“The Jack Clement Years”
and the legend that is, “The Stoneman's”.
A story often told, and repeated by more than a few, albeit at times a personal interpretation built on legend, and sometimes romantic stories passed on by word of mouth. Or by other writers versions of events.
These are the true, personal experiences of living the rollercoaster through life. Of dreams, struggle, hope, endurance towards personal family achievement, and happiness. Their enthusiasm through their music, to communicate to a wider audience the stories, and experiences of the real pioneers,. Not only pioneers of the music, but of those that strived to better a life for themselves and family. Also to build a stronger nation that was prepared to meet and endure the demands that made this country free, and a terrific home to be proud of.
This is not intended as an in depth account of all their experiances. This can be found elsewhere. I offer an honest and truthful sketch of the untold history that surrounds the family. These are the highs, lows, dreams, hopes, and the sometimes tragicomic drama that is of great consequence. Events, and influences untold, as recollected by those who were there, family, friends, and contemporaries alike. By those who had firsthand knowledge of these events.
To enable, qualify, and understand these events, times and truthful reality, there is a call to offer some brief but significant background.
A Personal Appraisal
I was born in England, but from an early age was absorbed by, and followed what little there was in the UK at that time of traditional Country Music, and its performers. I wanted to know more! Now some may say, “What does an Englishman know of our traditions, and of our music”.
Well let me answer this as best I can. From that early age I was fascinated by the Americas. Having watched on television, and seen Cowboy movies and the likes of, The Beverley Hillbillies, Davy Crocket, Daniel Boone, etc, and of course the overabundance of Western series, and of "Hollywoods" movies. I understood then that these were “Hollywood”, but with maybe a basis of fact somewhere in there. In my formative years of the 50’s there was little knowledge, or understanding of “America” or its peoples. Experienced by us Brits' and others mainly through these movies, and TV shows. Again Hollywood’s influence did nothing to offer us a real picture. For the reader to have a better understanding of the times, and perceptions of the British, then Alistair Cook’s “America” offers a more generous insight.
I then began studying the Americas, its beginnings, and the people who lived and built this great nation. This inevitably led to a search through the early colonists, and pioneers. To research the history of their music and its origins. Although I admit that there is more to learn, I feel I am more than qualified to relate the ”Stoneman's” story. Of their contribution and place in music folklore, as it was and will remain so..
The Americas, said by some historians, to have been discovered by the adventurer, Christopher Columbus. He was an individual of ill repute, who made landfall on the islands now known as, “The Bahamas”. As history describes him, a known notorious executioner, whose only goal in his lust for gold, and other riches, was to plunder and destroy the fabric and culture that was the original settlers of this great country, the “Native Americans”. Others followed with the same objectives. It was only some 100+ years later that true colonists arrived, those seeking freedom and a new life. These are the people who brought their traditions, including the music that shaped this land. “The Pioneers”.
As for the politics and founding of this nation, “The United States” I will leave to other publications.
The Music and its Traditions
These were and are the sometimes humour or tragic stories of life, love, struggle, loss, and hope, that were not only born out of the experiences of the colonists of this land, but brought with them from England, Ireland, Scotland, and other parts. The sounds and customs of the mountain people of Appalachia, in the home, on the front porch, in the fields and byways. Friends, and families gathering together, they told their stories, sang their songs, and danced away their toils and troubles. To enjoy together the playing of their sometimes homemade instruments. “pickin’ and grinnin”, the original “jamming” session.
This was the music, Old Time, or Mountain Music, and the later coined metaphor, “Bluegrass”. Collectively, traditionally, known as, “Country Music”. Traditional Country-- the songs based on personal experiences, and or stories.
On an historic note: “Bluegrass” was not invented as a genre. Bill Monroe, yes it was he who personalized the style, and the name he gave to his band. This was a name that was born out of the mountains of this region. Kentucky – “The Blue Grass State”.
Today, as traditionalists will testify. There has been, and is a trend towards a corruption of time-honoured traditional “Country Music”, the so called Progressive or Rock Country. This is an almost complete loss to the genre of individual and talented styles, and endangers the history and traditions of true “Country”. It is for this reason we must make every endeavour to keep alive the customs and memories of the pioneers that shaped this music. It is through them that the so called upcoming stars of today owe a deep gratitude. Without the spirit of the past and true legends of the genre there would be no Country Music out there to celebrate.
