The guitar
has played a major role
in virtually every musical style of the 20th century and
fortunately, this century has been rich in great guitar players :
from Django Reinhardt to Eddie Cochran, Cliff Gallup to Freddy King,
Hank Snow to Danny Gatton, Chet Atkins to Wes Montgomery, Hal Harris
to Eric Clapton, Hank Marvin to Robbie Krieger, Brian Setzer to
Steve Ray Vaughan, Mick Green to Glen Campbell, Nokie Edwards to
Charlie Christian, Albert King to Marcel Dadi, the list is endless.
They all had a
distinctive sound, a style of their own and ultimately exerted a
lasting influence on what followed. Most of them also spent a lot of
time in the studios and on the road, backing up other artists. Thus,
a singer's sound or a particular hit is often closely associated
with the guitar player(s) involved : for instance, can you think
about Ricky Nelson without thinking of James Burton ? But sometimes,
it goes even further : can you talk about Country Music without
mentioning Joe Maphis ??? For years, he's been dubbed 'King Of The
Strings' and although quite a few others would deserve the same
distinction, there's no arguing that Joe was - and forever remains -
one of the most talented guitar players ever and one whose style can
be identified at all times ; that may be the quintessential quality
of a great musician.
He was born
Otis W. Maphis
on May 12, 1921, in Suffolk (Virginia) but was raised
in Cumberland (Maryland). He began playing fiddle at an early age
but also took up the piano - only to concentrate shortly on stringed
instruments. It's funny because of the similarity with another top
guitarist [Jimmy Bryant] who was also a good piano player - and
almost nobody knew it !! Joe quickly became proficient on tenor
banjo, 5-string banjo, mandolin, bass fiddle and guitar. He built up
a large following through his radio shows in Wheeling (West
Virginia), Cincinnati ('The Boone County Jamboree' on WLW) and even
Chicago ('The National Barn Dance' on WLS).
During World War II, Joe went all over the South
Pacific entertaining the American Armed Forces. After his discharge,
he went on to be one of the most popular entertainers on the Old
Dominion Barn Dance in Richmond (Virginia) for years. In issue # 4
of 'Barn Dance Magazine' (December 1947), there was a feature on the
Old Dominion Barn Dance ; among the many artists appearing on the
show - which was broadcast over WRVA - were : Bill & Arline
Wiltshire, Benny & Curly, Little Robert, Slim Idaho & his
triple-necked steel guitar and of course, Joe Maphis who used to
double as 'Cousin' Joe Maphis when he sang and emceed, and as
'Crazy' Joe Maphis when he did a comedy routine. His longtime
friend, the late
Merle Travis, picks up the story on the back of Joe's rare Mac
Gregor LP, released circa 1961 : 'When I was in my late teens, I was
with a group called 'The Drifting Pioneers', on a radio station in
Cincinnati. One night, driving home from a personal appearance, we
happened to tune in 'The Old Dominion Barn Dance' from Richmond,
Virginia. A few songs were sung, and the honey voiced mistress of
ceremonies, Sunshine Sue, announced that we'd hear a guitar solo by
Ol' Crazy Joe. I'll never forget how 'Arkansas Traveler' came
through that car radio. Here was the flawless, lightning-like
execution of a master. After I'd got rid of my goose bumps and come
back to earth, I remarked, 'Gosh, I'd sure like to meet that old
man!' ' Joe spent some six years on The Dominion Barn Dance and
that's where he met Rose Lee, who eventually became his wife.
Rose
Lee Schetrompf was born on December 29, 1922 in Baltimore, Maryland
and raised on a farm not far from Hagerstown, Virginia. Her Country
music career started at age 16 when she played guitar and sang with
an all girl group called 'The Saddle Sweethearts'. As Don Pierce
(head of Starday Records) put it : 'Her clear, sweet voice has that
'ever lovin' twang of Country sincerity and she picks a mean rhythm
guitar.'
Around 1951, the
couple headed for California (following advice from Merle Travis)
and it wasn't too long before Joe was in great demand on recording
sessions. In fact, his considerable skills made him one of the
busiest session guitarists on the West Coast (more on that later).
When television came along, Joe & Rose Lee became fixtures on the
Town Hall Party Show in Los Angeles. Their first recordings were
made for the small Lariat label, but they were soon signed up by
Okeh Records, a branch of Columbia which seemed to specialize in
Rhythm'n'Blues but had a strong Country roster as well. They cut six
singles for the label, including their biggest seller to date, 'Dim
Lights, Thick Smoke (And Loud, Loud Music)'(1953, the same year they
married). Their duets on these honky tonk songs were quite pleasant
and Joe's playing was always the ice on the cake. In fact, Joe is as
pure a Country musician as you can find ; his guitar lines were
patterned after those played on fiddles and even when, later on, he
attended Rock'n'Roll sessions, the Country essence of his playing
always showed up. He developed a clean, precise, though sharp,
picking style which, combined with his astonishing dexterity and
speed, produced one of the most thrilling, memorable and influential
guitar sounds ever. Cliff Gallup, Eddie Cochran, Gary Lambert, Larry
Collins, Danny Gatton, are part of the legion of pickers who owe him
a lot.
