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☂♥: Shelby Singleton, Pete Drake and The Talking Steel Guitar: (video comin' up) Nashville's "A-Team": Bob Moore, Grady Martin, Hank Garland, Ray Edenton, Harold Bradley, Buddy Harman, Hargus "Pig" Robbins, Pete Drake...
☂♥: Nashville's "A-Team": Bob Moore, Grady Martin, Hank Garland, Ray Edenton, Harold Bradley, Buddy Harman, Hargus "Pig" Robbins, Pete Drake...Pete Drake: everyone's favorite
by Douglas Green
Nashville pedal steel guitarist Pete Drake is truly a phenomenon. Not only has he been the man behind hundreds of country music hits, but through his recordings with Elvis Presley, George Harrison and Bob Dylan, is singlehandedly responsible for opening the entire pop and rock field to the sounds of the pedal steel.
Pete was born in Georgia forty years ago, but it wasn't until he was eighteen that he began playing steel guitar. Like so many before and since, Drake was inspired by the sounds of Jerry Byrd at the Grand Ole Opry. Pete then spotted a lap steel guitar in an Atlanta pawn shop, saved his money and bought it for the vast sum of $38.00.
What kind was it?A Supro; a little, single-neck like you hold in your lap. I tried to play like Jerry Byrd. I guess most of the steel players today started off the same way. He has really been fantastically influential. So I fooled around with that thing for six months or a year, and got a chance to do a couple of fill-in things on an Atlanta TV station when somebody'd be sick.
Did you have any formal training on steel?
I took one lesson, but I'd get records and sit around playing to them. That's how I really got started. This was around '49 or '50. Then when Bud Isaacs came out with a pedal guitar on "Slowly" by Webb Pierce, that shocked everybody, wondering how he got that sound. I guess I was the first one around Atlanta to get a pedal guitar: I had one pedal on a four-neck steel. It really looked funny. I made it myself, and it was huge, really too big to carry on the road or anything. I was playing in clubs all around Atlanta, then right after that I formed my first band.
What kind of group was that?
I had some pretty big stars working with me back then: Jerry Reed, Joe South, Doug Kershaw was playing fiddle, Roger Miller was playing fiddle with me, and country singer Jack Greene was playing drums. And we got fired because we weren't any good! I was on television in Atlanta for three and a half years, but we kind of wore ourselves out, so I decided to move to Nashville.
Why Nashville?
Roger Miller had come on to Nashville, and I had a brother there, Jack, who played bass with Ernest Tubb for 24 years. Jack died last year. At first Jack didn't want me to come, because the steel guitar was kind of dead then, in 1959. Everybody was trying to go pop. They was putting strings and horns on Webb Pierce records, and nobody was using steel guitar. So I starved to death the first year and a half. Then I worked with Don Gibson a while, then Marty Robbins.
When did you begin getting record session work?
I guess what really got me in was the "Pete Drake style" on the C6th tuning. When I first came up here everybody thought it was square, so I quit playing like that and started playing like everybody else. Then one night on the Opry, just for kicks, I went back to my own style for one tune behind Carl and Pearl Butler. Roy Drusky was on Decca then, and he come up to me and said, "Hey, you've come up with a new style. I'm recording tomorrow, and I want you with me." So I cut this session with him, and the word kind of got out that I had this new style (actually, it was the same thing I'd been playing for years in Atlanta, but it was new in Nashville). That month I did 24 sessions, and it's been like that ever since. That was in the middle of 1960, and that first record was "I Don't Believe You Love Me Any More," a number one record. Then I recorded "Before This Day Ends" with George Hamilton, and it, too, became number one. I just couldn't do anything wrong there for a long time.
How did your "Talking Guitar" thing come about?
Well, everybody wanted this style of mine, but I sort of got tired of it. I'd say, "Hey, let me try and come up with something new," and they'd say, "Naw, I want you to do what you did on So-and-so's record." Now, I'd been trying to make something for people who couldn't talk, who'd lost their voice. I had some neighbors who were deaf and dumb, and I thought it would be nice if they could talk. So I saw this old Kay Kayser movie, and Alvino Rey was playing the talking guitar. I thought, "Man, if he can make a guitar talk, surely I can make people talk." So I worked on it for about five years, and it was so simple that I went all around it, you know, like we usually do.
