to his popularity.
But in the case of Ernest, we'd often find what seems like family photo albums
he was sharing with the fans, letting them get to know him a bit better beyond
the songs and stage. We'd see pictures of his wives, first Elaine, then later,
Olene. We'd see pictures of his kids as they grew up. Scooter Bill and Justin
who later sang also. We'd get to see pictures of his motion picture efforts.
And the Texas Troubadours were also featured - giving you a sense of the history
of his band through the years. Or at least through the 1950s.
In the early 1950s, we got to see a bit of the pride he had in helping put
together the original Jimmie Rodgers Memorial Celebration in Jimmie's home
town of Meridian, Mississippi with his close friend, Hank Snow and also
Jimmie's wife, Carrie.
And of course, we'd get to see some nice portrait shots of Ernest - sometimes
in the cowboy hat, sometimes without. Or other casual or informal shots.
If you haven't already, you should pick up a copy of Ronnie Pugh's autobiography
of Ernest Tubb and give that a read. In the first song folio by Ernest,
you'll learn of the influence that Jimmie Rodgers' widow, Carrie had on
his early career. That photo on the cover was a borrowed tuxedo to give him
a professional look. And of course, being able to play Jimmie's guitar, too.
Ernest seemed devoted to the singing idol he held dear to his heart - not just
in trying to emulate him when he first started, but all through his career as you'll
In one of those folios, he mentions they found with the fans, maybe embellishing
the actual sales numbers a bit, but still showing that they struck a chord
so to speak with the fans.
"I am most grateful for your enthusiastic reception of my No. I radio
song book. Literally hundreds of thousands of nice letters have filled
my heart with gratitude to each of you. This widespread interest has
indicated to me that when so many of you asked me to publish another
radio song book you really meant it."
We also learned of where he got his inspirations for the songs he wrote
early in his career.
"These songs were written from my own experiences in life or taken from
the lives of others whom I came in contact with in days gone by. I
believe that you will find them to be, simple and honest and I trust you
will feel the sincerity in which they were written."
Melody Trails - The Ernest Tubb Fan Club Journal
From the earliest days of his career, Ernest Tubb had a fan club that
also published a fan club journal, Melody Trails. We've been lucky enough
to find a good number of the mid to late 1950s issues of these publications
a time when the President and editor of these publications was Norma Winton Barthel.
These are not your run of the mill publications either, for the quality of
the printing rivals the numerous radio station publications we've seen through
the years in their coverage. What we find in those publications perhaps just
reinforces what we've learned about Ernest, the family man, his devotion to the
fans, the Texas Troubadours, his idol Jimmie Rodgers and lending a hand and
promoting up and coming artists to get a bit of exposure. We see it all in these
Melody Trails started in 1945. And was published for many years. By 1958,
it was no longer being published monthly, for it had changed to quarterly
issues. But still containing the newsy items of Ernest and his career and
others. These issues were about 16 pages each and of a half-letter size,
similar to some of the radio station publications of the day such as KMA out
of Shenandoah, Iowa or KWTO in Springfield, Missouri.
There would be regular articles by Norma Winton Barthel, a column such as "Just
Driftin' With Norma...". There would be the latest news on Ernest and
his family or the Troubadours; a plug for his latest recordings; tour dates
and other goings on. Fans could read about the annual Jimmie Rodgers' Memorial
Day Festival in Meridian, Mississippi. They'd also see a common courtesy mention of the
fan clubs of other stars with a paragraph or two of them and where fans
could write to join the fan club. We have several old fan club magazines
from that era that were mailed to Ernest at the record shop and thankfully
he or someone was a bit of a pack rat and saved them for reading down the
road and finding their way to us. They'd make mention of Ernest or list
him as an honorary member.
Fans also got to enjoy write-ups of other stars of the day, some written
by the legendary country music journalist, Floy Case. She'd write an article
about a star such as Charlie Walker or Carl Perkins and had a column called "Down Blue Bonnet Way".
Fans would also read articles by Mae Boren Axton.
