Burns was born in Conasauga, Tennessee on March 10, 1920. His family moved to Knoxville, Tennessee when he was three. In 1936, he auditioned for a talent contest at Knoxville radio station WNOX where he met Henry Haynes, also 16. The two formed a duo and WNOX program director Lowell Blanchard gave them the stage names Homer and Jethro after forgetting their names on the air.
Burns was drafted into the US Army and served in Europe during World War II and reunited with Haynes, who had served in the Pacific, in Knoxville in 1945. By 1947, the duo moved to Cincinnati, Ohio and were working at WLW on the station's Midwestern Hayride. They signed with King Records, where they worked as a house band and recorded singles on their own, and two years later signed with RCA Records. The pair were fired along with other stars by new management at WLW in 1948, and after a brief tour, they moved to Springfield, Missouri and performed on KWTO with Chet Atkins, the Carter Family and Slim Wilson.
In 1949, they moved to Chicago, Illinois and played at the Chicago Theatre. Between shows, they would go to WLS to appear live on National Barn Dance. While performing on WLS, Burns met and married his wife, Lois Johnson, who he called Gussie. Her twin sister Leona was married to Atkins.
In 1959, they won a Grammy for the best comedy performance in 1959 for "The Battle of Kookamonga", a parody of Johnny Horton's "Battle of New Orleans".
Burns was a highly-influential mandolin stylist, preferring clean single-note jazzy melodies and sophisticated chords over the dominant bluegrass stylings of Bill Monroe, and since he performed mostly in a country music setting, introduced many country mandolinists to sophisticated jazz harmonies and improvisational techniques, as well as standards from the songbooks of Duke Ellington, Django Reinhardt and Cole Porter.
By the 1970s, Burns' influence had spread to a younger generation of bluegrass and "new-acoustic" musicians, most notably New Grass Revival mandolinist Sam Bush. His participation in Norman Blake/Tut Taylor/Sam Bush/Butch Robins/Vassar Clements/David Holland/Jethro Burns, an independently released album produced by promoter Hank Deane, was reportedly at Bush's suggestion. During that same decade, Burns' acquaintance with erstwhile bluegrass mandolinist David Grisman led to Burns' writing a number of music/humor columns in the Grisman-published journal Mandolin World News. Grisman also produced a 1978 duet album on Kaleidoscope Records, Back to Back, featuring Burns and Western swing electric mandolinist Tiny Moore. Although Burns and Moore were approximately the same age and were among the few of their generation to make their reputations playing jazz and swing mandolin, the two had never met prior to the production of the album, its liner notes report.
After Haynes died in 1971, Burns's regular musical partner was guitarist Ken Eidson, with whom he co-authored an influential mandolin method tome (Mel Bay's Complete Jethro Burns Mandolin Book, still in print), and they continued to perform as Homer and Jethro. After the partnership ended, Burns continued to play, most notably with Chicago folk singer Steve Goodman. He appeared on several of Goodman's albums and also toured nationally with him. At times he appeared in the Million Dollar Band on TV's Hee Haw with Atkins and swing fiddler Johnny Gimble. He also became a master teacher of mandolin jazz. He died in 1989 from prostate cancer in Evanston, Illinois.
In 2001, Burns and Haynes were inducted into the Country Music Hall of Fame.
Some of Burns' most influential recordings (in order of recording):
Bear Family BCD-15728AH Jazz From the Hills, Country All Stars (reissue of sessions from 1952–1955); with Jerry Byrd, Chet Atkins, Henry D. Haynes, Dale Potter
RCA Victor Playing It Straight (1962), Homer and Jethro; reissued on CD by RCA Japan
RCA Victor It Ain't Necessarily Square (1965?), Homer and Jethro; reissued on CD by RCA Japan
RCA Camden Down Yonder and Other Old-Time Favorites (1967) by Wade Ray and the Country Fiddlers.
