The neon beer sign buzzed faintly against the cracked window of Earl’s Place, a bar that had seen better years. The wooden floor creaked under the weight of boots that hadn’t walked through in a long time. Jack pushed the door open and paused. He wasn’t sure why he’d come. Maybe it was habit. Maybe it was the song playing faintly from the jukebox in the corner—one he hadn’t heard in years.
“I just came in to see if someone still cares…”
He let out a dry chuckle.
“Well, ain’t that the truth.”
At a corner table, an older man nursed a black coffee, his hat tipped low. Folks just called him “Red,” though his hair had long gone silver. He raised his head, eyes sharp despite the years.
“Jack,”
he said, as if the name had been waiting on his tongue.
“Didn’t think I’d see you again.”
Jack shrugged and slid into the booth.
“Figured I’d find out if anybody remembered me.”
Red studied him for a moment.
“You mean if anybody still cares.”
Jack didn’t answer. His face told enough. Years of disappointments, false starts, and self-inflicted wounds weighed heavy on him. Work had dried up, his family had drifted off, and the last of his friends had stopped calling. He wasn’t looking for pity. Just… something.
“You know,”
Red said slowly,
“folks got it wrong. They think it’s a man’s mistakes that define him. But I’ll tell you something—it’s his fight against those mistakes that shows who he really is.”
Jack stared down at his calloused hands.
“What if you get tired of fighting?”
Red leaned in, voice low but steady.
“Then you rest. But you don’t quit. If you quit – that is when you hand yourself over to those demons for good. As long as you’ve got breath, you’ve still got a say in how the story ends.”
The jukebox crackled, replaying the song’s chorus, as if to punctuate the thought. Jack felt a sting behind his eyes he hadn’t let out in years. He cleared his throat.
“Guess I just needed to hear it from someone who wasn’t me.”
Red gave a slow nod.
“That’s why you came. Not for the beer. Not for the music. To find out if someone still cared. And I do. Hell, maybe more folks do than you think. You just stopped listening.”
Jack sat back, the weight in his chest easing, just a little. The bar was still dim. The world outside remained hard. For the first time in a long while, he didn’t feel invisible.
That night, as he stepped out into the cool air, Jack realized something. It wasn’t forgiveness from the world he was after—it was the fight inside himself he had to forgive. And maybe, just maybe, that was enough to start over.
Jeannie Seely’s 5,398th Opry Show” Set for August 14 at Grand Ole Opry House
1–2 minutes
A public Celebration of Life will honor Grand Ole Opry star and country music icon Jeannie Seely. It will be held Wednesday, August 14 at 10:00 a.m. CT at the Grand Ole Opry House in Nashville. Fittingly titled “Jeannie Seely’s 5,398th Opry Show,” the service will pay tribute to her unmatched legacy.
Jeannie Seely passed away on Friday, August 1 at age 85, after complications from an intestinal infection. She held the record for most Opry appearances in history — 5,397 — a milestone unlikely to ever be surpassed.
Tributes from the Country Music Community
Many stars shared heartfelt words:
Ricky Skaggs:“She made nervous newcomers feel at peace. We can all take her lead and encourage the next generation.”
Pam Tillis:“She had grit, wit, talent—and she was cool.”
Larry Gatlin:“She was my champion and inspiration. I miss her already.”
John Anderson, Ray Stevens, Mark Chesnutt, Darryl Worley, Billy Dean, and others echoed similar admiration, love, and deep loss.
Legacy
Nicknamed “Miss Country Soul,” Jeannie Seely broke barriers for women in country music. She was the first woman to regularly host Opry segments. She is also a GRAMMY winner and a BMI-awarded songwriter. Additionally, she has been an Opry member since 1967. Her songs were recorded by legends. These include Merle Haggard, Dottie West, and Willie Nelson. She also shared the screen with Willie Nelson in Honeysuckle Rose. In 2022, she was honored for her historic number of Opry performances. A stretch of road near the venue was renamed the Jeannie Seely Interchange in 2024.
Instead of Flowers
Donations in Jeannie’s name are encouraged to pet-related charities or the Opry Trust Fund: opry.com/about/opry-trust-fund
To start viewing events from Jeannie’s life, visit her website here. You can see the music she shared, events celebrated, and the people she loved.
Helen Cornelius (December 6, 1941 – July 18, 2025) was the deeply cherished voice of classic country. She was the beloved duet partner to Jim Ed Brown. She passed away on July 18, at the age of 83 FacebookThe Sun Set TV. She was born as Helen Lorene Johnson in Monroe City, Missouri. She was raised on a farm where music flowed naturally in her family. She joined her sisters Judy and Sharon in a local singing trio before forming her own band, The Crossroads.
