Any Major Dude With Half A Heart

As before, this album refers to artists and songs featured on both 1940s compilations.

The importance to country music of Ernest Tubb’s Walking The Floor Over You cannot be underestimated. It was not the first honky tonk record, nor the first to use the new-fangled electric guitar. But it was the first really big hit to use electric guitar solos, performed by Fay ‘Smitty’ Smith, and is considered the breakthrough record for honky tonk music, a label that was variously used for different genres, but now usually applied in country music.

Trouble is, honky tonk is difficult to define as an identifiable genre. One can identify the distinction between, say, barndance, bluegrass, and rockabilly, but barroom music (a honky tonk is a bar) has few definable characteristics. Honky tonk arguably is an attitude more than a genre. In fact, most of what would be defined as mainsteam country — from Tubb to Hank Williams to Hank Thompson to Lefty Frizzell to George Jones to the stetsoned gang of latter years — is honky tonk. But so are the Outlaw of the ’70s, such as Waylon Jennings, Tompall Glaser and Willie Nelson. But here we are moving ahead of ourselves.

If there are three absolutely pivotal singers in country history, then consensus would surely be that they are Jimmie Rodgers, Hank Williams and Johnny Cash (though I’d insist on the group being enlarged to include the original Carter Family). Williams has become something of a litmus test for country authenticity, as in the title of Waylon Jennings’ protest against the sentimental, automated schlock churned out by the Nashville machine by the mid-70s: Are You Sure Hank Done It This Way? (No need to specify which of the genre’s many Hanks he meant). In his short career, from his first hit in 1947 to his death while touring on New Year’s Day 1953, Williams recorded 66 songs. Of these, 37 became hits – an astonishing strike rate. Williams’ death at 29 (though he always looked at least ten years older than that) established in him as an icon, much as the other three big premature deaths of the decade that followed did for James Dean, Buddy Holly and Marilyn Monroe.

Williams’ first hit, Move It On Over, was a rockabilly number that in parts sounds more than a little like Rock Around The Clock, and reflected Williams’ affection for and knowledge of blues. We’ll look at the extent of country’s parentage of rock & roll at a later stage, but no discussion on the futile question of “the first ever rock & roll record” is complete with a consideration of Move It On Over.

The song that borrowed from Williams’ debut hit is remembered as rock & roll’s big breakthrough. The performer, Bill Haley, came from country music, specifically the western swing scene. Just a couple of years before he started to shake, rattle and roll with his Comets, Haley was still churning out country records (of course, the likes of Buddy Holly, Jerry Lee Lewis, Ricky Nelson, Everly Brothers and even Elvis had their roots in country as well, and would revisit that heritage periodically). Unlike most of the era’s country musicians, Haley was not a Southerner, even if his band, the future Comets, was known as the Saddlemen. Born in Detroit, he lived and gigged in Pennsylvania, where he was a director of music at a radio station in Chester, before becoming a rock & roll pioneer.

If Hank Williams was the live-fast-die-young prototype for the rock & roll lifestyle, then his favourite artist was among the most influential on the yet-to-be-conceived genre. Moon Mullican drew his influences widely—blues, honky tonk, jazz, western swing, folk, bluegrass, Tin Pan Alley—and reflected these in his versatile repertoire. Long before Elvis, Mullican could sound white or black or both at the same time. His piano-playing style directly inspired that of Jerry Lee Lewis. His first big hit, New Jole Blon, updated Harry Choates’ cajun-country hit.

In the 1940s, Bob Wills was still a big star, but he was being eclipsed by Spade Cooley, whose brand of California-based western swing was more pop oriented than the rest of the genre. Indeed, it is said that the term western swing was invented by Cooley’s manager, and after Cooley beat Wills in a Battle of the Bands contest (on Cooley’s hometurf), he modestly styled himself “King of Western Swing”. His appearance in 38 western films helped further to make Cooley a star, and by the late 1940s he hosted his own Emmy-winning variety television show. That show was dropped in 1956.

Five years later, his wife asked for a divorce. In a drunken rage, Cooley beat her to death. He served eight years of a life sentence. The night before he supposedly was to be paroled, he died backstage after playing a benefit concert in Oakland for the Deputy Sheriffs Association of Alameda County.

