The International Bluegrass Music Museum in Owensboro, KY has opened a new exhibit focusing on the life and music of Alton and Rabon Delmore, known to history as The Delmore Brothers.
They were Grand Ole Opry stars in the pre-bluegrass era, but their legacy is such that many of the nearly 1,000 songs they wrote jointly during their career have become bluegrass standards. Classics like Blue Railroad Train, Lay Down My Old Guitar, Freight Train Boogie, Blues Stay Away From Me, and Make Room In The Lifeboat For Me all got their start in the Delmore’s brother duet format.
They were also hugely influential in the music of the bluegrass brothers who followed, like Charlie and Bill Monroe, Carter and Ralph Stanley, Jim and Jesse McReynolds, Charlie and Ira Louvin, and Earl and Bill Bolick.
Museum Curator, RaShae Jennings, says that the largest part of the new exhibit was given to them by Debby Delmore, daughter of the late Alton Delmore. It includes a large collection of personal memorabilia, and artifacts archived over the years by the family, plus several rare original LPs, music folios sold in the 1930s, and the brothers’ Grammy Award for Blues Stay Away From Me.
“This exhibit focuses on the lives and music career of Alton and Rabon Delmore, how their music influenced countless individuals, and how their unique style was an important factor to bluegrass music today.”
The Museum is open to the public from 10:00 a.m. – 5:00 p.m. Tuesdays through Saturdays, and from 1:00 – 4:00 p.m.on Sundays. Adult admission is $5.00, and $2.00 for students. Admission is always free to members.
Early country stars, the Delmore Brothers were huge influences on not only bluegrass and country music, but blues, folk, rock and roll, and more. The Delmore Brothers received a long overdue Distinguished Achievement Award from the International Bluegrass Music Association in 2014, recognizing their lasting impact on bluegrass music. In order to celebrate the legacy of the Delmore Brothers, I will be featuring a “Delmore Dedication” leading up to what would have been Alton Delmore’s 106th birthday on December 25th. Each day, I will showcase a different Delmore Brothers song and its popular bluegrass interpretations.
Without a doubt, Blues Stay Away From Me is the Delmore Brothers’ signature song. Hitting #1 on the Billboard Country & Western chart in January of 1950, it is embedded in the American musical canon. A popular song in not only country and bluegrass music, but also in blues, folk, rock, and more, Blues Stay Away From Me was inducted into the Grammy Hall of Fame in 2007.
Blues stay away from me
Blues why don’t you let me be
I don’t know why you keep on haunting me
Love was never meant for me
True love was never meant for me
It seems somehow we never can agree
Life is full of misery
Dreams are like a memory
Bringing back your love that used to be
Tears so many I can’t see
Years don’t mean a thing to me
Time goes by and still I can’t be free
Twelve lines. That’s it. Twelve lines.
One of the most well-known songs in The Great American Songbook, and it’s only twelve stinking lines.
Blues Stay Away From Me serves as a real slap in the face to many modern day songwriters who seem to be cramming as many words as possible into today’s songs. One of my favorite Earl Scruggs quotes is “The beauty of simplicity shall never be surpassed,” and this song is a fine example. Truly exemplifying quality over quantity, Blues Stay Away From Me is an absolute masterpiece.
Recorded later in their career for Cincinnati’s King Records, Alton Delmore constructed the song after label founder, Syd Nathan, requested Alton write a “hillbilly Hucklebuck” (a hit dance song at the time). Alton had Rabon help with the lyrics, and Henry Glover assisted the brothers with the melody. Glover was an African American blues pianist, who played on several Delmore Brothers sessions, and worked a lot with King’s rhythm and blues artists. This melding of country and blues proved to be lightning in a bottle. Ahead of its time, Blues Stay Away From Me sounds eerily similar to some of the rockabilly music to be recorded a few years later by Sam Phillips at Memphis’ Sun Records.
Blues Stay Away From Me is just so cool. The original recording sucks you in right from the get-go. The record begins with the well known boom-ba-bum-bum-ba-boom riff of the electric guitar, then in come twin harmonicas from Wayne Raney and Lonnie Glosson. The combination of guitar and harmonicas is mesmerizing. You’re hooked before Alton and Rabon sing their first notes. Once that signature brother harmony begins, you are absorbed into this American classic.
