1) Jimmi… Read Full Bio ↴There is more than one artist by the name 'Jimmie Rodgers'.
1) Jimmie Rodgers (James Charles Rodgers, September 8, 1897 – May 26, 1933) was an American country singer in the early 20th century, known most widely for his rhythmic yodeling. Among the first country music superstars and pioneers, Rodgers was also known as "The Singing Brakeman", "The Blue Yodeler", and "The Father of Country Music". The Bristol sessions are considered the "Big Bang" of modern country music. They were held in 1927 in Bristol, Tennessee by Victor Talking Machine Company company producer Ralph Peer. They marked the commercial debut of Jimmie Rodgers.
Rodgers' traditional birthplace is usually given as Meridian, Mississippi; however, in documents signed by Rodgers later in life, his birthplace was listed as Geiger, Alabama, the home of his paternal grandparents. Historians who have researched the circumstances of that document, however, including Nolan Porterfield and Barry Mazor, continue to identify Pine Springs, Mississippi, just north of Meridian, as his genuine birthplace. Rodgers' mother died when he was about six or seven years old, and Rodgers, the youngest of three sons, spent the next few years living with various relatives in southeast Mississippi and southwest Alabama, near Geiger. In the 1900 Census for Daleville, Lauderdale County, Mississippi, Jimmie's mother, Eliza [Bozeman] Rodgers, was listed as already having had seven children, with four of them still living at that date. Jimmie ["James" in the Census] was next to the youngest at that time, and was probably born sixth of the total of seven children. He eventually returned home to live with his father, Aaron Rodgers, a Maintenance-of-Way foreman on the Mobile and Ohio Railroad, who had settled with a new wife in Meridian.
Rodgers' affinity for entertaining came at an early age, and the lure of the road was irresistible to him. By age 13, he had twice organized and begun traveling shows, only to be brought home by his father. His father found Rodgers his first job working on the railroad as a water boy. Here he was further taught to pick and strum by rail workers and hobos. As a water boy, he would have been exposed to the work chants of the African American railroad workers known as gandy dancers. A few years later, he became a brakeman on the New Orleans and Northeastern Railroad, a position formerly secured by his oldest brother, Walter, a conductor on the line running between Meridian and New Orleans.
In 1924 at age 27, Rodgers contracted tuberculosis. The disease temporarily ended his railroad career, but at the same time gave him the chance to get back to the entertainment industry. He organized a traveling road show and performed across the Southeastern United States until, once again, he was forced home after a cyclone destroyed his tent. He returned to railroad work as a brakeman in Miami, Florida, but eventually his illness cost him his job. He relocated to Tucson, Arizona and was employed as a switchman by the Southern Pacific Railroad. He kept the job for less than a year, and the Rodgers family (which by then included wife Carrie and daughter Anita) settled back in Meridian in early 1927.
Rodgers decided to travel to Asheville, North Carolina, later that same year. On April 18, at 9:30 p.m., Jimmie, and Otis Kuykendall performed for the first time on WWNC, Asheville’s first radio station. A few months later Rodgers recruited a group from Bristol, Tennessee called the Tenneva Ramblers and secured a weekly slot on the station listed as "The Jimmie Rodgers Entertainers."
In late July 1927, Rodgers' bandmates learned that Ralph Peer, a representative of the Victor Talking Machine Company, was coming to Bristol to hold an audition for local musicians. Rodgers and the group arrived in Bristol on August 3, 1927, and auditioned for Peer in an empty warehouse. Peer agreed to record them the next day. That night, as the band discussed how they would be billed on the record, an argument ensued, the band broke up, and Rodgers arrived at the recording session the next morning alone. However, in a videotaped interview, Claude Grant of the Tenneva Ramblers gave a totally different reason for the band's breakup. Rodgers had taken some guitars on consignment. He sold them but did not pay back the music stores which supplied the guitars. Grant said that the band broke up because they did not agree with that. On Wednesday, August 4, 1927 Jimmie Rodgers completed his first session for Victor. It lasted from 2:00 p.m. to 4:20 p.m. and yielded two songs: "The Soldier's Sweetheart" and "Sleep, Baby, Sleep". For the test recordings, Rodgers received $100.
