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Clarence White

December 28, 2022

For other people named Clarence White, see Clarence White (disambiguation).

Clarence White (born Clarence Joseph LeBlanc; June 7, 1944 – July 15, 1973)[1] was an American bluegrass and country guitarist and singer.[2][3] He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds, as well as for being a pioneer of the musical genre of country rock during the late 1960s.[3] White also worked extensively as a session musician, appearing on recordings by the Everly Brothers, Joe Cocker,[4] Ricky Nelson, Pat Boone, the Monkees, Randy Newman,[5] Gene Clark,[3] Linda Ronstadt,[6] Arlo Guthrie,[7] and Jackson Browne among others.[8]

Clarence White
Background information
Birth nameClarence Joseph LeBlanc
BornJune 7, 1944
Lewiston, Maine, U.S.
DiedJuly 15, 1973(1973-07-15) (aged 29)[1]
Palmdale, California, U.S.
GenresBluegrass, country, country rock, rock
Occupation(s)Musician, singer
Instrument(s)Guitar, mandolin, vocals
Years active1954–1973
LabelsSundown, Republic, Briar International, World Pacific, Bakersfield International, Columbia, Warner Bros.

Together with frequent collaborator Gene Parsons, he invented the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar. White was inducted into the International Bluegrass Music Association Hall of Fame in 2016.

Early years

Clarence Joseph LeBlanc was born on June 7, 1944 in Lewiston, Maine.[6] The LeBlanc family, who later changed their surname to White, were of French-Canadian ancestry and hailed from New Brunswick, Canada.[6][9] Clarence's father, Eric LeBlanc Sr., played guitar, banjo, fiddle, and harmonica, ensuring that his offspring grew up surrounded by music.[6][9] A child prodigy, Clarence began playing guitar at the age of six.[10] At such a young age he was barely able to hold the instrument and as a result, he briefly switched to ukulele, awaiting a time when his young hands would be big enough to confidently grapple with the guitar.[5]

In 1954, when Clarence was ten, the White family relocated to Burbank, California and soon after, Clarence joined his brothers Roland and Eric Jr. (who played mandolin and banjo respectively) in a trio called Three Little Country Boys.[2] Although they initially started out playing contemporary country music, the group soon switched to a purely bluegrass repertoire, as a result of Roland's burgeoning interest in the genre.[6]

In 1957, banjoist Billy Ray Latham and Dobro player LeRoy Mack were added to the line-up,[5] with the band renaming themselves the Country Boys soon after.[2] In 1961, the Country Boys also added Roger Bush on double bass, as a replacement for Eric White Jr.[2] That same year, Clarence and other members of the Country Boys appeared on two episodes of The Andy Griffith Show.[2] Between 1959 and 1962, the group released three singles on the Sundown, Republic and Briar International record labels.[11]

The Kentucky Colonels

Main article: Kentucky Colonels (band)

Following the recording sessions for the Country Boys' debut album, the band changed its name to the Kentucky Colonels in September 1962, at the suggestion of country guitarist and friend Joe Maphis.[2] The band's album was released by Briar International under the title The New Sound of Bluegrass America in early 1963.[12]

Around this time, Clarence's flatpicking guitar style was becoming a much more prominent part of the group's music.[6] After attending a performance by Doc Watson at the Ash Grove folk club in Los Angeles, where he also met the guitarist, Clarence began to explore the possibilities of the acoustic guitar's role in bluegrass music.[6] At that time, the guitar was largely regarded as a rhythm instrument in bluegrass, with only a few performers, such as Doc Watson, exploring its potential for soloing.[6] White soon began to integrate elements of Watson's playing style, including the use of open strings and syncopation, into his own flatpicking guitar technique.[9] His breathtaking speed and virtuosity on the instrument[12] was largely responsible for making the guitar a lead instrument within bluegrass.[13]

The Kentucky Colonels became well known on the bluegrass circuit during this period and made many live appearances throughout California and the United States.[2] Between bookings with the Colonels, White also made a guest appearance on Eric Weissberg and Marshall Brickman's New Dimensions in Banjo & Bluegrass album, which would be re-released in 1973 as the soundtrack album to the film Deliverance (with Weissberg and Steve Mandell's version of "Dueling Banjos" added to the album's track listing).[9][14]

In 1964 the Colonels recruiting fiddle player Bobby Sloan into their ranks and continued to make live appearances at various clubs, concert halls and festivals.[2] The Colonels' second album, Appalachian Swing!,[12] was a commercial success and saw White's flatpicking permanently expand the language of bluegrass guitar.[15] Music critic Thom Owens has remarked that White's playing on the album, "helped pioneer a new style in bluegrass; namely, he redefined the acoustic guitar as a solo instrument."[16]

Shortly after the recording of the Appalachian Swing! album, Roland and Clarence undertook some session work backing dobroist Tut Taylor on a Dobro-themed album that was released by World Pacific in late 1964 as Dobro Country.[9] Although the brothers were employed as session musicians, the album was credited to Tut Taylor, Roland and Clarence White upon release.[9]

Although they were a successful recording act, it was becoming increasingly difficult for the Colonels to make a living, due to the waning popularity of the American folk music revival due to the British Invasion and homegrown folk rock acts, such as the Byrds and Bob Dylan.[9] As a result, the Colonels switched to electric instrumentation[9] and hired a drummer.[17] In spite of these changes, the Kentucky Colonels dissolved as a band following a show on October 31, 1965.[12] Clarence, Roland and Eric Jr. formed a new line-up of the Colonels in 1966, with several other musicians, but this second version of the group was short-lived and by early 1967 they had broken up.[18]

Session work (1966–1968)

During 1964, White began to look beyond bluegrass music towards rock 'n' roll as an avenue for artistic expression.[5] Although he was influenced by Country guitarists like Doc Watson, Don Reno and Joe Maphis, he also idolized the playing of jazz guitarist Django Reinhardt, rock 'n' roller Chuck Berry, and studio musician James Burton.[18] White even anticipated the viability of a folk/rock hybrid when, in the summer of 1964, he was approached by Jim Dickson to record a version of the then-unreleased Bob Dylan song "Mr. Tambourine Man" with electric instruments.[5] However, despite White's enthusiasm for the project, he was unable to convince his bandmates in the Kentucky Colonels of the experiment's validity[5] and ultimately, the song was instead recorded by Dickson's proteges, the Byrds.[19]

By the time the original line-up of the Kentucky Colonels folded in late 1965, White had become a respected and well-known guitarist.[5] Abandoning bluegrass temporarily, he switched from his Martin D-28 acoustic guitar to an electric Fender Telecaster, with the intention of becoming a studio musician like his hero James Burton.[4] Transitioning to electric guitar required White to modify his right hand playing technique, switch from open chording to fretting the whole guitar neck with his left hand, and practice using the tone and volume controls.[4] However, he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.[5][18]

As 1965 turned into 1966, White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after, he began to perform live with the duo in local California clubs, as well as doing regular session work on their records, which were released under the moniker of Cajun Gib and Gene.[3][18] 1966 also saw White begin playing with a country group called Trio, which featured drummer Bart Haney and former Kentucky Colonel, Roger Bush, on bass.[18] In autumn of that year, as a result of his friendship with Gilbeau, Parsons and the Gosdin Brothers, White was asked to provide lead guitar to ex-Byrd Gene Clark's debut solo album, Gene Clark with the Gosdin Brothers.[3][20] White briefly joined Clark's touring band shortly thereafter.[21]

During the Clark album sessions, White reconnected with mandolin player and bassist Chris Hillman, who he had known during the early 1960s as a member of the bluegrass combo the Hillmen.[22] Hillman was currently a member of the Byrds and, in December 1966, he invited White to contribute countrified lead guitar playing to his songs "Time Between" and "The Girl with No Name", which both appeared on the Byrds' Younger Than Yesterday album.[22] The country-oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation with country music that would color the Byrds' subsequent work.[23] White also contributed guitar to the band's follow-up album, The Notorious Byrd Brothers,[24] and to their seminal 1968 country rock release, Sweetheart of the Rodeo.[25]

Nashville West

Main article: Nashville West
 
Nashville West (a.k.a. Hong Kong Hillbilly)
An excerpt from a 1967 live recording of Nashville West performing their self-titled signature song. Written by Clarence White and Gene Parsons, the song "Nashville West" provides an example of White's electric guitar playing technique.
Problems playing this file? See media help.