Cornelius’s early career blossomed in the late 1960s. She worked as a songwriter signed to Screen Gems Music. She penned songs recorded by artists like Barbara Fairchild and Connie Smith Wikipedia+3Wikipedia+3The Sun Set TV+3. After a brief stint with Columbia and MCA Records, her life’s defining moment arrived in 1976. Teaming up with Jim Ed Brown, she recorded “I Don’t Want to Have to Marry You.” It was a No. 1 country smash. This success launched a string of hit duets. These include “Saying Hello, Saying I Love You, Saying Goodbye.” They also include “Lying in Love with You” and “Fools.” There are more HistoryForSale+7Wikipedia+7Country Music Hall of Fame and Museum+7. Their chemistry was undeniable. It earned them the Country Music Association’s Vocal Duo of the Year award. This accolade came in 1977 Country Music Hall of Fame and Museum.
Cornelius also enjoyed solo success. This includes her charting single “Whatcha Doin’ After Midnight Baby.” She toured with iconic acts like The Statler Brothers. She later brought her signature warmth to stage shows. This included a stint in the musical Annie Get Your Gun. She also opened the Nashville South venue in Gatlinburg HistoryForSale+3Wikipedia+3The Sun Set TV+3. In the 2000s, she became a Branson favorite at the Jim Stafford Theater. She made frequent appearances on RFD‑TV’s Country’s Family Reunion series Facebook+5Wikipedia+5The Sun Set TV+5.
Helen was recognized not just for her pure, heartfelt voice. She was also acknowledged for her humility and graciousness. Moreover, the undeniable bond she shared with Jim Ed Brown on stage and in life was noteworthy. Even after their professional split in 1981, she remained a steadfast presence in country music. They reunited for a 1988 tour. She continued to be a steadfast presence in country music 98.1 – Minnesota’s New Country+4Wikipedia+4The Sun Set TV+4.
She is survived by her loving family and legions of fans who still cherish those golden harmonies. Helen Cornelius’s legacy lives on in every record, performance, and the countless artists she inspired. She will be remembered as one of country music’s finest voices. She was a true steward of its heart.
Continued Connection: Remained active in the community through Country’s Family Reunion and Branson theater gigs YouTube+4Wikipedia+4Wikipedia+4.
Her passing marks the end of a storied chapter in country music. Her voice—filled with warmth, purity, and grace—will continue to echo for generations. Rest in harmony, Helen Cornelius.
That just about does it, don’t it?Step Right up Come On In!
The Honorable Judge Bledsoe peered over his glasses, clearly unimpressed. “Mr. Rawlins, you understand this is a legal proceeding, not the Grand Ole Opry?”
“Yes, Your Honor,”
Said Henry Rawlins. He stood tall in his dusty boots and bolo tie. One hand rested on a weathered Bible. The other clutched a crumpled lyric sheet.
Across the courtroom, his soon-to-be ex-wife, Sherry Lynn, sat rigid in her seat, her lawyer whispering furiously in her ear. Henry’s lawyer had already given up and was sitting down, his face red, wiping his forehead with a handkerchief.
Henry cleared his throat.
“But if the court will allow, I’d like to offer my final statement in my own words. I would also like to include the words of a few gentlemen. They helped me understand what went wrong.”
A murmur passed through the courtroom.
Judge Bledsoe sighed.
“Mr. Rawlins, continue—briefly.”
Henry nodded, unfolding the page.
“Your Honor, I ain’t a lawyer. But I know pain, regret, and how a man can lose his way. And those feelings are best told not in legal briefs but in country songs. So I offer my case—in three verses and a broken heart.”
He stepped ahead.
“First, Vern Gosdin said it best: ‘That just about does it. That’ll just about kill it, won’t it?’ That’s what I said the day Sherry left. I came home to an empty house and a note by the coffee pot. Ten years of marriage, and it ended in one quiet goodbye.”
He turned to Sherry Lynn.
“I didn’t fight. I figured I’d already lost. And I didn’t blame her—not entirely. I hadn’t been easy to love.”
The courtroom was silent. Even the bailiff looked up from his crossword.
“Then,” Henry continued,
“I walked through what George Jones called ‘The Grand Tour.’ I opened the closet and saw her dresses hangin’ like ghosts. Our baby’s room still had the mobile spinnin’ slow. The smell of her perfume lingered like a memory that didn’t know how to leave.”
Judge Bledsoe adjusted in his seat, then motioned for him to finish.
“But, Your Honor, here’s the thing. I almost didn’t show up here today. I nearly signed the papers and walked away. But then I heard Randy Travis singing. He was singing ‘On the Other Hand… there’s a golden band.’ It reminded me of someone who would not understand.”