We make mention again of Ernest's efforts to promote some of the younger talents
of the day, to give them some exposure. The Midnight Jamboree was one of those
conduits. His fan club newsletter was no different. Often fans would find
short articles on such newcomers as Norma Lee, Carl and Cliff, the Country Cut-Ups,
Herschel Parker, Gale Southern, Marian Hall, Ken Marvin, Gary Williams, Glen
Douglas and more.
The newsy format and details provided in many of the columns are close in
spirit to the early publications such as Mountain Broadcast and Prairie Recorder
or National Hillbilly News in nature that country music publications seemed
to copy in some aspects through the years. They catered to the fans and the
folksy style lent itself well to that, inviting the fan to read a bit about
an 'adopted family' member if you will and getting the privilege of meeting them
when he came to their area. To have a fan club publication last longer than
some country music publications gives you an idea of not only the fan
base that Ernest had, but also the quality of what he gave the fans in return.
In today's modern era, Willie Nelson has become known for the many
duet albums he's done with many artists, sometimes not exactly
from the country music field. But even before Willie did that,
Ernest was doing something similar back in his hey day and through
Some of his earliest hit recordings were duet efforts he did with
another legendary Grand Ole Opry star, Red Foley. Sometimes they were
the fun tunes such as Tennessee Border No. 2 or Too Old To Cut The Mustard,
but the fans enjoyed them. With Red Foley, he had four top ten hits from
1949 to 1953, including the number one hit, Goodnight Irene.
Then there was his pairing with the Andrews Sisters on Decca in 1949,
which also resulted in a couple of Top Ten hits.
There was a record with another popular Decca act, the Wilburn
Brothers, "Hey, Mr. Bluebird" in 1958, that was a Top 20 hit for them.
The mid-1960s saw him team up with a new Decca recording star, Loretta Lynn.
While the pairing didn't result in any Top Ten hits, their first duet, Mr. and
Mrs. Used To Be was on the charts some 23 weeks and peaked at No. 11. Though
we see they also did what appears to be a novelty tune that catches our eye,
"Who's Gonna Take The Garbage Out".
Another effort of collaborations was a surprise to Ernest. While doing a session
with First Generation records for what would be known as the "Legend and Legacy"
collection, unbeknownst to Ernest, the producer, Pete Drake, had started getting
other artists to add their vocal or instrumental tracks to the recordings
to provide a modern day collection of duet efforts.
Late in his career, one of the last appearances he made on record was
a novelty number that Waylon Jennings and Hank Williams, Jr. did, "Leave
Them Boys Alone."
Jimmie Rodgers Memorial Day Celebration
You've seen several mentions of Ernest's efforts with fellow country singer
Hank Snow to originate a day to commemorate their idol, Jimmie Rodgers
in his home town of Meridian, Mississippi. Many artists will talk of who
influenced them or inspired them, but how many will go the lengths that
Ernest and Hank did to create a festival honoring their idol that would
last for years and generations?
The Jimmie Rodgers Memorial Day celebration was an event in an of itself.
It took some work by the two artists to bring it about. As part of it,
they had a rail spur built to where the memorial would be. A fireman
from the last ride by Casey Jones attended the celebration. The coverage
was astounding to say the least by the local newspaper and picked up by
other newspapers elsewhere. But fate wasn't kind to Ernest at that first
celebration - he was unable to attend it. Ronnie Pugh's book touches
on this aspect in more detail that we can go into based on what we've found.
Hank Snow's autobiography also offers a detailed account of how he and Ernest
came to put together and sponsor a tribute to the man they both idolized.
Early in the history of this tribute, a senator from Mississippi introduced
a bill in the Senate to declare that May 26 would become "National Hillbilly
Music Day" and so it was for the first few years. But as we know, for a while,
there was a stigma attached to the term "hillbilly" that caused some thought
and eventually the day became known as a tribute to Jimmie Rodgers.
Ernest and Hank also worked the publicity angle for the tribute, too. Of course,
Ernest publicized it in his fan club newsletter, Melody Trails. But it also
got heavy play in the industry publications such as Cashbox, which ran a cover
photo of Ernest, Hank and Mrs. Jimmie Rodgers in 1954. We have a copy of the
May 31, 1953 edition of the Meridian Star that includes an article of a telegram
received from Ernest stating that the Tuesday edition of the Meridian Star
covering the "National Hillbilly Music Day" was "...the best coverage I have
ever seen by any newspaper of any event."
