From Where I Stand: The Black Experience In Country Music [Box set]

Amazon.com essential recording
From Where I Stand traces the history of a specific influence--the country tradition--on a particular group: black American musicians. In both conception and execution it's nearly perfect. Through three discs, this 60-song box shows how country music began in the string-band era as something shared, more than less, by both black and white musicians; how country songs have been a consistent source of inspiration to R&B and soul performers from Etta James to Al Green; and how singers such as Stoney Edwards and O.B. McClinton have followed in the footsteps of Charley Pride to help in the creation of today's brand of rock & roll-influenced country music. Which is all just to say that, for fans of country-music history, From Where I Stand is absolutely essential. --David Cantwell

Vibe
Obsessed with farm, family, religion, alcohol, and movin' on, this collection of songs--all credited to black performers--documents the gray areas wherein two rural cultures collide.... [A] lot of From Where I Stand: [The Black Experience in Country Music] is black drawing on white drawing on black.... Not every jump-blueser or Motowner covering Hank or Willie on these discs adapts naturally to country's sway. But certain superstars--Al Green, Fats Domino, and, most famously, Ray Charles--do surprisingly well on this very complete boxed set....

From Where I Stand: The Black Experience In Country Music [Box set]

Tracks:

Pan American Blues - Deford Bailey
Muscle Shoals Blues - Deford Bailey
Gray Eagle - Taylor's Kentucky Boys
G Rag - Georgia Yellow Hammers ( With Andrew Baxter)
K. C. Railroad Blues - Andrew And Jim Baxter
Dallas Rag - The Dallas String Band
Bill Cheatem - James Cole String Band
Turkey Buzzard Blues - Peg Leg Howell And Eddie Anthony
Corinne Corinna - Charlie Mccoy And Bo Chatmon
Sitting On Top Of The World - Mississippi Sheiks
Yodeling Fiddling Blues - Mississippi Sheiks
In The Jailhouse Now - Memphis Sheiks
Morning Glory Waltz - Mississippi Mud Steppers
Midnight Special - Leadbelly
Rock Island Line - Leadbelly
Eighth Of January - Nathan Frazier And Frank Patterson
Apple Blossom - Murph Gribble, John Lusk, Albert York
Fox Chase - Deford Bailey

Tracks:

Bloodshot Eyes - Wynonie Harris
Crying In The Chapel - The Orioles
Down On The Farm - Big Al Downing
City Lights - Ivory Joe Hunter
I'm Movin' On - Ray Charles
Night Train To Memphis - Bobby Hebb
Just Out Of Reach - Solomon Burke
You Win Again - Fats Domino
Release Me - Esther Phillips
Funny How Time Slips Away - Joe Hinton
Detroit City - Arthur Alexander
It Makes No Difference Now - The Supremes
A Staisfied Mind - Bobby Hebb
Will The Circle Be Unbroken - The Staple Singers
Half A Mind - Joe Tex
Almost Persuaded - Etta James
The Chokin' Kind - Joe Simon
For The Good Times - Al Green
He'll Never Love You - Ivory Joe Hunter
Misty Blue - Dorothy Moore

Tracks:

The Snakes Crawl At Night - Charley Pride
I'm So Afraid Of Losing You Again - Charley Pride
Is Anybody Goin' To San Antone - Charley Pride
Kiss An Angel Good Mornin' - Charley Pride
Color Him Father - Linda Martell
How I Got To Memphis - Otis Williams & The Midnight Cowboys
The Man That Made A Woman Out Of Me - La Melle Prince
She's My Rock - Stoney Edwards
Hank And Lefty Raised My Country Soul - Stoney Edwards
Pickin' Wildflowers - Stoney Edwards
Don't Let The Green Grass Fool You - O. B. McClinton
Fairytale - Pointer Sisters
Show Me Where - Ruby Falls
Touch Me ( I'll Be Your Once More) - Big Al Downing
Jambalaya - Professor Longhair
Whiskey Heaven - Fats Domino
From Where I Stand - Dobie Gray
Love Light - Cleve Francis
The Grand Tour - Aaron Neville
Irma Jackson - Barrence Whitfield
There Stands The Glass - Ted Hawkins
I'm A Happy Cowboy - Herb Jeffries