By mid-1967, White had begun performing at night in the band the Reasons (a.k.a. Nashville West), which included bass player Wayne Moore, along with Parsons and Guilbeau (as banjoist-turned-drummer and lead singer respectively).[26] The band mostly worked at the Nashville West club in El Monte, California, frequently borrowing the club's name as their own.[26] Critic Erik Hage has said that, in the years since their formation, the band have become legendary as one of the first to play a seamless blend of country and rock,[25] although L.A. group the International Submarine Band, which featured country rock pioneer Gram Parsons (no relation to Gene), were also exploring a similar sound concurrently.[27]

A live recording of Nashville West would eventually be released in 1979,[12] which music historian Richie Unterberger later described as being "of considerable historical interest for anyone interested in the roots of country-rock".[28] Unterberger also remarked that the recording illustrated Nashville West as having "more electric rock influences than most country acts were using at the time."[3] In addition to being a member of Nashville West, White was also a member of another country bar band that regularly played at the Nashville West club called the Roustabouts.[4]

In July 1967, White signed with Gary Paxton's Bakersfield International record label and released a pair of solo singles: "Tango for a Sad Mood" b/w "Tuff and Stringy" and "Grandma Funderbunks Music Box" b/w "Riff Raff".[11][26] He also reportedly recorded a solo album for the label, although it has never been released.[3]

The StringBender

 
A schematic of the first Parsons/White StringBender (a.k.a. the B-Bender)

During 1967, while they were both members of Nashville West, White and Parsons invented a device that enabled Clarence to simulate the sound of a pedal steel guitar on his 1954 Fender Telecaster.[29] The need for such a device was driven by White's desire to bend his guitar's B-string up a full tone, while keeping his left hand on the strings and fretboard.[30] In order to achieve this feat, White felt that he needed a third hand.[29] The guitarist turned to his friend Parsons, who was an amateur machinist, and asked him to design and build an apparatus to pull or drop the B-string.[29]

The device, which was known as the Parsons/White StringBender (also known as the B-Bender), was a spring-lever mechanism built into the inside of White's guitar, which linked to the guitar's strap button and the B-string.[6][30] When it was activated, by pulling down on the guitar neck, it pulled on the B-string and caused the guitar to simulate the "crying" sound of a pedal steel.[6] White would go on to use the device extensively as a member of the Byrds and, as a result, the distinctive sound of the StringBender would become a defining characteristic of that band's music during White's tenure with the group.[31]

The Byrds

Main article: The Byrds
 
Tulsa County (alternate version)
An excerpt from an outtake version of the song "Tulsa County" by the Byrds. This audio clip highlights Clarence White's use of the StringBender, which was fitted to his Fender Telecaster to enable him to simulate the sound of a pedal steel guitar.
Problems playing this file? See media help.

Following the abrupt departure from the Byrds of singer and guitarist Gram Parsons in July 1968,[32] White was invited to join the group as a full-time member, remaining until the band was finally dissolved by lead guitarist Roger McGuinn in February 1973. This extended tenure with the band makes White the second longest-serving member of the Byrds after McGuinn.[33] White was brought into the group at bass player Chris Hillman's suggestion, as someone who could handle the band's older rock material and their newer country-flavored repertoire.[34]

Once he was a member of the Byrds, White began to express dissatisfaction with the band's current drummer, Kevin Kelley.[35] Before long, he had persuaded McGuinn and Hillman to replace Kelley with his friend from the recently dissolved Nashville West, Gene Parsons (no relation to Gram).[35]

Hillman quit the Byrds within a month of White joining, in order to form the Flying Burrito Brothers with Gram Parsons.[36] At around this same time, White and Gene Parsons undertook some informal rehearsing and recording with Hillman and Gram Parsons, as part of a prototype version of the Burrito Brothers.[37] However, the pair declined an invitation to join the new country rock group and instead opted to stay with McGuinn's new-look Byrds.[37]

"The greatest thing about Clarence was that he never played anything that sounded vaguely weak ... he was always driving—into the music—and that pulled the whole band up. He had that conservative thing he got from Bluegrass, where you underplay it on stage, where everybody poker-faces it. He would do these truly outrageous things on guitar, but hardly move a muscle, aside from his hands."

—Byrds' leader Roger McGuinn recalling White's on-stage musicianship and demeanor.[33]

The White-era version of the Byrds, featuring McGuinn, White and Parsons, along with bassists John York (September 1968–September 1969) and Skip Battin (September 1969–February 1973), released five albums and toured relentlessly between 1969 and 1972. Journalist Steve Leggett has noted that, although the original line-up of the Byrds gets the most attention and praise, the latter-day version, featuring McGuinn and White's dual lead guitar work, was regarded by critics and audiences as much more accomplished in concert than any previous configuration of the band had been.[38] Similarly, authors Scott Schinder and Andy Schwartz have commented that although the White-era Byrds failed to achieve the commercial success of the original line-up, the group were a formidable live act and a consistently in-demand attraction on the touring circuit.[37] The authors also cited the Byrds' archival release Live at the Fillmore – February 1969 as a good example of the White-era band's musical potency.[37] Rolling Stone journalist David Fricke has commented on White's contribution to the band, by noting, "with his powerful, impeccable tone and melodic ingenuity, White did much to rebuild the creative reputation of the Byrds and define the road-hearty sound of the group at the turn of the '70s."[39]

The first Byrds' album to feature White as a full member was Dr. Byrds & Mr. Hyde, which was released in early 1969.[40] The album included a re-recording of the Gene Parsons and White-penned instrumental "Nashville West",[40] as well as a rendition of the traditional song "Old Blue", which was the first Byrds' recording to utilize the StringBender.[41] The Ballad of Easy Rider album followed in November 1969, on which White could be heard leading the band through a rendition of the traditional song "Oil in My Lamp", representing the guitarist's first lead vocal performance as a Byrd.[42]

1970 saw the Byrds release the double album (Untitled), which consisted of one LP of live concert recordings and another of new studio recordings.[43] Upon release, the album was a critical and commercial success on both sides of the Atlantic,[44] peaking at number 40 on the Billboard Top LPs chart and reaching number 11 on the UK Albums Chart.[45][46] Two of the album's studio recordings featured White singing lead vocals: a cover version of the Lowell George composition "Truck Stop Girl" and a rendition of Leadbelly's "Take a Whiff on Me" (the latter also featured White playing mandolin).[47] In addition, excerpts from an instrumental jam, recorded during the (Untitled) album sessions and logged in the Columbia Records' files under the title of "Fifteen Minute Jam", were later released as "White's Lightning" and "White's Lightning Pt.2" on The Byrds box set and the remastered double CD version of (Untitled) respectively.[48][49]

 
Clarence White (third from left) on tour with the Byrds in the Netherlands, June 1970.

