Zoom's Tunes

Just Like Tom Thumb's Blues

2011-12-12T09:34:00.002-07:00

Performed by Applejack
Zoomer Roberts: lead vocal & harmonica
Buddy Winston: harmony vocal & guitar
recorded 10 December 2011 at La Tierra Cafe

A Satisfied Mind

2011-12-12T09:26:00.002-07:00

Performed by Applejack
Zoomer Roberts: solo & harmony vocal
Buddy Winston: harmony vocal & guitar
Charlie McDonald: melody vocal & guitar
recorded 10 December 2011 at La Tierra Cafe

Stagger Lee

2011-10-23T16:03:00.002-06:00

recorded 5 September 2011 at Dalton Powell's house

Zoomer Roberts: lead vocal
Buddy Winston: rhythm guitar & backing vocal
Jack Woodberry: lead guitar & backing vocal
Doug Neal: electric bass & backing vocal
Dalton Powell: drums

My Baby Left Me ~ 2011 Border Legends Concert

2011-10-02T12:54:00.004-06:00

Race With the Devil

2011-09-26T19:48:00.002-06:00

Recorded 5 September 2011

Zoomer Roberts: vocal
Buddy Winston: rhythm guitar
Jack Woodberry: lead guitar (off-mic)
Doug Neal: electric bass
Dalton Powell: drums

Zoomer's Bar Years ~ part 1

2011-06-07T10:14:00.001-06:00

Zoomer's Bar Years ~ part 2

2011-06-07T10:12:00.000-06:00

Zoomer's Bar Years ~ part 3

2011-06-07T10:11:00.000-06:00

Zoomer's Bar Years ~ part 4

2011-06-07T10:10:00.001-06:00

Zoomer's Bar Years ~ part 5

2011-06-07T10:08:00.000-06:00

Zoomer's Bar Years ~ part 6

2011-06-07T10:07:00.001-06:00

Ring of Fire

2010-11-11T13:09:00.002-07:00

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
recorded 6 November 2010

Border Legends Concert ~ 16 Oct. 2010

2010-10-25T14:05:00.014-06:00

Zoomer Roberts: vocals
Buddy Winston: rhythm guitar
Jack Woodberry: lead guitar
Doug Neal: bass
David Rutledge: drums
George Reynoso: master of ceremonies

The songs: Bodine, Twenty Flight Rock, Little Darlin'

Bodine

2010-08-14T12:33:00.001-06:00

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
Recorded 7 August 2010

Milk Cow Blues

2010-08-10T15:57:00.002-06:00

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
Recorded 7 August 2010

Hang On Sloopy

2010-04-19T16:38:00.004-06:00

Performed by County Line
Cindy Bickford: drums & lead vocal
Zoomer Roberts: bass & harmony vocal
Cindy Seaman: keyboards & harmony vocal
Al Couch: guitar
Recorded 18 June 1983 at the Anthony Gap Saloon

Basically, this was Cliff Seaman's old band, with me taking over Cliff's bass duties and Al Couch filling the lead guitar slot I had once occupied. Cindy Seaman, who had become a fine and savvy musician, lead and fronted the group. We were propelled by the formidable drumming of Cindy Bickford. Everyone sang. Musically, it bore no resemblance to the earlier group. It was exciting and punchy and filled with harmony and should have gone places. Actually, it did: we played two weeks in San Angelo (see photo). Due to circumstances beyond our control, the group broke up after only two months. This slightly distorted cassette is all that remains.

Utah Street

2010-03-28T07:17:00.003-06:00

Zoomer Roberts: vocal & harmonica
Buddy Winston: guitar
recorded 27 March 2010

Another original. Utah Street was home to El Paso's red light district in the horse and buggy era. Sam Jones is fictional. Zachary White was real. Tillie was a prominent madame. Utah Street is now Mesa Street.

On the Side of This Mountain #3

2009-12-27T21:33:00.005-07:00

Zoomer Roberts: vocal
Buddy Winston: guitar & harmony vocal
recorded 27 March 2010

This original song about living and dying in El Paso has been kicking around for a couple of years. The bridge has been altered from the previous (and now deleted) version. Some of the lyrics are symbolic. Others are literal. Long-time El Pasoans will recognize many of the references. I do indeed live on the western slopes of the Franklin Mountains and intend to stay put. The rest of the world passes through in a ceaseless parade of numbness.

Walkin' Down the Railroad Line

2009-08-09T22:23:00.002-06:00

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

This is from a KTEP broadcast commemorating what would have been Woody Guthrie's 95th birthday. It was a loose affair, with everybody playing on everyone else's songs. I particularly enjoyed doing this obscure ditty from Woody's 1940 Library of Congress recordings. Its construction is ideal for a hootenanny, which this certainly was.

Hard, Ain't It Hard

2009-08-09T22:20:00.001-06:00

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

The Sinking of the Reuben James

2009-08-09T22:18:00.000-06:00

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

Tom Joad

2009-08-09T22:12:00.002-06:00

from KTEP radio broadcast of 14 July 2007
Zoomer Roberts: vocal & Harmonica
Buddy Winston: guitar
Bob Burns & Gene Keller: banjo, guitar, vocals

2009-07-18T20:03:00.000-06:00

Cimarron

2009-04-30T19:15:00.004-06:00

Jerry, Buddy & Zoomer
Jerry Boyer: vocal
Buddy Winston: vocal & guitar
Zoomer Roberts: vocal & guitar
recorded March 1983

We learned this song from an old Johnny Bond 78 that I found on one of my junkin' junkets. In today's world of torrents, eBay and Bear Family box sets, the idea of spending hours sifting through stacks of old records in search of a gem seems plumb rustic, but 25 years ago it was the only way to find songs like this. Like many cowboy songs of the '30s and '40s, it doesn't tell a story. Rather, it conveys the resignation of being in motion for its own sake. Maybe things will get better. Maybe not. Roll on!

