Our UK correspondent, Richard F Thompson, remembers Benny Williams, and recounts his long, and largely unheralded career in bluegrass and country music.

Benjamin Horace “Benny” Williams: March 28, 1931 – October 11, 2007.

Benny Williams died earlier this month in St Thomas Hospital, Nashville, Tennessee, from natural causes. He was 76 years old.

One of bluegrass music’s unsung ‘Mr Versatiles,’ Williams was born on Dayton Mountain, Bledsoe County on the Cumberland Plateau of Tennessee. For nearly fifty years, he was noted as one of country music’s most accomplished musicians, singers and songwriters. During his career, he worked with such luminaries as Marty Robbins, Grandpa Jones, Jimmy Martin, Kitty Wells and Johnny Wright, Stonewall Jackson and others (see below). He was adept on autoharp, mandolin, guitar, banjo and, most notably, fiddle.

While still a teenager, Williams got his first job as a bluegrass sideman when he went to work with Mac Wiseman on the Old Dominion Barn Dance in Richmond, Virginia. Then, as a 25-year old, Williams was a member of the Tennessee Cut-Ups when Reno and Smiley were fully re-united after a brief break in the mid-1950s. Subsequently, he had a brief stint with the Stanley Brothers firstly, then with Lester Flatt and Earl Scruggs.

In 1961 Williams joined the Blue Grass Boy, playing guitar. Later he showed his versatility by switching to play the fiddle and he stayed with that instrument for most of the remainder of his time with Bill Monroe, which ended late in 1967.

He leaves a legacy in the form of contributions to many recordings made during the classic country and bluegrass music era.

In August 1956, during a 12-song recording session in Cincinnati, Williams played some cross-picked mandolin breaks – learned independently from Jesse McReynolds – on Never Get To Hold You In My Arms Anymore and mandolin or fiddle on other songs. These recordings are available on the 4-CD box set, Reno & Smiley and the Tennessee Cut-Ups 1951-1959 [King KBSCD 7001]. (more…)

This report comes from Casey Henry, a banjo player and writer living in Nashville, TN. She performed the past few years with her brother, Chris, in The Two Stringers, now disbanded.

Both Cliff Wagner and the Old #7 and the Clark Brothers did us proud on Friday night’s Next Great American Band. Twelve bands performed two tunes each for the judges and the live studio audience, and for the millions watching at home. Each band played one original tune and one Bob Dylan tune. The judges commented on every band, though at this point the decision is entirely up to the TV audience calling in their votes.

This week before each band’s performance a short video bio of the group was shown. (You can watch clips of these on the NGAB site.) The Old #7’s clip showed the guys picking (Lucas Cheadle ‚Äì Bass, Devitt Feeley – Mandolin, Craig Ferguson ‚Äì Guitar/Dobro, Stephen Aram Mugalian ‚Äì Drums) and Cliff taking a long swig of moonshine from a mason jar, which was probably what prompted judge John Rzeznik (of the Goo Goo Dolls) to comment, "I want to party with you guys."

Cliff’s Dylan selection was Don’t Think Twice It’s Alright, a song that lends itself well to a bluegrass arrangement. His original tune was called Old Fire, "a tender love song," he said, "about tender love and diesel fuel" that had a catchy hook. Judge Sheila E. (who has played with Prince and Ringo Starr, among others) said of the song, "I could listen to that all day long."

The Clark Brothers rocked Maggie’s Farm, their Dylan song, managing to sound like far more than just three people, with Ashley playing fiddle and singing simultaneously (always impressive). However judge Ian Dickson, who consistently finds something negative to say, commented they shouldn’t have messed with the simple melody. After an instant instrument trade (making it obvious that the show was pre-recorded) they rendered their original Billy the Kid, a gritty story song that they performed magnificently.

Now it’s up to the viewers to call in their votes. Phone lines were open for two hours following the show. We’ll find out when we tune in next week which two bands get the axe. In the meantime the bands, who are sequestered in a hotel somewhere, will be working up an Elton John or Bernie Taupin song.

I can’t wait to hear Elton John bluegrass style!

Fans of Red Allen’s music will be delighted to learn that there is to be a book published about him shortly. Author, Dennis Satterlee’s book, Teardrops In My Eyes – The Music Of Harley “Red” Allen, is scheduled to be made available in November, published by The Plucked String Foundation Inc. Press.