FRC-653-CD "The Puritan Sessions" with swing fiddler Keith Coleman; cut originally for Puritan label in 1975, but not issued until 1998
Flying Fish Norman Blake/Tut Taylor/Sam Bush/Butch Robins/Vassar Clements/David Holland/Jethro Burns (1975)
Acoustic Disc ACD-60 Back to Back (originally 1979 on Kaleidescope), with Tiny Moore, Eldon Shamblin, Shelly Manne, Ray Browne
Acoustic Disc ACD-15 Swing Low Sweet Mandolin (1987); with Don Stiernberg
Acoustic Disc ACD-29 Bye Bye Blues (1987); with Don Stiernberg
The two RCA Victor albums showcased Homer and Jethro as jazz musicians rather than comedy kings. They didn't have wide commercial appeal, so the studio gave them a free hand to select material, arrange and improvise.
The RCA Camden LP was a budget release by a studio group with Wade Ray (overdubbed fiddles), Sonny Osborne (banjo) and Homer and Jethro. Burns played jazzy interpretations of old-time fiddle standards.
Back to Back paired Burns with Western swing giant Moore and an all-star jazz rhythm section with Ron Carter und Shelly Manne.
The two ACD were recorded by Burns after his cancer was advancing; he and Stiernberg worked in an intimate setting to put as many of Burns' musical ideas on high-quality recordings for future generations to enjoy and for aspiring swing mandolinists (and guitarists) to learn from.
Love Me or Leave Me
Jethro Burns Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You won't believe me that I love you only
I'd rather be lonely than happy with somebody else
You might find the night time the right time for kissing
But night time is my time for just reminiscing
Regretting instead of forgetting with somebody else
There'll be no else unless that someone is you, you, you
I intend to be independently blue
I want your love but I don't want to borrow
I have it today and give back tomorrow
For my love is your love but there's no love for nobody else
In Jethro Burns's song "Love Me or Leave Me," the lyrics convey mixed emotions and conflicting desires in a relationship. The singer begins by stating their preference for their partner to either fully love them or leave them, indicating a strong desire for authenticity and commitment. They express their own unwavering love for the person, emphasizing that they only love them and no one else. The singer then confesses that they would rather be lonely than be with someone else who can't reciprocate their feelings.
The next lines dive into the contrasting perspectives on nighttime. While the partner may see it as a perfect time for intimacy and connection, the singer admits that for them, it serves as a time for reminiscing about past regrets rather than living in the present. They imply that they find solace in their own thoughts, even though it may lead to sadness or loneliness. The lyrics suggest that there will be no one else in their life unless that someone is the person they are singing to.
The final lines highlight the singer's desire for independence, expressing a need for love without the presence of borrowed emotions. They want their love to be genuine and steadfast, not dependent on temporary affections. They acknowledge that their love belongs to the person they are addressing, but it cannot be shared with anyone else because there is no love left for others.
Line by Line Meaning
Love me or leave me and let me be lonely
If you can't love me, then please leave me alone and allow me to live my life in solitude
You won't believe me that I love you only
I understand that it's hard for you to trust that my love is exclusively for you
I'd rather be lonely than happy with somebody else
I prefer to be alone than to experience false happiness with someone other than you
You might find the night time the right time for kissing
Perhaps you consider nighttime as the perfect opportunity for romantic moments and affection
But night time is my time for just reminiscing
However, nighttime is when I prefer to reflect and indulge in memories rather than seeking physical intimacy
Regretting instead of forgetting with somebody else
Rather than moving on and forgetting about our love, I tend to dwell on regrets when involved with someone other than you
There'll be no else unless that someone is you, you, you
I can't imagine being with anyone else unless that person happens to be you, and only you
I intend to be independently blue
My intention is to embrace and accept the melancholy of being alone
I want your love but I don't want to borrow
I desire your love, but I don't want it to be a temporary arrangement or a borrowed affection
I have it today and give back tomorrow
I possess your love in the present, but I'm uncertain if I'll still have it to give back tomorrow
For my love is your love but there's no love for nobody else
Because my love belongs to you, there is no love available for anyone other than you
Lyrics © DONALDSON PUBLISHING CO, TOBAGO MUSIC COMPANY, BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Gus Kahn, Walter Donaldson
Lyrics Licensed & Provided by LyricFind