How did the talking guitar work?
You play the notes on the guitar and it goes through the amplifier. I have a driver system so that you disconnect the speakers and the sound goes through the driver into a plastic tube. You put the tube in the side of your mouth then form the words with your mouth as you play them. You don't actually say a word: The guitar is your vocal chords, and your mouth is the amplifier. It's amplified by a microphone.
When did you first use it on records?
With Roger Miller. He had a record called "Lock, Stock And Teardrops," on RCA Victor, but it didn't hit. Then I used it on Jim Reeves' "I've Enjoyed As Much Of This As I Can Stand." I really thought I'd used the gimmick up by the time Shelby Singleton and Jerry Kennedy of Mercury Records wanted to record me. I had already recorded for Starday [a Mercury label] some straight steel things like "For Pete's Sake," but I went ahead and cut a song called "Forever" on the talking thing. It came out, and for about two months didn't do a thing; then, all of a sudden, it cut loose and sold a million. So then I was known as the "Talking Steel Guitar Man," and did several albums for Smash, which is a subsidiary of Mercury.
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Shelby Singleton - Wikipedia, the free encyclopedia
Shelby Singleton - Wikipedia, the free encyclopediaShelby Singleton (born Shelby Sumpter Singleton, Jr., 16 December 1931, Waskom, Texas) is an American record producer and record label owner.
[edit] Career
He joined the Marine Corps, and after his military discharge he was hired by the Shreveport, Louisiana branch of Mercury Records doing promotional work. He rose in the company until he was a record producer and executive. In 1960 he achieved first hit single, Brook Benton's recording of "The Boll Weevil Song", which became a #2 single on the Billboard Hot 100 chart the following year.[1] Singleton spent nine years at Mercury and its sister label Smash Records during which he was involved in producing many hit records, including "Walk On By", Leroy Van Dyke; "Ahab the Arab", Ray Stevens; "Wooden Heart", Joe Dowell; and producing acts such as Jerry Lee Lewis, Roger Miller, Charlie Rich, Dave Dudley and Brook Benton. In 1962 Singleton bought the master recording of "Hey Paula" by Jill and Ray, originally released on LeCam Records. He changed the duo's names to Paul and Paula and issued the song on Mercury's newly acquired label, Philips. The song spent three weeks at number one on the Billboard Hot 100. In 1966 Singleton resigned from Mercury and formed several music labels, including SSS International and Plantation Records, achieving his first #1 hit in 1968 with "Harper Valley P.T.A." The following year he purchased Sun Records from Sam Phillips, including its classic rock and roll catalog.
Singleton is on the nominating committee of the Hit Parade Hall of Fame.
[edit] Private life
He graduated from Byrd High School in Shreveport, Louisiana at 15. Two years later he married his first wife married Margaret Ebey, who later rose in the country music scene as Margie Singleton. After 16 years of marriage they divorced. Singleton married three more times. He has four children; Stephen, Sidney, Shana, and Stuart. Stephen, Sidney, and Shana all have their own children as well. Stephen has Shelby the 3rd and Scarlett. Sidney has Stefanie and Sofia, identical twins. Shana has Drake and Emersyn, fraternal twins. Singleton and his family reside in Nashville, Tennessee.
Rockabilly Hall of Fame: Shelby Singleton
Rockabilly Hall of Fame�: Shelby Singleton
Given Name: Shelby Singleton, Jr.
Date of Birth: December 16, 1931
Date of Death: October 7, 2009
Place of Birth: Waskom, Texas
Talents: Industry Executive, Record Producer
Also See: Wikipedia
Nowadays, it is virtually impossible for an independent label to get a No. 1 record on the singles charts. On that basis, Jeannie C. Riley's Harper Valley P.T.A., released on Shelby Singleton's Plantation label, would never have gone to No. 1 and certainly would not have gone gold and sold over 4 million copies. However, back in the late 60's, things were different, and for record company bosses with the wealth of experience that Shelby Singleton has, it was always possible.