Henry looked again at Sherry Lynn, softer now.
“On one hand, I messed up. I got too comfortable. I stopped listening. I stopped holding her when she needed to be held. But on the other hand, I still believe in us. That golden band still means something to me. Maybe I’m a fool for sayin’ this here in court. I’d rather fight to fix it. I won’t stand here and let it all go to hell while quoting country songs.”
He folded the paper, tucked it into his jacket, and looked down.
“I rest my case.”
A pause. Then Judge Bledsoe leaned back in his chair.
“Well,”
he said slowly,
“I’ve been on this bench for twenty-three years. I’ve heard lawyers argue using everything from scripture to Shakespeare. But, I’ve never heard anyone use Vern Gosdin.”
The judge turned to Sherry Lynn.
“Mrs. Rawlins, do you still wish to continue with the divorce?”
She was silent for a moment. Her expression softened as she looked at Henry—looked at him—for the first time in months.
“I… I don’t know,”
She said, her voice barely above a whisper.
“But maybe we should talk. Not here. Somewhere real.”
Judge Bledsoe smiled faintly.
But, on the other hand…The George, Vern and Randy Plea.
In the summer of 1950, a determined young singer named Lefty Frizzell stood outside Jim Beck’s recording studio. He was in Dallas, Texas. He was ready to make his mark. At just 22, he had already weathered a storm of heartbreak, barroom gigs, and run-ins with the law. Lefty had slicked-back hair and a crooked grin. A battered guitar was slung over his shoulder. He aimed for more than just a break. He was pursuing his destiny.
William Orville Frizzell was born in Corsicana, Texas, in 1928. He earned the nickname “Lefty” as a boy. Stories about how he got the nickname vary, from a boxing match to being left-handed. What was undeniable, though, was his voice. Smooth, elastic, and full of feeling, it wrapped around words in a way that captivated everyone who heard it.
That day in Dallas, Lefty recorded a few songs. He included one he had penned during his time in jail, ‘If You’ve Got the Money (I’ve Got the Time).‘ Within a few weeks, Columbia Records released it, and just like that, Lefty was catapulted into stardom.
By the end of 1950, he had four songs in the country Top Ten—a feat unheard of at the time. His singing style was marked by stretched syllables and graceful phrasing. It would later profoundly influence legends like Merle Haggard, George Jones, and Willie Nelson. We are forever appreciative for this influence.
Yet fame came with a cost. Lefty struggled with alcohol and the pressures of the spotlight. Though his career saw ups and downs, his voice never lost its magic. Even before he died in 1975 at the age of 47, he would sing for country artists. They would still gather around to hear him. They wanted to remember the man who changed the sound of country music forever.
Merle Haggard once said,
“I can’t think of anyone who has influenced me more.”
Lefty Frizzell didn’t just sing songs—he bent time with his voice and taught a generation how to feel every word.
They say Friday the 13th brings bad luck. But, for Jack Anglin and Johnnie Wright, it brought something entirely different. It brought love, brotherhood, and the country music that carves its way into the soul.
Jack and Johnnie were destined to sing. Their childhoods were steeped in gospel, church choirs, and the rhythm of the land. They met as they met most things in life—through music. And they married as they did everything else—on a Friday the 13th. Jack wed Louise, and Johnnie took her sister, Muriel, as his bride. This made them brothers-in-law, but their voices had already made them brothers in spirit, their bond unbreakable.
They began touring as Johnnie & Jack, their harmonies tight as barbed wire and twice as sharp. They sang of sorrow and salvation, of trains leaving and lovers staying. And behind them, always, stood the sisters.
Johnnie’s wife, Muriel, had a soft voice. It could’ve gone unnoticed if not for a quiet evening at home. She hummed along to a song Johnnie was working on. He stopped strumming, looked at her, and knew.
“You need a stage name,”
He said.
“Something people will remember.”
He thought a moment, then grinned.
“Kitty Wells.”
She laughed at the name, but it stuck. Kitty Wells soon became the Queen of Country Music. Her voice turned the tide with It Wasn’t God Who Made Honky Tonk Angels. The song gave women in the country their place in the spotlight.
In a later interview, Johnny recalled that the name “Kitty Wells” came from an old spiritual recording. He used to play it during his early days working at a radio station. The name stuck with him. When it came time to give Muriel a stage name, it felt like the perfect fit. It was familiar, timeless, and filled with meaning.
Life moved fast. Fame came. Tours blurred together. But Jack and Johnnie were always together—on stage, on the road, in life.
Then came March 1963.
Patsy Cline, Cowboy Copas, and Hawkshaw Hawkins—all killed in a plane crash returning after a charity concert. The country music world was shattered. A memorial service was planned, and Jack insisted on going.