This leads on to refer to, or to enlighten those who seek the origins of this music. Nashville is not the traditional home of Country Music. The birth of the genre was actually in Bristol, Tennessee. Known as, “The Bristol Sessions” back in 1927. Nashville, yes, laid claim to be the so called “Music City”, due to its promotion and music business establishments. As for live music, apart from the Ryman Auditorium, the traditional home of, “The Grand Ole Opry”, there were no live entertainers appearing in Nashville until the 60’s. This suitably brings me to “The Stoneman's”, and their contribution to the genre. And to the Nashville we know today.
Books that are relative in their own right and contribute intensely to the Stoneman story:
“The Stonemans” An Appellation Family and the Music that Shaped Their Lives – Ivan M. Tribe, Publishers: University of Illinois Press
“Pressing On” The Roni Stoneman Story - as told to Helen Wright,
Publishers: University of Illinois Press
A brief but true account of the life and times of “Pop” Stoneman, his influential wife Hattie Frost, and the family they raised. These events would bring success, struggle, and laughter and tears into their lives. The above publications, give accounts and the history of this legendary family. Whilst I do not attempt to rewrite history, I will however relate how events and the influence or actions of others would alter the course of their future.
Ernest “Pop” Stoneman, the unsung musical pioneer, whose contributory recognition into folklore sadly only came after his death in 1968, when he was inducted into the “Country Music Hall Of Fame”. The omission of his wife and lifelong significant other, Hattie Frost, remains a puzzle and is of great sadness to the family, and those who respected her contribution.
“Pop” Stoneman was born Ernest Van Stoneman on 25th May 1893 in Iron Ridge, near what is now the independent city of Galax, bordering Carroll and Grayson Counties, Virginia. He was the son of Elisha and Rebecca Bowers Stoneman. His mother Rebecca tragically died during childbirth when Ernest only was 3yrs old.
Ernest’s early music influences came from members of his father’s family. His father Elisha was a lay preacher, and had no musical interests. Other significant others in his formative years would include John William (Bill) Frost, a gifted fiddle player. Who would unknowingly, eventually, become his future father-in-law. Ernest would learn to play a variety of musical instruments, though the Guitar, Harmonica, and then the Autoharp would later become his instrument of choice.
His first experience of recording would change the course of his life forever. This was in 1914 when he borrowed time on a friends recording machine, even though it would be 10 years later when he made his first professional recordings.
During these early years he would perfect his talent as a musician, playing with friends and family in, and around the local area. At this time he also became closely attached to Hattie Frost, daughter of the forementioned ”Bill” Frost. She was an outstanding banjo and fiddle player herself. They eventually married on 10th Nov 1918. Hattie was 18years old and a devout Christian. This would be the beginnings of a musical dynasty. Hattie would give birth to 23 children, of which 15 would live to adulthood. Most were to embrace their parents musical talent, and purpose. They were born to entertain.
Observations and Reflections of Truthfulness
While recognised as a must read historical novel. In the Ivan Tribe narrative of the Stoneman’s lives, he suggests that they contributed to their own subsequent disappointments and loss of favour within an industry as it transformed from its early beginnings, then to appeal to a wider audience. Ivan Tribe further adds that they had control of their own finances, and would make decisions that would add to their failures. This was not so.
It must be recorded that if contribution is through being naïve, innocent, sincere, and trusting. Then they, the Stoneman's, “are” responsible. But if, as the truthful record in history testifies, these unassuming, modest folks were unashamedly taken advantage of, betrayed, and then discarded. Those in whom they entrusted their future and livelihood are surely accountable.
This is the story of hard working, naive, and honest mountain people, who were blessed, or smitten, as some would say, with a god given musical talent that they sought to share with others. None had any musical tuition/instruction throughout their individual lives. This as time passed, proved to be not only rewarding, but frustrating, daunting, and tinged with struggle, and some sadness.
Two disturbing events in the years that followed would alter the course of “Pop” Stoneman and his family’s journey through their musical career, and private lives
1924 – The Legacy Begins
In this year, 1924, Ernest, working as a carpenter in Bluefield, West Virginia, heard an early recording of a man he knew from his past. That person was, Henry Whitter, who was born near to “Pop”, in Fries, Virginia, and had recorded for Okeh records.