The recordings were released on October 7 earning modest success. In November, Rodgers, determined more than ever to make it in entertainment, headed to New York City in an effort to arrange another session with Peer. Peer agreed to record him again, and the two met in Philadelphia before traveling to Camden, New Jersey, to the Victor studios. Four songs made it out of this session, including "Blue Yodel", better known as "T for Texas". In the next two years, this recording sold nearly half a million copies, rocketing Rodgers into stardom. After this, he got to determine when Peer and Victor would record him, and he sold out shows whenever and wherever he played.
Over the next few years, Rodgers was very busy. He did a movie short for Columbia Pictures, The Singing Brakeman (this is available on the DVD and VHS compilation "Times Ain't Like They Used To Be: Early Rural & Popular Music From Rare Original Film Masters 1928-35" and on YouTube), and made various recordings across the country. He toured with humorist Will Rogers as part of a Red Cross tour across the Midwest. On July 16, 1930, he recorded "Blue Yodel No. 9" with Louis Armstrong on trumpet and his wife Lil Hardin Armstrong on piano.
A song written by Clayton McMichen and recorded as “Prohibition Has Done Me Wrong” was not issued, possibly because of copyright conflicts with Columbia. According to Juanita McMichen Lynch, Peer thought it was "too controversial for the times." The master was put aside and then accidentally lost.
Rodgers' next-to-last recordings were made in August 1932 in Camden, and it was clear that the tuberculosis was getting the better of him. He had given up touring by that time, but did have a weekly radio show in San Antonio, Texas, where he had relocated when "T for Texas" became a hit. Earnings from his recordings enabled Rodgers to build a large house for his family in Kerrville, Texas, a location chosen partly for health reasons. But it was not in Rodgers' make-up to stay still, and his constant touring and recording schedule only hurt his chances of recovering from TB.
With the country in the grip of the Depression, the practice of making field recordings was quickly fading, so in May 1933, Rodgers traveled again to New York City for a group of sessions beginning May 17, 1933. He started these sessions recording alone and completed four songs on the first day. When he returned to the studio after a day's rest, he had to record sitting down and soon retired to his hotel in hopes of regaining enough energy to finish the songs he had been rehearsing. The recording engineer hired two session musicians to help Rodgers when he came back to the studio a few days later. Together they recorded a few songs, including "Mississippi Delta Blues". For his last song of the session, however, Jimmie chose to perform alone, and as a matching bookend to his career, recorded "Years Ago" by himself.
During his last recording session in New York City on May 24, 1933, after years of fighting the tuberculosis, Rodgers was so weakened that he needed to rest on a cot between songs. Jimmie Rodgers died two days later on May 26, 1933 from a pulmonary hemorrhage while staying at the Taft Hotel; he was only 35 years old.
When the Country Music Hall of Fame and Museum was established in 1961, Rodgers was one of the first three (the others were music publisher and songwriter Fred Rose and singer-songwriter Hank Williams) to be inducted. Rodgers was elected to the Songwriters Hall of Fame in 1970 and, as an early influence, to the Rock & Roll Hall of Fame in 1986. "Blue Yodel No. 9" was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Rodgers was ranked No. 33 on CMT's 40 Greatest Men of Country Music in 2003.
Since 1953, Meridian's Jimmie Rodgers Memorial Festival has been held annually during May to honor the anniversary of Rodgers' death. The first festival was on May 26, 1953.
Both Gene Autry and future Louisiana governor Jimmie Davis (author of "You Are My Sunshine") began their careers as Jimmie Rodgers copyists, and Merle Haggard, Hank Snow, and Lefty Frizzell later did tribute albums. In 1997 Bob Dylan put together a tribute compilation of major artists covering Rodgers' songs, "The Songs of Jimmie Rodgers, A Tribute" (Sony – ASIN: B000002BLD). The artists included Bono, Alison Krauss & Union Station, Jerry Garcia, Dickey Betts, Dwight Yoakam, Aaron Neville, John Mellencamp, Willie Nelson and others. Dylan had earlier once remarked, "The songs were different than the norm. They had more of an individual nature and an elevated conscience... I was drawn to their power."