The 1971 Byrdmaniax album saw White singing lead vocals on "My Destiny", written by Helen Carter,[50] and "Jamaica Say You Will", penned by the then little-known songwriter Jackson Browne.[51] In addition, White received a co-writing credit for the album's bluegrass instrumental "Green Apple Quick Step".[52] This song also featured White's father, Eric White Sr., on harmonica.[53]

Farther Along, released in November 1971, would prove to be the final album by the White-era Byrds.[54] It featured White singing the Gospel hymn and title track "Farther Along" and a cover of the Larry Murray composition "Bugler".[54] This latter song features White playing mandolin and has been described by Byrds expert Tim Connors as, "the best song on the album, and by far the best vocal ever recorded by Clarence White during his time with the Byrds."[55]

Following the release of Farther Along, the band continued to tour throughout 1972,[56] but no new Byrds album appeared.[57] In late 1972, the original five-piece line-up of the Byrds reunited and, as a result, McGuinn decided to disband the existing version of the band. Parsons had been fired in July 1972 and Battin was dismissed by McGuinn in early 1973.[54] The last concert by the White-era version of the Byrds (which at this point featured former Byrd Chris Hillman on bass and Joe Lala on drums) was given on February 24, 1973 at The Capitol Theatre, Passaic, New Jersey, with White and McGuinn jokingly firing each other from the band afterwards.[58][59]

Despite being on tour or in the recording studio with the Byrds for the majority of the time between 1969 and 1972, White continued to undertake selected session work for other recording artists. During this period he played on Joe Cocker's 1969 album Joe Cocker!, Randy Newman's 1970 album 12 Songs, and the Everly Brothers' Stories We Could Tell from 1972.[3] In early 1971, White also contributed guitar to Paul Siebel's Jack-Knife Gypsy album and the title track of the L.A. Getaway album by Joel Scott-Hill, John Barbata and Chris Ethridge.[60] Other albums that White contributed his guitar playing to while he was a member of the Byrds include Linda Ronstadt's Hand Sown ... Home Grown (1969), Rita Coolidge's Rita Coolidge (1971), Marc Benno's Minnows (1971), Jackson Browne's Jackson Browne (1972), Gene Clark's Roadmaster (1973), and a trio of Arlo Guthrie albums: Running Down the Road (1969), Washington County (1970) and Hobo's Lullaby (1972).[34]

Post-Byrds

"Clarence was at my birthday party the night before, and he and I had agreed to start working together again—not necessarily as the Byrds, but in some form. He was incredibly talented, and full of life and full of music. I know he'd still be doing something great today if he was still around."

—Roger McGuinn recalling a meeting with White on the day before he died.[61]

In mid-February 1973, just prior to the break up of the White-era version of the Byrds, White joined with guitarist Peter Rowan, mandolinist David Grisman, fiddler Richard Greene, and banjoist Bill Keith to form the bluegrass supergroup Muleskinner.[62] The musicians initially assembled as a one-off pickup band to back bluegrass pioneer Bill Monroe for a television program, but ended up performing on their own when Monroe's tour bus broke down on the way to the television studios.[34] A recording of this broadcast, which was once thought lost, was released as an album in 1992, under the title Muleskinner Live.[63][64] A VHS video cassette of the broadcast was also released in 1992 and later re-issued on DVD.

As a result of the success of their appearance on the television broadcast, the band was offered a one album recording contract with Warner Bros. Records.[65] Recording sessions for the album took place at the Record Plant in Los Angeles between March 27 and April 14, 1973, with Richard Greene and Joe Boyd producing.[66] The music the band recorded for the Muleskinner album (a.k.a. A Potpourri of Bluegrass Jam) was in the vein of country rock, traditional bluegrass and progressive bluegrass (or "newgrass").[67] It was also one of the first bluegrass albums to feature a full drum kit.[67] The album was released in the latter half of 1973 and is nowadays regarded by critics as a milestone in the development of progressive bluegrass, with ex-band members Greene, Keith, Grisman, and Rowan all going on to become important figures in the development of that genre.[34]

In addition to his work with Muleskinner, White also undertook a number of sessions between late 1972 and early 1973 for his friend Gene Parsons' debut solo album Kindling.[68] White's distinctive guitar and mandolin playing can be heard on the tracks "Do Not Disturb", "On the Spot", "Sonic Bummer", "I Must Be a Tree", "Banjo Dog", "Back Again", and "Drunkard's Dream" (the latter of which also features White contributing harmony vocals).[68]

Following completion of the Muleskinner album in April 1973, White reunited with his brothers Roland and Eric Jr. for a tour as the White Brothers (a.k.a. The New Kentucky Colonels).[34] After playing a handful of shows in California, the White Brothers departed for Europe in May 1973.[69]

Returning to the U.S., White's final bout of touring took place with the New Kentucky Colonels in June 1973, as part of a four-date country rock package tour with Gram Parsons, Emmylou Harris, Country Gazette, Sneaky Pete Kleinow, Gene Parsons, Byron Berline, and Chris Ethridge among others.[70] Although Gram and Clarence had been acquainted with one another since the Byrds' Sweetheart of the Rodeo sessions, the pair would develop a fast friendship during the mini-tour, after, what was by all accounts, a very acrimonious re-acquaintance.[71] Following the end of the package tour, White entered the recording studio with producer Jim Dickson on June 28 and 29, 1973 to begin work on a solo album.[72] He recorded a total of six songs,[73] four of which would belatedly be released on the archival album Silver Meteor: A Progressive Country Anthology in 1980.[72]

Death

White died on July 15, 1973, after being struck by a drunk driver.[1][74] The accident occurred shortly after 2 a.m., while he and his brother Roland were loading equipment into their car in Palmdale, California, following a White Brothers concert. Gram Parsons was especially shaken by his death; he led a singalong of "Farther Along" at White's funeral service and later conceived his final song (before his own death), "In My Hour of Darkness", as a partial tribute to White.

Clarence White was survived by his brothers Roland and Eric and sisters JoAnne and Rosemarie, and his one daughter, Michelle.

Musical influence

Clarence White helped popularize the acoustic guitar as a lead instrument in bluegrass music, building on the work of guitarists such as Doc Watson. Prior to the advent of the more aggressive flatpicking style pioneered by guitarists like Watson and White, the guitar was strictly a rhythm instrument, save for a few exceptions (such as the occasional guitar track by banjoist Don Reno). Many of the most influential flatpickers of the 20th century cite White as a primary influence, including Dan Crary, Norman Blake, and Tony Rice. Rice owned and played White's highly modified 1935 Martin D-28. David Grier and Russ Barenberg are two other acoustic guitarists who were heavily influenced by White's guitar work. White's bluegrass playing with the Kentucky Colonels was also a considerable influence on Jerry Garcia of the Grateful Dead,[4] who traveled with the band during 1964.[75]

On the electric side of the guitar spectrum, White was similarly influential.[citation needed] Together with fellow Byrds bandmember Gene Parsons, White invented the B-Bender device. This device raises the B-string (second string) of the guitar a whole step by the use of pulleys and levers attached to both the upper strap knob and the second string on the guitar. It is activated by pushing down on the neck, and produces a "pedal steel" type sound. Arlen Roth, heavily influenced by this style, did not at the time know that White and Parsons had invented a B-bender, so instead developed his own unique all-finger bending version of this technique. This was heavily documented in his ground-breaking book, "Nashville Guitar", all of his recordings, as well as his book "Masters of the Telecaster". Subsequently, his Telecaster sound became as notable as his bluegrass playing. Marty Stuart, another guitarist influenced by White's playing, now owns and regularly plays White's 1954 Fender Telecaster with the prototype B-Bender.[76]

Music archivist and writer Alec Palao has called White "one of a handful of true greats amongst the instrumentalists of 20th century popular music", before adding that "the waves created by the guitarist's idiosyncratic style are still forming ripples within bluegrass, country and rock 'n' roll."[77] In 2003, White was ranked No. 41 on Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time. In 2010, guitar manufacturer Gibson ranked White at No. 42 on their Top 50 Guitarists of All Time list.[78]

Selected album discography

NOTES:

  • This discography does not include albums that Clarence White played on as a session musician, with the exception of Dobro Country, on which he is billed by name.
  • Sources for this section are Johnny Rogan's book Timeless Flight Revisited and the Kentucky Colonels discography at the AllMusic website.[12][79]

Kentucky Colonels

  • The New Sound of Bluegrass America (1963)
  • Appalachian Swing! (1964)
  • Kentucky Colonels (1974) — UK reissue of Appalachian Swing! with two bonus tracks.
  • Livin' in the Past (1975) — Various live recordings from 1961 to 1965.
  • The Kentucky Colonels 1965-1966 (1976) — Live recordings.
  • Scotty Stoneman, Live in LA with the Kentucky Colonels (1979) — Live recording from 1965.
  • Kentucky Colonels 1966 (1979) — Studio demo recordings for an unreleased album.
  • Clarence White and the Kentucky Colonels (1980) — Live recordings.
  • On Stage (1984) — Live recordings.
  • Long Journey Home (1991) — Live recordings from the 1964 Newport Folk Festival.
  • Live in Stereo (1999) — Live recordings from a 1965 concert in Vancouver.
  • Bush, Latham & White (2011) — Live recordings from 1964.