Jamboree

2009-04-30T17:00:00.001-06:00

Recorded March 1983
Buddy Winston: banjo
Zoomer Roberts: guitar

The Face On the Barroom Floor

2009-04-30T16:27:00.003-06:00

Jerry, Buddy & Zoomer
Zoomer Roberts: recitation
Jerry Boyer: wordless vocal
Buddy Winston: guitar
recorded March 1983

This Hugh Antoine d'Arcy poem -- also known as "The Face Upon the Floor" -- first saw the light of day in 1887. It was the inspiration for a 1914 Charlie Chaplin film (above) and a 1954 Mad Magazine parody (below). Our version came from Hank Snow's "Tales of the Yukon" LP. It might be considered melodramatic, but I've always found it compelling, and the challenge of performing it as a serious piece was irresistable. This performance is from a rehearsal tape for a concert we did at the El Paso Unitarian Community in 1983. Here is the original text, in case you'd like to follow along:

'Twas a balmy summer evening, and a goodly crowd was there.
Which well-nigh filled Joe's barroom on the corner of the square,
And as songs and witty stories came through the open door
A vagabond crept slowly in and posed upon the floor.

"Where did it come from?" Someone said: "The wind has blown it in."
"What does it want?" Another cried. "Some whisky, rum, or gin?"
"Here, Toby, seek him, if your stomach's equal to the work --
I wouldn't touch him with a fork, he's as filthy as a Turk."

This badinage the poor wretch took with stoical good grace;
In fact, he smiled as though he thought he'd struck the proper place.
"Come, boys, I know there's kindly hearts among so good a crowd --
To be in such good company would make a deacon proud."

"Give me a drink -- that's what I want -- I'm out of funds, you know;
When I had cash to treat the gang, this hand was never slow.
What? You laugh as though you thought this pocket never held a sou;
I once was fixed (as well), my boys, as anyone of you."

"There, thanks; that's braced me nicely; God bless you one and all;
Next time I pass this good saloon, I'll make another call.
Give you a song? No, I can't do that, my singing days are past;
My voice is cracked, my throat's worn out, and my lungs are going fast."

"Say! Give me another whisky, and I'll tell you what I'll do --
I'll tell you a funny story, and a fact, I promise, too.
That I was ever a decent man not one of you would think;
But I was, some four or five years back. Say, give me another drink."

"Fill her up, Joe, I want to put some life into my frame --
Such little drinks, to a bum like me, are miserably tame;
Five fingers -- there, that's the scheme -- and corking whisky, too.
Well, here's luck, boys; and landlord, my best regards to you."

"You've treated me pretty kindly, and I'd like to tell you how
I came to be the dirty sot you see before you now.
As I told you, once I was a man, with muscle, frame and health,
And but for a blunder, ought to have made considerable wealth."

"I was a painter -- not one that daubed on bricks and wood
But an artist, and, for my age, was rated pretty good.
I worked hard at my canvas and was bidding fair to rise,
For gradually I saw the star of fame before my eyes."

"I made a picture, perhaps you've seen, 'tis called the 'Chase of Fame,'
It brought me fifteen hundred pounds and added to my name.
And then I met a woman -- now comes the funny part --
With eyes that petrified my brain, and sunk into my heart."

"Why don't you laugh? 'Tis funny that the vagabond you see
Could ever love a woman and expect her love for me;
But 'twas so, and for a month or two her smiles were freely given,
And when her loving lips touched mine it carried me to heaven."

"Did you ever see a woman for whom your soul you'd give,
With a form like the Milo Venus, too beautiful to live;
With eyes that would beat the Koh-i-noor, and a wealth of chestnut hair?
If so, 'twas she, for there never was another half so fair."

"I was working on a portrait, one afternoon in May,
Of a fair-haired boy, a friend of mine, who lived across the way,
And Madeline admired it, and, much to my surprise,
Said that she'd like to know the man that had such dreamy eyes."

"It didn't take long to know him, and before the month had flown
My friend had stolen my darling, and I was left alone;
And, ere a year of misery had passed above my head,
The jewel I had treasured so had tarnished, and was dead."

"That's why I took to drink, boys. Why, I never saw you smile,
I thought you'd be amused, and laughing all the while.
Why, what's the matter, friend? There's a teardrop in your eye,
Come, laugh, like me; 'tis only babes and women that should cry."

"Say, boys, if you give me just another whisky, I'll be glad,
And I'll draw right here a picture of the face that drove me mad.
Give me that piece of chalk with which you mark the baseball score --
You shall see the lovely Madeline upon the barroom floor."

Another drink, and with chalk in hand the vagabond began
To sketch a face that well might buy the soul of any man.
Then, as he placed another lock upon the shapely head,
With a fearful shriek, he leaped and fell across the picture -- dead.

Peggy Sue

2009-04-13T07:14:00.005-06:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Rod Crosby: guitar & vocal

Rod Crosby here. I'm the guy you hear playing and singing this Buddy Holly song. In the early morning of February 3rd, 1959, my biggest musical influence, Buddy Holly, died tragically in a single engine aircraft crash near Mason City, Iowa with three other men -- Ritchie Valens, The Big Bopper, and the pilot. Holly's influence is still in motion, carried, and perpetuated by, the likes of guys like me, and all his countless fans, whether they be audience-fans or musician-fans, world famous or local. His birth, life, and death events are continually celebrated all over the world.

My friend and well-known fellow musician here in El Paso, the much loved, multi-talented, and delightfully "Zany" Zoomer Roberts, came up with the idea to pay tribute to Buddy on, or around, Buddy's 50th deathday in February 2009. He approached radio host Gregg Carthy of the "Folk Fury" program that airs every Saturday 7-10PM on UTEP's FM station, KTEP, with this idea of having a few select musicians play and sing Holly songs live, on air, acoustically, also referred to as "unplugged", or "folk style", which means little or no electronics involved.

Zoomer was kind enough to say that I, Rod Crosby, just had to be included as one of the players, which was most flattering, and taken as a great compliment. Thank you, Zoomer!

In the early days of El Paso's 60's rock scene, "The Fanatics", which was Bobby & Randall Fuller, Larry Thompson and Billy Webb, were in the center of it, playing a lot of Holly's music, and originals. The band I was in, known only then as "The Intruders" (without Rod Crosby at the front of the name) played Holly music as 60% of the band's song list. Reason for that, I was the lead singer and had, early on, learned to play and sing every song on the "Buddy Holly & The Crickets" album, and later, many more selected from other albums.

Oh, on a side-note, Holly was also Bobby Fuller's greatest influence, even above his heroes, Gene Vincent and Eddie Cochran. Fuller even mentioned in an interview here in El Paso in the early 60's that he and I had in common, and shared, Holly's influence. The fact that "I Fought The Law", the Bobby Fuller Four's iconic rock song, was written by Holly Cricket-guitarist Sonny Curtis is just more evidence of the connection of the dots, or stars, from local rock music all the way to the Holly sound.

