COREY LEDET KICKS UP HIS GAME WITH “STANDING ON FAITH”
Parks, LA — CPL Records proudly announces the release of Grammy-nominated Zydeco innovator, singer/songwriter/accordion player COREY LEDET & HIS ZYDECO BAND’s “STANDING ON FAITH” (his ninth album) on MARCH 3, 2017. “STANDING ON FAITH” was co-produced by Cecil Green and Jesse Delgizzi and recorded at the Green Room in Ville Platte, LA. Joining Ledet (Accordions/Drums/Vocals/Washboard) in the studio were Delgizzi (Guitar/Bass/Moog/Vocals) and Green (Keyboards).
Ledet injects pop, funk, rhythm-and-blues and reggae on “STANDING ON FAITH”. In doing so, he continues to work from the genre-splicing template set by such zydeco pioneers as Clifton Chenier and Stanley “Buckwheat” Dural. After opening with the funky, Prince-like “Intro,” “STANDING ON FAITH,” continues with the upbeat zydeco-pop instrumental, “Love Never Felt So Good”; stays positive with the album’s zydeco-pop title song; glides to breezy R&B balladry for “Take Me There”; plots a reggae course with the sunny “A Good Day”; and slips into the sleek, contemporary R&B of “Street Light.”
“I don’t like to stick with something that’s easy, or just the way it’s supposed to be,” Ledet says. “I like to explore and experiment. That makes music fun. It’s like cooking. When you’re cooking a recipe, you say, let me try this with that, let me see if this works.”
During most of his 14 years as a band leader, Ledet based his repertoire on the foundation set by Clifton Chenier and other zydeco pioneers. But now he’s moving beyond the zydeco classics. “I can do that all night long,” Ledet says. “But I can do other things as well. Traditional zydeco, nontraditional, pop. I can go any which way I want. This is my way of creating a sound that fits me.”
Blending styles is challenging for Ledet, but he likes the challenge. But before he became a music mixologist, he learned the zydeco basics. “I did all the studying and research I could do,” he says. ‘It took a long time. There’s a lot to learn about zydeco and Creole music. But it’s important to know your background before you learn anything else. After I finished studying all of that, I learned other stuff that interested me. Pop music, classical music. I even listened to Frank Sinatra. People laughed at me, but I listened to anything that’s got notes.”
On the bandstand, Ledet mixes songs originally recorded by pop and country artists into his show: Bruno Mars, Prince, Michael Jackson, Jason Aldean, Darius Rucker, reggae fountainhead Bob Marley. Again, Chenier served as a model. “He mixed the old French music with rhythm-and-blues,” Ledet says. ”Ray Charles and Etta James and Louis Jordan were of Clifton’s time. That worked for him. I’m applying Cliff’s recipe to modern-day times, my way.”
At 35, Ledet brings 25 years of bandstand experience to the stage. He turned pro at 10, playing drums in his native Houston for Wilbert Thibodeaux and the Zydeco Rascals. Ledet came naturally to the drums, his first instrument. His late grandfather, Buchanan ‘Tbu’ Ledet, worked as drummer for Clifton Chenier. Although Ledet’s grandfather died in 1978, three years before his birth, the grandson idolizes his grandfather. Chenier’s longtime drummer, Robert Peter, followed the drumming example Ledet’s grandfather set in 1940s and ’50s. “Cliff wanted a drummer who played like my grandfather,” Ledet says. “When you hear Robert, that’s my grandfather’s style.”
For Ledet, working with Thibodeaux and the Zydeco Rascals was like going to zydeco school. The lessons included such essential subjects as keeping the beat and, something less definable, reading audiences. “And whenever other drummers came in the venue, Wilbert called them up to the drums and let me play accordion,” Ledet remembers.
During his decade with Thibodeaux, Ledet organized some gigs on the side for himself as a front man. He officially launched his own band in 2003, after moving to his father’s hometown, Parks, Louisiana. Many people ask Ledet why he left Houston for Parks, a town that has hundreds, rather than millions, of residents. Ledet already knew Parks well. When he was growing up in Houston, his family visited Parks during summers and for holidays and special occasions. “It was hard to leave to go back to Houston,” he remembers. “I like the city, but I like the country better. Some kind of spiritual connection.” On those family drives from Houston to Parks, the family tuned to a zydeco radio as soon as they got close enough to receive the signal. Once they reached Parks, the zydeco music never stopped. “I like all music,” Ledet says. “But zydeco is the first pick for music for me.”