Al Dexter’s catchy Pistol-Packing Mama (“Now down there was old Al Dexter; he always had his fun, but with some lead she shot him dead; his honkin’ days are done”) was the first record to top what would become Billboard’s Hot Country & Western Sides Charts, but was initially known as the Most Played Juke Box Records chart, which was based, as the title suggests, not on sales but on juke box requests (today’s equivalent probably would be download charts). A huge World War 2 hit, Pistol-Packing Mama was also the theme song of the New York Yankees. Dexter, whose version was released by Okeh Records, shared the incipient top spot with the versions by the Andrews Sisters (on Decca) and Don Baxter (on Musicraft). Dexter was also at #5 with Rosalita. The other top 5 artists that week were Ted Daffan, Bob Wills and Floyd Tillman.

Ted Daffan’s Born To Lose was recorded in 1942, but became a hit only in 1943/44, distribution having been held up by a war-time shortage of shellac. Daffan is better known for having written Truck Drivers’ Blues (first a hit for Cliff Bruner), and Born To Lose is probably more famous in Ray Charles’ interpretation on his seminal Modern Sounds In Country & Western album of 1962. It was also covered by artists as diverse as Dean Martin, Jerry Lee Lewis, Fats Domino, Rosemary Clooney and Elton John & Leonard Cohen.

Perhaps the longest performing country musician today is Ralph Stanley of the Stanley Brothers, who feature on the 1947-49 compilation (or perhaps it is Charles Louvin of another brothers act that split due to one sibling’s mid-’60s death was born the same year as Stanley, or maybe it’s Earl Scruggs, now 86 years old). Stanley still recorded into the new millennium, playing a prominent role in the much-lauded bluegrass soundtrack for the Coen Brothers’ film O Brother, Where Art Thou. Now 83 years old, Stanley still performs.

The 1940s saw the rise of bluegrass with acts like the Stanley Brothers, Flatt & Scruggs (whose Foggy Mountain Breakdown featured so prominently in Bonnie And Clyde) and, of course, the virtual inventor of the genre, Bill Monroe, after whose band, The Blue Grass Boys, it was named. Founded in 1939 after Bill split from his brother Charlie as the Monroe Bothers, the band at its peak included Lester Flatt and Earl Scruggs, who lend their names to their distinctive guitar and banjo picking styles. Monroe, a mandolin maestro, resented other bluegrass acts for encroaching on his territory. So when the Stanley Brothers signed with Columbia Records, Monroe left the label in a huff for Decca. Monroe and his Blue Grass Boys performed for 57 years until a few months before his death in 1996. It was a Monroe song, Blue Moon Of Kentucky, that served as the b-side of Elvis Presley’s debut single.

As far as I can tell, the only other performer on this set still alive apart from Ralph Stanley and Earl Scruggs is Arthur ‘Guitar Boogie’ Smith, who was born in 1921 (he is a different Arthur Smith from the fiddlin’ one featured in Vol. 3). The instrumental song that gave Smith his distinguishing middle name – it draws from country, jazz and blues – sold 3 million copies and has been immensely influential; he was something like the Jimi Hendrix of his day. In Britain, the renamed Guitar Boogie Shuffle became a big hit for that country’s electric guitar pioneer Bert Weedon, who played an seminal role in a whole generation of kids picking up a guitar; some of whom formed part of the British Invasion. In 1955, Smith co-wrote a track titled Feudin’ Banjos, which would later be ripped off for the Duelling Banjos track in the film Deliverance. Smith successfully sued for copyright infgringement. His backing band, the Crackerjacks, comprised two more guys named Smith, none of them related, and Tommy Faile. Smith built a recording studio in Charlotte, North Carolina, in which counrtry artists such as Johnny Cash and Chet Atkins as well as James Brown (Papa’s Got A Brand New Bag was cut there).

Cindy Walker was a big star in the 1940s, one of the first female superstars of country. But she made an even bigger mark as a prolific songwriter. Her credits include Jim Reeves’ This Is It and posthumous megahit Distant Drums, Eddy Arnold’s Take Me In Your Arms And Hold Me and You Don’t Know Me (later a hit for Mickey Gilley), Roy Orbison’s Dream Baby, Dean Martin’s In The Misty Moonlight, Jack Greene’s You Are My Treasure, and more than 50 songs for Bob Wills. Walker died in 2006 at 87.