Anyway, the date for this live on-air tribute was set for Saturday February 28th, 2009. When asked by Gregg to be on the show and perform (4) Holly songs, I accepted gladly, but with reservation, due to the nature of my self-employment as owner of my own business, Crosby Sound-Lighting-Video-Backline Services. My company provides all types of audio and video production for live concerts, and various events, on the weekends. I told Gregg the odds of my being off that evening were slim to none, as I had contracts pending on the table at that time, so figured it would not happen for me. I was disappointed, to say the least, and told Gregg I guess the right thing to do would be to pass and let someone else have that slot, since I couldn't make a firm commitment.

On that note, Gregg was nice enough to suggest that if necessary, he could record an interview with me at my own studio prior to the show, on condition that the (4) songs be performed, and recorded, with the set up of one mic, playing the guitar and singing simultaneously, all the way through each song, as it would be if it were being done live in the KTEP studio. So, that is exactly what we did.

As it turned out, I ended up being committed elsewhere on that date, but the interview did air on the 28th after Zoomer and the other musicians performed. Thank you, Gregg, and Zoomer, again, for making that happen for me, so I could participate with you all in honoring my hero, Buddy Holly.

I just want to say here how very much I appreciate the allowance of me to do that, and for the exception made. It was not asked for, expected, or taken for granted. Couldn't stand to have missed out on all of that event. I do regret I was unable to be there in person, but believe me, I was there in spirit.

I must add here that I began with guitar in 1955, as a kid in Corona, California, on a 1941 Rickenbacker double-neck 6-string "steel" guitar, then moved on to an acoustic guitar which was back then, and still is, my primary instrument. To be able to perform Holly's songs so simplistically, and for it to be shared on the air, was a real honor and a privilege.

So, reason for all this rhetoric, is just to explain to listeners the importance and influence of Buddy Holly right here in El Paso, why this song and (3) others were recorded in the first place, and also, in the manner which that was done. Helping with the recording of parts of the interview in my studio was visiting, and former, El Paso rock musician Todd Rubenstein, now a Grammy nominated producer and owner-manager of TMR Productions based out of Nashville. The mic used was a ribbon condensor, and the guitar played was my black, jumbo Taylor Tribute 515B (owned formerly by El Paso musician-vocalist Tana Ladner) with just recently installed "Barry Martin's Famous" jumbo frets. What a guitar! I don't play it, it plays me!

Hope you enjoy the songs and relate to the powerful connection of the many people right here in El Paso and the late, great Buddy Holly!
Thanks for listening,
Rod Crosby

It Doesn't Matter Anymore

2009-04-13T07:11:00.002-06:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Rod Crosby: guitar & vocal

Rod Crosby here. Love this song. Played this song a lot in my earlier band days when I realized I had to give up my first true-teen love interest, the beautiful dark-eyed Anita Marie Moskal. It was pretty much like the song, close enough to realize that we would have to go our own ways, because we were just too young. However, that time we had was great, full of teenage angst, and discovery of all kinds, and they can never take that away from us.

This song was written by Paul Anka way back in his youth, before he ever became fore-front famous, and Buddy recorded it first. Paul is still performing and composing, going strong as ever.

Well... All Right

2009-04-13T07:05:00.004-06:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Rod Crosby: guitar & vocal

Rod Crosby Here. This is one of my all-time favorite Buddy Holly songs. The way the acoustic guitar rings out at the higher fret position is a stand-out from all of Holly's songs, and even more so, the way it was played by Holly, an influence of the highest magnitude.

Probably the first famous early Rock 'n' Roller to use a capo on a guitar, as noted by John Lennon in an interview about how much Holly influenced the Beatles. John also mentioned it was now cool to be seen on stage wearing "spectacles". John is quoted as saying "I WAS Buddy Holly!"

This song also strongly reflected the strenth of a teenage romance, pushing on, against all odds, forever how long it could last. This song also has special meaning because again, it epitomized the intent, and the eventual end of my first true teen-love interest.

Not Fade Away

2009-04-13T07:02:00.003-06:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Rod Crosby: guitar & vocal

Rod Crosby here. I especially like this song. Created by Holly in the "Bo Diddley" vein. Really powerful song, and fun to play live with a real band. Also one of Bobby Fuller's favorites.

Midnight Shift

2009-03-01T16:44:00.003-07:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Zoomer Roberts: vocal and harmonica
Buddy Winston: guitar
Doug Neal: bass

Zoomer here. I usually include some lesser-known items in tribute shows. This is one of the songs Buddy Holly recorded in Nashville for Decca in 1956. It was also done by Commander Cody and His Lost Planet Airmen in the early 1970s. It's not a great song, but it's fun. Originally, the line "brother, there just ain't no ifs" appeared in three consecutive verses, and I thought once was plenty, so I did a minor re-write wherein Annie drives your car off of a cliff and reeks of liquor and illicit sex the next morning. Another line -- "when you're at the morgue identifyin' the stiff / you'll know that Annie was a-workin' on the midnight shift" -- was left on the cutting room floor.

Everyday

2009-03-01T16:42:00.004-07:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Zoomer Roberts: vocal and harmonica
Buddy Winston: guitar
Doug Neal: bass

This should've been titled "Every Day." I just want you to know that I know that. Typically, we didn't try to sound like the record, but we held on to the wonderful bridge, each chord a fourth above the previous one, and the penultimate chord a semitone above the dominant. The same progression played backwards is the basis for "Hey Joe" by the Leaves and/or Jimi Hendrix.

Peggy Sue Got Married

2009-03-01T16:35:00.002-07:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Zoomer Roberts: vocal and harmonica
Buddy Winston: guitar
Doug Neal: bass

Before embarking on what would be his last tour, Buddy recorded some voice-and-guitar demos of his latest compositions, including this sequel to "Peggy Sue." Coral records overdubbed additional accompaniment and issued the songs scant months after his death. Later on, Holly's one-time producer, Norman Petty, re-dubbed the tapes -- this time with the Fireballs providing the backing. Still later, the Hollies produced their own hybrid version of this song, while Buddy's original recording surfaced in a movie of the same name.

Lyrically, not much is going on here -- but it must be remembered that it was written by a young man for an even younger audience. It's doubtful that Buddy envisioned this song being sung by old people half a century after the fact!