He served in the Marine Corps in Korea where he was injured in combat, and still has a metal plate in his head. He moved to Shreveport, Louisiana, at the end of the Korean War and, in 1958, he became the local promotion man for Mercury Records. It was here that Shelby met his future wife, Margie, who was appearing on the Louisiana Hayride.
A year after joining Mercury, he had made sufficient headway to be promoted to Southern Regional Sales Manager. A year after that, he became Product Manager and than a record producer for the label.Although, he spent some of his time in Nashville, he chose to base himself in New York. Singleton had the knack of taking Country songs and having them recorded by non-Country acts. This started with Brook Benton's recording of The Boll Weevil Song in 1960, which became a Top 3 record the following year.
He also kept his ears to the ground, and when he heard that a record was doing well on an independent label, he would try and pick it up for Mercury. He was put in charge of Smash Records and eventually became VP of Mercury.
Among the hits during Shelby's nine-year period with Mercury and it's sister label, Smash were Walk On By by Leroy Van Dyke (1961), Wooden Heart by Joe Dowell (1961), Hey Baby by Bruce Channel (1962) and Ahab The Arab by Ray Stevens (1962).
In addition, he was involved with Jerry Lee Lewis, Roger Miller, Charlie Rich, Dave Dudley and Brook Benton's other hits.
Shelby resigned from Mercury in 1966, and set up his own production company. He launched SSS International Records and shortly thereafter, Shelby set up his Plantation label and in 1968, had his No.1 hit with Harper Valley P.T.A.
The following year, he purchased Sun Records from Sam Phillips, which contained all the classic Rock'n'Roll records by Elvis, Johnny Cash, Carl Perkins and Jerry Lee Lewis. He licensed the catalog to Charly Records for Europe and this has proven to be a big money earner, as Rock'n'Roll and Rockabilly is still popular there.
Shelby also operated the Silver Fox label and Shelby Singleton Music. Although he has never had another hit of the magnitude of Harper Valley P.T.A., Plantation racked up another thirty-six chart entries since the label was established.
One single released in 1980 on Sun was not a big hit, but has since become a trucker's classic. It was Dave Dudley's Rolaids, Doan's Pills And Preparation H.
In 1993, Jason D. Williams became the first artist to sign to a renovated Sun Records.
In 1997, Singleton merged Sun with Brave New Entertainment Corporation.
Sun Entertainment Corporation
3106 Belmont Boulevard
Nashville, TN 37212 USA
615 385-1960
615 385-1964
info@sunrecords.com
RIP Shelby Singleton, famed producer, record executive and promoter, dies at 77 | at tennessean.comTune In Music City
Shelby Singleton, famed producer, record executive and promoter, dies at 77 at tennessean.com | Tune In Music CityShelby Singleton, famed producer, record executive and promoter, dies at 77
Shelby Singleton died just before 1 p.m. Wednesday in Alive Hospice Care at St. Thomas Hospital in Nashville, at age 77.Shelby Singleton (photo: Jack Corn)
Mr. Singleton was a renegade producer, record executive, song-hunter and promoter who helped fuse country and R&B music in the 1960s and who perpetuated the Sun Records label since 1969. He had been battling brain cancer.
“A lot of people in this town owe a lot to Shelby,” said friend and protégé Jerry Kennedy, himself a famed producer. “He created a place here for a lot of us. Shelby did things in a different way. He was a maverick.”
Mr. Singleton produced Jeannie C. Riley’s “Harper Valley P.T.A.,” a No. 1 country hit that became one of the biggest independent records in Nashville history when released on his Plantation Records. He was an essential enabler in the careers of Ray Stevens, Jerry Reed, Roger Miller, Merle Kilgore and many others, He may be the only producer to record three No. 1 country records in one day on three different artists: Stevens, Leroy Van Dyke and Joe Dowell.
He was also, as Belmont University music business professor Don Cusic noted, “A wheeler-dealer.” And, as Kennedy said, “A clique-buster.” Most everyone who came into contact with him agreed that he was a character. He was also the owner of a brand new Rolls Royce.