In 1964, the Beatles recorded a song, fronted by George Harrison, called Everybody’s Trying To Be My Baby, which was a cover of Carl Perkins’ song. Perkins himself borrowed heavily from Rex Griffin’s song of the same title. Griffin’s song was first released in 1936 (that version will feature at a later stage in a different series, as will his suicide anthem Last Letter). The version here is a re-recording from 1944. By then Griffin was washed up. His alcohol abuse did not go well with his diabetes. His recording career over, he wrote for others in the 1950s. He contracted tuberculosis in the mid-50s, and died in 1959 at the age of 47.

The 1940s compilations feature two notable originals that may be better known in versions by others. Cool Water was written by Bob Nolan of the Sons of the Pioneers, but became a bigger hit in versions by Vaughn Monroe and Frankie Laine. And in 1948, T. Texas Tyler gave us Deck Of Cards, in which a GI uses playing cards — associated with gambling and immorality — as a Christian catechism. Perhaps not coincidentally, the song is set at the Benedictine monastery of Monte Cassino in Italy, the site of a series of brutal battles in World War II. Tyler had a #3 hit with it in 1948, and it would become a huge international hit for Wink Martindale in 1959.

Edit: On a point of housekeeping, reader Don B. has rightly pointed out that track 18 by Judy Hayden is in fact Feudin’ And Fightin’, the same song as track 9 by Dorothy Shay. The happy upshot of the unfortunate mix-up is that we get to compare two very different treatments of the same song, at a time when songs would be covered copiously soon after the initial release. The tracklisting below has been amended accordingly; should you feel it necessary, as I would, please do the necessary editing of filename and ID3-Tag (if that’s your thing).

TRACKLISTING:
1. Cowboy Copas – Are You Honest?
2. Paul Howard’s Cotton Pickers – Drinking All My Troubles Away
3. Eddy Arnold – I’ll Hold You In My Heart (Till I Can Hold You In My Arms)
4. Hank Williams – Move It On Over
5. Bill Haley – Rovin’ Eyes
6. Bill Monroe’s Blue Grass Boys – When You Are Lonely
7. Jack Guthrie – Oakie Boogie
8. Hank Thompson – Humpty Dumpty Heart
9. Dorothy Shay – Feudin’ And Fightin’
10. Merle Travis – Nine Pound Hammer
11. Sons Of The Pioneers – Cigarettes, Whiskey And Wild Women
12. Lonzo & Oscar – I’m My Own Grandpa
13. Harry Choates – Fais Do Do Stomp
14. Moon Mullican – Jole Blon’s Sister
15. Hank Williams - Honky Tonkin’
16. Arthur Smith and his Cracker-Jacks – Guitar Boogie
17. Spade Cooley – Fickle Woman
18. Judy Hayden – Feudin’ And Fightin’
19. Ernest Tubb – Forever Is Ending Today
20. T. Texas Tyler - Deck Of Cards
21. Roy Acuff and the Smoky Mountain Boys – Tennessee Waltz
22. Little Jimmie Dickens - Take An Old Cold Tater
23. Lester Flatt & Earl Scruggs – Foggy Mountain Breakdown
24. Stanley Brothers - Let Me Be Your Friend
25. Tennessee Ernie Ford – Mule Train
26. Wayne Rainey – Why Don’t You Haul Off And Love Me
27. Tex Williams – With Men Who Know Tobacco Best (It’s Women Two To One)
28. George Morgan – Candy Kisses

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By the early 1940s the crooners had begun to make their mark, with Jimmie Davies — future Democrat governor of Louisiana — having led the way. Many of them had toiled and crooned in the 1930s. But with a world war slowly engulfing the globe, the market wanted, and got, romance. More than that, men took their country songs with them to the army and disseminated the music among their fellow soldiers. Country music thus found new fans, and its leading singers — Roy Acuff, Gene Autry, Red Foley, Tex Ritter, Eddy Arnold — gained a national audience. In 1945, Arnold even beat the mighty Frank Sinatra in a favourite-singer poll among GIs stationed in Germany.

Some singers hit temporary highs before disappearing, such as Ted Daffan, whose 1944 hit Born To Lose (actually recorded in 1942) would later be covered by Ray Charles on his seminal 1962 LP Modern Sounds In Country And Western Music. Other temporarily bright stars included Wesley Tuttle and Jack Guthrie. The latter, Woody Guthrie’s cousin, was very influential but died at the age of 32 of tuberculosis in 1948.