Tut Taylor, Roland and Clarence White

  • Dobro Country (1964)

Nashville West

  • Nashville West (a.k.a. The Legendary Nashville West Album) (1979) — Live recordings from 1967.

The Byrds

Muleskinner

The New Kentucky Colonels

  • The White Brothers: The New Kentucky Colonels Live in Sweden 1973 (1976)
  • Live in Holland 1973 (2013)

Clarence White

  • 33 Acoustic Guitar Instrumentals (2003) — Recorded in 1962.
  • Tuff & Stringy Sessions 1966–68 (2003) — Various studio sessions.
  • Flatpick (2006) — Recorded 1964, 1967, 1970 and 1973.
  • White Lightnin' (2008) — Various recordings from 1962 to 1972.

Tut Taylor & Clarence White

  • Tut & Clarence Flatpickin' (2003)

References

  1. ^ a b c Hjort, Christopher (2008). So You Want to Be a Rock 'n' Roll Star: The Byrds Day-by-Day (1965–1973). London: Jawbone Press. p. 321. ISBN 978-1-906002-15-2.
  2. ^ a b c d e f g h Hjort, Christopher (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). London: Jawbone Press. p. 14. ISBN 978-1-906002-15-2.
  3. ^ a b c d e f g h Erlewine, Stephen Thomas. "Clarence White biography". Allmusic. Rovi Corp. Retrieved 2013-03-06.
  4. ^ a b c d e Delgatto, John (2008). White Lightnin' (CD booklet). Clarence White. Pasadena: Sierra Records. pp. 2–5.
  5. ^ a b c d e f g h Rogan, Johnny (1998). The Byrds: Timeless Flight Revisited - The Sequel (2nd ed.). London: Rogan House. pp. 267–268. ISBN 0-9529540-1-X.
  6. ^ a b c d e f g h i j Kingsbury, Paul (1998). The Encyclopedia of Country Music: The Ultimate Guide to the Music. New York City: Oxford University Press, USA. p. 581. ISBN 0-19511-671-2.
  7. ^ Reineke, Hank (2012). Arlo Guthrie: The Warner/Reprise Years. Lanham, MD: Scarecrow Press. pp. 252–253. ISBN 978-0-81088-331-4.
  8. ^ "Jackson Browne album credits". AllMusic. Rovi Corp. Retrieved 2017-12-30.
  9. ^ a b c d e f g h Connors, Tim. . ByrdWatcher: A Field Guide to the Byrds of Los Angeles. Euclid Business Network. Archived from the original on 2013-09-03. Retrieved 2013-08-13.
  10. ^ Rogan, Johnny (2011). Requiem for the Timeless: Volume 1. London: Rogan House. p. 469. ISBN 978-0-95295-408-8.
  11. ^ a b Connors, Tim. . ByrdWatcher: A Field Guide to the Byrds of Los Angeles. Euclid Business Network. Archived from the original on 2013-08-20. Retrieved 2013-08-13.
  12. ^ a b c d e f Rogan, Johnny (1998). The Byrds: Timeless Flight Revisited - The Sequel (2nd ed.). London: Rogan House. pp. 581–584. ISBN 0-9529540-1-X.
  13. ^ "100 Greatest Guitarists: Clarence White". Rolling Stone. Wenner Media. Retrieved 2013-08-13.
  14. ^ Johnson, Zac. ""Dueling Banjos" from the Original Soundtrack Deliverance album review". Allmusic. Rovi Corp. Retrieved 2013-08-13.
  15. ^ Hjort, Christopher (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). London: Jawbone Press. p. 18. ISBN 978-1-906002-15-2.
  16. ^ Owens, Thom. "Appalachian Swing! album review". Allmusic. Rovi Corp. Retrieved 2013-08-13.
  17. ^ Delgatto, John (1986). "The Too-Short Career of Clarence White". Frets Magazine. Cupertino, California: GPI Publications. pp. 12–14.
  18. ^ a b c d e Connors, Tim. . ByrdWatcher: A Field Guide to the Byrds of Los Angeles. Euclid Business Network. Archived from the original on 2013-07-30. Retrieved 2013-08-14.
  19. ^ Schinder, Scott; Schwartz, Andy (2008). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever – Volume 1. Westport, CT: Greenwood Press. p. 261. ISBN 978-0-313-33845-8.
  20. ^ Einarson, John (2005). Mr. Tambourine Man: The Life and Legacy of The Byrds' Gene Clark. San Francisco: Backbeat Books. p. 111. ISBN 0-87930-793-5.
  21. ^ Einarson, John (2005). Mr. Tambourine Man: The Life and Legacy of The Byrds' Gene Clark. San Francisco: Backbeat Books. p. 117. ISBN 0-87930-793-5.
  22. ^ a b Hjort, Christopher (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). London: Jawbone Press. pp. 113–115. ISBN 978-1-906002-15-2.
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External links

  • The Clarence White Forum
  • Clarence White discography at Byrds Flyght 2018-05-29 at the Wayback Machine
  • Clarence White discography at Discogs
  • Clarence White at IMDb
  • The Essential Clarence White Bluegrass Guitar Leads Retrieved April 19, 2009.
  • Clarence White at Find a Grave
  • Retrieved October 5, 2008.