As part of that first event, they had a steam engine along with four coaches
filled with entertainers and guests ride along specially laid tracks to
the park where the Jimmie Rodgers Memorial would be located. The train
would be a monument to the railroadmen who founded Meridian. And along side
it would be the Italian marble monument to Jimmie Rodgers. The governor
of Tennessee, Frank Clement was the principal speaker and presented Jimmie
Rodgers Snow, the then 17-year old son of Hank Snow with a guitar once played
by Jimmie Rodgers. The UP article stated that after the ceremonies, "...dancing
and singing in the streets will go on as long as anyone is awake to listen
or lift his feet."
Waltz Across Texas
Besides his signature classic tune, "Walkin' The Floor Over You", one song
that is identified with Ernest and become a classic itself is "Waltz Across
Texas". The 1965 recording didn't reach number one, but has always been a
fan favorite. Even nearly 16 years after his death, the tune co-written
by Ernest with his nephew, Talmadge Tubb, was the tune played at the inauguration
ball of President George W. Bush in 2001 as he asked his wife Laura to join
him in a dance.
Talmadge and his wife passed along a Ft. Worth Star-Telegram article by
Bud Kennedy from January 23, 2001 about this event. The article also includes
a tidbit as to how the song came about. It started in a bar when a poker game
was going on and as poker players often do, they try some one-upmanship to
bluff their fellow players into submission. One player commented on his hand, "I think
I'll just waltz out there with about $40," as he laid out his bet on his hand
ever so confidently. But another player never missed a beat and followed that with,
"...then I think I'm fixin' to waltz across Texas" and then took the pot with four aces.
Talmadge remembered the comment, and wrote it down on a piece of paper and took it home.
Later he wrote the song at his home in Ft. Worth. That was around 1959.
The song wasn't recorded then though. Mr. Kennedy cites Ronnie Pugh's book
in noting that Ernest had said the song laid around for years, then he dug it out
again and fooled around with it and liked it. The song was finally released
in October 1965. While it didn't reach number one for Ernest, the charts didn't
capture the popularity it had with fans, Mr. Kennedy notes it became one of Ernest's most
requested tunes at concerts later in his career. And when the Bushes waltzed
to the tune, Talmadge and his wife Bobbie were the recipients of many congratulatory
phone calls and emails.
Talmadge is quoted at the end of the article:
"I wasn't the one with four aces. But I sure got lucky."
His place in country music history was assured on October 22, 1965
when he became the sixth member elected to the Country Music Hall of Fame.
The legacy of Ernest Tubb is a cherished one, a part of the lore
and legend that is country music. That distinctive sound and voice
are instantly recognizable by fans when they hear his records
even today. The heritage and traditions that Ernest Tubb started
when he first opened his first record shop and began broadcasting
the Midnight Jamboree over WSM every Saturday night after the Grand
Ole Opry went off the air are carried on today by the shop's current
owners. You can still find one of the broadest selections of country
music at his stores in Nashville. You can still go to the Midnight
Jamboree after the Opry on Saturday night, to hear not only some
of the stars of today, but those who will be someday or some who
get that chance to be heard by a broader radio listening audience
and take that memory with them forever. And while you're listening
to the Midnight Jamboree, you will still hear a tune by Jimmie Rodgers
and a special on one of Jimmie's recordings each week. To Ernest,
we say "Thanks a Lot...."
And for now, we'll end this initial effort to document the career
of one of hillbilly music's greatest legends with some words he often
included in his early song folios:
And to all of you, everywhere, I'm wishing you the greatest thing in
life - HAPPINESS.
Credits & Sources
- Ernest Tubb Favorites WSM Grand Ole Opry 4th Edition;
1945; Ernest Tubb Publications; Nashville, TN
- Ernest Tubb Folio or Recorded Hits No. 1;
Favorites WSM Grand Ole Opry 4th Edition;
1948; Ernest Tubb Music, Inc.