Bluebirds Over the Mountain

2009-03-01T16:32:00.002-07:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Zoomer Roberts: vocal and harmonica
Buddy Winston: guitar
Doug Neal: bass

For whatever reason, I heard the Beach Boys' version of this song before I heard Ersel Hickey's original or Ritchie Valens' cover version. Melodically, it's quite catchy, so we slowed it down a little, added a couple of chords, and played up its strengths. The recurring "bluebirds over the mountain / seagulls over the sea" paints a lovely picture. Feel the sea breeze on your face while you nurse your broken teenage heart! Valens -- dead at age 17 -- never got too old to sing this.

The Preacher and the Bear

2009-03-01T16:22:00.006-07:00

from the KTEP Folk Fury broadcast of 28 Feb. 2009
Zoomer Roberts: vocal
Buddy Winston: guitar
Doug Neal: bass

Although The Big Bopper wrote several successful songs, he got this one from Phil Harris, who salvaged it from traditional sources. It was a good vehicle for the Bopper's manic delivery. We patterned our version after that of Jerry Reed, who was also manic, but more accessibly so. There are a number of old songs about preachers hunting on the Lord's Day, and this one contains elements of "signifyin' " which is widespread in the African-American oral tradition and probably a precursor of rap. In my case, country + rap = crap, but it was fun!

I Fought the Law

2008-11-24T21:29:00.005-07:00

Performed by Avalanche
Zoomer Roberts: vocal & lead guitar
Wynn Pinkham: pedal steel guitar
Mike Bennett: bass
Bill Wilson: drums
Beverly Roberts: harmony vocal

recorded 9 December 1978
Whiskey River East, Horizon City, Texas

I had second thoughts about posting this beer-soaked track, which teeters precariously on the brink of bar band bedlam, but drummer Bill Wilson died last night, and when one of us dies, it redefines everything for those who are left behind. This recording has, to me, become as beautiful as burnished bronze -- a portrait of a time, and a place, and an aggregation that are no more. A moment frozen in amber. The drummer throws his sticks into the air, and there they remain suspended forever, never to return to their owner's hands...

My Blue Heaven

2008-11-12T14:56:00.001-07:00

Bent Fender & the Moonglows
Zoomer Roberts: vocal, guitar
Tony Custer: piano
Bill Owen: bass
recorded 1973

Blue Monday

2008-11-12T11:02:00.002-07:00

Bent Fender & the Moonglows
Zoomer Roberts: vocal, guitar
Tony Custer: piano
Bill Owen: bass
recorded 1973

Working Man Blues

2008-11-11T09:22:00.002-07:00

Bent Fender & the Moonglows
Zoomer Roberts: vocal, guitar
Tony Custer: piano
Bill Owen: bass
recorded 1973

The Great Titanic

2008-10-11T11:13:00.003-06:00

Frank Dove and The Sundowners
Recorded at the Melody Ranch, circa 1984
Zoomer Roberts: lead guitar, lead vocal
Frank Dove: rhythm guitar, harmony vocal
Bill Radcliff: pedal steel
Bobby Napier: fiddle
Manny Flores: bass
Rick Lasino: drums

Another Sad and Lonely Night

2008-09-18T21:36:00.009-06:00

Recorded July, 1996
KTEP broadcast

Zoomer Roberts: lead vocal
Gene Keller: guitar & vocal
Ophelia Botham: mandolin & vocal

Never To Be Forgotten

2008-09-18T21:36:00.008-06:00

Recorded July, 1996
KTEP broadcast

Zoomer Roberts: lead vocal
Gene Keller: guitar & vocal
Ophelia Botham: mandolin & vocal

Love's Made A Fool of You

2008-09-18T21:36:00.007-06:00

Recorded July, 1996
KTEP broadcast

Zoomer Roberts: lead vocal
Gene Keller: guitar & vocal
Ophelia Botham: mandolin & vocal

Deep Elem Blues

2008-08-27T06:27:00.003-06:00

Recorded 1997 at the Chamizal National Memorial
Zoomer Roberts: vocal
Buddy Winston: guitar
Steve Smith: mandolin
Glenn Leffler: bass
Eric Hutson: drums

Deep Elem (Elm) was a disreputable area in South Dallas. To my knowledge, this catchy song about the thrills and woes to be found there was first sung by the Shelton Brothers in the 1930s. The inspiration for this version was a Sun record by Jerry Lee Lewis. The last verse was borrowed from "Texas Hambone Blues":

Well I'm goin' down to Cowtown just to get my hambone boiled
Because them New York City women, they done let my hambone spoil!

I once knew an old warehouse hand who recalled walking through Deep Elem during the Depression. He heard a voice call out from a second-story window: "Hey, white boy! Fo' a dollah, I takes you on!" He kept walking -- or at least that's what he told me, thirty five years after the fact.

If you go down in Deep Elem, put your money in your socks
Them redheads in Deep Elem'll blow a man out on the rocks!

Somewhere between the original VHS tape and this link, the MP3 file got reduced to a really crummy bitrate. I'll upgrade it one of these days, but for now, this will have to do.

Look here, pretty baby, I said you sure look good to me
But when you go down in Deep Elem lit up like a Christmas tree
Lawdy, Mama! Your Daddy's got them Deep Elem Blues!
Why don't you listen to me, Sugar? Your Daddy's got them Deep Elem Blues!

We Could

2008-08-27T06:23:00.003-06:00

The Lariat Cowboys
Zoomer Roberts: guitar & vocal
Jimmy Smith: fiddle
Tony Quero: bass
Mark Kays: drums

I always associate this song with Little Jimmy Dickens. Although he is primarily known for his novelty songs, Dickens was (and is) a fine ballad singer. "We Could" is somewhat of an oddity: it has the construction of a "weeper," but the lyrics are about love gone right. I used to sing this for couples who were celebrating their anniversary with a night of dancing.