“Gotta pay respects,”
He said.
“We’ve all come up together.”
But he never made it.
On the fateful morning of March 8, 1963, Jack Anglin was en route to the service. Tragically, he lost control of his car and crashed. His life was taken in an instant. The news reached the church before Johnnie’s arrival. They say the moment he heard, Johnnie was overcome with grief, falling to his knees. The man who had been his constant companion on every stage, in every storm, was no more.
It was a heartbreak no harmony can fix.
Johnnie went on as best he could. Kitty sang. The spotlight stayed, but something had shifted. There was a silence beside him now where Jack’s voice used to be.
Still, the music lived on.
Two men, two sisters, two voices joined by fate, and a wedding date no one forgets. Friday the 13th had given them everything—and, somehow, had taken it all back.
Yet, their songs endure, a testament to their enduring legacy. In every old record and radio play, their voices still resonate. Jack and Johnnie were brothers in music and marriage. Their harmonies echo through the years. It is a timeless tribute to their bond and art.
Harry had worn many hats in his life. One of his most memorable roles was as a news director. He also served as an operations manager at a radio station in the lower Great Plains. His job included ensuring that touring musicians arrived at their venues without issue. He also ensured that their shows went off without a hitch.
Artists like Dan Seals, Davis Daniel, and Vern Gosdin have passed through the area over the years. They brought country music to fans eager to taste Nashville. But one night in particular stood out—the night Vern Gosdin played for twenty.
Gosdin, known as “The Voice,” was a country music legend. His pedigree included stints with the Golden State Boys, The Byrds, and collaborations with George Jones. He had a rich, smooth baritone. It gave life to timeless hits like Set’ Em Up Joe. He also brought If You’re Gonna Do Me Wrong, Do It Right to life. Another classic was Chiseled in Stone. Fans were eager to see him live. He was scheduled to sing at a local college auditorium and field house. This event was set for one Saturday night in January.
On Friday, Harry arrived at the venue to oversee the setup. Everything was in place—sound, lighting, seating—and aligned with the band’s requirements. The only concern was the weather. Forecasts hinted at snow, but the storm was expected to stay north of the region. Gosdin’s tour bus had pulled in behind the venue by noon on Saturday. The final checks were made, and everything looked good to go.
Then, the storm took a turn.
By late afternoon, the sky darkened, and the wind began howling. Within hours, blizzard-like conditions descended on the area, dumping nearly a foot of snow. Whiteout conditions made travel treacherous. The state highway department issued warnings urging motorists to stay off the roads unless it was an emergency.
By showtime, only twenty dedicated souls had managed to reach the venue. The sold-out crowd was nowhere to be seen, trapped by the snow. Their decision to be there showed strong dedication. They braved treacherous conditions as a testament to their love for Vern Gosdin and his music.
Despite the dismal turnout, Vern Gosdin and his band took the stage as if playing to a packed house. Gosdin stepped to the microphone, wore a warm smile, and said, –––
“We made it. For those of you here, we will play!”
The Voice filled the nearly empty hall with his opening number. He sang “I’m Gonna Be Moving,” a gospel tune. It resonated with many of his fans. He followed with “I Can Tell By the Way You Dance.” The concert became extraordinary from that moment on.
The crew saw rows of empty seats. They decided to clear a space near the stage, which was turned into a dance floor. The twenty die-hard fans swayed, twirled, and laughed as Gosdin played every song from his setlist. It was no longer just a concert but an intimate, once-in-a-lifetime experience, a privilege they can claim. Between songs, Gosdin and the band chatted with the audience, taking requests and sharing stories.
The small but mighty crowd erupted into cheers when he played his final song and left the stage. Their enthusiasm filled the hall, and they refused to let the night end.
A minute later, Gosdin and his band returned.
He picked up his guitar for his encore and grinned at his audience. He broke into I’m Moving On. Then, he followed with That Just About Does It. The twenty lucky souls in attendance soaked up every note, knowing they were part of something special.
Outside, more than fifteen inches of snow had blanketed the town. The roads were treacherous, but Gosdin’s bus driver was determined to push ahead. He asked Harry to lead them to the highway, where they would inch their way north. Harry agreed, and with the radio station’s car guiding the way, the tour bus crept through the snow-covered streets.
After twenty miles, the highway finally began to clear. As the bus picked up speed, the driver gave a long honk. It was a final thanks to Harry for helping them through the storm. It was also for an unforgettable night on the Great Plains.
The twenty who braved the blizzard that night in Goodwell, Oklahoma, gained more than a concert experience. They had seen a legend up close. It was a personal meeting in a performance that would be talked about for years to come. The memories of that night, the laughter, and the music will stay with them forever. The sense of community was also unforgettable. This is a testament to the enduring power of live music.