- Ernest Tubb Folio of Recorded Hits Number 4;
1956; Ernest Tubb Music; New York, NY
- Ernest Tubb Radio Song Book No. 2 WSM Grand Ole Opry Edition;
1943; Ernest Tubb Publications
- Ernest Tubb Song Folio of Sensational Successes No. 3;
1943; American Music, Inc.; Hollywood, CA
- Ernest Tubb Radio Song Book No. 3 WSM Grand Ole Opry Edition;
1943; Ernest Tubb Publications; Nashville, TN
- Ernest Tubb Song Folio of Sensational Successes No. 1;
1941; American Music, Inc.; Portland, OR
- Ernest Tubb Song Folio of Sensational Successes No. 2;
1942; American Music, Inc.; Portland, OR
- Ernest Tubb Folio of Recorded Hits No. 2;
1950; Ernest Tubb Music, Inc.; Beverly Hills, CA
- The Mountain Broadcast and Prairie Recorder;
September 1944; Mountain Broadcast Pub. Co. Inc.; New York, NY
- "Fort Worth Tune tapped Again for Bush Hoedown";
Bud Kennedy; Ft. Worth Star-Telegram; January 23, 2001
(article courtesy of Bobbie & Talmadge Tubb)
- "Bushes Danced to West Sider's Classic Tune";
Victor R. Martinez; El Paso Times; January 2001
(article courtesy of Bobbie & Talmadge Tubb)
- Country Song Roundup; January 1969; Vol. 21 No. 114;
Charlton Publications, Inc.; Derby, CT
- Country Song Roundup; March 1969; Vol. 21 No. 116;
Charlton Publications, Inc.; Derby, CT
- Country Song Roundup; September 1973; "Ernest Tubb's
Midnight Jamboree Marches On" by Darrell Rowlett;
Vol. 25, No. 170; Charlton Publications, Inc.; Derby, CT
Related Web Links
|Sound Sample(RealAudio Format)
|Appearance History This Month|
||A || Mean Old Bed Bug Blues|
||B || Married Man Blues|
||A || Waltz Across Texas|
||B || Jealous Lover|
||A || Walking The Floor Over You|
||B || Lets Say Goodbye Like We Said Hello|
||A || Standy By Me|
||B || When I Take My Vacation In Heaven|
||A || What A Friend We Have in Jesus|
||B || The Wonderful City|
||A || The Old Rugged Cross|
||B || Farther Along|
||A || The's No Room In MY Heart|
||A || Don't Rob Another Man's Castle|
||B || I'm Bitin' My Fingernails|
||A || Don't Rob Another Man's Castle (w/The Andrews Sisters)|
||B || I'm Bitin' My Fingernails And Thinking Of You (w/The Andrews Sisters)|
||A || Somebody's Stolen My Honey|
||B || My Mother Must Have Been A Girl Like You|
||A || Fortunes In Memories|
||B || So Many Times|
||A || Don't Trifle On Your Sweetheart|
||B || Somebody Loves You|
||A || Merry Christmas, You All|
||B || Blue Snowflakes|
||A || Dear Judge|
||B || I Will Miss You When You Go|
||A || Hank,It Will Never Be The Same|
||B || Beyond The Sunset|
||A || You're A Real Good Friend|
||B || No Help Wanted No. 2|
||A || Jimmie Rodgers' Last Thoughts|
||B || When Jimmie Rodgers Said Goodbye|
||A || My Wasted Past|
||B || Don't Brush Them On Me|
||A || A Dear John Letter (w/Scooter Bill Tubb)|
||A || A Dear John Letter|
||B || Mean Age In Between Age (w/Scooter Bill Tubb)|
||B || Mean In Between Age Blues (Elaine Tubb)|
||A || Counterfeit Kisses|
||B || Divorce Granted|
||A || Doctor Ketchum's Report|
||B || Too Old To Tango|
||A || I'm Trimming My Christmas Tree With Tears|
||B || We Need God For Christmas|
||A || Honky Tonk Heart|
||B || I'm Not Looking For An Angel|
||A || Till We Two Are One|
||B || Jealous Loving Heart|
||A || Baby Your Mother (Like She Babies You)|