Every Fool Has A Rainbow

2008-08-22T09:49:00.003-06:00

The Lariat Cowboys
Zoomer Roberts: guitar & vocal
Jimmy Smith: fiddle
Tony Quero: bass
Mark Kays: drums

How High The Moon

2008-07-17T20:47:00.003-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: vocal
Buddy Winston: guitar
Zoomer Roberts: mandolin & bass

When I Stop Dreaming

2008-07-17T20:45:00.004-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: lead vocal
Buddy Winston: guitar, harmony vocal
Zoomer Roberts: mandolin, bass, harmony vocal

I'm An Old Cowhand (from the Rio Grande)

2008-07-17T20:43:00.003-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Buddy Winston: guitar, lead vocal
Zoomer Roberts: guitar, bass, steel guitar, harmony vocal
Jerry Boyer: harmony vocal

Love Me Tender

2008-07-17T20:41:00.002-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: vocal
Buddy Winston: guitar
Zoomer Roberts: guitar & bass
arranged by Zoomer Roberts

Take Him In

2008-07-17T20:40:00.002-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Buddy Winston: guitars, banjo, lead vocal
Zoomer Roberts: mandolin, dobro, standup bass, harmony vocal
Jerry Boyer: harmony vocal

When we recorded this at Scott Martin's studio, we couldn't nail the acapella part at the end. The meter was running and it was our dime. Finally, we just did a slow fade from the start of the banjo solo to the end of the last verse. I've reversed the fade-out and grafted the intended ending from a rehearsal tape. This involved some speed and pitch adjustments, among other things. It's not seamless, but at least the original concept has been realized -- 26 years after the fact.

I'm Not That Good At Goodbye

2008-07-17T20:38:00.003-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: lead vocal
Buddy Winston: guitar, harmony vocal
Zoomer Roberts: steel guitar, bass, harmony vocal

Mississippi Mud

2008-07-17T20:36:00.002-06:00

From the album "Jerry, Buddy & Zoomer, Volume 1" (1982)

Zoomer Roberts:
vocal, mandolin, bass
Jerry Boyer: vocal, kazoo
Buddy Winston: guitar

When Bing Crosby described "Mississippi Mud" as "an earthy anthem," and he knew whereof he spoke. He helped popularize it in the 1920s when he was a member of Paul Whiteman's Rhythm Boys. Jerry, Buddy & Zoomer delighted in digging up derelict ditties such as this and -- for whatever reason -- playing them as fast as we could. The version heard here is a studio recording from 1982. The above photograph shows us performing it live at the El Paso Civic Center, probably at the "4 Centuries '81" festival.

Where No One Stands Alone

2008-07-17T20:35:00.002-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: lead vocal
Buddy Winston: guitar, harmony vocal
Zoomer Roberts: guitar, bass, harmony vocal

If I Had A Hammer

2008-07-17T20:33:00.004-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: lead vocal
Buddy Winston: guitar & harmony vocal
Zoomer Roberts: standup bass & harmony vocal

The name "Jerry, Buddy & Zoomer" wasn't patterned after "Peter, Paul & Mary." After initially billing ourselves as Jerry Boyer & the Zoom-Bud Band (Zoom-Bud was a take-off on Sho-Bud steel guitars), we decided to just use our names: two 5-letter names with double consonants and ending with the letter "y," followed by a 6-letter name with a double vowel. We could never have invented anything that good!

We worked up three Peter, Paul & Mary songs for a concert at the Chamizal Theatre. At the actual performance -- which was later shown on television -- the bridge on the standup bass I was playing worked loose and collapsed with a loud crash in the middle of "If I Had A Hammer." We continued singing, with me leaning on the bass from which the strings uselessly dangled. We later recorded it for our album, and that is the version heard here.

When Sunny Gets Blue

2008-07-17T20:32:00.002-06:00

from the album "Jerry, Buddy & Zoomer Volume 1"
Jerry Boyer: lead vocal
Buddy Winston: guitar
Zoomer Roberts: bass
arranged by Buddy Winston

The Prisoner's Song

2008-07-16T08:13:00.004-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal & bass
Buddy Winston: guitars
Eric Hutson: drums

In the waning years of the 20th century, Buddy and I casually recorded 14 of my favorite songs in his home studio. We did this piecemeal, often using "click tracks." Some of these bled and wound up in the final mix. The vocals were recorded in a closet. Due to the worsening condition of my fingers, I played the bass lines on a Yamaha keyboard or abandoned them altogether. On some songs -- such as this Vernon Dalhart warhorse from 1924 -- I dictated the instrumental breaks note-for-note. I also sang all the harmonies, with varying degrees of success. Finally, Eric Hutson brought over his snare drum and brushes and played exactly what was needed where it was needed. The final result was called "Roadhouse," and it is presented here in its entirety. The songs deal with pain, suffering, ostracism, hopelessness, exposure to the elements, lost love, alcoholism and death. My mother said it was the most depressing thing she ever heard in her life.

Waiting For a Train

2008-07-16T08:11:00.002-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal & bass
Buddy Winston: guitars
Eric Hutson: drums

Cool Water

2008-07-16T08:09:00.001-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal & bass
Buddy Winston: guitar
Eric Hutson: drums

Song of the Bandit

2008-07-15T21:12:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals, bass
Buddy Winston: guitars

This Bob Nolan composition, with its surreal imagery and expertly crafted harmonic structure, has long been one of my favorite Sons of the Pioneers songs. Jerry, Buddy & Zoomer performed it at the Border Folk Festival more than once. Here I overdubbed myself singing all the parts and it sounds more like three Zoomers than the Sons of the Pioneers or JBZ. Whatever the circumstances, I always come back to this one.

David's Lamentation

2008-07-15T21:10:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals

Sacred Harp singing isn't indigenous to El Paso, but thanks to the Smithsonian Folkways catalogue, I've been exposed to quite a bit of this ancient and intriguing music.

The words to "David's Lamentation" are from 2 Samuel 18:33 -- And the king was much moved, and went up to the chamber over the gate, and wept: and as he went, thus he said, O my son Absalom, my son, my son Absalom! would God I had died for thee, O Absalom, my son, my son! (KJV)

I Shall Be Released

2008-07-15T21:01:00.001-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals & electric bass
Buddy Winston: guitars
Eric Hutson: drums

As far as I'm concerned, the definitive version of any Bob Dylan song is the Bob Dylan version. And with dozens of other people's recordings of this "Basement Tapes" classic floating around, the world probably didn't need mine. Nonetheless, when Buddy and I started working on what would become the "Roadhouse" album, this was the first song out of the chute. It has a hopeful, hymn-like quality to it that makes it seem like much more than it is: the musings of a prisoner awaiting parole.

Dark As A Dungeon

2008-07-15T20:59:00.001-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals, keyboard bass
Buddy Winston: guitars
Eric Hutson: drums

This Merle Travis classic has such a solemn, hymn-like quality to it that one almost forgets the earthiness of the subject matter: coal mining. Travis preferred singing about mining to actually doing it. John R. Cash, who preferred selling vacuum cleaners to mining, put this out as a single in the 1960s. I've been singing it for forty years and haven't been "way down in the mine" yet. West Texas isn't coal country.