Western swing continued to grow in popularity. Not only was Bob Wills one of the biggest names in country, but artists such as Pee Wee King (like Wills a bandleader) made an impression. Spade Cooley took the genre towards a more pop-oriented style. Cooley in 1961 was convicted of murdering his wife, dying eight years later in jail (more about him in Vol 5).

Other new stars appeared on the scene. In 1941 Ernest Tubb recorded his first hit record (the honky tonk Walking The Floor Over You, which, unusually for the time, prominently featured the electric guitar, as would in 1948 Arthur Smith’s seminal Guitar Boogie) and the prolific songwriter and singer Cindy Walker hit the country and pop charts with her cover of Bing Crosby’s Long Star Trail. Helped along by the proliferation of hayride and barndance shows on radio, country went mainstream. The most influential of these of course was Nashville’s Grand Ole Opry, which attracted the best and most popular stars from other shows, a policy it would follow well into the 1950s (when it nevertheless failed to spot the talents of Louisiana Hayride regular Elvis Presley, even after he appeared on the Opry as Hank Snow’s opening act). Augmenting the Opry line-up, headed and presented by Acuff, were comics such as the wildly popular Minnie Pearl. Not surprisingly, the novelty record was very much part of country music. Some of them, such a Lonzo & Oscar’s I’m My Own Granpa, were even funny.

As the US joined the war, some singers turned to the sort of jingoism which 60 years later Toby Keith exploited to lucrative effect, with a similar lack of tact or sophistication. Very soon after the Japanese attack on the US naval base in Hawaii, the Carson Robison Trio entreated their listeners to Remember Pearl Harbor, demanded that We’re Gonna Have To Slap The Dirty Little Jap and called to arms with Get Your Gun And Come Along (We’re Fixing To Kill A Skunk) — though neither sounded country, or any good, at all — while yodeller Elton Britt promised that There’s A Star Spangled Banner Waving Somewhere. The latter, recorded on 19 March 1942, narrated the desire of a handicapped country boy to fight in the war. This slice of maudlin patriotism became country music’s first gold single. Zeke Williams’ Smoke On The Water (also recorded by Red Foley) in 1944 represented the victory which within a year would become reality. Around the same time, Woody Guthrie — still in the country fold — threatened just comeuppance for fascists.

Most of the stars of the early 1940s not only survived the post-war years, but benefited from a boom which saw the emergence of new superstars in the late ’40s and early ’50s, such as Merle Travis, Hank Snow (a Canadian!), Webb Pierce, Tennessee Ernie Ford, Hank Thompson, Jim Reeves and so on. Two of these would be monumentally influential: Lefty Frizell and Hank Williams. Debuting in 1947 with the outstanding Move It On Over (which in parts sounded much like the later Rock Around The Clock), Williams scored 36 more hits before his death at 29 on New Year’s Day 1953. There might have been rock & roll without Hank Williams, but perhaps not quite the way we know it. Frizell was just as huge as Williams, at one point in 1951 scoring four simultaneous hits in the country top 10. Frizell exercised a profound influence on future giants of country such as George Jones, Merle Haggard and Willie Nelson.

The era also saw the slow rise of the female country singer. Such artists as Sara and Maybelle Carter, Patsy Montana, Louise Massey and Cindy Walker had enjoyed success in the preceding two decades, but there were very few women in country. The early 1950s produced the first enduring superstar, Kitty Wells, and a few others in whose footsteps the likes of Loretta Lynn, Wanda Jackson, Skeeter Davis and Tammy Wynette would walk. Molly O’Day had briefly attained star status in the 1940s, Goldie Hill was hugely popular for a while, Rose Maddox had a series of hits with her brothers. We will encounter them and others in volumes 6 and 7.

