LINER
NOTES FOR DIAN & THE GREENBRIAR BOYS' DIAN & THE GREENBRIAR BOYS
By
Richie Unterberger
While
many folk and
bluegrass fans are familiar with the Greenbriar Boys, relatively few
are familiar with the unusual one-off album they did as the backup
album for Dian James. Issued by Elektra around late 1963, Dian & the Greenbriar Boys did
not make a big splash, in part because the singer and the band barely
performed together outside of the recording studio. Their brief
collaboration, however, did produce a worthwhile album of
country-tinged folk, mixing material from a variety of sources.
Dian
James,
according to the original LP liner notes, first became interested in
country music at the age of thirteen, and subsequently performed on
television shows oriented toward country-and-western listeners. As Dian & the Greenbriar Boys
producer Jim Dickson remembers, James was a cousin of Randy Newman, and
at the time he met her, she was the girlfriend of Travis Edmonson, half
of the folk duo Bud and Travis. "She sang along with a Peter, Paul
& Mary record at her house and I was impressed," he explains. "I
had done some work for [Elektra founder-president] Jac Holzman and told
him about her."
Dickson was producing a number of adventurous
recordings at the time by folk artists such as the Dillards, Dino
Valenti, Hamilton Camp, and the Modern Folk Quartet, and thought it
work well to team James and the Greenbriar Boys after seeing the
bluegrass band at the Ash Grove in Los Angeles. "There was nothing
planned," explains Bob Yellin, the Greenbriar Boys' banjo player. "We
were on one of our regular tours, and Jim Dickson brought her to hear
us. She came backstage, and was very excited. She wanted to sing a song
with us onstage. I guess we must have sang something in the dressing
room. It sounded good enough to be interesting to the audience, so we
did a couple songs with her onstage, and that was the beginning of the
idea. We decided to stay an extra week in Los Angeles, put that thing
together at Dian's house, and then recorded it in a couple of days."
Dickson's productions put a greater emphasis on rhythmic ensemble
playing than many folk recordings of the time featured, and he enlisted
his friend Jimmy Bond to play bass on the album, as he did for sessions
by numerous other artists.
Dickson also says that Holzman "okayed the
Greenbriar Boys because they had played on a Joan Baez album," though
Yellin does not remember this. The Greenbriar Boys were recording on
their own at the time for rival folk label Vanguard, and "that was a
bit of a bone of contention," Bob admits. "I remember they had to call
[Vanguard executive] Maynard Solomon, and he wasn't overjoyed by the
whole idea. But he let us do it, because we wanted to do it." Yellin
had, in fact, played on an Elektra album about five years before this
project, Paul Clayton's 1958 LP Unholy
Songs of Matrimony (also issued on CD by Collectors' Choice
Music), on which he accompanied Clayton on banjo and cithern.
The material selected for the LP was diverse,
including traditional numbers that had been popularized by country star
Roy Acuff ("Sally Let Your Bangs Hang Down"), Leadbelly ("Alabama
Bound"), and early country guitarist Riley Puckett ("Giving Everything
Away"). There was also Leadbelly's Green Corn"; "Brown's Ferry Blues,"
by the great country harmonizing duo the Delmore Brothers; and "Cannon
Ball Blues," by A.P. Carter of the Carter Family. "Sweet Willie,"
collected by Margot Mayo, was put to a melody by folksinger Jean
Ritchie, and "Master's Bouquet," "Precious Lord," and "Tramp on the
Street" were all, according to the original liner notes, adapted from
the singing of country star Rose Maddox. "If I Were Free" was written
by Travis Edmonson, who according to Yellin "was around quite a bit,
listening to the songs and making suggestions. Mostly we suggested
songs for it. I used to carry a Bill Clifton songbook around, and we
pulled out a few songs out of there." Clifton was a major bluegrass
musician himself, and his 150
Old-Time Folk and Gospel Songs had circulated widely in the folk
and bluegrass community since its mid-1950s publication.
"Dian was a fan of Rose Maddox, as was I from
childhood, and she selected several songs from that source," adds
Dickson. "Some songs came from [Greenbriar Boys mandolinist] Ralph
Rinzler, such as 'Green Corn.' As long as we all agreed, we proceeded."
"He Was a Friend" used an arrangement from emerging singer Hoyt Axton,
who also added new lyrics. As "He Was a Friend of Mine," a variation of
the song would appear a couple of years later on the second album by
the Byrds, the folk-rock pioneers co-managed by Dickson in their early
years.
Both Dickson and the Greenbriar Boys were pleased
with the results. "We felt like it was a good group sound," remarks
Yellin. "Dian had a ton of energy. It was very different for us. We'd
never done anything like that before." The website of the late
Greenbriar Boys guitarist John Herald states that "Elektra was
convinced it had crossover possibilities into the pop market," but as
Dickson concedes, "the album didn't sell well. We did release 'He Was
a Friend of Mine' as a single and it was played on [Los
Angeles radio station] KFWB by my friend B. Mitchell Reid, but Elektra
wasn't ready to promote a single yet."
Nor did Dian & the Greenbriar Boys promote the
album with any live appearances, though Yellin thinks they appeared
with her on the network television folk music show Hootenanny. Nor did Dian James
release anything else on Elektra, and according to Dickson, "there
never were any plans to record her again." The Greenbriar Boys
continued to record well-received albums for Vanguard, splitting after
1966's Better Late Than Never!,
which included the original version of Mike Nesmith's "Different Drum"
(covered for a hit the following year by Linda Ronstadt & the Stone
Poneys). Jim Dickson, of course, was a major force in the birth of
folk-rock as the co-manager and early artistic mentor of the Byrds,
later producing members of the band in solo projects and the
Flying Burrito Brothers. Dian James's legacy, however, is pretty
much contained in this rare Elektra album, at long last made available
again with this CD reissue. -- Richie Unterberger
unless otherwise specified.
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