There Is A Fountain

2008-07-15T20:57:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals
Buddy Winston: guitar
Steve Smith: mandola

This is yet another track from the "Roadhouse" sessions. It was my good fortune to have Steve Smith play mandola on it. Steve is a good improviser, but I wanted him to play melody in an old-fashioned way. He gave me exactly what I wanted, but it took a few tries. Playing simply is difficult!

Around this same time, Buddy told a woman at an Applejack gig that we were recording some hymns. "How nice!" she chirped. "Is it 'Amazing grace, how sweet the sound?' " She said the words with a lilt, almost singing them.

"No," I replied dryly, "it's 'There is a fountain filled with blood drawn from Immanuel's veins.' "

"That's disgusting!" She curled her lips as though the crucifixion were a Stephen King creation.

I Can't Escape From You

2008-07-15T20:49:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal & bass
Buddy Winston: guitars

If anybody ever gets around to writing about Hank Williams' musical antecedents instead of his alcohol consumption, we might find out why so many of his songs don't have a bridge. This lesser-known waltz doesn't have one. Neither does "Cold, Cold Heart" or "I'm So Lonesome I Could Cry." One suspects he was exposed to some ancient ballad styles in his formative years. I met his band, the Drifting Cowboys, in Kerrville in 1979, but I mostly asked them questions about playing gigs in 1949 with no drums and low wattage. It was fascinating.

This recording is from the "Roadhouse" sessions of the late 1990s. I altered the melody slightly and replaced the VI minor chord with a diminished. That sort of thing will get you fired from some jobs.

I'm A Man of Constant Sorrow

2008-07-15T20:42:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal, keyboard bass
Buddy Winston: guitars
Eric Hutson: drums

Our version of this song predates the one used in the film "O Brother, Where Art Thou?" by several years. Artists whose versions predate ours include the Stanley Brothers, Judy Collins, Bob Dylan and Waylon Jennings.

Lonesome Road

2008-07-15T20:39:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal
Buddy Winston: guitar
Steve Smith: mandolins

When My Blue Moon Turns To Gold Again

2008-07-15T20:30:00.001-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals
Buddy Winston: guitars
Eric Hutson: Drums

Buddy Winston and I spent the latter half of the 1990s recording some of my favorite songs in his home studio. The eventual result was an album I named "Roadhouse" because Eric's drum rolls on some of the songs reminded me of Saturday nights in a honky-tonk. One of the songs I wanted to do was this old Wiley & Gene classic. We did it without a bass because it sounded good the way it was. The ending is a nod to Elvis Presley's 1956 version: I multi-tracked myself going from IV to I on the final "stay" a la the Jordanaires. It's like an "Amen" with different lyrics. The guitar intro was lifted from "Little Lover" by Gene Vincent. The rest of it is just us being ourselves.

Someday (You'll Want Me to Want You)

2008-07-15T20:24:00.000-06:00

From the album "Roadhouse"
Zoomer Roberts: vocal, keyboard bass
Buddy Winston: guitars

Gene Autry recorded this standard in 1946 -- five years before I was born -- so I can safely say I've heard it all my life. The melody, chord structure and lyric, with its air of resignation that stops short of despair, make it a pleasure to sing. Although I lack Autry's vocal equipment, I decided to have a go at it during the "Roadhouse" sessions. This is the result.

Just Like A Woman

2008-07-15T20:20:00.001-06:00

From the album "Roadhouse"
Zoomer Roberts: vocals, keyboard bass
Buddy Winston: guitar
Eric Hutson: drums

Sweet Memories

2008-07-15T20:08:00.003-06:00

OSR Demo -- 1980
Zoomer Roberts: vocal, guitars
Tony Quero: bass
Mark Kays: drums

(Get Up, Shut Up) Put Your Clothes On and Go Home

2008-07-15T20:04:00.003-06:00

OSR Demo -- 1980
Zoomer Roberts: vocal, guitars
Tony Quero: bass
Mark Kays: drums

I spent most of the 1970s playing honky-tonk music in C&W bars. Keeping up with the latest songs was part of the job. Conway Twitty was hugely popular in those days, and his records kept getting raunchier and racier, until he wasn't just suggestive about the sex act, he was vividly describing it. I thought it would be fun to write such a song, and my brother and I put this together one afternoon over a few beers. I started singing it at the gig, and it was surprisingly well received. For the next several years I got requests for this song nearly every night -- usually from the ladies. That was an eye opener!

Playin' In A Cowboy Band

2008-07-15T19:56:00.001-06:00

OSR Demo -- 1980
Zoomer Roberts: vocal, guitar
Chuck Telehany: lead guitar
Tony Quero: bass
Mark Kays: drums

You're Hard to Get Over (When I'm Sober)

2008-07-15T19:54:00.002-06:00

OSR Demo -- 1980
Zoomer Roberts: vocal, guitars
Tony Quero: bass
Mark Kays: drums

Nothing Matters (If I Can't Have You)

2008-07-15T19:38:00.003-06:00

OSR Demo -- 1980
Zoomer Roberts: vocal, guitars, mandolin, synthesizer
Tony Quero: bass
Mark Kays: drums

Copper Kettle

2008-07-15T18:57:00.002-06:00

Jerry, Buddy & Zoomer
Buddy Winston: lead vocal, guitar
Zoomer Roberts: harmony vocal, mandolin
Jerry Boyer: harmony vocal
Recorded September 1981

Theme from "The Rifleman"

2008-07-15T11:42:00.001-06:00

Zoomer Roberts: mandolin
Buddy Winston: guitar
recorded 3 July 1981

Stewball

2008-07-15T11:13:00.007-06:00

Jerry, Buddy & Zoomer
Buddy Winston: guitar & lead vocal
Jerry Boyer: harmony vocal
Zoomer Roberts: standup bass & harmony vocal

The Cruel War

2008-07-15T11:08:00.003-06:00

Jerry, Buddy & Zoomer
Jerry Boyer: lead vocal
Buddy Winston: guitar & harmony vocal
Zoomer Roberts: standup bass & harmony vocal

I'll Remember You Love In My Prayers

2008-07-14T15:48:00.004-06:00

Recorded 1997 at the Chamizal National Memorial
Zoomer Roberts: vocal
Buddy Winston: guitar
Steve Smith: mandolin
Glenn Leffler: bass
Eric Hutson: drums

Several artists were doing a modal, "Appalachian" version of this song in the 1990s. When I found a recording of Hank Snow singing it as originally written -- as a sentimental parlor waltz -- I was eager to present it in that form. This was a one-off performance at the Border Folk Festival. It was recorded outdoors on a camcorder by the late Johnny Ware, and Gene Graham later converted the audio to MP3. I've compressed it and adjusted the EQ. It's still a sow's ear, but you can probably listen to it without getting a nosebleed.