Blues Stay Away From Me has since been recorded by artists in all genres of music, including The Everly Brothers, The Browns, The Band, Bob Dylan, Merle Haggard, Les Paul and Mary Ford, The Louvin Brothers, and more. While it has been included many times in bluegrass, by everyone from Raymond Fairchild to Jim & Jesse, there are two bluegrass icons whose renditions of Blues Stay Away From Me are by far the most popular.
Doc Watson is well-known for his interpretation of the country blues, as were The Delmore Brothers. It should come as no surprise that some of Doc’s most successful blues songs came from the Delmore catalog. Of bluegrass artists, Doc probably recorded more Delmore songs than anyone, save for maybe Doyle Lawson. Songs such as Freight Train Boogie, Gonna Lay Down My Old Guitar, and Deep River Blues were all standards in Doc’s repertoire.
Doc’s Blues Stay Away From Me is about as bluesy as you can get. Doc kicks things off with the song’s signature guitar intro, and then it turns into a straight Watson blues number. Doc’s powerful guitar and emotional voice lead the way on Blues Stay Away From Me. The slide guitar and piano are great bluesy compliments to the lonesome harmonica playing on this cut.
Larry Sparks is also known for being a bluesy bluegrass singer. Heralded as the “King of Bluegrass Soul,” this future hall of famer (How much longer will I have to keep saying “future” in front of that? For real, why isn’t he in there yet?) is known for drawing feeling out of lyrics. When Sparks sings, it’s like someone grabbing you by the shirt collar and saying “Pay attention! This is GREAT!” You’re forced to listen, and you’re glad to be doing so.
There are several Sparks renditions of Blues Stay Away From Me, but his most popular version was included on his award-winning 40 album. Featuring country superstar Vince Gill, Sparks kicks the song into overdrive, turning Blues Stay Away From Me into a full-fledged, hard-driving bluegrass number. Vince Gill singing tenor to Larry Sparks needs to happen more often, because it’s absolutely killer! Gill and Sparks both sing their hearts out on this old American classic. This version is blazing fast, and allows all of the pickers to show off a little bit. Blues Stay Away From Me was one of the most popular songs on 40, and for good reason.
If the Delmore Brothers had only recorded Blues Stay Away From Me, their place in the history of American music would have been secure, but thankfully, they left us with a myriad of great recordings.
The Delmore Brothers’ influence on bluegrass music is undeniable. Their brother-style duets have influenced generations, but their songwriting cemented their stamp on bluegrass history. Dozens of their songs have been recorded by over sixty bluegrass artists, both classic and contemporary. The music of the Delmore Brothers continues to have a profound impact on bluegrass music today. From their “hillbilly boogie” guitar stylings, lasting compositions, and that unmistakeable brother harmony, the Delmore Brothers created a legacy that has inspired bluegrass musicians for generations. On what would have been Alton Delmore’s 106th birthday, I encourage you to dig back and take a listen to some Delmore Brothers songs; you won’t be disappointed!
For those who are interested in learning more about the Delmore Brothers and their music, I highly encourage you to check out Alton Delmore’s memoir, Truth Is Stranger Than Publicity. Not only does it provide a great history of the Delmore Brothers and their music, but it also serves as one of the only first-hand accounts on early country music history. It is definitely a worthwhile read for anyone serious about roots music history.
Do you have a favorite Delmore Brothers song? Let me know in the comments below. Merry Christmas, everyone!
Early country stars, the Delmore Brothers were huge influences on not only bluegrass and country music, but blues, folk, rock and roll, and more. The Delmore Brothers received a long overdue Distinguished Achievement Award from the International Bluegrass Music Association in 2014, recognizing their lasting impact on bluegrass music. In order to celebrate the legacy of the Delmore Brothers, I will be featuring a “Delmore Dedication” leading up to what would have been Alton Delmore’s 106th birthday on December 25th. Each day, I will showcase a different Delmore Brothers song and its popular bluegrass interpretations.
It has been said that a good song is timeless. Few artists exemplify this like the Delmore Brothers. While their original recordings (unfortunately) may not be as readily accepted by modern audiences, Alton and Rabon Delmore’s material continues to enjoy reincarnations in every generation of bluegrass music: a true testament to their music and legacy.
One of the finest examples of the Delmores’ relevancy throughout bluegrass history is Will You Be Lonesome, Too?
