Written in the 18th century, this song has been sung by many. I remember this song from when I was frequenting the coffee house/folk scene. The site thebluegrasssituation.com is totally worthwhile, and this post is classic, including different versions of this song done by 20 gr8 voices – Glenn Campbell, Ed Sheeran, Jack White, and Johnny Cash to name a few. Check out Jack White singing this song on YouTube.
“You Are My Sunshine” is an example of country music’s large contribution to American music. This version shows off the song’s country roots. The tune was made popular by Jimmie Davis, who would later became governor of Lousiana. The song was written by a Paul Rice, but the songwriting was credited to the Jimmie Davis and Charles Mitchell, who purchased the song from Mr. Rice.
Wilf Carter, who performs this version, was a Canadian who often used the nickname of “Montana Slim.” Carter’s version evokes the deep melancholy in the song. The contrast between the cheery chorus (the most recognizable section), and the tone of the verses, make this version unique.
One curious part of this recording, the fluttery instrument that emerges during the first chorus, sounds like a direct reference point for a similar texture The Clash would employ on “Somebody Got Murdered,” several decades later.
Born in January of 1900 in Allatoona, Georgia, Clayton McMichen had his great success recording with Gid Tanner and the Skillet Lickers and Hometown Boys, and also as a solo artist. His solo effort performance of “Grave In The Pines” is a starkly sweet and sincere lament to a fallen love. McMichen performed regularly in Louisville, Kentucky until retiring in 1955, and later returning to the stage at the Newport Folk Festival in 1964.
Several decades before Bob Dylan recorded his breakthrough “Highway 61 Revisited” album, the folk-blues song “Highway No. 61” was interpreted by numerous blues singers including Charlie Pickett, Memphis Minnie and Joe McCoy, The Sparks Brothers and others. Jack Kelly & His South Memphis Jug Band recorded this classic version with fiddler Will Batts on vocal duties. According to Dylan, when he told his record label the title of his new album in 1965, they didn’t understand it, and only agreed to let him call the record what he wanted after to he went all the way “up the fucking ladder” to insist on it. The rest is history.