December 28, 2022
clarence, white, other, people, named, disambiguation, born, clarence, joseph, leblanc, june, 1944, july, 1973, american, bluegrass, country, guitarist, singer, best, known, member, bluegrass, ensemble, kentucky, colonels, rock, band, byrds, well, being, pione. For other people named Clarence White see Clarence White disambiguation Clarence White born Clarence Joseph LeBlanc June 7 1944 July 15 1973 1 was an American bluegrass and country guitarist and singer 2 3 He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds as well as for being a pioneer of the musical genre of country rock during the late 1960s 3 White also worked extensively as a session musician appearing on recordings by the Everly Brothers Joe Cocker 4 Ricky Nelson Pat Boone the Monkees Randy Newman 5 Gene Clark 3 Linda Ronstadt 6 Arlo Guthrie 7 and Jackson Browne among others 8 Clarence WhiteBackground informationBirth nameClarence Joseph LeBlancBornJune 7 1944Lewiston Maine U S DiedJuly 15 1973 1973 07 15 aged 29 1 Palmdale California U S GenresBluegrass country country rock rockOccupation s Musician singerInstrument s Guitar mandolin vocalsYears active1954 1973LabelsSundown Republic Briar International World Pacific Bakersfield International Columbia Warner Bros Together with frequent collaborator Gene Parsons he invented the B Bender a guitar accessory that enables a player to mechanically bend the B string up a whole tone and emulate the sound of a pedal steel guitar White was inducted into the International Bluegrass Music Association Hall of Fame in 2016 Contents 1 Early years 2 The Kentucky Colonels 3 Session work 1966 1968 4 Nashville West 5 The StringBender 6 The Byrds 7 Post Byrds 8 Death 9 Musical influence 10 Selected album discography 10 1 Kentucky Colonels 10 2 Tut Taylor Roland and Clarence White 10 3 Nashville West 10 4 The Byrds 10 5 Muleskinner 10 6 The New Kentucky Colonels 10 7 Clarence White 10 8 Tut Taylor amp Clarence White 11 References 12 External linksEarly years EditClarence Joseph LeBlanc was born on June 7 1944 in Lewiston Maine 6 The LeBlanc family who later changed their surname to White were of French Canadian ancestry and hailed from New Brunswick Canada 6 9 Clarence s father Eric LeBlanc Sr played guitar banjo fiddle and harmonica ensuring that his offspring grew up surrounded by music 6 9 A child prodigy Clarence began playing guitar at the age of six 10 At such a young age he was barely able to hold the instrument and as a result he briefly switched to ukulele awaiting a time when his young hands would be big enough to confidently grapple with the guitar 5 In 1954 when Clarence was ten the White family relocated to Burbank California and soon after Clarence joined his brothers Roland and Eric Jr who played mandolin and banjo respectively in a trio called Three Little Country Boys 2 Although they initially started out playing contemporary country music the group soon switched to a purely bluegrass repertoire as a result of Roland s burgeoning interest in the genre 6 In 1957 banjoist Billy Ray Latham and Dobro player LeRoy Mack were added to the line up 5 with the band renaming themselves the Country Boys soon after 2 In 1961 the Country Boys also added Roger Bush on double bass as a replacement for Eric White Jr 2 That same year Clarence and other members of the Country Boys appeared on two episodes of The Andy Griffith Show 2 Between 1959 and 1962 the group released three singles on the Sundown Republic and Briar International record labels 11 The Kentucky Colonels EditMain article Kentucky Colonels band Following the recording sessions for the Country Boys debut album the band changed its name to the Kentucky Colonels in September 1962 at the suggestion of country guitarist and friend Joe Maphis 2 The band s album was released by Briar International under the title The New Sound of Bluegrass America in early 1963 12 Around this time Clarence s flatpicking guitar style was becoming a much more prominent part of the group s music 6 After attending a performance by Doc Watson at the Ash Grove folk club in Los Angeles where he also met the guitarist Clarence began to explore the possibilities of the acoustic guitar s role in bluegrass music 6 At that time the guitar was largely regarded as a rhythm instrument in bluegrass with only a few performers such as Doc Watson exploring its potential for soloing 6 White soon began to integrate elements of Watson s playing style including the use of open strings and syncopation into his own flatpicking guitar technique 9 His breathtaking speed and virtuosity on the instrument 12 was largely responsible for making the guitar a lead instrument within bluegrass 13 The Kentucky Colonels became well known on the bluegrass circuit during this period and made many live appearances throughout California and the United States 2 Between bookings with the Colonels White also made a guest appearance on Eric Weissberg and Marshall Brickman s New Dimensions in Banjo amp Bluegrass album which would be re released in 1973 as the soundtrack album to the film Deliverance with Weissberg and Steve Mandell s version of Dueling Banjos added to the album s track listing 9 14 In 1964 the Colonels recruiting fiddle player Bobby Sloan into their ranks and continued to make live appearances at various clubs concert halls and festivals 2 The Colonels second album Appalachian Swing 12 was a commercial success and saw White s flatpicking permanently expand the language of bluegrass guitar 15 Music critic Thom Owens has remarked that White s playing on the album helped pioneer a new style in bluegrass namely he redefined the acoustic guitar as a solo instrument 16 Shortly after the recording of the Appalachian Swing album Roland and Clarence undertook some session work backing dobroist Tut Taylor on a Dobro themed album that was released by World Pacific in late 1964 as Dobro Country 9 Although the brothers were employed as session musicians the album was credited to Tut Taylor Roland and Clarence White upon release 9 Although they were a successful recording act it was becoming increasingly difficult for the Colonels to make a living due to the waning popularity of the American folk music revival due to the British Invasion and homegrown folk rock acts such as the Byrds and Bob Dylan 9 As a result the Colonels switched to electric instrumentation 9 and hired a drummer 17 In spite of these changes the Kentucky Colonels dissolved as a band following a show on October 31 1965 12 Clarence Roland and Eric Jr formed a new line up of the Colonels in 1966 with several other musicians but this second version of the group was short lived and by early 1967 they had broken up 18 Session work 1966 1968 EditDuring 1964 White began to look beyond bluegrass music towards rock n roll as an avenue for artistic expression 5 Although he was influenced by Country guitarists like Doc Watson Don Reno and Joe Maphis he also idolized the playing of jazz guitarist Django Reinhardt rock n roller Chuck Berry and studio musician James Burton 18 White even anticipated the viability of a folk rock hybrid when in the summer of 1964 he was approached by Jim Dickson to record a version of the then unreleased Bob Dylan song Mr Tambourine Man with electric instruments 5 However despite White s enthusiasm for the project he was unable to convince his bandmates in the Kentucky Colonels of the experiment s validity 5 and ultimately the song was instead recorded by Dickson s proteges the Byrds 19 By the time the original line up of the Kentucky Colonels folded in late 1965 White had become a respected and well known guitarist 5 Abandoning bluegrass temporarily he switched from his Martin D 28 acoustic guitar to an electric Fender Telecaster with the intention of becoming a studio musician like his hero James Burton 4 Transitioning to electric guitar required White to modify his right hand playing technique switch from open chording to fretting the whole guitar neck with his left hand and practice using the tone and volume controls 4 However he soon mastered the intricacies of the instrument and between 1965 and 1968 he undertook session work for artists including Ricky Nelson the Monkees and the Gosdin Brothers 5 18 As 1965 turned into 1966 White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after he began to perform live with the duo in local California clubs as well as doing regular session work on their records which were released under the moniker of Cajun Gib and Gene 3 18 1966 also saw White begin playing with a country group called Trio which featured drummer Bart Haney and former Kentucky Colonel Roger Bush on bass 18 In autumn of that year as a result of his friendship with Gilbeau Parsons and the Gosdin Brothers White was asked to provide lead guitar to ex Byrd Gene Clark s debut solo album Gene Clark with the Gosdin Brothers 3 20 White briefly joined Clark s touring band shortly thereafter 21 During the Clark album sessions White reconnected with mandolin player and bassist Chris Hillman who he had known during the early 1960s as a member of the bluegrass combo the Hillmen 22 Hillman was currently a member of the Byrds and in December 1966 he invited White to contribute countrified lead guitar playing to his songs Time Between and The Girl with No Name which both appeared on the Byrds Younger Than Yesterday album 22 The country oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation with country music that would color the Byrds subsequent work 23 White also contributed guitar to the band s follow up album The Notorious Byrd Brothers 24 and