Ledet paid his dues after he launched his career as a band leader from Parks. “I had to build everything from nothing, make my name, make my rounds, prove myself,” he says. “Playing to chairs and tables, paying my band members 10 bucks or five bucks for the night. For a long time, I didn’t make anything.” Ledet persevered, building his music career from the muddy southwest Louisiana ground up. Highlights include his 2013 Grammy nomination for “Nothin’ But the Best,” a collaboration with fellow zydeco musicians Anthony Dopsie, Dwayne Dopsie and André Thierry. “Oh, man, when that happened, I was like, ‘Is this for real?’ Because never in a million years did I think I’d be sitting in the same row at Grammys with Taylor Swift. To come from ground zero to that, lets me know I’m doing something right. I’m kicking up my game by making records like ‘Standing On Faith.’ I want to go even further and do bigger and better things.”
Corey Ledet keeps one foot firmly in the tradition while exploring surrounding influences in order to create the best of both worlds, and is able to infuse old and new styles of Zydeco into his own unique sound. “STANDING ON FAITH” presents the best view yet of the Grammy-nominated Ledet’s expansive talent. Corey Ledet has recently signed an exclusive representation deal with Mitchell & Matt Greenhill’s FLi Artists: fliartists.com/corey-ledet-zydeco-band.
Catch COREY LEDET & HIS ZYDECO BAND (Corey Ledet – Accordion/Vocals, Jesse DeGizzi – Bass/Vocals, Julian Primeaux – Guitar/Vocals, Gerard Delafose – Drums, Statton Doyle – Sax and Nicholas Victorian – Washboard) on tour Spring 2017 in support of his new release.
UPCOMING TOURDATES INCLUDE:
May 5, 2017 Breaux Bridge, LA “Crawfish Festival”
May 25, 2017 Shreveport, LA “Mudbug Madness”
CONTACT: Karen Leipziger/KL Productions
I have sad news to share about the great Dick Contino. We are sorry to learn that he has passed away, April 19, 2017. In honor of his memory, I am sending you this post that I wrote previously Rest in peace, Soldier.
By Christa T. for Accordion Americana Memorial Day is a day of remembering and honoring, not only the fallen soldiers, but also those who have served America. Among the ranks of musicians, one of our own, Dick Contino, stands out as a veteran of the Korean War and as a brilliant accordionist and entertainer.
Born in Fresno, California in 1930, Dick Contino was a precocious child with parents dedicated to his success, from the beginning. The Continos (his father was an accomplished accordionist), recognized their son’s talent from an early age and for years, drove him 180 miles each week for accordion lessons in San Francisco. His first break in show business came in 1946, a year before Dick graduated from High School. He won the prestigious Horace Heidt/Philip Morris talent competition in Fresno which was broadcast on national radio.
Dick also won first place in talent contests in Los Angeles, Omaha, Des Moines, Youngstown, Cleveland, Pittsburgh, Harrisburg and New York City. When he graduated from high school in 1947, he enrolled at Fresno State College. Always feeling the pressure of his intense ambition and drive to be a successful entertainer, Dick chose to leave college and dedicate himself to a career as an accordionist. Dick Contino was successful…. very successful. He toured with the Horace Heidt Orchestra and was billed as”The World’s Greatest Accordionist”. Barely out of high school, Contino reported earnings of four thousand dollars per week, an enormous sum for a musician, just before his career was interrupted by military service.
Because he was quite handsome, when he returned from his tour of duty, Dick Contino gained entry into the film industry in Hollywood. He starred in some acting roles, without his accordion. But it was his accordion playing that kept him as a returning star, appearing on the Ed Sullivan Show for a record of forty-eight appearances.
Dick Contino continuex to perform regularly throughout the United States. His repertoire was eclectic, ranging from Italian songs such as “Come Back to Sorrento” and “Arrivederci Roma” to his signature song, “Lady of Spain” and standards like “Swinging on a Star”.
On the accordion, following in the footsteps of his legendary father, is son Pete Contino and his blues band, The Pete Contino Band. Growing up, Pete never aspired to a career in music. But when his Mother passed away (actress Leigh Snowden), he went on the road with his father to learn the music business. It was therapeutic and it kept his mind busy. Through his involvement with his father’s band, he discovered a love for music and for the accordion. Now that he is a professional with his own band, Pete has observed, in an interview with Michael Limnios, “To use an old cliché, (my Dad’s) are very big shoes to fill. His fans are hardcore, and rightfully so. My father made a huge niche with the accordion. The expectations are sometimes high, but I never try to compete with my father’s reputation.” He states, ” A lot of his fans were funny and interesting and very devoted. Sometimes a fan would be uncomfortable to go up to my dad and they would start asking me questions about him. I would finally grab whoever it was and drag them over to meet him. He’s very friendly, my dad, very approachable.”