The book is expected to have about 220 pages and comprises a biographical study of Red Allen’s musical career and a detailed discography; with recording dates, musicians, vocal parts, studios, producers where available, album numbers, single numbers and EP numbers.

It is anticipated that the 8 x 10 format paperback will have between 20 and 30 black and white photographs that are, for the most part, from private sources and never before seen.

Satterlee, who has played bluegrass and brother-duet style music in various parts of the States, is originally from western New York State and worked for the federal government for almost 30 years. His work has taken him to Louisiana, Vermont, New Jersey and now, retired, he lives in South Carolina, and plays bluegrass in a Georgia band. Here he provides some background information that led him to write his book ……

“I started listening to bluegrass music in the early 1960s. Mostly Flatt and Scruggs and the Dillards because that’s all I could find in the record stores. My first Red album was the Folkways album with Frank Wakefield. It just struck me as something that fit between the smooth crooning of Lester Flatt and the more urgent styling of Bill Monroe. Red (and Frank) seemed to be a perfect combination for bluegrass. When I retired (1997) I started looking for Red’s albums and singles that I didn’t have in my collection. Someone told me about the Red Head’s recording (see my article in Bluegrass Unlimited, April, 2006). I called both Red Spurlock and Frank Wakefield to learn more about that recording session and they told wonderful stories. It occurred to me at that point that maybe I could put together a discography (which I was doing for myself anyway) and add some stories from the musicians who played on the sessions and do a book. Over 50 musicians, family members and friends have added stories and remembrances to this work.”

The book, of which there will a first print run of 500 copies, is expected to retail at $25. Plans to determine through what outlets it will be sold have yet to be finalized. Watch this space!

Satterlee, who is a member of the International Bluegrass Music Museum and Hall Of Honor in Owensboro, Kentucky, is donating his royalties from this book to the museum.

Richard Thompson has a put together a fine report on the renaming ceremonies in Bristol honoring WCYB. Gary Reid of Copper Creek Records and Penny Parsons of the Penny Parsons Company also contributed to this story.

The Farm and Fun Time radio program, which was instrumental in bluegrass beginnings, now has recognition in downtown Bristol, on the Tennessee/Virginia state line. The thoroughfare previously known as Winston Alley has now been renamed as Farm and Fun Time Alley. WCYB’s radio show Farm & Fun Time was an important radio show in the history of early bluegrass music. The station featured many of the finest bluegrass and old-time artists of the period. The show had a loyal audience base in Virginia, North Carolina, Tennessee, Kentucky and West Virginia. It was a highly influential part of the lives of many people from the region, some going on to become major bluegrass artists themselves.

Ralph and Carter Stanley, the Stanley Brothers, worked on the program from just after Christmas 1946. At that time, the program was approximately an hour long, from 12:05 to 1:00 and transmitted at 1,000 watts, increasing to 5,000 watts in September 1947. The program was then extended to fill a two-hour slot. In February 1957 the Stanley Brothers recorded The Flood of ‘57 and a year later did No School Bus In Heaven, both for Mercury, utilizing the station’s studio. Also, shortly after leaving Bill Monroe’s Blue Grass Boys, the fledgling Lester Flatt, Earl Scruggs and the Foggy Mountain Boys group found a niche on the program for about a nine month period through to March 1949.

The program was broadcast live from a studio in the General Shelby Hotel. It also helped to establish the careers of other legendary bluegrass performers, including the Osborne Brothers, Jim and Jesse McReynolds, Mac Wiseman, Carl Story, The Sauceman Brothers, and Curly King & Tennessee Hilltoppers, as well as the brother duet act the Blue Sky Boys.

Larry Gorley, Rhythm and Roots Music Committee official and DJ on WOPI’s Bluegrass Jamboree, shares this brief recollection of what Farm And Fun Time meant to him and his family ‚Ķ‚Ķ..

“I remember listening to this radio show as a boy and my most vivid memory is visiting my grandparent’s home in the country during summer vacation from school. They would stop whatever work was being done and gather around the kitchen table for lunch. And after the blessing was said, they would turn the kitchen radio on to WCYB and ‘Farm & Fun Time’. Listening to the program gave them great pleasure as well as the latest farm news and it was only in my later years that I found that so many others made it a point to be tuned into the show that could be heard in several states.”

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