Melba Joyce Montgomery, a distinguished figure in country music, passed away on January 15, 2025, at the age of 86. Born on October 14, 1938, in Iron City, Tennessee, and raised in Florence, Alabama, Montgomery’s musical journey was deeply influenced by her father, a fiddler and guitarist, who introduced her to the world of music.
Montgomery’s career gained momentum in the early 1960s through her collaborations with George Jones. Their 1963 duet, “We Must Have Been Out of Our Minds,” achieved significant success, reaching number three on the Billboard Hot Country Songs chart. The duo continued to charm audiences with albums like “What’s in Our Heart” (1963), which also peaked at number three on the Billboard Top Country Albums chart. Throughout the 1960s, Montgomery partnered with other notable artists, including Gene Pitney, with whom she recorded the top 20 single “Baby Ain’t That Fine” in 1965.
In the 1970s, Montgomery’s solo career flourished. Her 1974 single “No Charge” became a standout hit, topping the country charts and crossing over to the Billboard Hot 100. The accompanying album reached number 14 on the Top Country Albums chart. She followed this success with albums like “Don’t Let the Good Times Fool You” (1975), whose title track secured a spot in the top 20 country charts.
Over her extensive career, Montgomery released 22 solo studio albums and seven collaborative albums, alongside 42 solo singles and 18 collaborative singles. Her contributions to country music have left an indelible mark, influencing countless artists and resonating with fans worldwide.
Montgomery was married to Jack Solomon in 1968, a union that lasted until his passing in 2014.
She is survived by her children and grandchildren, who remember her not only as a musical icon but also as a loving mother and grandmother.
Services to honor Melba Montgomery’s life and legacy will be announced by her family in the coming days. Her enduring influence on country music ensures that her voice and songs will continue to be cherished by generations to come.
The year was 1977, and Jimmy Carter had just taken the oath of office. A peanut farmer from Georgia, he brought a unique sensibility rooted in his Southern upbringing and a deep love for American culture, particularly country music. This unique combination of his Southern roots and his love for country music not only shaped his personal life but also influenced his presidency, allowing him to connect with the struggles and joys of everyday Americans.
Waylon Jennings Family
When he stepped into the White House, Carter made it clear that the arts, especially music, would have a place of honor in his administration. He often reminisced about listening to gospel and country music on the family radio back in Plains, Georgia, where the soulful twang of artists like Hank Williams and the Carter Family resonated with the struggles and joys of everyday Americans, a sentiment he deeply shared.
One evening, during a White House dinner, Carter invited Willie Nelson to perform on the South Lawn. The night was balmy, and as the country star strummed his guitar under a canopy of stars, Carter took the opportunity to speak.
White House Photo – Carter Library
“Country music,” he said, “is the heart and soul of America. It tells the story of our struggles, faith, and hope.”
Carter’s admiration wasn’t just lip service. He actively promoted the genre, ensuring it received the recognition it deserved as an integral part of American culture. He invited artists like Loretta Lynn, Johnny Cash, and Dolly Parton to the White House. He even arranged for country music showcases at international events to share a slice of Americana with the world. His unwavering efforts significantly influenced the genre’s rise to mainstream respectability during the late 20th century.
Bill Anderson with The Carters
But Carter’s legacy extended far beyond his love of country music. He brokered the Camp David Accords, a landmark peace agreement between Egypt and Israel that demonstrated his diplomacy skills and commitment to global peace. He championed human rights globally, making them a cornerstone of U.S. foreign policy. He also pushed for energy conservation, installing solar panels on the White House roof long before climate change became a widely recognized issue.
After leaving office, Carter’s achievements only grew. He founded The Carter Center, dedicated to promoting democracy, fighting disease, and mediating conflicts worldwide. His work eradicating diseases like Guinea worm, even in his post-presidential years, demonstrated his enduring compassion and determination to make the world better.
As for country music, Carter’s genre promotion left a lasting legacy. Many country artists credited him with helping to elevate their art to a global stage. Even decades later, when asked about his presidency, Carter would smile and say,
“If I could broker peace and get people to tap their feet to country music, then I’ve done my job.”
Jimmy Carter’s presidency may not have been perfect. Still, his love for the arts, his commitment to peace, and his tireless work for humanity made him a leader whose legacy resonates far beyond the Oval Office.
David Davis, leader of the Warrior River Boys since 1984. David tragically lost his life due to injuries sustained in an automobile accident yesterday near Snead, AL, close to his home in Cullman. He was 63 years old.