By Christa T. for Accordion Americana It began with a knock on the door and a promise of success. In mid-century America, many parents thought that if their child studied a musical instrument, he or she would be more intelligent, be a better student and therefore be more productive in life. So, the common practice all over America through the nineteen fifties and into the nineteen sixties was for local music studios to go door to door and sign children up for music lessons at the studio. Band and orchestra music lessons were always given through the schools, and studios would compete for the coveted contracts to supply students with instruments. So, door to door salesmen were commissioned to offer lessons as an introduction to other instruments, such as the accordion, the piano and the guitar, with rental or purchase of an instrument through the music studio.
In the door to door method of marketing, the guitar was the more frequent choice because it was the easiest for a family to afford. The cost for the guitar was twenty-five dollars or less. With a few lessons to learn some basic chords, a boy could make inroads into the worlds of rock ‘n’ roll, country-western music, jazz and–yikes!–the blues! So, for those who were fearful of such outcomes or especially if their child was a girl, the choice was usually between the accordion and the piano. Although relatively expensive, the accordion started out as a popular choice. It was smaller and portable and, unlike a piano, it could be carried to a basement, or another room in a small home for practice sessions. That offered the rest of the family a chance to watch television in peace (preferably in the dark, just like at the movies). It was seen as a “win-win” situation for everyone.
As in almost all direct sales, salesmen started with lists of names and addresses obtained from telephone books, a recent census, directories and other sources through subscriptions. They determined where to focus their sales efforts, and pursued their target market systematically. For example, if the family’s name came from a church directory, the more likely the instrument of choice would be the piano, and sometimes the studio could move a student to the organ, as well. If the family had an Italian, Polish or Eastern European name, perhaps another instrument would be a better fit. So, for a Lynwood, California family named Yankovic, a name already associated with the accordion (Frankie Yankovic), it was highly probable that a child in that household, in time, would be a student of the accordion.
Alfred was a very smart boy. He was enrolled in elementary school one year early and was found to be gifted and allowed to skip the second grade. One day, when Alfred was six or seven years old and already a third grader, a salesman came to their door and impressed upon Nick and Mary Yankovic that their only child should take music lessons at the studio. His parents thought it would be a good idea for Alfred to learn to play the accordion because, just as it had for the unrelated Frankie Yankovic, it might lead to something for their boy. But, neither one could have foreseen that their son would seize this opportunity to completely reinvent Alfred Yankovic as “Weird Al” and would become an enormously successful entertainer, music satirist, songwriter, record producer, actor, music video director, film producer , and children’s book author.
Yankovic made his first career decision when he decided to write a song about his family car, a Plymouth Belvedere and called it “Belvedere Cruisin'”. He taped the song, and gave the crudely recorded demo to his idol, Dr. Demento(Barry Hansen), when the radio show host visited Lynwood High School in Alfred’s senior year. Hansen liked it and played it on the air during The Dr. Demento Show. It turned out to be a breakthrough move for Alfred.
Alfred graduated at age 16 as Valedictorian of the class of 1975 at Lynwood High School in Lynwood, California. But, during his sophomore year at California Polytechnic Institute, Alfred’s professional career actually began when he promoted himself as “Weird Al” while he was a student disc jockey. He worked Wednesdays from midnight until three in the morning on campus radio station, KCPR. He also performed at local coffee houses in the area and remembers, “It sort of was like amateur music night and a lot of people were like wannabee Dan Fogelbergs. They would get up on stage with their acoustic guitar and do these lovely ballads. And I would get up with my accordion and play the theme from 2001 (A Space Oddessey)….people were kind of shocked that I would be disrupting their mellow Thursday night folk fest.” In 1978, his recording (as Alfred Yankovic), “Take Me Down” appeared on the Slo Grown LP, as a benefit for the Economic Opportunity Commission of San Luis Obispo County. It was a mockery of landmarks in the county.
The next year, just before his senior year in college, “Weird Al” did a parody of a then-current song that was high on the charts in 1979, “My Sharona” by The Knack. Al dashed across the hall from the campus radio station with his accordion. He used the hard bathroom walls to achieve an echo chamber effect and recorded a parody of the song, named “My Bologna”. Fortunately, Al was able to record it using a cord found that happened to be long enough to reach all the way from the men’s room to the tape deck in the radio station.