to their seminal 1968 country rock release Sweetheart of the Rodeo 25 Nashville West EditMain article Nashville West Nashville West a k a Hong Kong Hillbilly source source An excerpt from a 1967 live recording of Nashville West performing their self titled signature song Written by Clarence White and Gene Parsons the song Nashville West provides an example of White s electric guitar playing technique Problems playing this file See media help By mid 1967 White had begun performing at night in the band the Reasons a k a Nashville West which included bass player Wayne Moore along with Parsons and Guilbeau as banjoist turned drummer and lead singer respectively 26 The band mostly worked at the Nashville West club in El Monte California frequently borrowing the club s name as their own 26 Critic Erik Hage has said that in the years since their formation the band have become legendary as one of the first to play a seamless blend of country and rock 25 although L A group the International Submarine Band which featured country rock pioneer Gram Parsons no relation to Gene were also exploring a similar sound concurrently 27 A live recording of Nashville West would eventually be released in 1979 12 which music historian Richie Unterberger later described as being of considerable historical interest for anyone interested in the roots of country rock 28 Unterberger also remarked that the recording illustrated Nashville West as having more electric rock influences than most country acts were using at the time 3 In addition to being a member of Nashville West White was also a member of another country bar band that regularly played at the Nashville West club called the Roustabouts 4 In July 1967 White signed with Gary Paxton s Bakersfield International record label and released a pair of solo singles Tango for a Sad Mood b w Tuff and Stringy and Grandma Funderbunks Music Box b w Riff Raff 11 26 He also reportedly recorded a solo album for the label although it has never been released 3 The StringBender Edit A schematic of the first Parsons White StringBender a k a the B Bender During 1967 while they were both members of Nashville West White and Parsons invented a device that enabled Clarence to simulate the sound of a pedal steel guitar on his 1954 Fender Telecaster 29 The need for such a device was driven by White s desire to bend his guitar s B string up a full tone while keeping his left hand on the strings and fretboard 30 In order to achieve this feat White felt that he needed a third hand 29 The guitarist turned to his friend Parsons who was an amateur machinist and asked him to design and build an apparatus to pull or drop the B string 29 The device which was known as the Parsons White StringBender also known as the B Bender was a spring lever mechanism built into the inside of White s guitar which linked to the guitar s strap button and the B string 6 30 When it was activated by pulling down on the guitar neck it pulled on the B string and caused the guitar to simulate the crying sound of a pedal steel 6 White would go on to use the device extensively as a member of the Byrds and as a result the distinctive sound of the StringBender would become a defining characteristic of that band s music during White s tenure with the group 31 The Byrds EditMain article The Byrds Tulsa County alternate version source source An excerpt from an outtake version of the song Tulsa County by the Byrds This audio clip highlights Clarence White s use of the StringBender which was fitted to his Fender Telecaster to enable him to simulate the sound of a pedal steel guitar Problems playing this file See media help Following the abrupt departure from the Byrds of singer and guitarist Gram Parsons in July 1968 32 White was invited to join the group as a full time member remaining until the band was finally dissolved by lead guitarist Roger McGuinn in February 1973 This extended tenure with the band makes White the second longest serving member of the Byrds after McGuinn 33 White was brought into the group at bass player Chris Hillman s suggestion as someone who could handle the band s older rock material and their newer country flavored repertoire 34 Once he was a member of the Byrds White began to express dissatisfaction with the band s current drummer Kevin Kelley 35 Before long he had persuaded McGuinn and Hillman to replace Kelley with his friend from the recently dissolved Nashville West Gene Parsons no relation to Gram 35 Hillman quit the Byrds within a month of White joining in order to form the Flying Burrito Brothers with Gram Parsons 36 At around this same time White and Gene Parsons undertook some informal rehearsing and recording with Hillman and Gram Parsons as part of a prototype version of the Burrito Brothers 37 However the pair declined an invitation to join the new country rock group and instead opted to stay with McGuinn s new look Byrds 37 The greatest thing about Clarence was that he never played anything that sounded vaguely weak he was always driving into the music and that pulled the whole band up He had that conservative thing he got from Bluegrass where you underplay it on stage where everybody poker faces it He would do these truly outrageous things on guitar but hardly move a muscle aside from his hands Byrds leader Roger McGuinn recalling White s on stage musicianship and demeanor 33 The White era version of the Byrds featuring McGuinn White and Parsons along with bassists John York September 1968 September 1969 and Skip Battin September 1969 February 1973 released five albums and toured relentlessly between 1969 and 1972 Journalist Steve Leggett has noted that although the original line up of the Byrds gets the most attention and praise the latter day version featuring McGuinn and White s dual lead guitar work was regarded by critics and audiences as much more accomplished in concert than any previous configuration of the band had been 38 Similarly authors Scott Schinder and Andy Schwartz have commented that although the White era Byrds failed to achieve the commercial success of the original line up the group were a formidable live act and a consistently in demand attraction on the touring circuit 37 The authors also cited the Byrds archival release Live at the Fillmore February 1969 as a good example of the White era band s musical potency 37 Rolling Stone journalist David Fricke has commented on White s contribution to the band by noting with his powerful impeccable tone and melodic ingenuity White did much to rebuild the creative reputation of the Byrds and define the road hearty sound of the group at the turn of the 70s 39 The first Byrds album to feature White as a full member was Dr Byrds amp Mr Hyde which was released in early 1969 40 The album included a re recording of the Gene Parsons and White penned instrumental Nashville West 40 as well as a rendition of the traditional song Old Blue which was the first Byrds recording to utilize the StringBender 41 The Ballad of Easy Rider album followed in November 1969 on which White could be heard leading the band through a rendition of the traditional song Oil in My Lamp representing the guitarist s first lead vocal performance as a Byrd 42 1970 saw the Byrds release the double album Untitled which consisted of one LP of live concert recordings and another of new studio recordings 43 Upon release the album was a critical and commercial success on both sides of the Atlantic 44 peaking at number 40 on the Billboard Top LPs chart and reaching number 11 on the UK Albums Chart 45 46 Two of the album s studio recordings featured White singing lead vocals a cover version of the Lowell George composition Truck Stop Girl and a rendition of Leadbelly s Take a Whiff on Me the latter also featured White playing mandolin 47 In addition excerpts from an instrumental jam recorded during the Untitled album sessions and logged in the Columbia Records files under the title of Fifteen Minute Jam were later released as White s Lightning and White s Lightning Pt 2 on The Byrds box set and the remastered double CD version of Untitled respectively 48 49 Clarence White third from left on tour with the Byrds in the Netherlands June 1970 The 1971 Byrdmaniax album saw White singing lead vocals on My Destiny written by Helen Carter 50 and Jamaica Say You Will penned by the then little known songwriter Jackson Browne 51 In addition White received a co writing credit for the album s bluegrass instrumental Green Apple Quick Step 52 This song also featured White s father Eric White Sr on harmonica 53 Farther Along released in November 1971 would prove to be the final album by the White era Byrds 54 It featured White singing the Gospel hymn and title track Farther Along and a cover of the Larry Murray composition Bugler 54 This latter song features White playing mandolin and has been described by Byrds expert Tim Connors as the best song on the album and by far the best vocal ever recorded by Clarence White during his time with the Byrds 55 Following the release of Farther Along the band continued to tour throughout 1972 56 but no new Byrds album appeared 57 In late 1972 the original five piece line up of the Byrds reunited and as a result McGuinn decided to disband the existing version of the band Parsons had been fired in July 1972 and Battin was dismissed by McGuinn in early 1973 54 The last concert by the White era version of the Byrds which at this point featured former Byrd Chris Hillman on bass and Joe Lala on drums was given on February 24 1973 at The Capitol Theatre Passaic New Jersey with White and McGuinn jokingly firing