David’s musical journey was a lifelong testament to his unwavering devotion to bluegrass, a genre that shaped his life from a young age. Born into a family steeped in musical tradition, David became influenced by his father, Leddell, a mandolin player and singer, and his uncle, Cleo, an early member of Bill Monroe’s iconic Blue Grass Boys. His maternal grandfather, J.H. Bailey, an old-time fiddler and banjo player, also played a significant role in his upbringing, filling their home with the rich sounds of traditional music.
David’s love for bluegrass deepened as a child, learning harmony in church and attending a life-changing performance by Bill Monroe at the age of 12. Which set him on a path of musical dedication, mastering the mandolin in Monroe’s style. In his early twenties, David began working with guitarist Gary Thurmond’s Warrior River Boys, eventually taking over the band in 1984 when Gary could no longer tour due to health issues.
Under David’s leadership, the Warrior River Boys toured extensively across the U.S. and signed with Rounder Records in 1989. Over the years, they recorded for Wango and Rebel Records, and in 2018, David returned to Rounder for a tribute album to Charlie Poole, Didn’t He Ramble. His contributions to bluegrass left an indelible mark on the genre, and his music, a source of inspiration for many, will continue to shape and influence future generations.
Our thoughts and prayers are with David’s wife, Cindy, who was also injured in the accident and is currently receiving treatment at a local hospital. We wish her a speedy recovery.
The loss of David Davis is a profound blow to the bluegrass community in Alabama and beyond. His absence, felt deeply, leaves a void that cannot be filled. His presence, leadership, and friendship touched countless lives, and family, friends, and fans will remember Davis not only as a brilliant musician and bandleader but also as a kind and generous spirit. In addition to his musical achievements, David also served his community by driving a school bus for Brewer High School, further exemplifying his commitment to those around him.
The passing of David Davis leaves a void in the hearts of all who knew him. His legacy, however, will continue to resonate through the music he loved and the many lives he touched. He will be deeply missed by the bluegrass community and beyond.
One has undoubtedly heard the story about the great voodoo queen Marie Laveau from down in Louisiana. Bobby Bare sang about her in his hit song from 1973. The Lyrics were –––
The most famous of the voodoo queens that ever existed
Is Marie Laveau, down in Louisiana
There’s a lot of weird ungodly tales about Marie
She’s supposed to have a lot of magic potions, spells and curses
Down in Louisiana, where the black trees grow
Lives a voodoo lady named Marie Laveau
She got a black cat’s tooth and a Mojo bone
And anyone who wouldn’t leave her alone
She’d go-, another man done gone
She lives in a swamp in a hollow log
With a one-eyed snake and a three-legged dog
She’s got a bent, bony body and stringy hair
And if she ever seen why y’all messing ’round there
She’d go-, another man done gone
And then one night when the moon was black
Into the swamp come handsome Jack
A no good man like you all know
He was looking around for Marie Laveau
He said, “Marie Laveau, you handsome witch
Give me a little a little charm that’ll make me rich
Give me a million dollars and I tell you what I’ll do
This very night, I’m gonna marry you”
Then it’ll be, hmm, another man done gone
So Marie done some magic, and she shook a little sand
Made a million dollars and she put it in his hand
Then she giggled and she wiggled, and she said, “Hey, Hey
I’m getting ready for my wedding day”
But old handsome Jack, he said, “Goodbye Marie
You’re too damned ugly for a rich man like me”
Then Marie started mumbling, her fangs started gnashing
Her body started trembling and her eyes started flashing
And she went-, another man done gone
Oh, if you ever get down where the black trees grow
And meet a voodoo lady named Marie Laveau
If she ever asks you to make her your wife. Man, you better stay with her for the rest of your life
Alternatively, it will be another man done and gone.
Hell! Bobby Bare is taking off on his 1973 Hit Marie Laveau, courtesy of a YouTube posting. Following this sing-a-long, learn the factual story about the real Marie Laveau. As close as what people have been able to trace.