Amazon.com essential recording

From Where I Stand traces the history of a specific influence--the country tradition--on a particular group: black American musicians. In both conception and execution it's nearly perfect. Through three discs, this 60-song box shows how country music began in the string-band era as something shared, more than less, by both black and white musicians; how country songs have been a consistent source of inspiration to R&B and soul performers from Etta James to Al Green; and how singers such as Stoney Edwards and O.B. McClinton have followed in the footsteps of Charley Pride to help in the creation of today's brand of rock & roll-influenced country music. Which is all just to say that, for fans of country-music history, From Where I Stand is absolutely essential. --David Cantwell

Customer Reviews:

BLACK WOMEN OF COUNTRY & WESTERN MUSIC...A NOVELTY?.......2005-12-02

In all fairness to all the Country & Western female artists from every ethnic and racial background globally...this project is a far cry from being just a novelty of the past, present and/or into the future. You'll find the true spirit of Country music captured on this 3 CD Box Set of several American Black female artists displayed here on this wonderfully packaged historical project: "From Where I Stand: The Black Experience In Country Music." Nominated in February 1998 for a U.S.A. "Grammy" (Album Package and Notes), produced by the Country Music Foundation and Warner Bros. Records, Inc.

In retrospect, considering the musical talents of these "sisters'" (no-pun to the Pointer Sisters) within the rim of the Country music scene during the late 1950's and thru-out the 1980's, they were serious contenders. For instance, on disc two, ('The Soul Country Years') emphasized R&B stars making the cross-over like Esther Phillip's smash triple Top 10 hit in the C&W, Pop and R&B charts simultaneously "Release Me" (track #9), The Supremes "It Makes No Difference Now" (track #12), The Staple Singers "Will The Circle Be Unbroken" (track #14), Etta James "Almost Persuaded" (track #14), Dorothy Moore "Misty Blue" (track #20). Yet, some of the most noteworthy stand out performances can be heard on disc number 3 ('Forward With Pride') of which includes: Linda Martell, the first Black female to appear on the Grand Ole Opry, and her top hit tune "Color Him Father" (track #5). The late La Melle Prince's (Decca Recording Artist 1969) "The Man That Made A Woman Out Of Me" (track #7); produced by the late Country Music Famed Owen William Bradley and recorded at his historical recording studio "Bradley's Barn" in Nashville, Tennessee; with the legendary world renowned male quartet singing back up vocals, The Jordanaires [Bradley, was elected to the Country Music Hall of Fame in 1974, Nashville, Tennessee; more importantly, he is credited as one of the creators of the "Nashville Sound" of the sixties and early seventies]. Hence, La Melle Prince, is considered one of the most intriguing, distinct and unknown artist on this collection [*note, her memoirs and a pending screenplay by her nephew A. David Burleigh (Record Producre/ Artist/ Singer-Songwritre) is forthcoming...]. Also, a must mention, are the world famous Pointer Sisters and there 1974 Country Music Grammy winner hit song from their LP Fairytale entitled "Fairytale" (track #12); as well as, Ruby Falls endearing up-tempo song, "Show Me Where" (track #13). Overall, these moving and inspirational stories of songs from the 'The Stringband Era' to the 'The Soul Country Years' and on 'Forward With Pride' present a new and old landscape of performances that any music lover can appreciate... So my recommendation to you reading this review would be to (don't stand there...) find a copy and buy it...destine to become a collectors jem in value and in spirit!