TRACKLISTING
1. Ernest Tubb – Walking The Floor Over You
2. Bob Wills and his Texas Playboys – Corrine Corrina
3. Hoosier Hot Shots – Dude Cowboy
4. Louise Massey and the Westerners – My Adobe Hacienda
5. Sons Of The Pioneers – Cool Water
6. Carson Robison Trio – Remember Pearl Harbor
7. Elton Britt – There’s A Star Spangled Banner Waving Somewhere
8. Jimmy Wakely – When It’s Round Up Time In Texas
9. Ted Daffan’s Texans - Born To Lose
10. Cindy Walker – Miss Molly
11. Bob Atcher & Bonnie Blue Eyes – Pins And Needles (In My Heart)
12. Roy Acuff and the Smoky Mountain Boys – Night Train To Memphis
13. Texas Jim Lewis – Too Late To Worry, Too Blue To Care
14. Rex Griffin – Everybody’s Trying To Be My Baby
15. Al Dexter and his Troopers – Pistol Packin’ Mama
16. Red Foley – Smoke On The Water
17. Wilf Carter - A Sinner’s Prayer
18. Woody Guthrie & Sonny Terry – All You Fascists Bound To Lose
19. Bradley Kincaid and his Kentucky Mountain Boys – Ain’t We Crazy
20. Tex Ritter – There’s A New Moon Over My Shoulder
21. Gene Autry – Gonna’ Build A Big Fence Around Texas
22. Wesley Tuttle – With Tears In My Eyes
23. Floyd Tillman - Drivin’ Nails In My Coffin
24. Johnny Bond – So Round, So Firm, So Fully Packed
25. Molly O’Day – When God Comes To Gather His Jewels
26. Merle Travis – Divorce Me C.O.D.
27. Bob Wills and his Texas Playboys – Keep A-Knockin’ But You Can’t Come In
28. Delmore Brothers – Freight Train Boogie
29. Harry Choates – Jole Blon
30. The Prairie Ramblers – I Don’t Love Anybody But You

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The second article in the history of country music covered the trends and artists of the depression and pre-war years, 1930-41. Here we’ll look at some of the songs of the era. The photo on the cover comes from a superb series of colour photos from the US in the 1930s and ’40s.

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Rock ‘n’ roll grew out of R&B and various shades of country, especially rockabilly, a sub-genre that peaked in the 1950s. But what is widely regarded as the first rockabilly number dates back to 1939, Buddy Jones’ Rockin’ Rollin’ Mama. It’s a futile exercise to identify “the first-ever rock ‘n’ roll record”, but any list of contenders must include Rockin’ Rollin’ Mama.

The Rock and Roll Hall of Fame’s list of “500 Songs that Shaped Rock and Roll” features shockingly few early country songs. One that is included is Jimmie Rodgers Blue Yodel No. 9, recorded in 1930 with Louis Armstrong, marking the first instance of a white country singer collaborating with a black musician. As the title suggests, the collaboration with Satchmo was preceded by eight blue yodels, which introduced an Alpine musical form into the crazy stew that also included influences as diverse as Hawaiian sounds and 18^th-century folk ballads from England. By collaborating with Armstrong, Rodgers also helped to introduce jazz to the mix, which would find fuller expression with the rise of western swing.

While Blue Yodel starts our 2-CD set, Red Foley’s Old Shep of 1941 almost bookends it. The maudlin ballad about a child’s dying dog is not really very good (and the sound quality here isn’t great), but it also merits consideration in the development of rock ‘n’ roll for helping to inspire a pre-pubescent Elvis Presley of Tupelo, Mississippi to take up music. In fact, Old Shep was the first song Elvis ever sang in public, at the Mississippi-Alabama Fair and Dairy Show in Tupelo in October 1945 (he placed fifth in the talent show). After becoming a rock ‘n’ roll sensation, Elvis paid tribute to the song he once was obsessed with by recording it.

The terribly arbitrary and incomplete Rock and Roll Hall of Fame’s list also includes Roy Acuff’s Wabash Cannonball — one of the many train songs in country. A folk song from the late 19^th century originally recorded by the Carter Family in 1929, it was Acuff’s breakthrough hit, launching a career that spanned four decades. In 1948 he reluctantly ran for governor of Tennessee on a Republican ticket (the idea initially was a publicity stunt), but lost to two-time governor Gordon Browning, who won 67% of the vote.

One country singer who did become a governor was Jimmie Davis, who governed Louisiana as a Democrat for two non-consecutive stints (1944–48, 1960–64). Davies’ signature tune, You Are My Sunshine, now is Louisiana’s state song. He even claimed to have written it as a school boy, but that is untrue (imagine that, a politician who tells lies). It was written by the Rice Brothers Gang of Shreveport, Louisiana but first recorded on 22 August 1939 by the Pine Ridge Boys of Atlanta. Davies, who recorded his version in 1940, put his co-composer credit on the song after buying the rights to it from the Rice brothers. At campaign rallies, Davies would sing the song while riding a horse called, of course, Sunshine.