In 1980, Al was invited as a guest on the Dr. Demento Show, where he recorded, live on air, “Another One Rides the Bus”, a parody he had written based on “Another One Bites the Dust”, by Queen. Al met drummer, Jon “Bermuda” Schwartz, while rehearsing the song for the show. Jon stepped in to give him a steady beat, banging on Al’s accordion case to keep time. They rehearsed the song only a few times before the show began. Al played his accordion on the show and on the recording, while Schwartz banged on the accordion case. TK Records released it as a single, just as the company was going bankrupt. No royalties were received from the initial release, but it was a hit and was eventually performed on The Tomorrow Show with Tom Snyder in 1981.
One thing led to another. Al reached out, again to Dr. Demento, and sent “My Bologna”. He played it and received positive response from listeners. Doug Feiger, lead singer of The Knack, heard the parody and loved it. After a show they performed at his college, Al met The Knack and introduced himself as the creator of “My Bologna”. Feiger, suggested to Rupert Perry, who was Vice President of Capitol Records, that it be released as a single. “My Bologna” was released and on its flip side was “School Cafeteria” and along with that release, Al received a six month recording contract. In spite of all of the distraction, Al Yankovic graduated, at age twenty, with a Bachelor’s degree in Architecture. But, he wanted to see if he could make a living doing parodies of current songs. Al recalls, “If it hadn’t been for Dr. Demento, I would have a real job right now.”
As Al Yankovic’s career took off in the 1980’s, there were recording artists who loved his work and allowed him to parody them. But, even now, there are those who do not allow him to lampoon them because they don’t want another version of their work to exist or because they think a parody may damage their reputation. Yankovic always requests permission from the artist that he intends to satirize. Al didn’t think that Michael Jackson would agree to it, but was surprised that MJ thought the parody of his song “Beat It”, called “Eat It” was funny. So MJ became a fan of “Weird Al” Yankovic.
In fact, Michael Jackson thought so highly of him, that MJ allowed WAY to use the set from his music video “Badder” for Al Yankovic’s video, “Fat”, a parody of the hit song, “Bad”. It won the Grammy Award for Best Concept Music Video of 1988.
However, MJ would not allow him to parody “Black or White” because he reasoned that permitting it would change the impact of the song’s message which was meaningful and sensitive, and he felt strongly that he needed to protect it. Although never recorded, sometimes “Weird Al” Yankovic does “Snack All Night”, his parody of “Black or White”, at live shows.
Unlike Michael Jackson, the late Prince would never allow Yankovic to parody his songs, although he had been approached many times throughout the years to do so. Prince even went so far as to request, in writing via a telegram, that Yankovic make no eye contact with him at the American Music Awards, (Yankovic was one of several at the event to be notified).
“Like a Surgeon”was based on Madonna‘s signature hit, “Like a Virgin” and was the only time that “Weird Al” took an artist up on doing a parody of their own song. She mused about it and confided to a mutual friend of Yankovic’s manager, who passed the information on to Al Yankovic.
“White and Nerdy”, (from Straight Outta Lynwood, released 2006) a parody of a rap song, “Ridin'” by Chamillionaire, was the only Top 100 hit to make the Top 10 by “Weird Al” Yankovic, peaking at #9 and with more than six million views on YouTube.
Since Al began his career in the late 1970’s, he has sold more than 12 million albums, recorded more than 150 parody and original songs and has performed more than 1000 live shows. He was nominated for a Grammy eleven times, and won four Grammy Awards, four Gold Records and six Platinum Records in the U. S. A.
Al Yankovic’s latest album is Mandatory Fun (2014). It became his first number one album during its debut week. In addition to recording his albums, “Weird Al” wrote and starred in the film UHF(1989) and The Weird Al Show(1997). He has also written two children’s books When I Grow Up and My New Teacher and Me.
By Christa T. for Accordion Americana The late Country Music Scholar, Charles K. Wolfe wrote of Pee Wee King, “Pee Wee never picked cotton, never hopped a freight train, never worked as a song plugger in Nashville…unlike so many of his fellow members of the Country Music Hall of Fame, Pee Wee King was not known as a guitar player or even as a singer. His instrument was an ungainly one, the accordion, and he played it so well that he inspired dozens of country bands to add it to their acts in the 1940s and 1950s….he was also a bandleader par excellence whose work often pushed the envelope of older country music. He was a gifted songwriter….a creative promoter, a finder of new talent, an explorer of new media, and, best of all, a consummate professional. In his heyday, Pee Wee King took Country music uptown and didn’t ask whether or not it was ready to go.”