How would you like feeling lonesome
When someone is through with you
My heart is sad and I’m lonesome
I wonder if you’re lonesome too
I wonder if you’re lonesome too
Don’t want you to cry cause I’m leaving
Don’t want you to cry cause I’m blue
Only my thoughts make me lonesome
I wonder if you’re lonesome too
I wonder if you’re lonesome too
Why should two lovers quarrel
Why should they be so untrue
I know what it means to be lonesome
I wonder if you’re lonesome too
I wonder if you’re lonesome too
No one to love me little darling
Nothing but memories of you
When I’m far away I’ll be lonesome
I wonder if you’re lonesome too
I wonder if you’re lonesome too
Give me your right hand honey
I’ll say this farewell to you
I’ll be so lonesome without you
I wonder if you’re lonesome too
I wonder if you’re lonesome too
I’m going to assume that while reading the above lyrics, a certain voice was singing the lyrics to you. Depending on your age, that voice was (most likely) either Lester Flatt, Keith Whitley, or Ronnie Bowman. Although you probably weren’t automatically thinking of the Delmore Brothers’ original recording of Will You Be Lonesome, Too?, that doesn’t diminish their impact across three generations of bluegrass music.
Alton and Rabon Delmore recorded Will You Be Lonesome, Too? in New York City on September 11, 1940. The original version of this song is a tad slower than the fiery bluegrass interpretations with which we are most familiar, but it’s not draggy by any means. Although a lonesome song (I mean, the word “lonesome” is in the title), the song still maintains a certain cheeriness through, which is a nice contrast considering how miserable the lyrics are. Maybe it’s beautiful harmonies, maybe it’s the pep in Rabon’s tenor guitar, but whatever it is, it’s hard not to bop your head along with Alton and Rabon’s original.
Twenty-five years after Alton and Rabon recorded Will You Be Lonesome, Too?, the most commercially successful of the first generation bluegrass bands (if not the the most successful bluegrass band ever) brought the song into the bluegrass canon. Flatt & Scruggs included Will You Be Lonesome, Too? on 1965’s The Versatile Flatt & Scruggs. The song is vintage Foggy Mountain Boys! The song comes at you like a locomotive. Earl Scruggs’ powerful banjo takes the song to the next level, making it a full-fledged bluegrass number. Throw in Paul Warren’s fiddle and Josh Graves’ dobro, and you better hold on to your hat! This cut even includes Nashville harmonica player, Charlie McCoy. For many first generation bluegrass fans, this version is probably the one with which they are most familiar.
Nearly forty years after the Delmore Brothers recorded the song in New York City and nearly fifteen years after Flatt & Scruggsbrought Will You Be Lonesome, Too? to bluegrass, it was recorded in the country-grass style which was so popular in the second generation bluegrass of the ’70s and ’80s. In 1979, J.D. Crowe & The New South featured the great, Keith Whitley. Their album, My Home Ain’t In The Hall Of Fame has been crowned a bluegrass classic, and it is pointed to as the standard of the country-grass sound. One of its standout tracks is none other than Will You Be Lonesome, Too? It’s no stretch of the imagination that J.D. Crowe grew up hearing his hero, Earl Scruggs, perform this song with the Foggy Mountain Boys. Steve “Boom-Boom” Bryant’s electric bass and Jimmy Ashby’s drums help this song straddle the country/bluegrass line. Keith Whitley’s powerful vocals and Crowe’s classic banjo are the true stars of this show though.
Nearly fifty-five years after the Delmore Brothers recorded the song, nearly thirty years after Flatt & Scruggs cut it, and fifteen years after J.D. Crowe & The New South did their country-grass version of Will You Be Lonesome, Too?, Ronnie Bowman opened up his first solo album, Cold Virginia Night, with this classic Delmore Brothers tune. This 1994 editionfeatures members of one of the most influential modern bluegrass bands – The Lonesome River Band. LRB helped define the bluegrass of the ’90s, and it is this third major reincarnation of the song, featuring Ronnie Bowman up front, which is probably most familiar to our more modern bluegrass fans. Craig Smith absolutely eats up the five on this version, too. In addition to featuring members of LRB, this recording also features three members of Alison Krauss & Union Station, the most successful bluegrass band of the past twenty years. For those who discredit Alison’s fiddle playing due to her angelic voice, allow this cut to correct your way of thinking. Thanks to Ronnie for bringing this old song to a modern audience!
And now, here we are nearly seventy-five years after the Delmore Brothers, nearly forty-five years after Flatt & Scruggs, thirty-five years after J.D. Crowe & the New South, and twenty years after Ronnie Bowman, and we are still talking about Will You Be Lonesome, Too?