*Note (some background info.): now with all that 'above' being said, on a personal note my interesting role and involvement in this project began some years ahead of the release date of this CD (February 1998). In 1995, my contribution of La Melle Prince's memorabilia, notes and background information was presented and personally delivered by me to the Country Music Foundation (CMF) in Nashville, Tennessee. However, it wasn't until the late summer of 1997 that I "got wind" of a pending historical Black American Country music project through some industry friends of mine, that a 3 CD Box Set was going to be released some time in the fall of 1997 by CMF and Warner Bros. Records, Inc. So I immediately made a few calls to some key personnel at CMF and got the confirmation. Indeed the CD was a reality and "green-lit" to go on the market. At that time, I had not given them a copy of Prince's (October 1969) Decca 45" single vinyl recording yet (A-side, "The Man That Made A Woman Out Of Me" and B-side, "All Alone In This World Without You"). In short, I flew back to Nashville and drop a copy of the single off to the CMF...some weeks later got a call from them stating that in a written agreement between CMF & Warner Bros. Records, Inc. that Prince's contribution was of vital importance and needed to be placed on the project before release; therefore, pushing the release date of this CD project up to February 1998. Hence, the costly efforts of placing Prince's song (A-side, "The Man That Made A Woman Out Of Me") on this CD after the project was in "The Can" had become a reality, of which you now can enjoy! [Moreover, it seems "fate" would have its way again, her placement on this CD could very well be blamed on sur' luck... However, Prince would always say that her lucky number was always #7; i.e., the CD's initial release date year (1997) and her song placement was on track #7 [Disc #3]... By the looks of it, I guess 'on the record' she was right... (La Melle Prince, born January 7, 1927 Kennett, Missouri - presumed death 1991 Los Angeles, California)].

Finally, due in part to the scheduling and break down of communication links between CMF, Warner Bros. Records, Inc. and myself, I was (uncredited) in the "thanks to" notes info.; however, on a happier side of things, I was very grateful to be able to have the opportunity to honor my aunt's musical achievements here on this CD Box Set project-- a gift to the world. Thus, later Warner Bros. Records, Inc. and the Country Music Foundation literally promised me an official credit in the future second "run-thru" (10,000 copies) of their next re-print editions...of which I give big thanks!

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*Footnote (a sidebar interest), for all The Jordanaires fans including myself, I personally had the great honor of meeting with 3 of the 4 post-original living members on July 1998 at the Gold Coast Hotel in Las Vegas, NV. The gentlemen or as I like to say the original 'boys-to-men' included: Mr. Ray "BassMan" Walker and Gordon "LiteFoot" Stoker and Neal Matthews (1953-2000). An interesting coincidence happened during my conversation with Gordon, we discovered that his son Alan Stoker was the chief engineer and disc transfer person for the project "From Where I Stand: The Black Experience In Country Music," and Gordon was totally unaware that this project was conceived or even that his son worked on it. So he asked to use my cell phone and called his son right there and said, "Hey Alan, what is this project, the Black Experience of Country Music? You forgot to tell me about this gem..." The look of excitement on Gordon's face that moment was something to behold and cherished forever in my mind-- small world huh?

Furthermore, most notably, Elvis Presley used The Jordanaires on nearly every one of his recording sessions for nearly 14 years. At a time when no backing musicians, producers, or engineers received name recognition on any records, Elvis insisted that he have the "Jordanaires" on the "labels" of his records. The reflected glory was enough to earn the Jordanaires "Group of the Year" awards well into the Beatles era.

The Jordanaires were familiar with Elvis by 1956, partially because, Hank Snow had told the Grand Ole Opry artists that there was a young man "...tearing up the stage..." on some of the Country shows and that "...no one would follow him..." and, that, "...when he left the stage, the audience went with him..." Elvis was, certainly, familiar with the Jordanaires. Of all the music Elvis knew and loved, it was the gospel quartets that touched him most deeply. The Jordanaires were among Elvis' favorites, because, he heard them every Saturday night on the Grand Ole Opry. Formed in 1948 in Springfield, Missouri, the Jordanaires arrived in Nashville in 1949, immediately securing a spot on the Opry. Their music was spirited and black-influenced, very much in keeping with Elvis' tastes. "We were the first white quartet to sing spirituals..." Gordon Stoker asserted. It was music that moves, that you can snap your fingers to." Elvis could relate.