“The Rolls came in on Monday,” Cusic said. “I’d seen him last week and he told me he’d ordered it. He said he’d always wanted one, and he said, ‘At my age and in my condition, I figured I’d better get it soon.’”If Mr. Singleton’s career in music is any indication, it’s likely a very, very nice car. And he probably got it at a good price. During the early 1960s, he headed Mercury Records’ Smash imprint, where over and again he found quality recordings and viable artists, snapped them up for Smash and released hit records.
He heard a Texas pop duo named Jill and Ray on a recording of a song called “Hey Paula.” The recording was soon reissued on Smash, but not before Mr. Singleton changed the duo’s name to Paul and Paula. Jill and Ray didn’t like the idea at first, but they grew used to it by February 1963, when the song topped American pop charts.
A year earlier, he heard Bruce Channel’s “Hey! Baby,” a song that featured distinctive harmonica from a young Delbert McClinton. That one became a No. 1 hit for Smash after Mr. Singleton bought the master recording. With Smash, Mr. Singleton also presided over a roster that grew to include Roger Miller, Jerry Lee Lewis, Bobby Hebb, Ivory Joe Hunter, Pete Drake, Patti Page and James Brown. That roster included artists of varying styles, and it was not uncommon for Mr. Singleton to preside over sessions that featured African-American artists and white musicians.
“He brought (African-American) artists to town and put them up at his house,” said Kennedy, who often engineered sessions that Mr. Singleton produced, and who also produced hundreds of records for Kennedy-owned labels. “He brought people like Clyde McPhatter, Brook Benton and Ruth Brown here, and the only hotel where they were allowed to stay was the old Eldorado, in North Nashville. So most of the time, the artists stayed with Shelby.”
When Mr. Singleton heard Roger Miller singing witty, up-tempo numbers that were at odds with the serious-sounding material Miller was recording for RCA, Mr. Singleton signed Miller and told him he’d been singing the wrong songs. Miller immediately entered the studio and recorded 16 sides, including “Dang Me,” and his career turned a corner. And when Mr. Singleton — at the time a southeastern regional promotions man for Mercury — heard Stevens singing in an Atlanta nightclub, he soon offered the young performer a job in Nashville.
“When I left that job, he did the same thing for Jerry Reed,” Stevens said. “Shelby brought a lot of people to town. And working with him on the music later on, he had good instincts. Sometimes he did things I didn’t think were right at the time, but it turned out the decisions he made were right. Like, ‘Ahab’ was a four-minute song. He sliced it up and made it shorter. That bothered me at the time, but there’s no way the song would have been a radio hit if it had been four minutes long.”
In 1967, Mr. Singleton left Mercury and started Shelby Singleton Productions Inc. with $1,000. Twenty months later, his corporate value was estimated at more than $2 million. Much of that increase was due to “Harper Valley P.T.A.,” a song from the pen of Tom T. Hall. On Friday, July 26, 1968, Mr. Singleton produced Riley’s recording with featured instrumentation on the “pickin’ Dobro” from Kennedy. That night, he rushed the finished product to influential WSM disc jockey Ralph Emery. By daybreak, it was a hit: a literal overnight success. In a country music era dominated by Music Row’s major labels, Mr. Singleton’s little Plantation label sold millions of copies of “Harper Valley P.T.A.”
On July 1, 1969, Mr. Singleton purchased Sun Records, the label for which Elvis Presley, Johnny Cash, Jerry Lee Lewis, Roy Orbison, Charlie Rich and others had recorded. Mr. Singleton began mining many of those artists’ back catalogs for release on Sun, and he oversaw licensing of reissues and the marketing of the ever-popular Sun Records T-shirts and other souvenirs.
“He was the all-around record guy,” Kennedy said. “Just a great merchandising guy, promoter and producer. He did it all, and he seemed to get along with everybody. Shelby was one of the biggest-hearted people around.”
Stevens, himself one of the most unique souls to smack boot heels on a Music City sidewalk, said, “Shelby Singleton was absolutely one of a kind.”
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