Ernest knew he could, with his natural talent, compare, and even better the recordings of Whitter. After talking this through with his wife Hattie, he would save what little spare money there was, and travel to New York to achieve his dream. Hattie was to encourage him in this endeavour, saying, “Well Ernest, if you know you could do better, then you must go, for a man without a dream is no man at all”. Profound words indeed.
History illustrates the activity of Ernest in these early years which would see him record for many recording labels, these would include Okeh Records. On this label, in 1924, he would record his own rendition and title, “The Titanic”. Later he was to record for, Edison, on wax cylinders, and Columbia records, together with the support of a pioneering producer, Ralph Peer.
“Pop” would go on to realize his dream, of promoting his popularity, and having his many recordings played on radio. Also becoming a widely acclaimed and sought after performer. Although he would record his own work on many occasions plus his alternatively titled, “The Sinking of The Titanic” for Columbia in 1928, it was the original, recorded on Okeh, that would prove to be his biggest success. This recording was later, after much research, proved to have been the equivalent of a modern day million seller. This recording, despite alternative claims, was indeed the very first million seller in Country Music. He was later. though posthumosely, to receive a "Grammy" award for this rendition and his contribution to the world of music.
The future for “Pop” Stoneman and his early successes, which reaped fine benefits for his ever growing family appeared to be paved with inevitable progress. He was rapidly becoming one of music businesses greatest successes, and the building of a legend was beginning.
He would also be contributory in introducing the likes of, The Carter Family, Jimmy Rogers, and others into the world of Country Music. These were the legendary “Bristol Sessions” with Ralph Peer. This was to be the undisputed time in Country Music’s history, held in Bristol Tennessee in 1927, where and when the genre was born. This would mark a milestone in “Ernest “Pop” Stonemans” life forever.
An Unexpected Interruption
Unpredictably, events outside his control would alter his direction. These events would cause the dreams for himself, and his family, to come crashing down. His career would end just as everlasting success, and recognition appeared to be his destiny.
The untimely episode that would cause havoc, and misery to millions, was a mammoth event in the history of the United States. “The Depression” of 1929 hit like a whirlwind.
In Ernest’s life, as with others, He would lose everything, it would take all of his possessions, all he had worked and dreamed of. It would have a greater effect on Ernest, as during his financial rewarding time he would make loans, and act as guarantor to many of the people he knew in and around the vicinity of Galax. Without his help many would not have been able to realize their own dreams of owning property. Of course come 1929 when the financial institutions began clawing back money, and or property, the biggest axe fell on the likes of Ernest. Whilst others were deemed not responsible for any debt, and were therefore able to sit on the property purchased, Ernest Stoneman suffered the loss of, literally, everything he had, and was to be pursued by the authorities of the day to the point of having to leave the place he called home.
Ernest was faced with a determination to save his family and keep them together. So uprooting, and with what little he could salvage, he, his wife Hattie, and his young children were forced to leave behind all they had known. A very proud man, committed to looking after the people he loved most, he with his family left Virginia, and relocated to the hills around Washington DC. He had to find work, build a home, and a new life for them all. A struggle, that would lead them to living hand to mouth, as poor as they had ever known. A life that would see them continually have to move from place to place. Ernest would find work wherever, and whenever he could. Hattie would keep the home and family together as best she could, with more than a little help from her belief in Jesus, and lots of prayer.
Ernest eventually found work as a carpenter, at the Patuxtant Naval Gun Factory. He would move his family into a one roomed house he built on a lot in Carmody Hills, just outside DC. (A shack built with old lumber Ernest would acquire from anyone who had it to offer in return for work).
Life After The Turmoil – Highs and Lows
The house in Carmody Hills, near to Washington DC, would become home to Ernest, Hattie and there ever growing family. There Ernest and wife Hattie had four more surviving children and struggled through dire poverty, with Ernest taking whatever work he could find, and trying to revive his musical career. The children that survived the toils and struggles of living in very basic conditions, and a diet that mainly consisted of corn and beans would grow. Some of the children would leave the home to make a life for themselves as others came along. Despite all the hardships there was one deep-rooted love that would overcome and bond the family forever. This was Ernest and Hattie’s keenness to keep music alive within the home.