This is just one example of one great song from the Delmores catalog. There are dozens of others which follow a similar pattern. Their songs have remained relevant in bluegrass for generations in a way that few have been able to achieve. This lasting impact on bluegrass music is far from over, as Delmore Brothers songs continue to be recorded every year by bluegrass artists around the globe.
Out of curiosity, which version of Will You Be Lonesome, Too? do you like the best? One of the versions of above, or one of the many other renditions (the Larry Sparks version is pretty killer too!)? Sound off in the comments below!
Early country stars, the Delmore Brothers were huge influences on not only bluegrass and country music, but blues, folk, rock and roll, and more. The Delmore Brothers received a long overdue Distinguished Achievement Award from the International Bluegrass Music Association in 2014, recognizing their lasting impact on bluegrass music. In order to celebrate the legacy of the Delmore Brothers, I will be featuring a “Delmore Dedication” leading up to what would have been Alton Delmore’s 106th birthday on December 25th. Each day, I will showcase a different Delmore Brothers song and its popular bluegrass interpretations.
Some readers may be familiar with my series of “Rodgers Remembrances” posts near Memorial Day which celebrated Jimmie Rodgers’ impact on bluegrass music. Due to not only the seeming interest those posts have drawn, but more from my own personal enjoyment of writing them, I have decided to do a related series honoring the Delmore Brothers.
It is no secret that I am a huge fan of the Delmore Brothers. Without a doubt, the highlight of my 2014 IBMA World of Bluegrass experience was to see Debby Delmore (Alton Delmore’s duaghter) posthumously accept a Distinguished Achievement Award in recognition of the music made by her father and uncle. To think of the amount of music made by two poor country boys from Elkmont, Alabama who tried out for the Grand Ole Opry with guitar cases made of feed sacks is simply overwhelming. The Delmores’ catalog is one of the richest in all of American music.
Alton Delmore was said to have written over 1,000 songs in his lifetime, many of which have become bluegrass standards. Early in their careers, the Delmore Brothers sent a song to Ralph Peer of Victor Records, with hopes that it would be recorded by Jimmie Rodgers. Ralph Peer was the mastermind behind “The Bristol Sessions” which has become known as “The Big Bang of Country Music.” Peer’s work lead to the success of country’s first two acts (Jimmie Rodgers and The Carter Family) and to the legitimacy of southern roots music in general.
Always on the lookout for new songs to be recorded by his artists, Peer was one of the first businessmen to understand the value of copyright. By copyrighting new songs rather than having his artists record previous hits, Peer made more money by owning the copyrights of the new songs. This was especially true of artists as successful as The Carter Family and Jimmie Rodgers. Rodgers’ sides were selling nearly 750,000 a piece, so the kickback on these songs was massive.
The song sent to Peer by the Delmore Brothers was ultimately accepted by Peer to be recorded by Rodgers, and would have definitely been a hit for Jimmie. It was a perfect to his bluesy style and even matched his “Singing Brakeman” moniker. Unfortunately, it was never recorded. Rodgers lost his battle with tuberculosis before he could record the song. However, it did end up becoming a signature song for the Delmore Brothers – Blue Railroad Train.
Blue railroad train
Going down the railroad tracks
It makes me feel so doggone blue
To listen to that old smokestack
Come back again
Let me hear the whistle blow
You’re taking the sun and leaving the rain
And I hate to see you go
Blue railroad train
Leaving me far behind
Gimme back the good old days
And let me ramble down the line
Blue railroad train
Leaving me her alone
You treat me good you treat me bad
You’re making me think of home
I’ve got the blues
I’m longing for your company
It’s many miles from where I am
To the only one for me
It’s lonely here
Waiting for the manifest
I hope that engineer is kind
Enough to let me be his guest
I’m not as bad
As you might think I am
I hobo here I hobo there
I’ve traveled these states around
Blue railroad train
A good old pal to me
You take me where I want to go
And my transportation’s free
Alton and Rabon Delmore’s brother harmonies throughout their original recording of this American classic are captivating. It’s obvious that the song was largely inspired by America’s Blue Yodeler, featuring many Rodgers-esque guitar licks. One aspect of the Delmores’ music which is very interesting and unique is the use of Rabon Delmore’s tenor guitar. Rather than play a second guitar or a mandolin, as is customary with most traditional brother duets, Rabon’s tenor guitar helped set them apart. This nearly extinct instrument has a unique tone, and Rabon’s arguably the most successful proponent of the instrument. Rabon’s original tenor guitar work matched with more traditional Rodgers-inspired bluesy runs makes for a great contrast on Blue Railroad Train.
