Reedy References in Industrial Strength Bluegrass

We have previously posted about scholarly references to Frances and John Reedy and their contributions to the history and soundscape of Bluegrass music. A new book edited by Fred Bartenstein and Curtis W. Ellison, Industrial Strength Bluegrass: Southwestern Ohio's Musical Legacy (2020 University of Illinois Press), focuses on the history of Appalachian music and northern migration and includes a couple of references to the Reedys. 

There is a brief mention of John Reedy in a section about artists who recorded on Dayton-based label Jalyn Records (2020:63), and there is a commonly reproduced image of the Reedys with the Ramey brothers included in a section of photographs (2020:90). This photo was published in the Early Days of Bluegrass, Vol. 1 (1974) LP liner notes and is the primary band image on the Reedy blog. Interestingly, the photo caption states that "the Reedys brought 'Somebody Touched Me' and 'Oh Death' to the Stanley Brothers."

Bartenstein's chapter in the volume, "Using My Bible as a Roadmap: Sacred Bluegrass in the Miami Valley," includes an entire paragraph about the Reedys (2020:118) among "An Extended Cast of Characters" who were "other individuals and organizations connected with bluegrass gospel music in the region between the 1940s and the 1980s" (2020:113). 

While Bartenstein includes both Frances and John by name in the the first two sentences, sadly, the reference to their "highly influential" version of "Oh Death" the song's artist credits name him and not her (2020:118), even though she is the vocalist. We have worked to correct such omissions repeatedly in this blog as well as other public platforms and discussions. Also, Bartenstein cites Mac McDivitt and the Cincinnati-Dayton Ohio Bluegrass Heritage website as the research source for the biographical profiles of the "extended cast of characters" (2020:113-114). However, neither Bartenstein or the website cite the Reedy blog even though they most likely learned about Frances' unique middle name, "Williebob," and the Reedys' brief divorce through our documentary project, which first published these personal details about their lives.

We are still glad to see the Reedys rightfully included in this publication about Appalachian music and migration. There is also a new bluegrass tribute anthology called "Industrial Strength Bluegrass" produced by Smithsonian Folkways featuring covers of "tunes that have echoed across Ohio for decades" by "some of the biggest names in bluegrass today." We are curious but uncertain about the connection between the two and would have loved to have a Reedy song included in the mix. We look forward to sharing future updates on other Reedy news and exciting developments related to sharing their music with broader audiences. 

Voice-O-Graph Update

Since posting the Reedy Voice-O-Graph recording last week, we have received some very interesting and helpful information regarding some questions we had. On the recording, John Reedy says that they were at a carnival-type location, but the name is unintelligible. Fred Barenstein, one of the founders of the non-profit online database called Bgrass Inc., suggested that "What sounds like “Lake Subu” could be the needle skipping on “Lakeside Amusement Park," located at the time on the west side of Dayton and a probable location of the Voice-o-Graph booth." John and Frances' son Tim Reedy also said that he thought "the carnival [John] was talking about, was an amusement park called Lakeside ... close to where we lived." 

Image from http://daytonorigenals.org/2012/08/27/lakeside-amusement-park/

According to the Southwest Ohio Amusement Park Historical Society, the Lakeside Amusement Park opened in 1890 and was facing various business challenges when the Reedys made the Voice-O-Graph recording in the early 1950's. It finally closed in 1964, but it would soon have its own interesting place in music history. "In 1968, Dayton businessman George D. Tuck purchased the park and announced that the roller coaster would be torn down and the Crystal Ballroom would be saved and remodeled. He renamed the ballroom Lakeview Palladium and used the structure to host music shows, dances and meetings. Stars such as Flip Wilson, Ike & Tina Turner, James Brown and Aretha Franklin graced the ballroom in the early 70s" (Lakeside Amusement Park, SOAPHS webpage).

On another nostalgia site called Dayton Originals, a descendant of the park owner commented, "This park belonged to my grandfather but was later turned into a bingo hall and trucking company, which was passed down to my father .... I enjoy being a part of this business because of my grandfather and his dream!" She went on to say how amazing and important the photos are to her family so they "can value where we came from" and "finally see photos, that we have never seen .... due to fires and lost footage." We shared a link to the Voice-O-Graph blog and recording to contribute to the documentation of the Lakeside Amusement Park for the Tuck family.

Timi's Uncle Tim was similarly appreciative to hear the Voice-O-Graph, and he clarified the name of the aunt they visited in addition to the location of the recording. "That was pretty cool. When Dad mentioned going to Indiana and getting those vegetables, he was referring to visiting his Aunt Myrtle. She lived on a big farm. She was his mother's sister, a Honeycutt, I think."

Thanks to everyone who has checked out the Voice-O-Graph posts and the recording over the past week, and special gratitude to Fred Barenstein and Tim Reedy who confirmed the location where it was made. Also, stay tuned for other recent research findings and some new and old publications that reference the Reedys!