Ernest would hand make instruments from any old, broken, or discarded pieces he could find. After building, then tuning these instruments he would go off to work leaving them lying around, giving strict instructions to the children, “do not touch any of them, and I want to find them in tune when I return”. He of course knew they would rush to pick them up, and want to learn to play them. As time passed most would follow in Daddy and Mammies footsteps, and learn to love the sounds. Music would fill the home, and they as a family would become known, through their natural musical talents, in and around the DC area.
In 1947, the "Stoneman's" won a talent contest at Constitution Hall, Washington DC, that gave them six months’ exposure on local television. In 1956, "Pop" won $10,000 on the NBC-TV quiz show “The Big Surprise”. He also sang on the show. That same year, the Blue Grass Champs, a group composed largely of his children, were winners on the CBS-TV program “Arthur Godfrey’s Talent Scouts”, and Mike Seeger recorded "Pop" and Hattie for Folkways.
During this time the family would encounter for the first time, a man called “Jack Clement”. Jack was a marine, stationed in DC. He would later be known as “Cowboy”. He would ask to be taken where there was good music to be heard. Inevitably this was the Stoneman family home in Carmody Hills. He played a little music himself and became a friend, and colleague of Scotty Stoneman during his early days in DC.
Ernest retired from labor, and he and the Champs went full-time to become the "Stoneman's". They recorded albums for Starday in 1962, 1963 and in 1964. They travelled to Texas and California, cutting an album for World Pacific, performing at Disneyland, and appeared on some network TV shows as well as at several Folk festivals. The "Stoneman's" were building a positive reputation as a much sought after Showband. Their live performances were unrivaled.
The Stoneman Family were offered the opportunity to appear on “The Grand Old Opry”. This proved to be a resounding live show success, but with consequences. Amazingly before going on stage, they were advised to tone down their usual performance, as this was not to be expected from a supporting act. Inevitably the family, (in the words of Scotty - "let us leave our blood on the stage") would give a performance that brought about a 20 minute standing ovation. The first ever achieved by anyone appearing on the Opry stage. This did not go down too well with the established stars of the day, those that were due to follow this act. The mutterings of one such was overheard. Quote: “well that is the last we will see of them on the Opry”. Needless to say, the sway of the star was such, that an invitation to appear again, as a family group, was never came their way again. Or so they were led to believe!
The "Stoneman's" would meet Jack Clement again in the early 1960’s, in Beumont, Texas, where he had connections with a club, and was to undertake some producing. Following an invitation from Mac Wiseman to support him in shows he was leading, the "Stoneman's" were to perform there.
Following years of hard work and unrivaled natural talent the family were becoming admired, fashionable, and sought after, as versatile professional entertainers in their own right. Noticing how popular the "Stoneman's" were becoming, and a keen eye on his own future, Jack Clement would look to ensure that he would become more involved in their potential future!
A further encounter with Jack Clement would come later, in Nashville. A meeting, and ensuing relationship, that would prove to be some 7 years of toil, exploitation, and betrayal. There was to be little, if any, financial reward for the family. On reflection, there was to be only times of sorrow, regrets, and missed opportunities.
The Jack Clement Experience
In Ivan Tribes book: “The Stonemans”…. He entitled this chapter in their lives as: “The Golden Years - Again”. An overstatement, sadly based on the exposure the family were to experience, and an interpretation of the financial statements available. The real, honest, factual story is not as the reader, or possibly the writer, would be aware of.
The description of events told here of this period in the Stonemans lives is an honest account, as reminisced and recounted by the ones who were there. Not only by the "Stoneman's" themselves, but also by others who were involved. Those who were able to verify the actions, and consequences of those whom the family relied upon. It must be recorded at this stage, before reading on, that there is no intent to destroy the character of any person involved. No malice or pursuance of gain is sought. There is just sadness, regret, and a sense of betrayal which has lain dormant for far too long. There is a need to understand, and answer the many times asked, “Whatever happened to the "Stoneman's'?
Again in Ivan Tribes narrative on page 166, quote: “The Stonemans also formalized their management contract with Jack Clement, giving Jack control of their career for a seven year period”. A truly significant event prompted by Jack Clement himself. An announcement by him, to the family, that mocked the man, Ernest Stoneman, and was also to take advantage of the innocence of the family. This factual event came about when Jack Clement called a meeting, which was to be held in the home of a member of the family. This was to declare his intention.