||B || Your Mother,Your Darling,Your Friend|
||A || Double Datin'|
||B || It's The Mileage|
||A || Two Glasses, Joe|
||B || Journey's End|
||A || I'll Be Walkin' The Floor This Christmas|
||B || Lonely Christmas' Eve|
||A || Kansas City Blues|
||B || The Woman's Touch|
||A || It's A Lonely World|
||B || Have You Seen|
||A || I Met A Friend|
||B || When Jesus Calls|
||A || The Yellow Rose Of Texas|
||B || A Million Miles From Here|
||A || Thirty Days|
||B || Answer The Phone|
||A || So Doggone Lonesome|
||B || If I Never Have Anything Else|
||A || Jimmie Rodgers' Last Blue Yodel|
||B || Will You Be Satisfied That Way|
||A || Treat Her Right|
||B || Loving You My Weakness|
||A || Go Home|
||B || My Treasure|
||A || Through That Door|
||B || What Will You Tell Them?|
||A || I Never Could Say No|
||B || Go To Sleep Conscience|
||A || A House Of Sorrow|
||B || No Letter Today|
||A || Pass The Booze|
||B || That's All You'll Ever Be To Me|
||A || Sweet Thang (w/Loretta Lynn)|
||B || Beautiful, Unhappy Home (w/Loretta Lynn)|
||A || Too Much Of Not Enough|
||B || Nothing Is Better Than You|
||A || I'm Gonna Make Like A snake|
||B || Mama, who Was Thet Man|
||A || If We Put Our Heads Together (w/Loretta Lynn)|
||B || I Chased You Til You Caught Me (w/Loretta Lynn)|
||A || Don't Back A Man Up In A Corner|
||B || Shenandoah Waltz|
||A || Walkin' The Floor Over You|
||B || I'll Always Be Glad To Take You Back|
||A || I'll Never Get Over You|
||B || I Wonder Why You Said Goodbye|
||A || You Were Only Teasing Me|
||B || I'm Beginning To Forget You|
||A || Rainbow At Midnight|
||B || I Don't Blame You|
||A || Filipino Baby|
||B || Drivin' Nails In My Coffin|
||A || You'll Want Me Back|
||B || Answer To Walkin' The Floor Over You|
||A || Those Simple Things Are Worth A Million Now|
||B || I'm Free At Last|
||A || You Won't Ever Forget Me|
||B || Though The Days Were Only Seven|
||A || Those Tears in Your Eyes|
||B || How Can I Be Sure|
||A || Don't Look Now|
||B || So Round, So Firm, So Fully Packed|
||A || I'll Step Aside|
||B || There's Gonna Be Some Changes Made|
||A || Try Me One More Time|
||B || Soldiers Last Letter|
||A || Carless Darlin'|
||B || It's Been So Long Darlin'|
||A || Two Wrongs Don't Make A Right|
||B || You Hit The Nail On The Head|
||A || Answer To The Rainbow At Midnight|
||B || Headin' Down The Wrong Highway|
||A || A Lonely Heart Knows|
||B || A Woman Has Wrecked Many A Good Man|
||A || Seaman's Blues|
||B || Waiting For A Train|
||A || You Nearly Lose Your Mind|
||B || I Ain't Goin' Honky Tonking Any More|
||A || That Wild And Wicked Look In Your Eye|
||B || Forever Is Ending Today|
||A || Forever Is Ending Today|
||B || That Wild And Wicked Look In Your Eye|
||A || Daddy, When Is Mommy Coming Home|
||B || Til The End Of The World|
||A || Yesterday's Tears|
||B || Mean Mama Blues|
||A || Slipping Around|
||B || My Tennessee Baby|
||A || My Filipino Rose|
||B || Warm Red Wine|
||A || White Christmas|
||B || Blue Christmas|
||A || Don't Be Ashamed Of Your Age|
||B || Tennessee Border #2|
||A || Letters Have No Arms|
||B || I'll Take A Back Seat For You|
||A || I Love You Because|
||B || Unfaithful One|
||A || Throw Your Love My Way|