Bob Wills had been co-inventing western swing for a few years before he scored his first national hit with New San Antonio Rose, a reworking of his 1938 instrumental song (his use of drums and horns when performing his hit at the Grand Ole Opry caused quite a bit of a stir in Nashville). Arguably the more influential Wills song, however, was 1936’s Steel Guitar Rag, written by Leon McAuliffe, which was pivotal in popularising the steel guitar, which gives country the Hawaiian sound (the steel refers to the slide held in the hand that holds the frets).

Roy Rogers is among Hollywood’s singing cowboys of the movies featured here (though songs by the original singing movie cowboy, Ken Maynard, are quite difficult to find). Rogers was a founder in 1933 of the Sons of the Pioneers. The original pioneers are long gone, but new generations of pioneers are keeping the name alive even now, led by Luther Nallie, who joined the group in 1968. But back in the ’30s, Rogers soon left for the big screen while the Sons of the Pioneers became both country staples and performers on the big screen, including the 1942 movie with Rogers named after the band. They recorded the first version of Tumblin’ Tumbleweeds — written by bandmember Bob Nolan, who first named it Tumbling Tumble Leaves — before Gene Autry made it famous. For his part, Autry was the first to record the standard That Silver-Haired Daddy Of Mine in 1931. A later compilation will feature the Sons’ other great original, 1946’s Cool Water (also written by Nolan).

Woody Guthrie (pictured) was regarded as a country singer before folk music went its own way. Guthrie of course influenced generations of folk singers; indeed, he spearheaded the folk movement with acolytes such as Pete Seeger. It arguably reached its zenith with the output of Bob Dylan in the 1960s. Dylan also owed a lot to the repository of blues and country. Other than Guthrie, it is evident that Dylan listened much to the original Carter Family. Their rendition of a traditional hymn, Can The Circle Be Unbroken, was covered by Dylan and many others (Carl Perkins also borrowed the chorus for his Daddy Sang Bass, later covered by Johnny Cash with the help of June Carter). Dylan adopted several traditional folk songs, including the Appalachian ballad Pretty Polly for Ballad Of Hollis Brown.

Lastly, Gid Tannen and his Skillet Lickers might have been the first disco musicians: in the introduction to Soldier’s Joy Breakdown, Tannen makes reference to shakin’ booties before his band launches into a remix of the song they first recorded in 1929.

TRACKLISTING
1. Uncle Dave Macon – All In Down And Out Blues
2. Wade Mainer & Zeke Morris - Train Carry My Gal Back Home
3. Arthur Smith Trio – Indian Creek
4. Lee O’Daniel and his Hillbilly Boys - Mellow Mountain Moon
5. Hackberry Ramblers – Cajun Crawl
6. Hoosier Hot Shots - Breezin’ Along With The Breeze
7. Roy Rogers – Hi Ho Silver
8. Bill Boyd and his Cowboy Ramblers – Jig
9. Coon Creek Girls - Banjo Pickin’ Girl
10. Hank Penny’s Radio Cowboys – Cowboy’s Swing
11. The Tune Wranglers – Dixie Moon
12. Patsy Montana with the Prairie Ramblers – Big Moon
13. Light Crust Doughboys – Gin Mill Blues
14. Roy Acuff and the Crazy Tennesseans – Wabash Cannonball
15. Buddy Jones – Rockin’ Rollin’ Mama
16. Swift Jewel Cowboys – Willie The Weeper
17. Cliff Bruner’s Texas Wanderers - Waiting At The End Of The Road
18. The Pine Ridge Boys – You Are My Sunshine
19. Jimmie Davis – Born To Be Blue
20. Delmore Brothers – Wabash Blues
21. Roy Acuff - Old Age Pension Check
22. Louise Massey and the Westerners – Put Your Little Foot Right Out
23. Bob Wills and his Texan Cowboys - New San Antonio Rose
24. Carter Family – My Home Among The Hills
25. Woody Guthrie – Talkin’ Dust Bowl Blues
26. Blue Sky Boys – Brown Eyes
27. Tex Ritter – Good-Bye My Little Cherokee
28. Red Foley – Old Shep
29. Texas Jim Lewis – Old Fashioned Hoedown

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