The group, Bill and Monty Matthews (brothers, and, no relation to Neal), Bob Hubbard, and, Culley Holt who all hailed from Springfield, MO., soon changed. In 1950, Gordon Stoker replaced the lead tenor, in '52 Hoyt Hawkins replaced the baritone, in '53 Neal Matthews became the second tenor, and, bass singer Culley Holt, left in December '54 to be replaced by Hugh Jarrett. It was this line-up consisting of Stoker, Hawkins, Matthews and Jarrett, which made up the group that backed Elvis on most of his sessions in the mid '50s. They also appeared in his movies and on some of his landmark television appearances as well. Hugh Jarrett, left in 1958 and was replaced by bass singer, Ray Walker, this line-up remained for the next 24 years. Hoyt Hawkins died in 1982, and was replaced by Duane West, who had filled the baritone part, intermittently, since Hoyt had first fallen ill in the '70s. Duane became ill in 1999 and Louis Nunley stepped in. Neal passed away in April of 2000, and, Curtis Young has stepped in. Currently, the Jordanaires consist of Gordon Stoker, Ray Walker, Louis Nunley, and, Curtis Young. [some excerpts taken from the Jordanaires website].

--A. David Burleigh (aka: "Big Dave") an 'AmeriCanadian' Record Producre/ Artist/ Singer-Songwritre.

Fantastic Chronicle Of Blacks In Country Music.......2002-01-11

With the exception of Charley Pride, it has always seemed as if black singers and country music were mutually exclusive entities. This three disc, sixty-track box set goes a long way toward dispelling that myth, and in turn revealing that African Americans have in fact played a large part in the development of country music.

Disc one, The Stringband Era, covers recordings from 1927 through 1946 and leads off with a pair of numbers ("Pan American Blues" and "Muscle Shoals Blues") by harmonica ace DeFord Bailey (who, incidentally, was a founding member of the Grand Ole Opry in 1926 and a participant in the first recording session in Nashville in 1928). After several stellar banjo and fiddle-featured acts like the Mississippi Shieks, we move on to some early `40s recordings by blues legend Leadbelly ("Midnight Special," "Rock Island Line"). His tracks in particular show how much the roots of blues and country overlapped. As annotator Bill Ivey attests in the set's extensive booklet, the division which took place between these southern-based genres during the `20s appears to be based more on the record companies' decision to market product to whites and blacks separately, and less on disparate musical approaches.

The link between blues and country is further emphasized on disc two, The Soul Country Years. It offers rhythm and blues stars from the early `50s through the mid `70s performing well known country standards. Some of these recordings, like Joe Simon's "The Chokin' Kind" (initially recorded by Waylon Jennings) and Dorothy Moore's "Misty Blue" (originated by
Wilma Burgess) impressively became major hits on the pop and soul charts while still maintaining their country arrangements. Other tunes found here, like Etta James' sensual rendition of David Houston's "Almost Persuaded" and Al Green's intimate take on the Ray Price hit "For The Good Times," were never intended to be anything more than change-of-pace album tracks. But while conceived initially as filler, these tracks ultimately showcase - quite convincingly - the artists' diversity. The only exception to the plethora of gems on this disc is the Supremes' awkward take on Floyd Tillman's "It Makes No Difference Now."

The third and final disc, Forward With Pride, takes a look at blacks in country music since the emergence of superstar Charley Pride in the mid-'60s. It leads off with four Pride singles (the most devoted to any artist on this collection), including his rare first release "The Snakes Crawl At Night" and his signature tune "Kiss An Angel Good Mornin'." Three artists follow who each made the country charts fifteen times during the `70s and `80s: Stoney "She's My Rock" Edwards, O.B. "Don't Let The Green Grass Fool You" McClinton, and Big Al "Touch Me (I'll Be Your Fool Once More)" Dowling. All three are represented here by their biggest hits, and while none attained superstar status like Pride, each soundly made his presence felt in country music. Black females also made a dent on the country charts during the `70s and `80s - most notably Linda Martell, whose top 20 hit "Color Him Father" can be found on this disc.

Disc three also includes some material by established pop and r & b artists who made successful one-time forays onto the country charts, such as the Pointer Sisters' "Fairytale," Fats Domino's "Whiskey Heaven," and Aaron Neville's "The Grand Tour." In addition, Cleve Francis' hit "Love Light" is here (among others) to conclude this set and remind us that blacks
have continued to make a few ripples in country music in the `90s. Hopefully, From Where I Stand is only the beginning (and not a retrospective) of black musicians' involvement in country music, with its rich contents inspiring others to partake in the future.

Good overview.......2000-12-09

This is an excellent collection and quite admirably challenges the notion that country music is a white-dominated genre. The compilers of this set make a strong case that many of our definitions are artificial and are based much more on social norms than real musical differences.