In 1969, country singer Merle Haggard released Same Train, A Different Time: Merle Haggard Sings The Great Songs Of Jimmie Rodgers. Haggard also covered "No Hard Times" and "T.B. Blues" on his best-selling live albums "Okie From Muskogee" (1969) and "Fightin' Side of Me" (1970). "Blue Yodel No. 1 (T for Texas)" was covered by Lynyrd Skynyrd (sometimes announced as "(Gimme A) T For Texas (T For Tennessee)" later on) on their live album One More from the Road. Ronnie has also been quoted from a July 13, 1977 concert intermission in Asbury Park, New Jersey as saying that they've "always been interested in old country music" like Jimmie Rodgers and Merle Haggard before launching into playing "T For Texas".[10] Lynyrd Skynyrd has also named both Haggard and Rodgers in their song "Railroad Song" ("I'm going to ride this train, Lord, until I find out, what Jimmie Rodgers and The Hag was all about") Tompall Glaser has also covered a version that was included on country music's first million-selling album, Wanted! The Outlaws.
On May 24, 1978, the United States Postal Service issued a 13-cent commemorative stamp honoring Rodgers, the first in its long-running Performing Arts Series. The stamp was designed by Jim Sharpe (who did several others in this series), who depicted him with brakeman's outfit and guitar, giving his "two thumbs up", along with a locomotive in silhouette in the background.
Rodgers' legacy and influence is not limited to country music. The 2009 book "Meeting Jimmie Rodgers: How America's Original Roots Music Hero Changed the Pop Sounds of a Century" tracks Rodgers influence through a broad range of musical genres, internationally. He was influential to Ozark poet Frank Stanford, who composed a series of "blue yodel" poems, and a number of later blues artists. Rodgers was one of the biggest stars of American music between 1927 and 1933, arguably doing more to popularize blues than any other performer of his time.[8] Rodgers influenced many later blues artists, among them Muddy Waters, Big Bill Broonzy, and Chester Arthur Burnett, better known as Howlin' Wolf. Jimmie Rodgers was Wolf's childhood idol. Wolf tried to emulate Rodgers's yodel, but found that his efforts sounded more like a growl or a howl. "I couldn't do no yodelin'," Barry Gifford quoted him as saying in Rolling Stone, "so I turned to howlin'. And it's done me just fine."
Rodgers' influence can also be heard in artists including Tommy Johnson, the Mississippi Sheiks, and Mississippi John Hurt, whose "Let the Mermaids Flirt With Me" is based on Rodgers’ hit "Waiting On A Train". Elvis Presley has also been quoted as mentioning Jimmie Rodgers as an important influence and stating that he was a big fan. Jerry Lee Lewis listed Rodgers as a major stylist and covered many of his songs. Moon Mullican, Tommy Duncan and many other western swing singers also were influenced by him. Gene Autry's earlier material largely copied Rodgers' blues records.
The 1982 film, Honkytonk Man, directed by and starring Clint Eastwood was loosely based on Rodgers' life.
In "Cleaning Windows," Van Morrison sings about listening to Rodgers, but this is more likely to refer to Jimmy Rogers, the blues singer as Morrison is singing about other blues singers in the same song, and does not mention any other Country and Western singers.
In the book, Faking It: The Quest for Authenticity in Popular Music, the song "T.B. Blues" is presented as one the first truly autobiographical songs.
On May 28, 2010, Slim Bryant, the last surviving singer to have made a recording with Rodgers, died at the age of 101. They recorded Bryant's song "Mother, the Queen of My Heart" in 1932. The Union, a collaborative album between Elton John and Leon Russell, featured a song entitled "Jimmie Rodgers' Dream", which was a tribute to Rodgers.
In May 2010, a second marker, on the Mississippi Country Music Trail, was erected near Rodgers' gravesite, marking his role as The Father of Country Music.
