I could not help it and later on in the last years I've tried to make a concerted effort to not get into that, but if you listen on (my records in the) early years, you're sure gonna hear George because he was a big influence on me as far as the singers go," he said. "I thought that George was the greatest thing since sliced bread. Interviewed in 1988, Buck confirmed that point. The new Jones style quickly began influencing others, Buck Owens among them. The new maturity manifested itself in his final Mercury hits: The Window Up Above and especially the #1 single Tender Years, where the formerly twangy accompaniment replaced by muted Nashville Sound backing. He could wrench emotion out of a phrase or lyric by bearing down on it as he sang. Overtones of Hank and Acuff remained, but Jones's voice moved into a lower register. That put it over the top and made the Bopper and fulltime rock star from later '58 until February 3, 1959, when the small private plane carrying him, Buddy Holly and Ritchie Valens crashed killing everyone on board.Īt Mercury, Jones's vocal style began evolving, his keening, edgy nasality morphed into a more distinctive type of phrasing. He originally recorded his hard-driving rocker Chantilly Lace for D, until Mercury, who'd initially passed on it, re-released it nationally. Jones came up with some landmark hits on Mercury, among them Color Of The Blues and the Chuck Berry-influenced White Lightning, from the pen of Daily discovery and Jones buddy, KTRM disc jockey-singer-composer J. Glad Music, Daily's new publishing company, would handle that end of things. He'd formed Houston-based D and Dart Records as a regional operation aimed at finding new talent, Gabe Tucker helping him run things. Pappy kept his hand in the regional market. When the smoke cleared, Pierce took Starday George wound up contracted to Pappy and remained a Mercury artist. After a brief, abortive alliance between Starday and Mercury Records, Daily, who still co-owned Starday with his partner Don Pierce, (Jack Starnes had departed earlier) fell out with Pierce in 1958. It was single number seven, the Hankish Why Baby Why that landed in the Top Ten in 1955. No Money In This Deal, the first single, came from that session. With an amateur's passion for the era's great singers, he tried to emulate the best of all of them as he sang-until Daily asked with great sincerity, "George, you've sung like Roy Acuff, Lefty Frizzell, Hank Williams and Bill Monroe. His audition and first session took place in Jack Starnes' living room-turned-improvised recording studio. He soon found Starday interested in auditioning him. George's buddy, aspiring local singer Sonny Burns, had dealings with them, so Jones returned to playing the dives around the area, expanding his profile in 1954 as a disc jockey over KTRM. Lefty Frizzell's ex-manager Jack Starnes and hard-bitten Houston area railroader-turned-juke box and slot machine impresario-turned record label owner, distributor and retailer Harold 'Pappy' Daily co-founded it in 1952. Jones wasn't back long when he heard about Starday, a new record company. Born in a rough-cut log house near Saratoga in East Texas' mysterious, often violent Big Thicket region on September 12, 1931, hillbilly music surrounded him as a kid his singing voice turned heads even when he was an adolescent. Before taking the oath, he'd been a denizen of honky tonk stages in and around Beaumont, Texas. In November, 1953, he was fresh out of the Marines, having joined two years earlier in the wake of an unraveling marriage. Record Labels: Starday, Mercury, Longhorn, Power Pak, Hillside, United Artists, Musicor, RCA, Intercord, Ace, Rounder, Epic. Jewelcases / Trays / Protection jackets.
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