each other from the band afterwards 58 59 Despite being on tour or in the recording studio with the Byrds for the majority of the time between 1969 and 1972 White continued to undertake selected session work for other recording artists During this period he played on Joe Cocker s 1969 album Joe Cocker Randy Newman s 1970 album 12 Songs and the Everly Brothers Stories We Could Tell from 1972 3 In early 1971 White also contributed guitar to Paul Siebel s Jack Knife Gypsy album and the title track of the L A Getaway album by Joel Scott Hill John Barbata and Chris Ethridge 60 Other albums that White contributed his guitar playing to while he was a member of the Byrds include Linda Ronstadt s Hand Sown Home Grown 1969 Rita Coolidge s Rita Coolidge 1971 Marc Benno s Minnows 1971 Jackson Browne s Jackson Browne 1972 Gene Clark s Roadmaster 1973 and a trio of Arlo Guthrie albums Running Down the Road 1969 Washington County 1970 and Hobo s Lullaby 1972 34 Post Byrds Edit Clarence was at my birthday party the night before and he and I had agreed to start working together again not necessarily as the Byrds but in some form He was incredibly talented and full of life and full of music I know he d still be doing something great today if he was still around Roger McGuinn recalling a meeting with White on the day before he died 61 In mid February 1973 just prior to the break up of the White era version of the Byrds White joined with guitarist Peter Rowan mandolinist David Grisman fiddler Richard Greene and banjoist Bill Keith to form the bluegrass supergroup Muleskinner 62 The musicians initially assembled as a one off pickup band to back bluegrass pioneer Bill Monroe for a television program but ended up performing on their own when Monroe s tour bus broke down on the way to the television studios 34 A recording of this broadcast which was once thought lost was released as an album in 1992 under the title Muleskinner Live 63 64 A VHS video cassette of the broadcast was also released in 1992 and later re issued on DVD As a result of the success of their appearance on the television broadcast the band was offered a one album recording contract with Warner Bros Records 65 Recording sessions for the album took place at the Record Plant in Los Angeles between March 27 and April 14 1973 with Richard Greene and Joe Boyd producing 66 The music the band recorded for the Muleskinner album a k a A Potpourri of Bluegrass Jam was in the vein of country rock traditional bluegrass and progressive bluegrass or newgrass 67 It was also one of the first bluegrass albums to feature a full drum kit 67 The album was released in the latter half of 1973 and is nowadays regarded by critics as a milestone in the development of progressive bluegrass with ex band members Greene Keith Grisman and Rowan all going on to become important figures in the development of that genre 34 In addition to his work with Muleskinner White also undertook a number of sessions between late 1972 and early 1973 for his friend Gene Parsons debut solo album Kindling 68 White s distinctive guitar and mandolin playing can be heard on the tracks Do Not Disturb On the Spot Sonic Bummer I Must Be a Tree Banjo Dog Back Again and Drunkard s Dream the latter of which also features White contributing harmony vocals 68 Following completion of the Muleskinner album in April 1973 White reunited with his brothers Roland and Eric Jr for a tour as the White Brothers a k a The New Kentucky Colonels 34 After playing a handful of shows in California the White Brothers departed for Europe in May 1973 69 Returning to the U S White s final bout of touring took place with the New Kentucky Colonels in June 1973 as part of a four date country rock package tour with Gram Parsons Emmylou Harris Country Gazette Sneaky Pete Kleinow Gene Parsons Byron Berline and Chris Ethridge among others 70 Although Gram and Clarence had been acquainted with one another since the Byrds Sweetheart of the Rodeo sessions the pair would develop a fast friendship during the mini tour after what was by all accounts a very acrimonious re acquaintance 71 Following the end of the package tour White entered the recording studio with producer Jim Dickson on June 28 and 29 1973 to begin work on a solo album 72 He recorded a total of six songs 73 four of which would belatedly be released on the archival album Silver Meteor A Progressive Country Anthology in 1980 72 Death EditWhite died on July 15 1973 after being struck by a drunk driver 1 74 The accident occurred shortly after 2 a m while he and his brother Roland were loading equipment into their car in Palmdale California following a White Brothers concert Gram Parsons was especially shaken by his death he led a singalong of Farther Along at White s funeral service and later conceived his final song before his own death In My Hour of Darkness as a partial tribute to White Clarence White was survived by his brothers Roland and Eric and sisters JoAnne and Rosemarie and his one daughter Michelle Musical influence EditClarence White helped popularize the acoustic guitar as a lead instrument in bluegrass music building on the work of guitarists such as Doc Watson Prior to the advent of the more aggressive flatpicking style pioneered by guitarists like Watson and White the guitar was strictly a rhythm instrument save for a few exceptions such as the occasional guitar track by banjoist Don Reno Many of the most influential flatpickers of the 20th century cite White as a primary influence including Dan Crary Norman Blake and Tony Rice Rice owned and played White s highly modified 1935 Martin D 28 David Grier and Russ Barenberg are two other acoustic guitarists who were heavily influenced by White s guitar work White s bluegrass playing with the Kentucky Colonels was also a considerable influence on Jerry Garcia of the Grateful Dead 4 who traveled with the band during 1964 75 On the electric side of the guitar spectrum White was similarly influential citation needed Together with fellow Byrds bandmember Gene Parsons White invented the B Bender device This device raises the B string second string of the guitar a whole step by the use of pulleys and levers attached to both the upper strap knob and the second string on the guitar It is activated by pushing down on the neck and produces a pedal steel type sound Arlen Roth heavily influenced by this style did not at the time know that White and Parsons had invented a B bender so instead developed his own unique all finger bending version of this technique This was heavily documented in his ground breaking book Nashville Guitar all of his recordings as well as his book Masters of the Telecaster Subsequently his Telecaster sound became as notable as his bluegrass playing Marty Stuart another guitarist influenced by White s playing now owns and regularly plays White s 1954 Fender Telecaster with the prototype B Bender 76 Music archivist and writer Alec Palao has called White one of a handful of true greats amongst the instrumentalists of 20th century popular music before adding that the waves created by the guitarist s idiosyncratic style are still forming ripples within bluegrass country and rock n roll 77 In 2003 White was ranked No 41 on Rolling Stone magazine s list of the 100 Greatest Guitarists of All Time In 2010 guitar manufacturer Gibson ranked White at No 42 on their Top 50 Guitarists of All Time list 78 Selected album discography EditNOTES This discography does not include albums that Clarence White played on as a session musician with the exception of Dobro Country on which he is billed by name Sources for this section are Johnny Rogan s book Timeless Flight Revisited and the Kentucky Colonels discography at the AllMusic website 12 79 Kentucky Colonels Edit The New Sound of Bluegrass America 1963 Appalachian Swing 1964 Kentucky Colonels 1974 UK reissue of Appalachian Swing with two bonus tracks Livin in the Past 1975 Various live recordings from 1961 to 1965 The Kentucky Colonels 1965 1966 1976 Live recordings Scotty Stoneman Live in LA with the Kentucky Colonels 1979 Live recording from 1965 Kentucky Colonels 1966 1979 Studio demo recordings for an unreleased album Clarence White and the Kentucky Colonels 1980 Live recordings On Stage 1984 Live recordings Long Journey Home 1991 Live recordings from the 1964 Newport Folk Festival Live in Stereo 1999 Live recordings from a 1965 concert in Vancouver Bush Latham amp White 2011 Live recordings from 1964 Tut Taylor Roland and Clarence White Edit Dobro Country 1964 Nashville West Edit Nashville West a k a The Legendary Nashville West Album 1979 Live recordings from 1967 The Byrds Edit Dr Byrds amp Mr Hyde 1969 Ballad of Easy Rider 1969 Untitled 1970 Byrdmaniax 1971 Farther Along 1971 Live at the Fillmore February 1969 2000 Live at Royal Albert Hall 1971 2008 The Lost Broadcasts 2011 Live recordings from the Byrds 1971 appearance on the Beat Club television program Muleskinner Edit Muleskinner aka A Pot Pourri of Bluegrass Jam 1973 Muleskinner Live Original Television Soundtrack 1992 Live recordings from a 1973 television broadcast The New Kentucky Colonels Edit The White Brothers The New Kentucky Colonels Live in Sweden 1973 1976 Live in Holland 1973 2013 Clarence White Edit 33 Acoustic Guitar Instrumentals 2003 Recorded in 1962 Tuff amp Stringy Sessions 1966 68 2003 Various studio sessions Flatpick 2006 Recorded 1964 1967 1970 and 1973 White Lightnin 2008 Various recordings from 1962 to 1972 Tut Taylor amp Clarence White Edit Tut amp Clarence Flatpickin 2003 References Edit a b c Hjort Christopher 2008 So You Want to Be a