Most (if not all) bluegrass fans are familiar with Tony Rice’s rendition of Blue Railroad Train. A standout cut on the essential (and controversial) bluegrass album, Manzanita, Blue Railroad Train became a signature song of Bluegrass Hall of Famer, Tony Rice. It is essential to any Rice aficionado’s repertoire, and require listening for any new bluegrass fan.
Of course, Rice’s rendition has several notable differences when compared to the Delmores’ original. For one, Alton and Rabon sang the song as a duet all the way through, whereas Rice’s is sang solo, with harmony from Ricky Skaggs almost exclusively on the words “blue railroad train.” Rice’s guitar work is also a bit more intricate than that of the original, but what else should be expected by one of the greatest to ever play the instrument. Rice’s playing is so clean and crisp. His fingers fly across the frets, without sacrificing emotion in his playing. The way Rice plays this song, it’s as if his guitar is just as sad as he is. The Manzanita band’s playing in general really helps “grassify” this Delmore classic. Ricky Skaggs’ fiddle playing particularly blows me away, and Jerry Douglas’ dobro and Sam Bush’s mandolin really add the “cool” factor of this recording.
While Blue Railroad Train has been recorded countless times in bluegrass by the likes of Doc Watson, Marty Stuart, Josh Williams, and even more recently by the Seepy Man Banjo Boys and Mark Newton & Steve Thomas, I don’t think any rendition has been as lasting or as memorable to bluegrass fans as this classic on Manzanita.
Alton and Rabon Delmore are two of our music’s greatest contributors, but for far too many bluegrass fans, they are all but lost to the liner notes of time. Alton Delmore (December 25, 1908 – June 8, 1964) and Rabon Delmore (December 3, 1906 – December 4, 1952) were the sons of poor tenant farmers in Elkmont, Alabama. Growing up singing gospel music, they learned to sing and write music from their mother, Mollie. The brothers played the traditional six-string acoustic guitar and the obscure four-stringed tenor guitar. They perfected the art of close-knit brother harmonies, and their unique arrangement of folk and blues with original material made them a great success.
In 1931, they began recording for the Bluebird record label – a division of Columbia Records – and so began their great rise to success. By 1933, they were regular members on the Grand Ole Opry in Nashville, TN and quickly became the show’s most popular act. Run-in’s with management led to the brothers departure from the Opry cast in 1939. Interestingly enough, what former member of a popular brother duet auditioned in 1939? Why none other than the Father of Bluegrass himself, Mr. William Smith Monroe! While The Delmore Brothers were the most popular Opry act of the thirties, Monroe held that title for the forties.
The brothers still performed and put out some great music following the Opry departure, but they failed to match the success they had reached on WSM. This is a real representation of the time, when the key to success in country music was to be member of the Grand Ole Opry. Radio was the most powerful form of media the world had ever seen at the time, and without the most popular country radio show of all time and its fans at their fingertips, it was nearly impossible to find the success they had seen known in the ’30s.
The Delmore Brothers were monumental influences on the careers of Charlie and Ira Louvin, as evidenced by their timeless brother duets. The Louvin Brothers even recorded a nice tribute to the Delmore Brothers during their career. They have also been cited as influences of Bob Dylan: “The Delmore Brothers, God, I really loved them! I think they’ve influenced every harmony I’ve ever tried to sing.” They have been inducted into the Nashville Songwriters Hall of Fame, Alabama Country Music Hall of Fame, Alabama Music Hall of Fame, and even have a song in the Grammy Hall of Fame. The Delmore Brothers joined the unbroken circle of the Country Music Hall of Fame in 2001.
During their career, they wrote many tunes that are now bluegrass standards. Early in their careers, Alton and Rabon sent a song to Ralph Peer (the man who hosted The Bristol Sessions which discovered Jimmie Rodgers and The Carter Family) to be specifically recorded by Rodgers, The Father of Country Music. The song would have fit Rodgers’ unique style like a glove, and would have undoubtedly been a hit. Apparently, Peer accepted the tune, but due to Rodgers’ untimely death from tuberculosis, he never had the chance to recorded it. That song was Blue Railroad Train, which was one of the Delmore Brothers most popular tunes, and has now become a timeless classic. The Tony Rice Unit cemented the song’s place in bluegrass history on Manzanita in 1979.