In 1955,
Joe & Rose Lee were
moved to the parent company - Columbia - and cut more fine sides
until Joe came up with 'Fire On The Strings', which became his
signature tune. Apart from playing also banjo and mandolin on the
track, Joe used his double-neck Mosrite guitar to great effect. And
thereby hangs a well-known but remarkable tale ... After watching
Joe on TV, a young boy by the name of
Semie Moseley
dreamed about making a guitar especially for him. With the help of a
preacher friend of his, he was able to meet Joe and agreed to build
a double-neck guitar with the top neck an octave higher. That
beautiful Mosrite guitar was presented to Joe on stage ; there was
even an 'M' at the top of the peghead which stood for Maphis. Joe's
incredible technique allowed him to jump easily from one neck to the
other, creating dazzling effects which changed Country music
forever.
In 1957, Joe's
first LP was released ; aptly titled 'Fire On The Strings', it
contained such monsters as 'Guitar Rock And Roll', 'Bully Of The
Town', 'Flying Fingers' and the hauntingly beautiful, 'Lorrie Ann'.
Joe's playing is so tasteful that one never grows tired of listening
to this stuff. In January 1958, Columbia put out an astonishing EP
called 'Swingin' Strings' ; it featured Joe and his prot�g�, young
Larry Collins (of The Collins Kids, of course), chasing each other
in a spectacular battle of the double necks !! One track in
particular got all listeners flabbergasted : 'Hurricane'. 1959 saw
the release of the Harmony album, 'Hi-Fi Holiday For Banjo', but
also that of a single which showed some kind of departure from Joe's
usual sound : 'Short Recess' featured Plas Johnson playing tenor sax
(bit like in some of Duane Eddy's super recordings for Jamie) and
the flip, 'Moonshot', had some Bo Diddley-influenced percussion.
In 1960, Joe parted
company with Columbia - although Rose Lee cut her own delightful
album for the label later in the year (with Joe backing her up).
There was a lone but great sounding 45 on Republic : Joe's version
of the old Merl Lindsay number, 'Water Baby Boogie'. A stereo
reissue of this track on a Sundazed CD in 1990 (CD HC 12001) allowed
us to hear Joe's various guitar overdubs and it's a joy to hear
those cascading runs up and down the necks !! Now, who plays piano
in there ?? Around that time, Joe recorded that famous LP for the Mc
Gregor label, located at 729 South Western Avenue in Los Angeles.
Almost comprised of traditional country & folk tunes only, Joe's
playing is a joy to hear - especially since he did all guitar,
banjo, mandolin and fiddle parts. His double neck Mosrite, well to
the fore on the outstanding front cover, is used in several tracks -
'Square Dance Rock', 'Crazy Pickin' (which goes a bit over the top)
or 'Green River Rag' where Joe does some real good Travis pickin'.
There are times when you can clearly hear the tape splicing : my
question is, do stereo tapes exist ? The album would no doubt
benefit from clean stereo separation. From 1961 to 1963, Joe & Rose
Lee were under contract with Capitol. The two albums they cut there
were, again, fantastic !! First, there was that Bluegrass LP with
The Blue Ridge Mountain Boys ('Lonesome Train' contained a fine
dobro solo and I particularly liked Joe & Rose Lee's rendition of
'Little Rosewood Casket').
Then, Joe teamed up with his longtime friend, Merle Travis, to cut
an instrumental set - 'Country Music's Two Guitar Greats' - which
was pure magic !! Merle's subtle picking combined with Joe's blazing
artistry produced gems like 'West Coast Blues' or 'Blast Off' (the
latter being really 'Flying Fingers' #2).
I should also
mention another Capitol outing : 1963's album, 'The Prisoner's
Dream', recorded in prison by a real prisoner, Charles Lee Guy III.
Guy sings songs by Johnny Cash ('Folsom Prison Blues') and Spade
Cooley ('Cold Gray Bars') in a pleasant Country-Folk style, while
accompanying himself on acoustic guitar ; the lead acoustic guitar
is played by none other than Joe Maphis.
The next step
would be at Starday Records,
although Joe, Rose Lee and their three children
(Jody, Lorrie and Dale) did not leave their San Fernando Valley home
to settle close to Nashville, Tennessee - where the action was, then
- until 1968. Joe worked many Californian clubs during the '60s ;
guitarist Walt Rogers recalls playing with him at the 101 Club in
Oceanside and at Bill Testers's 1440 Club in San Jose.