||B || Give Me A Little Old Fashioned Love|
||A || Throw Your Love My Way|
||B || Give Me A Little Old Fashioned Love|
||A || Hillbilly Fever #2|
||B || Goodnight Irene|
||A || You Don't Have To Be A Baby To Cry|
||B || G-I-R-L Spells Trouble|
||A || Christmas Island|
||B || Christmas|
||A || (Remember Me) I'm The One Who Loves You|
||B || I Need Attention Bad|
||A || The Love Bug Itch|
||B || Texas vs. Kentucky|
||A || When It's Prayer Meetin' Time|
||B || May The Good Lord Bless And Keep You|
||A || If You Want Some Lovin'|
||B || Don't Stay Too Long|
||A || The Chicken Song|
||B || So Long|
||A || I'm Lonely And Blue|
||B || Mother, The Queen Of My Heart|
||A || I'm Free From The Chain Gang|
||B || Why Did You Give Me Your Love|
||A || Hobo's Meditation|
||B || Why Should I Be Lonely?|
||A || Any Old Time|
||B || A Drunkard's Child|
||A || Kentucky Waltz|
||B || The Strange Little Girl|
||A || Hey La La|
||B || Precious Little Baby|
||A || Rose Of The Mountain|
||B || I'm With A Cloud But So Alone|
||A || Driftwood On The River|
||B || I'm Steppin' Out Of The Picture|
||A || Too Old To Cut The Mustard|
||B || I'm In Love With Molly|
||A || Missing In Action|
||B || Heartsick Soldier On Heartbreak Ridge|
||A || My Baby And My Wife|
||B || I Ain't Gonna Love You Anymore|
||A || Blue Eyed Elaine|
||B || I'll Get Along Somehow|
||A || You Broke My Heart|
||B || I'll Never Cry Over You|
||A || I Ain't Gonna Love You Anymore|
||B || My Baby And My Wife|
||A || I'm Glad I Met You After All|
||B || Please Remember Me|
||A || Last Night I Dreamed|
||B || You'll Love Me Too Late|
||A || Swell San Angelo|
||B || I Cared For You More Than You Know|
||A || Walking The Floor Over You|
||B || I'm Missing You|
||A || Mean Mama Blues|
||B || I Wonder Why You Said Goodbye|
||A || I'll Always Be Glad To Take You Back|
||B || My Rainbow Trail|
||A || I Ain't Goin' Honky Tonkin'|
||B || First Year Blues|
||A || Tomorrow Never Comes|
||B || Keep My Mem'ry In Your Heart|
||A || When The World Turns You Down|
||B || Time After Time|
||A || Our Baby's Book|
||B || You May Have Your Picture|
||A || Wasting My Life Away|
||B || I Know What It Means To Be Lonely|
||A || I'm Wondering How|
||B || You Nearly Lose Your Mind|
||A || There's Nothing More To Say|
||B || I Really Learned A Lot|
||A || That Same Old Story|
||B || I Hate To See You Go|
||A || Try Me One More Time|
||B || Thats When It Comes Home|
||A || Yesterdays Tears|
||B || The Soldier's Last Letter|
||A || Tomorrow Never Comes|
||B || Keep My Memory In Your Heart|
||A || Careless Darling|
||B || Are You Waiting Just For Me?|
||A || It's Been So Long, Darling|
||B || Should I Come Back Home To You|
||A || The Passing of Jimmie Rodgers|
||B || The Last Thoughts of Jimmie Rodgers|
||A || The T. B. Is Whipping Me|
||B || Since That Black Cat Crossed My Path|
||A || Just A Drink Away|
||B || One More Memory|
||A || Maried Man Blues|
||B || Mean Old Bed Bug Blues|
||A || My Mother Is Lonely|
||B || The Right Train To Heaven|
||A || There's A Little Bit Of Everything In Texas|
||B || Darling, What More Can I Do|
||A || Anything But This|
||B || Don't Water Down The Bad News|
||A || If You Don't quit Checkin' On Me|
||B || I'd Like To Live It Again|