Here Comes the Sun

2008-07-14T13:15:00.002-06:00

Jerry, Buddy & Zoomer
Buddy Winston: guitar & lead vocal
Zoomer Roberts: guitar & harmony vocal
Jerry Boyer: harmony vocal
1984 World Tour Rehearsal

I Don't Want to Hurt You

2008-07-14T12:57:00.002-06:00

Zoomer Roberts: guitar & vocal
Recorded 19 October 1983

Good Ole Boys Like Me

2008-07-14T12:54:00.001-06:00

The Lariat Cowboys
Zoomer Roberts: vocal & guitar
Tony Quero: bass
Mark Kays: drums
Recorded 13 July 1980

In the Mood

2008-07-14T12:51:00.001-06:00

The Lariat Cowboys
Zoomer Roberts: lead guitar & announcement
Tony Quero: bass
Mark Kays: drums
Recorded 13 July 1980

Zoomer's Guitar Boogie

2008-07-14T12:39:00.004-06:00

The Lariat Cowboys
Zoomer Roberts: lead guitar
Tony Quero: bass
Mark Kays: drums
Don Walser: voice
Recorded 13 July 1980

This was an ideal break song: you could make it as long (or as short) as necessary, and get your rockabilly on in the process. Best of all, it needed no rehearsal. I had a small arsenal of such pieces that could be easily executed in any given situation.

Remington Ride / Cattle Call

2008-06-15T13:41:00.005-06:00

Don Walser with the Lariat Cowboys
Don Walser: vocal, rhythm guitar
Zoomer Roberts: lead guitar
Tony Quero: bass
Mark Kays: drums
Recorded 13 July 1980

Before he became known as the Pavarotti of the Plains, Don Walser was stationed in El Paso with the National Guard and played the honky tonks by night. On this particular night, he was filling in for the Lariat Cowboys' vacationing front man, Joe Leaver. Don was a gregarious soul who loved to sing the older country songs -- such as this Eddy Arnold chestnut -- and I was in my element playing behind him. A few years later I turned on my TV and there he was -- singing and yodeling on the Grand Ole Opry. It couldn't have happened to a nicer guy. There are some anomalies at the beginning of 'Cattle Call' that I can't correct. If a better recording surfaces, I'll upgrade this post.

The brief opening instrumental, "Remington Ride," was written by steel guitarist Herb Remington, who recorded it during his stint with Bob Wills & his Texas Playboys. I decided to play it on the guitar after hearing Don Reno play it on the 5-string banjo. It has some cool chord inversions in it.

To find out more about Don Walser, check out his official website at http://www.donwalser.com/

Chime Bells

2008-06-15T13:40:00.004-06:00

Don Walser with the Lariat Cowboys
Don Walser: vocal, rhythm guitar
Zoomer Roberts: lead guitar
Tony Quero: bass
Mark Kays: drums
Recorded 13 July 1980

Whether Don's version of this piece is based on that of Slim Whitman or Elton Britt is a matter of conjecture, but it doesn't really matter. The song is a framework in which to yodel, and Don inhabits it completely.

To find out more about Don Walser, check out his official website at http://www.donwalser.com/

I'm Casting My Lasso Towards the Sky

2008-06-15T12:35:00.002-06:00

Don Walser with the Lariat Cowboys
Don Walser: vocal, rhythm guitar
Zoomer Roberts: lead guitar
Tony Quero: bass
Mark Kays: drums
Recorded 13 July 1980

Don might have known every Slim Whitman song of any consequence. This one was a hit for Slim in 1949.

To find out more about Don Walser, check out his official website at http://www.donwalser.com/

China Doll

2008-06-15T10:35:00.006-06:00

Don Walser with the Lariat Cowboys
Don Walser: vocal, rhythm guitar
Zoomer Roberts: lead guitar
Tony Quero: bass
Mark Kays: drums
Recorded 13 July 1980

This was a hit for Slim Whitman back in 1952. Don was doing Slim's songs long before they became the stuff of "not sold in stores" TV albums. At the time of this performance, I didn't know where Don got his material. I just paid attention to what chords he was playing and followed along.

To find out more about Don Walser, check out his official website at http://www.donwalser.com/

Sweet Thing

2008-06-03T12:16:00.006-06:00

Recorded 12 May 1982
Byron Berline: fiddle
Zoomer Roberts: lead vocal, electric bass
Buddy Winston: lead guitar, harmony vocal
Mike Baron: banjo
Charles Harding: rhythm guitar

The El Paso Friends of Folk Music brought Byron Berline to town for their Fourth Annual Fiddle Fest at the Chamizal Theatre, and some of us locals banded together to accompany him. Byron had worked with everybody from Bill Monroe to the Rolling Stones (he didn't add our names to that list) and the gig was a treat for us. I got to sing a couple of songs, too, one of which was this little-known Cowboy Copas number. Henry Beebe used to sing this with the Shade Tree Boys, and we used his version. It teeters on the brink of collapse in places, but we got through it and the audience applauded. Fete accompli!

To learn more about Byron Berline, check out his website at http://www.doublestop.com/aboutus.php

The Old Home Place

2008-06-02T17:18:00.004-06:00

Recorded 12 May 1982
Byron Berline: fiddle
Zoomer Roberts: lead vocal, electric bass
Buddy Winston: lead guitar
Mike Baron: banjo
Charles Harding: rhythm guitar

This song is one of my favorites. It was originally done by the Dillards, with whom Byron cut his first album. I still perform it on occasion. This concert was videotaped and shown later on the public access cable channel. I recorded the audio from the television set on a generic cassette. The felt pad had to be glued back in before it could be uploaded, and I've corrected the pitch and applied some EQ. That the show survives at all amazes me.

To learn more about Byron Berline, check out his website at http://www.doublestop.com/aboutus.php

Twinkle Twinkle Little Star

2008-05-19T19:39:00.003-06:00

The Countrymen:
Dub Purvis: fiddle
Carlis Vannatter: steel guitar
Hank Telford: rhythm guitar
Zoomer Roberts: electric bass
Gordon Young: drums
recorded 1978 at Hines Lumber Co.