Frankly, Joe's Starday albums are wonderful and every
bit as good as the previous ones. The first for the new label, 'Mr &
Mrs Country Music' (circa 1964), contained great stuff like 'Time To
Pray' and the rockabilly-flavored 'Sweet, Sweet Lips' (dig Joe's
guitar intro and Pete Drake's steel solo !) as well as remakes of
'Please Mr Mailman' and 'Del Rio'.
The classic cover photo was taken
at the farm of the late Grandpa Jones, in Goodlettsville, Tennessee.
The other three
(not counting various artists comps) were instrumental masterpieces
(I know, I'm out of superlatives now !!) - especially SLP 316 which
includes some of my all-time favorites like 'Little Bit Of Travis',
'Coffee Break', 'Banjo Boogie Shuffle', 'Double Neck Boogie' and the
delicate 'Sweet Rosie', plus one of his many collaborations with
another great talent, the late Pete Drake, in the form of the
non-stop 'Hot Rod Guitar'. 'Golden Gospel Guitar' (SLP 322) is a
marvelous collection of sacred tunes and on SLP 373 ('Country Guitar
Goes To The Jimmy Dean Show'), Joe plays acoustic lead guitar,
sometimes using his electric Mosrite in counterpoint like in 'Dixie
Guitar' or his lovely rendition of Arlie Duff's 'Y'All Come'. It
should be noted that the jacket of that latter album - nicely
designed, like the other Starday LPs from the '60s - included a now
scarce 34-page guitar method.
As the
sixties drew to a close,
Joe & Rose Lee remained active. They cut two albums
and a few singles for the Mosrite label, on which Joe's discovery,
Barbara Mandrel, had debuted : there was always the same tasty
mixture of vocals ('Second Fiddle To A Guitar', 'Ole Jobro', 'There
Goes My Everything') and instros like 'Durango', 'Alabama Jubilee',
'Spanish Dobro' and a version of 'Buckaroo' featuring Joe on fuzz
guitar. Several sides were produced by veteran Bill Woods, including
'Tunin' Up For The Blues'. Joe then appeared on the Chart imprint
(his single, 'Guitar Happy', is tremendous : wonder who plays that
dazzling steel on it!) before moving on to CMH in the late
seventies, where he cut another nice series of albums (sometimes
with Merle Travis, Grandpa Jones & others). The 'Grass 'n' Jazz' LP
(see discography) was an acoustic Bluegrass/Country Jazz effort ,
where Joe was supported by a stellar cast of musicians : Johnny
Gimble, Benny Martin, Bobby Thompson, Harold Bradley, Josh Graves,
Hargus 'Pig' Robbins & Buddy Harmon. All those records are wonderful
examples of Country music at its best ; Joe's playing is always
inventive while his and Rose Lee's vocals stay well rooted in
traditional styles - the whole thing sounding varied, modern, though
conjuring up what I would call 'prairie' images and feelings.
Of
course, Joe had also made his mark with TV themes and the duo
remained very popular until the end ... The end occurred on June 27,
1986, when Joe died of lung cancer. Rose Lee and their children
(Jody and Dale cut at least one album each with their father) keep
his memory alive, as do all those fans and collectors who were
instantly knocked out by his incredible musicianship. His skills and
versatility led to his ubiquity in the West Coast recording studios
during the '50s, a most important period of transition ; therefore,
it can be safely said that Joe Maphis strongly contributed to shape
modern Country music.
The
original double neck Mosrite is now in The Country Music Hall Of
Fame in Nashville
Joe Maphis didn't name himself
"King Of The Strings", he earned that title.
Equally at home on guitar, banjo,
fiddle, and mandolin, Joe Maphis is best remembered for his
outrageous electric picking on a custom-made Mosrite Doubleneck.
It's hard to talk about Joe Maphis
without gushing.
Often credited with being the first
country guitarist to flatpick fiddle tunes, Joe Maphis was an
influence on Merle Travis, Jimmy Bryant, Chet Atkins, and all
the hotshot country players that followed.
In addition to recording some
incredible, speedy, and inhumanly precise guitar on his own LPs
and with his wife Rose Lee Maphis, Joe backed countless country
and rockabilly artists on stage and in the recording studio.
Joe's exemplary picking can be heard on
tracks by Johnny Bond, Jimmy Boyd, Johnny Burnette, The Collins
Kids, Don Deal, Bob Denton, Terry Fell, Ernie Freeman, Wanda
Jackson, Rose Maddox, Ricky Nelson, Laura Lee Perkins, Jimmy
Walker, and countless others.
Would it be an overstatement to call
Joe Maphis a Total Guitar God?
Most certainly not. Joe Maphis IS a Guitar God, and don't you
ever forget it.
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