Rock n Roll Star The Byrds Day by Day 1965 1973 London Jawbone Press p 321 ISBN 978 1 906002 15 2 a b c d e f g h Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 14 ISBN 978 1 906002 15 2 a b c d e f g h Erlewine Stephen Thomas Clarence White biography Allmusic Rovi Corp Retrieved 2013 03 06 a b c d e Delgatto John 2008 White Lightnin CD booklet Clarence White Pasadena Sierra Records pp 2 5 a b c d e f g h Rogan Johnny 1998 The Byrds Timeless Flight Revisited The Sequel 2nd ed London Rogan House pp 267 268 ISBN 0 9529540 1 X a b c d e f g h i j Kingsbury Paul 1998 The Encyclopedia of Country Music The Ultimate Guide to the Music New York City Oxford University Press USA p 581 ISBN 0 19511 671 2 Reineke Hank 2012 Arlo Guthrie The Warner Reprise Years Lanham MD Scarecrow Press pp 252 253 ISBN 978 0 81088 331 4 Jackson Browne album credits AllMusic Rovi Corp Retrieved 2017 12 30 a b c d e f g h Connors Tim Clarence White with the Kentucky Colonels 1954 1965 ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2013 09 03 Retrieved 2013 08 13 Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House p 469 ISBN 978 0 95295 408 8 a b Connors Tim Clarence White Discography ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2013 08 20 Retrieved 2013 08 13 a b c d e f Rogan Johnny 1998 The Byrds Timeless Flight Revisited The Sequel 2nd ed London Rogan House pp 581 584 ISBN 0 9529540 1 X 100 Greatest Guitarists Clarence White Rolling Stone Wenner Media Retrieved 2013 08 13 Johnson Zac Dueling Banjos from the Original Soundtrack Deliverance album review Allmusic Rovi Corp Retrieved 2013 08 13 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 18 ISBN 978 1 906002 15 2 Owens Thom Appalachian Swing album review Allmusic Rovi Corp Retrieved 2013 08 13 Delgatto John 1986 The Too Short Career of Clarence White Frets Magazine Cupertino California GPI Publications pp 12 14 a b c d e Connors Tim Clarence White Plugs In 1965 1968 ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2013 07 30 Retrieved 2013 08 14 Schinder Scott Schwartz Andy 2008 Icons of Rock An Encyclopedia of the Legends Who Changed Music Forever Volume 1 Westport CT Greenwood Press p 261 ISBN 978 0 313 33845 8 Einarson John 2005 Mr Tambourine Man The Life and Legacy of The Byrds Gene Clark San Francisco Backbeat Books p 111 ISBN 0 87930 793 5 Einarson John 2005 Mr Tambourine Man The Life and Legacy of The Byrds Gene Clark San Francisco Backbeat Books p 117 ISBN 0 87930 793 5 a b Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press pp 113 115 ISBN 978 1 906002 15 2 Connors Tim Younger Than Yesterday ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2009 04 28 Retrieved 2009 08 04 Einarson John 2001 Desperados The Roots of Country Rock New York City Cooper Square Press p 77 ISBN 0 81541 065 4 a b Hage Erik Nashville West biography Allmusic Rovi Corp Retrieved 2013 08 15 a b c Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press pp 138 139 ISBN 978 1 906002 15 2 Erlewine Stephen Thomas Deming Mark 2003 All Music Guide to Country 2nd ed San Francisco Backbeat Books pp 365 366 ISBN 0 87930 760 9 Unterberger Richie Nashville West album review Allmusic Rovi Corp Retrieved 2013 08 15 a b c Connors Tim Clarence White Nashville West ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2013 07 30 Retrieved 2013 08 17 a b Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 169 ISBN 978 1 906002 15 2 Fox Pamela Ching Barbara 2008 Old Roots New Routes The Cultural Politics of Alt Country Music Michigan University of Michigan Press p 210 ISBN 978 0 472 05053 6 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press pp 178 179 ISBN 978 1 906002 15 2 a b Fricke David 2000 Knights of the Road Live at the Fillmore February 1969 CD booklet The Byrds New York City Columbia Legacy p 4 a b c d e Connors Tim Clarence White With the Byrds and After 1968 1973 ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2009 04 13 Retrieved 2013 08 13 a b Rogan Johnny 1998 The Byrds Timeless Flight Revisited The Sequel 2nd ed London Rogan House pp 276 277 ISBN 0 9529540 1 X Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press pp 189 190 ISBN 978 1 906002 15 2 a b c d Schinder Scott Schwartz Andy 2008 Icons of Rock An Encyclopedia of the Legends Who Changed Music Forever Volume 1 Westport CT Greenwood Press pp 276 277 ISBN 978 0 313 33845 8 Leggitt Steve Live at Royal Albert Hall 1971 album review Allmusic Rovi Corp Retrieved 2013 08 18 Fricke David 1997 McGuinn Takes the Reins Dr Byrds amp Mr Hyde CD booklet The Byrds New York City Columbia Legacy p 5 a b Deming Mark Dr Byrds and Mr Hyde album review Allmusic Rovi Corp Retrieved 2013 08 23 Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House p 499 ISBN 978 0 95295 408 8 Fricke David 1997 After the Revolution The Byrds Great Escape Ballad of Easy Rider CD booklet The Byrds New York City Columbia Legacy p 3 Plasketes George 2009 B sides Undercurrents and Overtones Peripheries to Popular in Music 1960 to the Present Farnham UK Ashgate Publishing Ltd p 18 ISBN 978 0 7546 6561 8 Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House p 539 ISBN 978 0 95295 408 8 Whitburn Joel 2002 Top Pop Albums 1955 2001 Menomonee Falls WI Record Research Inc p 121 ISBN 0 89820 147 0 Brown Tony 2000 The Complete Book of the British Charts London Omnibus Press p 130 ISBN 0 7119 7670 8 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 243 ISBN 978 1 906002 15 2 Irwin Bob 1990 The Byrds CD booklet The Byrds New York City Columbia Legacy p 10 Rogan Johnny 2000 Untitled Unissued CD booklet The Byrds New York City Columbia Legacy p 13 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 264 ISBN 978 1 906002 15 2 Connors Tim Byrdmaniax ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2009 05 29 Retrieved 2013 08 23 Deming Mark Byrdmaniax album review Allmusic Rovi Corp Retrieved 2013 08 23 Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House p 571 ISBN 978 0 95295 408 8 a b c Fricke David 2000 Farther Along The Byrds at Twilight Farther Along CD booklet The Byrds New York City Columbia Legacy pp 4 5 Connors Tim Farther Along ByrdWatcher A Field Guide to the Byrds of Los Angeles Euclid Business Network Archived from the original on 2011 01 25 Retrieved 2013 08 23 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 293 ISBN 978 1 906002 15 2 Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House p 590 ISBN 978 0 95295 408 8 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 316 ISBN 978 1 906002 15 2 Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House pp 610 611 ISBN 978 0 95295 408 8 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 266 ISBN 978 1 906002 15 2 Schinder Scott 2008 Live at Royal Albert Hall 1971 CD booklet The Byrds Coxsackie NY Sundazed Records p 5 Hjort Christopher 2008 So You Want To Be A Rock n Roll Star The Byrds Day By Day 1965 1973 London Jawbone Press p 313 ISBN 978 1 906002 15 2 Koon William Henry 2003 Muleskinner Live Original Television Soundtrack CD booklet Muleskinner Pasadena CA Sierra Records p 2 Rogan Johnny 1998 The Byrds Timeless Flight Revisited The Sequel 2nd ed Rogan House p 584 ISBN 0 9529540 1 X Kurutz Steve Muleskinner biography Allmusic Rovi Corp Retrieved 2013 11 03 A Potpourri of Bluegrass Jam CD booklet Muleskinner Pasadena CA Sierra Records 1994 a href Template Cite AV media notes html title Template Cite AV media notes cite AV media notes a CS1 maint others in cite AV media notes link a b Chadbourne Eugene Muleskinner album review Allmusic Rovi Corp Retrieved 2013 11 04 a b Parsons Gene 1994 Kindling CD booklet Gene Parsons Los Angeles Sierra Records pp 4 6 Moses Bob A Record of His Own Roland White s Solo Reissued Smoke Music Archive Smoke Creative Archived from the original on 2015 10 04 Retrieved 2014 03 03 Meyer David N 2007 Twenty Thousand Roads The Ballad of Gram Parsons and His Cosmic American Music New York NY Villard Books pp 404 405 ISBN 978 0 375 50570 6 Fong Torres Ben 1998 Hickory Wind The Life and Times of Gram Parsons New York NY St Martin s Griffin ISBN 978 0 312 19464 2 a b Koon William Henry 1980 Silver Meteor A Progressive Country Anthology LP sleeve Various artists Los Angeles Sierra Records Rogan Johnny 2011 Requiem for the Timeless Volume 1 London Rogan House pp 625 626 ISBN 978 0 95295 408 8 Car kills Topanga musician Long Beach CA Press Telegram Monday July 16 1973 p 13 A Topanga musician loading instruments aboard his van was struck and killed Sunday Delgatto John 2003 Livin in the Past CD booklet Kentucky Colonels Pasadena Sierra Records p 2 1 Gill Chris Steel And Wood Heart And Soul The Marty Stuart Guitar Collection reprinted from Guitar Player Magazine August 1994 Palao Alec 2003 Part One Sometimes the Journey Can Be as Interesting as the Destination Tuff amp Stringy Sessions 1966 68 CD booklet Clarence White London Ace Records p 4 Gibson com Top 50 Guitarists of All Time 50 to 41 Gibson com Archived from the original on 2010 05 30 Retrieved 2010 06 03 Kentucky Colonels discography Allmusic Rovi Corp Retrieved 2013 08 14 External links Edit Biography portalThe Clarence White Forum Clarence White discography at Byrds Flyght Archived 2018 05 29 at the Wayback Machine Clarence White discography at Discogs Clarence White at IMDb The Essential Clarence White Bluegrass Guitar Leads Retrieved April 19 2009 Clarence White at Find a Grave Byrd Watcher Clarence White Retrieved October 5 2008 Retrieved from https en wikipedia org w index php title Clarence White amp oldid 1127233442, wikipedia, wiki, book, books, library,

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