Background. In 1941 (the year of the Japanese attack on Pearl Harbor), his 6th Decca release "Walking the Floor Over You" made him a country music star of the first magnitude. It put him in the same league as Roy Acuff. By today's standards he would have been keeping company with Kenny Chesney and Tim McGraw.
Musta been a good singer, right? Nope. Not really. ET even dissed his own voice. According to Wiki, Tubb "actually mocked his own singing. He told an interviewer that 95 percent of the men in bars would hear his music on the juke box and say to their girlfriends, 'I can sing better than him,' and Tubb added they would be right."
Maybe with average looks and a below average voice, he was one of those stars the average Joe can be comfortable with, like contemporary film star Kevin Costner (at least in the beginning of his career).
But Tubb's voice was very distinctive, and that was one key to his success. Another key was his penchant for surrounding himself with some of Nashville's best sidemen. The first sideman of note in his band was guitarist Jimmy Short; others were steel guitar masters Jerry Byrd and Tommy "Butterball" Paige.
Jazz musician Billy Byrd (no relation to Jerry) joined Tubbs' Troudadors in 1949. Here's a YouTube video of Tubb's most famous tune, "Walking the Floor over You." It was recorded sometime after Byrd joined Tubb's band. Listen as Ernest introduces Billy at the break with his famous "Awwwwww Billy Byrd now." And if you listen closely at the end of the break, you'll hear Billy's famous four note jazzy riff that became, as wiki says, "synonymous with Tubb's songs."
(Since I'm very interested in Nashville sidemen, here's a parenthetical side-man note from Wiki: "Actually a jazz [and classically trained] musician, [Billy] Byrd--no relation to Jerry--remained with Tubb until 1959.)
(Since I'm very interested in Nashville sidemen, here's a parenthetical side-man note from Wiki: "Actually a jazz [and classically trained] musician, [Billy] Byrd--no relation to Jerry--remained with Tubb until 1959.)
One of ET's most famous post WWII songs was "A Rainbow at Midnight." Recorded in 1946, I think you can understand why this song has been a favorite of military veterans since its release; it reached number 5 on the Juke Box Folk chart that year.
Probably about now, you're probably saying that you've had enough background, you want to know the story on Tubb's .357.
Ernest Tubb's Almost Nashville Shootout. In his book Ernest Tubb: The Texas Troubador, Ronnie Pugh says that the great country singer had serious difficulties with alcohol. When Tubb got drunk, he acted like stoned rock stars sometimes act today. He wanted to smash something. He would get so drunk and rowdy that he'd kick the windows out of his limo. His drunken violence was such a problem, that they hired a big husky country boy named Don Davis to wrestle Tubb down to the floorboard when he got drunk enough to start kicking at the glass. Davis, about 18 at the time, also played steel guitar as a sideman in Tubb's band.
Alcohol was also said to be a contributing factor to Tubb's divorce in the early '40s.
And it played a significant role in the Tubb incident that is our subject, the one involving his .357 magnum.
In 1957 Tubb had some kind of feud with producer Jim Denny. The singer, drunk at the time of the incident, walked into the National Life building's corridor in downtown Nashville and fired a .357 magnum. It must have sounded like a bazooka in that corridor. He apparently went to the building with the intent to shoot Denny. Denny, a big time Nashville producer and the gatekeeper at the Grand Ole Opry, was NOT in the corridor at the time. Tubb, however, apparently saw someone he thought looked like Denny and took the shot.
Luckily, Tubb's aim wasn't too good, or maybe he was just too drunk to aim the gun properly. Here's Wiki's note on this: "Tubb shot at the wrong man but did not hit anyone. He was arrested and charged with public drunkeness." A big country star, drunk and firing a gun in a public place! Got to be a big news story, right? Nope. You can find very little mention of it in newspapers and magazines of the time. Today, if we were talking about Tim McGraw or Kenny Chesney taking a drunken potshot at somebody, the redneck paparzzi and other bottom feeders would suck on this story for months.
After some research, I still haven't been able to determine the nature of Tubb's beef with Denny (if you know what they were feuding about, I'd like to know; put your info in the comments, and I'll credit you and add it to the post). But several statements others made over the years about the producer suggest that Denny, a hall of fame member himself and as noted, a powerful record producer at the time, was the kind of guy who had made a few enemies in Nashville as well.
According to one source, "Denny was a hard-nosed businessman whose charismatic personality and devotion to his acts and songs earned him respect and devotion— sometimes tinged with fear— from artists, writers, and others with whom he did business ."
What kind of man was Jim Denny? He was the one who called Hank Williams, Sr. at home in 1952 to tell he was fired from the Opry.
Denny also booked Elvis Presley on the Opry in '54, and after his performance told the young man he wasn't going anywhere and he ought to "go back to truck driving."
To cite another example, Johnny Cash biographer Michael Streissguth reports that Cash had a very humiliating experience with Denny. It occurred soon after Cash's 1956 hit "I Walk the Line" reached #1 on Billboard; "I Walk the Line" stayed on the charts for 47 weeks. This song was on Cash's first album (and Sun's first LP too), "Johnny Cash with His Hot and Blue Guitar."
Like all country music singers at the time, Cash wanted to get on the Opry. He was riding high on the success of "I Walk the Line," and so he set up a meeting with Denny, hoping to get a booking on the biggest country music radio show in the country to cement his country music superstar credentials. He said he'd dreamed about being on the Opry since he was a kid.
But his encounter with Denny wasn't the culmination of a dream; it was more like a nightmare. First, Denny kept Cash waiting for two hours. Can you imagine that? Ten years later, Cash would have probably gone in and turned over Denny's desk and broke a lamp or two, and maybe Denny's nose. But those were different times and Cash was a newcomer and didn't want to do anything to jeopardize his career at that point. And Denny was recognized as a very powerful man in the industry.
Finally, Denny let the young Cash come into the sacred chamber of his office. Cash, when talking about this later, said that Denny didn't even tell him to sit down. But Cash eventually took the initiative and sat down, although not invited to do so. Denny was busy with his papers for a few minutes more, ignoring Cash, not even acknowledging his presence. Then he looked up and asked Cash why he thought he deserved to be on the Opry. Cash reminded him of the success of "I Walk the Line," and Denny said, "Be here Saturday night." He didn't ask Cash to come on the Opry, he told him.
Stars in those days didn't have the clout that they do today.
Exactly why Tubb tried to shoot him, I'm still not sure. But Tubb's temperament, especially when influenced by alcohol, and Denny's treatment of other artists just might hold a clue.
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