THE STORY ABOUT THE SONG ORIGINS – Supposedly…
On September 10, 2024, her 240th birthday is recognized, and while this will get published the day after it is getting done, so with the notion that it will get a presented avoiding any voo doo spells that could be associated with the partaking of celebrating a late witches birthday. There is more to the story than the song. The lyrics had a backstory that contained information about a man who was about to go on trial in New Orleans for murder. He was a wealthy business owner and had the means to buy the best attorney. However, the case appeared airtight, and his life looked to be going to the gallow. He visited a witch named Marie Laveau, who was known to cast spells on people and could control them. He told her he would give her his earnings for a year and even agreed to marry her if she could sway the jury to find him innocent. She collected items like a black cat’s tooth, a Mojo bone, and other questionable items from around the woods, placed them into a tobacco pouch, buried them beneath a tree for three nights, and then dug them up and gave them to the man. She told them not to go to court without them, and he would be found innocent. Sure enough, when the trial was over, despite the eyewitness’s murder weapon and even the man’s confession, the jury returned an innocent verdict. The man refused to pay Marie Laveau and refused to marry her and laughed at her when she told him he would die by the end of the week if he did not change his mind. It was Monday. On Friday, the man had not returned to pay Marie and was in a local tavern, bragging about his innocent verdict and how he got away with not paying the old lady. As he left his table to go to the bar for a drink, a chandelier fell from the ceiling and hit him, killing him instantly. Whether or not that story is true is still being determined. However, history has recorded Marie Laveau in other areas, has a lengthy record, and she appears to have had a healthy marital life. Bobby Bare has told a similar story during interviews. There have been similar accounts from people in New Orleans. However, fact-finders looked for records, and this is what they found for Ms. Laveau.
Marie Laveau
An Articleby Frank Schneider
The enigmatic Marie Laveau (September 10, 1794 – June 15, 1881), the most famous voodoo queen in the South, has a background that still seems to be vastly under-researched. Her story of resilience begins with her grandmother, Catherine Henry, who, after a long procession of different owners, was finally emancipated by her last one, a free woman of color. Catherine’s original master was the white Creole Henry Roche Belaire, whom Catherine later took his name as her surname. Catherine’s daughter and Marie’s mother, Marguerite, remained with Roche until his death and was sold to another owner who then gave her freedom. After gaining independence, Marguerite became the placéeof the Frenchman Henri D’Arcantel. The exact date that marks Marguerite’s relationship with Charles Laveaux is unknown, but the result of this couple was the birth of a daughter, Marie. On September 10, 1801, Marie was born as a ‘free mulatto.’ Her father, Charles Laveaux, is sometimes referred to as a wealthy white planter, but leaders had discovered he was a free person of color (gen de couleur libre) whose mother’s name was also Marie Laveaux. Nothing is certain of Marie’s childhood, but she may have lived in the St. Ann Street cottage with her maternal grandmother, Catherine Henry.
Marie was a striking figure dressed like a gypsy with a bandana on her head, flashy rings on her fingers and ear, and gold bracelets on her wrists. Her dress was always dark, long, and complete, hanging gracefully from her shoulders. Her eyes, which were large and hazel, sparked like emeralds against her dark skin. This unique appearance, along with her charming personality, contributed to her mystique and influence in New Orleans.
Archival records show that Marie Laveau entered into a marriage contract with Jacques Paris on July 27, 1819. They were married on August 4, 1819. It is widely believed and affirmed that no children came to the marriage. However, some discoveries suggest that two daughters were born of this union; these claims lack concrete verification. The fate of Jacques Paris remains unknown, and his death was never documented. Whatever truly happened to her husband, Marie was still officially known as the “widow Paris.” The marriage mass was performed by Father Antonio De Sadella, the Capuchin priest known as Pere Antonio. After becoming a widow, Laveau became a hairdresser who catered to wealthy white families.
After Jacques Paris, Marie began a relationship with Louis Christophe Dominic Duminy de Glapion that lasted until he died in 1885. All credible records indicate that he was born in Louisiana as the legitimate son of white parents and the descendant of an aristocratic French family. Christophe Glapion was a veteran of the Battle of New Orleans, which occurred below the city at Chalmette on January 8, 1815. It is unclear when or how these two met. Christophe Glapion died on June 26, 1855, and the cause of his death is unknown. Marie Laveau and Christophe Glapion were a together for nearly thirty years. Marie lived for another twenty-six years and is not known to have taken another partner. It is widely thought that fifteen children came from this union, but there is only records to confirm that there were seven. Marie and Christophe’s first child, Marie Heloise, was born on February 2, 1827. She is the daughter who became known as Marie II. At a young age, Marie II entered a relationship with Pierre Crokere, a free man of color. Pierre was a commission broker, builder, and architect. Pierre was twenty-four years older than Marie and died in 1857 at fifty-six.
Voodoo thrived in Haiti and Louisiana, and over the years, it absorbed influences from French and Spanish Catholicism, American Indian spiritual practices, and even Masonic tradition. Voodoo is not just a religion. It is about finding ways to survive conflict and has yet to be verified. Voodoo involved singing, dancing, chanting, and drumming. Voodoo comes from enslaved people who brought it to the Americas from West Africa. Marie began her Voodoo (sometimes spelled Voudou) career sometime in the 1820s, and she is sometimes said to be a descendant of a long line of Voodoo priestesses, all named Marie Laveau. Marie is said to have given private consultations and made and sold gris-gris. Later in life, Marie turned away from her Voodoo practices to dedicate her life to the Church and charitable works, a decision that commands respect. However, it is affirmed by the scholarly community that Marie Laveau was a devout Catholic her entire life.