In 2013, Rodgers was posthumously inducted to the Blues Hall of Fame.
2) James Frederick "Jimmie" Rodgers is also an American pop/rock & roll singer, incidentally born September 18, 1933 (year of death of the country musician above) in Camas, Washington, United States. He had number of hits in the 1950's, including versions of "Kisses Sweeter Than Wine", "Honeycomb","Oh Oh I'm Fallin' In Love Again", Woman from Liberia" and, particularly in the UK "English Country Garden".
Rodgers was taught music by his mother, learned to play the piano and guitar, and joined a band called "The Melodies" started by violinist Phil Clark, while he served in the United States Air Force in Korea.
Rhumba Boogie
Jimmie Rodgers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There's no hesitation it's sweepin' the nation
It's the Rhumba Boogie down the South American way
While Madame Lozonga was teachin' La Conga in her little cabana in old Havana
We were doing the charleston and Ballin' the Jack
Then that old black bottom till they started the Jitterbug rag
Then across the water came Cuban Pete he started the boogie to the Rhumba Beat
It's the Rhumba Boogie let's give it a whirl
Well you step out together then you circle around
Count one two three then put your right foot down
Then you circle your lady as you swing and you sway
To the Rhumba Boogie in the South American way
Now the guy responsible for leadin' the band
Yells do you stuff it's the best in the land
It's the Rhumba Boogie let's dance it a while
To the boogie woogie done the Rhumba Cuban all style
When that old piano it starts to ring everybody then starts to sing
To the Rhumba Boogie done the tropical style
It's the Rhumba Boogie and they're doin' it all of the while
While Madame Lozonga was teachin' La Conga in her little cabana in old Habana
The folks in old Mexico where doin' the tango
And we were steppin' to the rhythm of an old guitar
Till across the water came Cuban Pete he started to boogie to the Rhumba beat
It's the Rhumba Boogie let's dance it a while
To the boogie woogie done the Rhumba Cuban all style
The song "Rhumba Boogie" by Jimmie Rodgers is a joyful celebration of the Rhumba dance, which was popular in South America during the time the song was written. The lyrics capture the excitement and influence of South American music on American dance culture.
The song opens with an invitation to all the listeners, especially the children, to pay attention and learn about a new boogie beat. The Rhumba Boogie is described as a sweeping sensation that is captivating the entire nation. It is a rhythm and dance style that originated in South America and has now made its way to the United States.
The lyrics then mention Madame Lozonga, who was once teaching La Conga in her cabana in old Havana. This refers to the influence of Latin American dance, specifically the Conga, and how it spread to other parts of the world. The Charleston and Ballin' the Jack, popular dances of the time, were replaced by the Jitterbug rag and the Black Bottom, but it was Cuban Pete who introduced the boogie to the Rhumba beat, adding his own unique style to the dance.
The second paragraph describes how to perform the Rhumba Boogie. It involves stepping out together and circling around, then counting and putting the right foot down. The lyrics emphasize the sway and swing movements as couples dance to the Rhumba Boogie in the South American way. The band leader is praised for his ability to lead the band and create the best music for the dance. The mention of the piano ringing and everyone singing indicates the energetic and infectious nature of the dance.
The third paragraph continues to highlight the influence of South American dance on other cultures. Madame Lozonga is mentioned again, teaching La Conga in her cabana, while in Mexico, people were doing the tango. Meanwhile, the singer and others were stepping to the rhythm of an old guitar. Cuban Pete made his way across the water, bringing the boogie to the Rhumba beat, enriching the dance with his own Cuban style. The chorus once again invites everyone to dance the Rhumba Boogie, emphasizing the fusion of boogie woogie and Rhumba Cuban styles.
Overall, the lyrics of "Rhumba Boogie" celebrate the cross-cultural exchange of music and dance. They illustrate how South American rhythms and dances, such as the Rhumba and Conga, made their way to other parts of the world, influencing the dance culture of the time. The song encapsulates the joy and excitement of dancing to the Rhumba Boogie and encourages listeners to join in the fun.