Pee Wee King was then, what we now refer to as a ‘Game Changer’. But even though King is credited as being one of the key people to formulate the sound and look of Modern Country music, even co-writing Nashville’s own state song, ” The Tennessee Waltz“, he and his instrument are still considered to be outsiders by Country music insiders.. His effort to “mainstream” Country music caused great resentment and is still a primary reason why Nashville is resistant to, and even disdainful of the accordion as a viable instrument in Country music.
Born in Abrams, Wisconsin, February 18, 1914, King grew up there and was known under his given name, Frank Kuczynski. He performed as an accordionist and as a fiddler with his father’s band from the time he was fifteen years old. Shortly after, taking the name of King while still in high school, he formed Frankie King and The King’s Jesters in 1930. Within three years, King had his own radio program in Milwaukee and he and his band performed at the local Badger State Barn Dance. It was there that he was discovered by the legendary Gene Autry, an emerging cowboy singer. Autry bestowed the honorary title, ‘Pee Wee’ on King, for his small stature. King and Autry, lifelong friends from then on, moved to Louisville, Kentucky where King backed up Autry on radio before “The Singing Cowboy” left for Hollywood to become a film star.
When Autry departed, King decided to stick with radio, stay in Louisville and remain as a member of Frankie More’s Log Cabin Boys. He already had a business relationship with Autry’s manager, and also was interested in the manager’s step-daughter, a singer on the Louisville radio station. So, in the middle of America’s Great Depression, Pee Wee King acquired both his wife, Lydia Frank, and as his manager, J. L. Frank. He would eventually legally change his surname to King.
In 1937, Pee Wee King formed The Golden West Cowboys and shortly after was asked to join the Grand Ole’ Opry on Nashville’s WSN radio. The ambitious King immediately seized the opportunity to move away from the Opry’s strict mandate to use only stringed instruments. He brought in musical instruments never before heard at the Opry, such as the accordion, an amplified electric guitar, horns and the pedal steel guitar. In addition, Pee Wee King did not make many friends at the Opry when he refused to change his band’s sound when asked to do so, or when, along with Bob Wills, he insisted on using drums on stage.
This new style of music was loud and lively, danceable and entertaining, and very much influenced by the Big Band sound that was popular all over the world in the 1930’s and 1940’s. This gave it new energy, a new sound and brought Country music into the mid- twentieth century. Perhaps, because he didn’t come from that exclusive community of musicians and songwriters that grew up in the hills and the ‘hollers’ of the South, King saw what was known then as “Hillbilly” music, in a broader geographic context. He recognized the new “Country” music as being the music that included the entire nation, from east coast to west coast, and not just the music from the Southeastern part of the United States. In his vision, the Country music genre shifted and stretched to include Texas, Arizona and Southern California, and with this, it acquired a new “western” sensibility. Singers and songwriters from those areas must have taken note, like Marty Robbins, Roy Orbison and Buck Owens and many others and may have felt a sense of inclusion and opportunity in the new Country and Western sound.
Because King saw himself as an entertainer, when America went to war in 1941, he envisioned that Country music should be a part of the war effort and entertainment scene of mainstream America. He knew that to accomplish this, Country music needed a bigger sound and a bolder image. King had a love for flashy, professional showmanship. He outfitted his band with fancy, custom made suits. This new take on Country music became enormously popular all over America and eventually became associated with Nashville. But, at first, such flamboyance was met with resentment in Nashville and there was a strong outcry against King by music traditionalists. King also “changed the game” when he insisted that his band members be required to read music. They were also among the first musicians in Nashville to join the musicians union. He wanted his band, not only to appear professional, but actually be the best musicians in the music business.
The new sound of Country music spoke to wartime America. People needed opportunities to go out and dance, have a good time and for a few short hours, forget that the war was asking for big changes and great sacrifices from them. Country music was American music, and an expression of the new pride and nationalism that the entire country was experiencing. Music served to unify everyone during wartime and to underscore that we were one nation in the fight against tyranny. This new “Western” side of Country music, in its own way, placed American music, defiantly and squarely in the face of fascism and ideologies of “the East”, looming large in Europe and Japan. The Country and Western sound had nothing to do with any European immigrant tradition, and the piano accordion, for the first time, was front and center. It was the soldiers during the war that brought the new sound of Country music to where they were stationed. This opened up the world to Country music and laid the groundwork for its influence on pop music.