The family gathered, in the presence of Jack Clement, who was evidently in a state of intoxication, brought on by liquor, and or other substances. Whilst pacing up and down, smoking what was not a conventional cigarette, he declared, quote:
“you are a multi million dollar talent, but being just hillbillies you do not know your worth. You never had nothing in your whole lives. So I am going to look after you. If you had control you would only spend it on things you don’t need, (sniggering) things beginning with an “A”, like “A” house, “A” car or “A” clothes, and things like that. So I will take control, and I want you to sign this power of attorney, allowing me to invest your earnings for you, so after the gravy train is over you will have something”
Ernest was humbled, and being the honest, and trustworthy man he was, he along with the family signed the document. An act, that would only prove, as years past, to be a huge mistake.
Although Jack Clement would become a talented producer, his management style lacked in presentation, and any real commitment to the "Stoneman's". Also his persuasion to partake of liquor, and, or other substances, would prove to be a bad omen.
Examples of this are illustrated:
Jack Clement appeared to be so intent in offering the "Stoneman" talents was only to keep them on the road. This would ensure a steady flow of dollars. Throughout the Jack Clement years he neglected to promote them. This would have brought them the long-lasting recognition they deserved. No steady flow of significant material was ever made available to them. Unbeknownst to the "Stoneman's", they were again to be offered a chance to perform at The Grand Old Opry again, and other venues of significance that would promote them. Regardless of the exposure these locations would give, Jack Clement as manager and holder of "Power of Attorney" turned these opportunities down as these venues did not earn the dollars he pursued. Short sighted neglect? certainly. No appearances that would help promote the "Stoneman's" were acceptable, rather just the endless dollar earning shows that would see them travel the length and breadth of North America.
Jack Clement concentrated his undoubted production skills to other acts, such as Johnny Cash and the Charley Prides etc of this world. Notable inclusions, yes, but these occupied his time and efforts at the expense of the "Stoneman's".
Contrary to other sources, the "Stoneman's" held NO control over their own finances. This was entrusted to their management. The "Stoneman’s" were given a token weekly payment, with the odd bonus throughout their management connections with Jack Clement. The amount was decided by management. They were provided with just enough to live on. All other earnings were said "to be invested for their future!"
The "Stoneman's" continued only to be paid this token amount during their successful syndicated TV show years, entightled: "Those Stomping, Swinging Stoneman's".
On a further occasion, Re: the loss of thier recording contract with RCA. The "Stoneman's" having turned up for a planned appearance/recording session were told to go home as their contract had been terminated. It was later through an apologetic Chet Atkins that they discovered they had been “blacklisted”. This was due to the uncontrolled outbursts of Jack Clement to some senior RCA representatives. Also considered by RCA was the fact that Jack Clement, due to his other intoxicating preferences, would leave him incapable of completing the production of a "Stoneman's" album, He was deemed therefore ineffective in fulfilling his commitments to RCA. These incidents contributed to him being discharged (fired) of his relationship with RCA.
Jack Clement neglected to advise the "Stoneman's" of the RCA decision.
The "Stoneman's" did not reap any monetory or promotional gains throughout the Jack Clement managerial years. In actual fact this talented family survived their experiences, through hard, exhaustive, committed work. To entertain the audience was always essential. The audience was, and still remains a partnership, an important heart in their lives.
The highlight of the "Stoneman's" career was when they were awarded, in 1967, for their contribution and unrivaled talents, the CMA’s "Vocal Group of the Year". The first ever awarded. Again this was never used as a promotional tool.
Throughout these Jack Clement management years the family had not advanced professionally or otherwise. Later reflections would reveal that they were, and had been in a healthier position prior to the Jack Clement experience. These years of stress sadly took their toll on the family. Struggle came along with illness for some members of the family. Then there was the untimely death of father Ernest “Pop” in 1968.
Due to the obvious lack of commitment, the pressures of having to live without due reward, and the ongoing problems of Jack Clements personal persuasions, the family, upon advice, eventually decided that the management agreement would be terminated.
There was without doubt, and as engagement agreements testify, some fruitful monitory gains throughout this managerial time. Though the "Stoneman's" did not benefit, and as they were to be informed later, there were no investments to share at termination. The obvious question arises. “What happened to show fees etc., and or any investments??”