Line by Line Meaning
Well come all you children give a listen to me let me tell you bout a new boogie beat
Attention everyone, listen up and hear about this fresh boogie beat
There's no hesitation it's sweepin' the nation
There is no doubt, this music is gaining popularity nationwide
It's the Rhumba Boogie down the South American way
This is the Rhumba Boogie performed in the style of South American music
While Madame Lozonga was teachin' La Conga in her little cabana in old Havana
At a small cabin in old Havana, Madame Lozonga taught the dance called La Conga
We were doing the charleston and Ballin' the Jack
We were enjoying the dance styles known as the charleston and Ballin' the Jack
Then that old black bottom till they started the Jitterbug rag
Next, we danced the old black bottom until they introduced the Jitterbug rag
Then across the water came Cuban Pete he started the boogie to the Rhumba Beat
From across the water, Cuban Pete arrived and initiated the boogie dance to the Rhumba beat
It's the Rhumba Boogie let's give it a whirl
This is the Rhumba Boogie, let's try it out and have some fun
While he plays the Boogie in the South American style
As the music plays, we dance the boogie in the style influenced by South American rhythms
Well you step out together then you circle around
You start by taking a step together, then move in a circular motion
Count one two three then put your right foot down
Follow the count of one, two, three and place your right foot down
Then you circle your lady as you swing and you sway
As you continue to dance, you move in a circle with your partner while swinging and swaying
To the Rhumba Boogie in the South American way
All of this is done to the Rhumba Boogie, in the distinctive style of South American music
Now the guy responsible for leadin' the band
The person in charge of leading the band
Yells do you stuff it's the best in the land
They enthusiastically shout to do your best as this is the finest music in the country
It's the Rhumba Boogie let's dance it a while
This is the Rhumba Boogie, let's dance to it for some time
To the boogie woogie done the Rhumba Cuban all style
We dance to the boogie woogie, performed in the style of Rhumba Cuban music
When that old piano it starts to ring everybody then starts to sing
When the piano begins playing, everyone starts to sing along
To the Rhumba Boogie done the tropical style
All together, we dance to the Rhumba Boogie in the lively style of the tropics
It's the Rhumba Boogie and they're doin' it all of the while
This is the Rhumba Boogie, and people are dancing to it constantly
The folks in old Mexico where doin' the tango
In old Mexico, people were dancing the tango
And we were steppin' to the rhythm of an old guitar
We were dancing to the beat of an old guitar
Till across the water came Cuban Pete he started to boogie to the Rhumba beat
Then, Cuban Pete arrived from across the water and began dancing the boogie to the Rhumba beat
It's the Rhumba Boogie let's dance it a while
This is the Rhumba Boogie, let's dance to it for some time
To the boogie woogie done the Rhumba Cuban all style
We dance to the boogie woogie in the style of Rhumba Cuban music
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: HANK SNOW
Lyrics Licensed & Provided by LyricFind
mymymymy6
Sure wish you would post Rainbow at Midnight . Would love to hear it again . He sings it soo well.
01musicfan
Thank you for commenting, I actually like Jimmie's version better. I was not aware of Hank Snow's version, thanks for bringing it to my attention. Another very good version is by the Browns.
MME Corbett
BOY this isn't his usual style-probably the fastest song he ever recorded.
Michael Rodgers
I’m Jimmies son. You might enjoy his song Woman From Liberia. Very uptempo and great record.
01musicfan
It is pretty fast, thank you for commenting!
joe blow
Doesn't compare to Hank Snow's original but Jimmie gives it a good try.
01musicfan
I like Jimmie's version better, there is also a version by the Brown's; all three versions are excellent, however.
01musicfan
@spacepatrolman Thanks for the information.
Darryl C Preston
Gutsy rendition! Somehow, I don't think that Hank would have enjoyed it very much. The problem is that this was a Hank Snow song; written to take perfect advantage of Snow and his excellent little band. Other artists have had a similar difficulty recreating 'I'm Movin' On' for the same reasons.