Another Delmore tune which has become a bluegrass favorite is Gonna Lay Down My Old Guitar. Recorded by Doc & Merle Watson, The Traditional Grass, and, most recently, by Russell Moore & IIIrd Tyme Out. Russell and the boys also made a modern classic out of the Delmore’s Broken Hearted Lover.
One of country and bluegrass’ most iconic tunes is a Delmore Brothers’ song; Freight Train Boogie has become a standard in the industry. My favorite version of the song is on Don Reno’s Family & Friends album, where Reno is joined by Tony Rice for one of the most electrifying bluegrass recordings I’ve ever heard. The picking is completely mind-blowing, and you can hear that they had a blast recording it. Freight Train Boogie is simply a fun song, cut by Willie Nelson, Doc Watson, and most everyone in between. Marty Stuart & the Superlatives with special guest Paul Shaffer have even performed the tune on the Grand Ole Opry and The Marty Stuart Show. It’s just one of those songs that causes everyone to pat their foot.
Bluegrass fans may not know that the bluegrass favorite, Will You Be Lonesome, Too?, is a Delmore original. Lester Flatt & Earl Scruggs dug the song out of Alton and Rabon’s catalog for their near-definitive version. Other memorable cuts of this classic are J.D. Crowe and Keith Whitley’s version on My Home Ain’t In The Hall Of Fame, and Ronnie Bowman’s on Cold Virginia Night.
Possibly the brothers’ most famous song is Blues Stay Away From Me, regarded by some music historians as the first rock and roll song. It was inducted into the Grammy Hall of Fame, alongside Jimmie Rodgers’ Blue Yodel #9 (Standing On The Corner), which featured a young Louis Armstrong on trumpet, in 2007. Merle Haggard, The Everly Brothers and Bob Dylan, are just a few of the many artists who have taken a crack at this classic tune. A real standout version of this song is on Larry Sparks’ IBMA-winning album, 40, with Vince Gill joining Larry for one of the album’s most memorable performances.
These are just a few of the myriad songs that the Delmores wrote. In their time, they composed over one thousand songs! In addition to the ones mentioned above, they also wrote The Frozen Girl (aka The Orphan Girl), Brown’s Ferry Blues, I’ve Got The Railroad Blues, No One (To Welcome Me Home), and Southern Moon.
For fun, let’s look at a short list of artists who have recorded Delmore Brothers songs:
B.B. King
Bob Dylan
Crowe Brothers
Doc Watson
Don Reno
Everly Brothers
Flatt & Scruggs
Hot Rize
IIIrd Tyme Out
J.D. Crowe & The New South
Josh Williams
Kenny Baker
Larry Sparks
Louvin Brothers
Marty Stuart
Merle Haggard
Merle Travis
Michael Cleveland & Flamekeeper
Ralph Stanley
Ray Price
Raymond Fairchild
Reno & Smiley
Ronnie Bowman
The Tony Rice Unit
The Traditional Grass
Vassar Clements
Willie Nelson
Woody Guthrie
Following Rabon’s death, Alton further expanded his writing abilities from songs to other works. He wrote some short stories, but most importantly, he wrote his memoirs. Truth Is Stranger Than Publicity, chronicles the Delmore Brothers’ career. It was published posthumously following Alton’s death, to much critical acclaim.
There are some great collections of the Delmore Brothers’ recordings available. For my money, the best ones I have found are from JSP Records out of the United Kingdom. They have a few different sets which feature multiple discs encompassing different years from the brothers’ career. I have the first set, Classic Cuts: 1933-41, and thoroughly enjoy it. They can be ordered from the Classic Country Connection and County Sales. These can also be a great stockpile of material for bands looking for songs that haven’t been worked to death.
It’s can be startling when looking in retrospect at the impressive legacy the Delmore Brothers have left for us. Their body of songs stacks up quite nicely against other pioneers. All too often, however, this brother duet from Alabama is overlooked in bluegrass history.
It is long past time we recognize the contributions Alton and Rabon Delmore have made to our music. Hopefully, we can see them receive a posthumous Distinguished Achievement Award from the International Bluegrass Music Association. That they have not already received one astounds me.
If this article leads you to research their music, I’ll consider it a job well done.