O Come, Angel Band

2008-05-19T11:43:00.002-06:00

Jerry, Buddy & Zoomer
Zoomer Roberts: lead guitar & vocal
Buddy Winston: rhythm guitar & vocal
Jerry Boyer: vocal
recorded 3 July 1981

Theme from "Father Knows Best"

2008-05-19T11:37:00.002-06:00

Zoomer Roberts: mandolin
Buddy Winston: guitar
recorded September 1981

As part of our show, Jerry, Buddy & Zoomer used to play old TV themes and award a modest prize to the first person who could correctly identify them. I don't recall anybody not knowing this one! The only time we ever really stumped 'em was with the theme from the "Gillette Cavalcade of Sports." It was fun, and enabled me to get some melodies I loved out of my system.

It's Hank Snow on Country Music Time!

2008-05-09T13:36:00.013-06:00

Country Music Time was a series of 15-minute radio shows distributed by the United States Air Force. Each show featured a "name" country artist, who would perform three songs, and a guest artist, who would perform a fourth song. About halfway through, a recruiter would talk about the opportunities to be had in "today's Air Force." The shows were sent out to radio stations on transcription discs, which often found their way into private collections after being broadcast. Along about 1963, a boy who was dating my sister handed me a half-dozen of these records (possibly to make me go away), including this one by Hank Snow. I was mesmerized. Snow's commercial records at that time featured background singers and Floyd Cramer's piano work, so it was a revelation that he still performed "live" with his Rainbow Ranch Boys: fiddle, steel, "sock rhythm" guitar and bass. Then there were the songs. "My Two-Timin' Woman" was one of Snow's older Canadian recordings. It had made a big impression on Johnny Cash (who recorded it for Sun) and Buddy Holly, who made a home recording of the piece -- including the guitar break -- when he was 13. "Little Buddy" is a heart-breaking recitation about a little boy whose dog is beaten to death by a drunkard, and "These Things Shall Pass" is a solemn-but-optimistic inspirational number. I learned all three of these songs and sang them often, but no usable recordings have surfaced. No matter -- these are the versions to hear. They still sound as good as they did 45 years ago, which was, as Mr. Snow would say, "so fur back I hate to think it was a matter of fact."

Marie

2008-05-07T11:41:00.002-06:00

Jerry, Buddy & Zoomer
Jerry Boyer: vocal
Buddy Winston: vocal & guitar
Zoomer Roberts: vocal & mandolin
recorded 26 March 1983

Written by Irving Berlin, this song was a hit in 1937 for Tommy Dorsey and his Orchestra. The vocalist on the record was the band's "boy singer" (yes, there really was such a term), Jack Leonard. When Frank Sinatra replaced Leonard, he inherited the song. A broadcast recording of Sinatra singing "Marie" with Dorsey's band has been in my collection for many years. However, it was an Original Texas Playboys record -- with a vocal by Joe Frank Ferguson -- that inspired Jerry, Buddy and me to try our luck with it. We threw in four bars of Charleston during the second instrumental break, and the ending is from the theme to the old Paramount newsreels. Eternally unable to devise a "hot" solo, I pretty much stick to the melody. I don't know what Irving Berlin -- or Dorsey, or Sinatra -- would have thought of this, but we loved it.

Come All Ye Fair and Tender Ladies

2008-05-07T11:16:00.004-06:00

Jerry, Buddy & Zoomer
Jerry Boyer: lead vocal
Buddy Winston: vocal & guitar
Zoomer Roberts: vocal & mandolin
recorded 26 March 1983

We learned this from a 1952 recording by the Carter Sisters & Mother Maybelle. Songs with similar themes and titles have been around for centuries. Typically, "maidens" is used instead of "ladies." The moral is always the same: marriage will enslave you to a loveless life of drudgery.

The Fourth Man In the Fire

2008-04-28T11:10:00.003-06:00

Jerry, Buddy & Zoomer

We learned this spirited song from a Johnny Cash album (the long-deleted "Strawberry Cake") and it was a staple of our repertoire for years. The story it tells is from the third chapter of the book of Daniel. The lyrics are:

Here is a story from the Bible we should know
A story about Shadrach, Meshach and Abednego
We hope that you'll find courage when temptations you might meet
For there's somebody watching who'll be strong when you're weak

They wouldn't bend
They held on to the will of God so we are told
They wouldn't bow
They would not bow their knees to the idols made of gold
They wouldn't burn
They were protected by the Fourth Man in the fire
They wouldn't bend, they wouldn't bow, they wouldn't burn

Now the prophet Daniel tells about three men who walked with God
Shadrach, Meshach and Abednego
Before the wicked king they stood
Now the king commanded them bound and thrown into the fires that day
But the fire was so hot that the men were slain that pushed them on their way

They wouldn't bend
They held on to the will of God so we are told
They wouldn't bow
They would not bow their knees to the idols made of gold
They wouldn't burn
They were protected by the Fourth Man in the fire
They wouldn't bend, they wouldn't bow, they wouldn't burn

Now the three were cast in and the king rose up to witness their awful fate
He began to tremble at what he saw
In astonished tones he spake
Did we not cast three men bound into the midst of the fire
Well I believe I see four men unhurt, unbound and walkin' down there

I see Shadrach, Meshach, Abednego
In the fiery coals they trod
But the form of the Fourth Man that I see is like the Son of God

They wouldn't bend
They held on to the will of God so we are told
They wouldn't bow
They would not bow their knees to the idols made of gold
They wouldn't burn
They were protected by the Fourth Man in the fire
They wouldn't bend, they wouldn't bow, they wouldn't burn

Clinch Mountain Backstep

2008-04-22T07:02:00.002-06:00

Buddy Winston: banjo
Zoomer Roberts: guitar
rehearsal for 1984 World Tour

This Ralph Stanley piece is just this side of being modal, which means the usual A, D and E7 chords don't work well as accompaniment. After approaching it unsatisfactorily from several different directions, we devised the arrangement heard here: using A, Em and -- in the second section -- C. The rest of the time I double the melody on the bass strings. The result is both ancient and modern.

Beat It

2008-04-21T13:27:00.003-06:00

Jerry, Buddy & Zoomer
Jerry Boyer: lead vocal
Buddy Winston: guitar & harmony vocal
Zoomer Roberts: mandolin & harmony vocal
rehearsal for 1984 World Tour

Robin & Linda Williams did this Michael Jackson send-up on A Prairie Home Companion, and we lifted it -- when we finally stopped laughing.