Time For Change
Recovery and attempts to maintain the "Stoneman's" successful status within the industry proved to be difficult. A change in name to "The Stoneman Family" proved also to be unsuccesful. Time, missed opportunities, stress, ill health, and loss would prove to be problematic in reestablishing former prominence.
Though the talents of individual members had not diminished, and were still appreciated, previous events and ever-changing tastes within the Country Music scene led to a decline in bookings for the family as a group. Attempts to rediscover and adopt the successful years when the family and “Pop” Stoneman played Old Time Music, was to a diminishing audience. Ill health within the family would lead to an ever changing line up.
These contributory factors and finances, or lack of, would see the group eventually break up. Individual members of the family Stoneman would look to other avenues for employment, satisfaction, and fulfillment. Notably, Roni would become a success on the Hee Haw show, and always remembered as a talented comedienne, and for her individual gift as a virtuoso banjo player.
The three surviving family members, sisters, Patsy, Donna, and Roni still perform together whenever possible. They remain in demand, for the most part by the institutions that preserve Old Time Music and offer entertainment to appreciative audiences, old and young alike.
Donna became a devout minister. She has maintained her keenness and talents on the Mandolin, and at times still performs live on stage with Roni
Update: Patsy sadly died at home, July 23 2015
As for Roni? she is still the active performer, touring, and demonstrating her skills as “The First Lady of Banjo”, singer, commedienne, and songwriter. The all round entertainer performs to appreciative, and enthralled audiences wherever she hits a stage.
Though financial security in this life was confidently anticipated this was never to be realized, and now the remaining family members live modest lives in Tennessee.
As for “Cowboy” Jack Clement? Success as a producer, undoubtedly, but initial investments? How and where were they were gained? I will leave the reader to ponder.
Update: Jack "Cowboy" Clement died in August 2013, his life and circumstances are commonly known. But, his beginnings remain subjective.
The "Stoneman's" were/are true “Royalty” within the music industry. They are a “Dynasty” that never will be rivalled. The most talented and versatile group of musicians ever to grace a stage, they have given pleasure and entertainment to many generations of music lovers. The true “First Family of Country Music”
Daddy, Ernest “Pop” Stoneman, the unsung pioneer of Country Music, that so many owe their careers to. The man who pushed open the gates to an industry' and so gave opportunity to a countless number of stars of yesterday and today. A man recognised for his contribution to the genre, although posthumously, by being inducted into The Country Music Hall Of Fame. Also he has gained recognition through a “A Grammy Award” in 2013 for his contribution to the industry.
Mammy, Hattie (Frost) Stoneman, the rock and stability of the family throughout the highs, lows, crisis’, and hard times. She was the inspiration, who gave spiritual conviction. A devotion to God, and family, that gave the strength of family values to all during difficulties, frustration and loss. A woman, who was a talented musician in her own right, she selfishly supported her husband, and children, and their dreams.
This is a family that has contributed so much. Gave hope to so many. The "Stoneman's" fully appreciated their natural talents. They sacrificed self acclaim, and offered moments of happiness to many through their own troubled times. They were a group of entertainers, who appreciated an audience, and regarded them as being members of their own family. They never forgot their roots, family, and friends, who helped them along the way. They will always be thankful to GOD. and the people who continue to support them, to whom they say a big “Thank You”
The Stonemans, honest, warm, and humble.
Truly a troop of the greatest entertainers we will ever hear and see.
It personally gave me great satisfaction to honour those who were truly the
“First Family Of Country Music”
a tradition that lives on today. A 90 plus year dynasty in music.
As said previously, this story is not intended to be an expose’. There is no intent to damage the reputation of those referred to, but they were key players who undoubtedly had a very influential role to play in the "Stoneman’s" lives. These recollections are true and honest.
The Stoneman family wish it be known that there is no question of retaliation, or any malice intended, or the seeking of any kind of justice, or other retribution.
They believe that God in his wisdom ordains the way our pathway of life takes us. And that forgiveness is entrusted to us that may have felt betrayed or have suffered in this life.
IT IS GOD AND ONLY GOD THAT HAS FINAL JUDGEMENT ON ALL OF US AS TO HOW WE LIVED OUR LIFE THAT HIS SON JESUS DIED FOR AND SAVED FOR US
“May he forgive those that have trespassed against us”