In spite of controversy, Pee Wee King remained with the Opry for ten years, quite a long time in show business years. During that decade many performers passed through the training ground of The Golden West Cowboys on their way to fame and fortune. They included singers Eddy Arnold, Cowboy Copas, Milton Estes, Tommy Sosebee, and singer/yodeler Becky Barfield. Pee Wee King and The Golden West Cowboys recorded and toured as Minnie Pearl‘s backing band over 1941-1942, as well as for Ernest Tubb. They also entertained the troops during the War with the Camel Caravan Tours, crisscrossing the country.
In 1946 as the war ended, King composed “The Tennessee Waltz” along with Redd Stewart, vocalist for The Golden West Cowboys,. It was inspired by Bill Monroe‘s composition of “The Kentucky Waltz“, now a standard in Bluegrass music. “The Tennessee Waltz” became an enormous hit, not only for King, but for Patti Page, becoming one of the biggest cross-over hits, of all time. It went on to become a Country music standard and, later on, the state song of Tennessee.
Pee Wee and his family moved from Nashville to Louisville in 1948 when an opportunity surfaced for Pee Wee to work on WAVE radio and television. He explained years later, “The main reason (for moving) was that I wanted television.” The conservative Opry management saw no real future in TV and, again, their view was at odds with King’s vision. But Pee Wee King saw great commercial success as a pioneer in the new medium of television, with regional and national television shows, not only from Louisville, but Cincinnati, Cleveland and Chicago. King won multiple Cash Box and Billboard awards for his television shows and had a six year run on ABC Television with “The Pee Wee King Show“. Just as King had foreseen, television had become an indespensible method of packaging and promoting talent and hit songs in all genres of music in just a few short years.
Pee Wee King continued to perform and record throughout the 1950’s, reuniting with Minnie Pearl until 1963. In 1965, the state of Tennessee adopted “The Tennessee Waltz” as the official state song. Pee Wee was always interested in the history of the music he had helped redefine, and served on the board of directors for the Country Music Hall of Fame and also served as Director for The Country Music Foundation.
Pee Wee King appeared in four movies, always as a band leader, “Gold Mine in the Sky” with Gene Autry, “Flame in the West” with Johnny Mack Brown, “Riding the Outlaw Trail” and “The Rough, Tough West” with Charles Starrett. He also released his own movie production, “Country-Western Hoedown” in 1967. About disbanding The Golden West Cowboys in 1969, King said, “I wanted to find what I thought was the top of my career. When I believed I had found it, I stopped striving and searching and enjoyed it.”
In 1970, Pee Wee King was inducted into the Nashville Songwriter’s Hall of Fame. He composed or co-wrote more than 400 songs, including some of the most popular songs in American music including the enormously successful “The Tennessee Waltz“, “Slow Poke“, “Silver and Gold“, “Changing Partners“, “Bonaparte’s Retreat“, “You Belong to Me“, “Walk By the River“, “Busybody” and “Bimbo” among many others.
In October 1971 Kentucky Governor Louis B. Nunn declared an official Pee Wee King Day in the state.
In 1974, Pee Wee King was inducted into the Country Music Hall of Fame. His recording career included more than twenty albums, 157 singles with eleven of them becoming chart hits. “Slow Poke” reached the top of both the pop and country charts and held that position for three months. It became not only King’s biggest hit, but his biggest crossover hit. Pee Wee performed and recorded hundreds of sides, from fiddle tunes to pop ballads.
In 1996 Pee Wee King worked with writer Wade Hall to produce his authorized autobiography, “Hell Bent for Music“ (University of Kentucky Press). It was a first person account about his life and career, narrated by King.
Before his death, a boxed set of King’s RCA work was released by Bear Family and a collection of his 1950’s radio transcriptions was released by Bloodshot Records (Pee Wee King’s Country Hoedown)
Pee Wee King died on Tuesday, March 7, 2000 at age 86 while recuperating after suffering a massive heart attack the week before. He was survived by his wife and their four children. Pee Wee and Lydia King were married for sixty-four years. Mrs. King passed away in 2011.
Pee Wee King was fearless, creative, ambitious and successful. He thought big and accomplished great things for his family, for the music industry, for Nashville, and for American music. Pee Wee had a vision from a very young age and never hesitated to trust it and to follow it, through out his life. He fought hard for what he believed in, and withstood an incredible amount of criticism for it. Though I never met him, I believe that his life was the stuff of which movies are made. AND, he was an accordion player…..