The set is divided neatly into three CDs. The first, entitled 'The Stringband Era' includes black artists who were making country music in the early years. It includes several instrumental numbers, including three from the one of the early, but partly forgotten Grand Ole Opry stars, Deford Bailey. The Mississippi Sheiks, Memphis Sheiks and Leadbelly also make important contributions.

The second CD is titled 'The Soul Country Years'. These are mostly covers of country songs performed by R & B and Soul artists. You may have heard much of the material here before, but not quite like this. The songs are country, the production is R & B/Soul for the most part. You begin to see the real musical divergence in this CD as well as the similarities the two types of music retain. One surprising thing is that they only included one Ray Charles tune-his now well-known version of Hank Snow's "I'm Movin' On". Given the fact that Charles has his own entire box set of country recordings (bigger than this one), this is a bit unfortunate.

The final disc is named 'Forward with Pride' and begins, appropriately, with four contributions by country's most (commercially) successful black artist, Charley Pride. The tracks of Pride's they chose are excellent ones; some of his most popular. The Stoney Edwards tracks showcase his talent as well--he deserved more success than he got from the industry. Other interesting contributions include the one from Fats Domino, the title track from Dobie Gray and Aaron Neville's version of the Grand Tour. Given Cleve Francis' input into the creation of this collection, it's a bit surprising that they only include one of his tunes.

This set is a bit more expensive than some box sets, but is probably worth it. You may end up using it as a starting point. Many of the artists sampled here are certainly worthy of a more complete look.

Country Music Fan or Not: This CD is Worth a Look.......2000-09-13

Before purchasing this box set, I could probably count on one hand the number of country music records in my personal collection. I knew about Charley Pride and the forays made into country music made by the likes of Ray Charles and the Pointer Sisters, but this collection really expanded my mind. What is particularly nice about this box set is that it shows you the similarities that country music has with the blues and Black music in general. The first CD (entitled "The Stringband Era") starts off with the incredible harmonica playing of DeFord Bailey. When he plays "Pan American Blues," you really get the sense that a train is coming. Highlights of this CD are the two Leadbelly recordings and "G Rag" by the Georgia Yellow Hammers (with Andrew Baxter). Also of note is the Memphis Sheiks recording of the Jimmie Rodgers composition, "In the Jailhouse Now." In that recording, note how the lyrics are modified slightly from the original version. "The Country Soul Years," the second CD in the box set, shows how the two genres overlapped during the 1950's, 1960's and 1970's. R&B fans will feel quite at home with this disc (the producers of the box set would do an incredible service to release this one also as a separate CD). It features several familiar covers of country songs by R&B artists. The excellent liner notes were particularly helpful for this CD. For example, prior to purchasing this collection, I didn't know that "Misty Blue" was actually a country hit for both Wilma Burgess and Eddy Arnold, long before Dorothy Moore had a big Pop and R&B hit with the song in mid-1970's. The third CD (entitled "Forward with Pride"), features four songs by Charley Pride. This CD features country covers of "Color Him Father" by Linda Martell (an earlier hit for the Winstons) and "Don't Let the Green Grass Fool You" by O.B. McClinton (an earlier hit for Wilson Pickett). Other standouts are the three Stoney Edwards tracks (including his pre-George Jones version of "She's My Rock") and Professor Longhair's version of the Hank williams song, "Jambalaya." Also of note is the powerful Ted Hawkins version of the Webb Pierce song, "There Stands the Glass." If you don't think you like country music, this collection might change your mind. It certainly encouraged me to expand my country music library. At the very least, it'll broaden your view of the genre. Additionally, fans of the blues (or any lyric-based musical form, including reggae), will find much to savor in this collection. Not just in the recordings, but in the copious liner notes which include interviews with artists and anecdotes. Included is an amusing quote by jazz legend Charlie Parker, a big country music fan. When asked by a brave jazz man, "How can you stand that stuff?" Parker replied, "The stories, man. Listen to the stories!" And there are plenty of them in this collection.

A must have for any music lover........1999-10-04

This collection is full of gems. Don't click by it

Music Album:

Music Album