Marie continued her charitable work during her final years and surrounded herself with her family. One was her youngest daughter, Marie Philomene Glapion, and her children. Philomene entered a relationship with a white man, Emile Alexandre Legendre, who was thirty-two years older than her and married. Philomene and Emile had seven children together, all classified as “colored,” they remained a couple until he died in 1872. Marie died at home in her sleep on June 15, 1881, in her cottage on St. Ann Street, where she had spent more than half a century. Marie’s daughter Philomene made funeral arrangements for the following evening. Her funeral performance provided guidelines to the dignified structure of the Catholic Church without sign of any voodooist demonstration.
The True Legends: From Jimmie Rodgers to Willie Nelson
Country music, a genre deeply ingrained in the tapestry of American culture, draws its strength from the trials, joys, and heartaches of everyday life. From its modest beginnings to its monumental ascent, the narrative of country music is a tapestry woven with characters and stories that resonate with unwavering authenticity and passion. The true legends of country music—Jimmie Rodgers, Hank Williams, George Jones, Hank Locklin, Faron Young, and many others—have left an indelible mark on this genre, each contributing to its legacy with a unique and profound resilience.
Jimmy Rodgers
Jimmie Rodgers, known as the “Father of Country Music,” was one of the first to bring the genre into the national spotlight. Born in Meridian, Mississippi, Rodgers combined the sounds of rural southern blues with the yodeling of Swiss folk music, creating a distinctive style that captivated audiences. His songs, like “Blue Yodel” and “In the Jailhouse Now,” spoke to the struggles and stories of ordinary folk, setting the stage for future country artists to follow.
Hank Williams, often hailed as the “King of Country Music,” continued this tradition with his poignant lyrics and heartfelt delivery. Songs like “Your Cheatin’ Heart” and “I’m So Lonesome I Could Cry” became anthems of sorrow and longing, touching the hearts of millions. Williams’ influence is so profound that his music still echoes the work of contemporary country artists.
Faron Young
George Jones brought a new depth to country music with his rich, expressive voice. Known for his rollercoaster life and tumultuous relationships, Jones channeled his experiences into his music, producing forever hits like “He Stopped Loving Her Today” and “The Grand Tour.” His ability to convey raw emotion made him a beloved figure in country music, earning him the nickname “The Possum.”
Hank Locklin
Hank Locklin and Faron Young also shaped the country music landscape. With his smooth tenor voice, Locklin was known for hits like “Please Help Me, I’m Falling” and “Send Me the Pillow You Dream On,” showcasing his unbelievable talents to blend traditional country with pop sensibilities. Young, on the other hand, brought a honky-tonk edge to his music with songs like “Hello Walls” and “Live Fast, Love Hard, Die Young,” capturing the rebellious spirit of the genre.
These legends performed everywhere—from the hills and hollows to the bustling streets of New York City. They sang in juke joints, honky-tonks, street corners, and county fairs, sharing their music with anyone who would listen. Their songs spoke of the heart and soul of America, touching on themes of love, loss, cheating, and redemption. They didn’t rely on flashy gimmicks or expletive-laden lyrics; their music and performances were a testament to their genuine connection with the audience. They thrived on the crowd’s energy, dressed to the nines, ready to pour their hearts out on stage.
George Jones & Ben G.
Having had the honor of spinning records at AM and FM stations nationwide and serving as a news reporter, I’ve witnessed firsthand how the magic of country music resonates with people. Unfortunately, today’s radio often fails to capture the essence of what made country music great. It has lost its way, drowned in a sea of commercialism and superficiality. As a devoted follower of country music, I find solace in satellite radio, particularly Willie’s Roadhouse, where the spirit of authentic country music lives.
Willie Nelson, one of the few remaining legends from the golden age of the country, continues to be a beacon of authenticity in the genre. His music, characterized by its sincerity and simplicity, reminds us of what country music once was and still can be. His influence and contributions are immeasurable, and I extend my best wishes to him and heartfelt thanks to everyone who has kept the spirit of country music alive.
Willie Nelson
In conclusion, country music is not just a genre; it is a reflection of the American experience. The legends shaped it with their talent, integrity, and a deep connection to their audience. Their music continues to resonate because it speaks to the universal themes of life—love, heartache, joy, and sorrow. As we look to the future, let us remember and honor these true legends who paved the way. Let their legacy inspire a new generation of country artists to keep the heart and soul of this beloved genre alive, preserving its spirit for generations to come.
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