Jimmie Rodgers has been known as many issues; whereas lively from 1927-’33 he was billed as “the Singing Brakeman” and ”America’s Blue Yodeler” however, within the many years since, the “Father of Nation Music” has grow to be most apt. Rodgers’ reputation on document was virtually unmatched throughout his sadly temporary profession, and an amazing majority of nation artists effectively into the ’60s cite him as a major affect. That this slight, gregarious (however usually sickly) man, scrawny and prematurely balding, was an idol to generations of followers and performers could seem quixotic in our visually enhanced age, however he was the one most vital determine in early nation music.

Jimmie Rodgers has been known as many issues; whereas lively from 1927-’33 he was billed as “the Singing Brakeman” and “America’s Blue Yodeler” however, within the many years since, the “Father of Nation Music” has grow to be most apt. Rodgers’ reputation on document was virtually unmatched throughout his sadly temporary profession, and an amazing majority of nation artists effectively into the ’60s cite him as a major affect. That this slight, gregarious (however usually sickly) man, scrawny and prematurely balding, was an idol to generations of followers and performers could seem quixotic in our visually enhanced age, however he was the one most vital determine in early nation music.

Within the almost 100 years since Rodgers’ recording debut, nation music has moved far afield, sonically, however the paradigm of “singer with guitar” he exemplified continues to be at its core. Earlier “hillbilly” recordings featured fiddles, banjos, and string bands; Rodgers (and the Carter Household, first recorded on the identical 1927 Bristol session) put the industrial concentrate on guitar and vocal. The present quest to rediscover nation’s black roots is nothing new the place Jimmie is worried; his sound was as steeped in blues as conventional balladry, and he recorded with black musicians together with The Louisville Jug Stompers, Clifford Gibson, and even Louis Armstrong.

If Rodgers was by no means shy about selling himself, he had motive to not waste time. His amiable persona coated a tragic story, having been stricken with tuberculosis earlier than starting his recording profession. Not lengthy after his preliminary Victor Data session in August of ’27, Rodgers emerged as one of many firm’s most-prolific and profitable artists. Even after 1930, because the Despair crippled the recording trade, Jimmie’s discs had been among the many few that could possibly be counted on to promote in any respect. His dying in 1933 was one other tragedy to many People already reeling from financial catastrophe.

Rodgers’ stylistic repertoire was as wide-ranging as any American artist; he recorded any music he might pay money for or cobble collectively – solo, duo, in small combos, with orchestras, Hawaiian and jazz gamers. In any context, his clear voice and trademark yodel had been unmistakable, and the guitar remained on the coronary heart of his music. A lot of his finest data function simply voice and six-string, and greater than anybody, Rodgers made the flat-top guitar central to nation music.

By no means one to overlook a advertising alternative, Rodgers was, unsurprisingly, the primary “hillbilly” artist to endorse a signature instrument. A few years after crooner Nick Lucas and vaudeville “Wizard of the Stings” Roy Smeck lent their names to guitars (by Gibson and Concord, respectively), Weymann launched the Jimmie Rodgers Particular Fashion 890 flat-top. It’s attainable (even seemingly) he first approached C. F. Martin & Firm with this concept, however since that firm didn’t indulge such endorsements, Weymann was the subsequent smartest thing. By the summer season of ’28, Rodgers had procured lavish {custom} guitars from each Martin and the H.A. Weymann firm with the then-novel function of his identify inlaid in pearl alongside the fretboard, which quickly turned a rustic music custom.

Jimmie most well-liked Martin guitars, beginning early within the ’20s with a bottom-line 2-17, seemingly all he might afford. He upgraded to a 00-18, then as soon as ”Mr. Victor” (his document firm) began paying actual cash, Jimmie ordered a personalized top-of-the-line 000-45 in 1928. This was delivered to him that June by C. F. Martin III, indicating the corporate noticed a promotional alternative with Rodgers. Nonetheless, Jimmie paid $168.75 for the guitar; Martin by no means gave away something! Nonetheless, the corporate appreciated his patronage; on the within again is a observe: “To Jimmie Rodgers, America’s Blue Yodeler, with all good needs C. Fredrick Martin III, July 27, 1928.”

In ’28, a 000-45 was the most important and finest guitar Martin provided, made from the best rosewood, spruce, and mahogany and adorned with their fanciest pearl trim. Along with his identify on the fretboard, the headstock was inlaid “Blue Yodel.” Legend has it this was supposed to learn “Yodeler,” however Martin ran out of house! It additionally had “Thanks” painted in giant block letters on the again, which Jimmie would flash on the viewers in appreciation.

Irrespective of how a lot Martin appreciated Rogers, the corporate had little interest in endorsements or advertising artist-logo devices; anybody who wished a Martin, even a {custom} one, needed to order it by means of a seller and pay for it. Within the ’20s, Martin strongly maintained this coverage regardless of pleas from performers like Roy Smeck; letters proposing such endorsements nonetheless relaxation of their archive. After all, later within the twentieth century Martin clearly re-thought this stance!

In his sole filmed efficiency (a November ’29 quick known as “The Singing Brakeman”) Jimmie casually asks for “that previous guitar” and will get handed his shiny new Martin and delivers a devastatingly informal efficiency that encapsulates the essence of his artwork. After Rodgers died in 1933, the 000-45 was loaned for many years to acolyte Ernest Tubb. It’s now preserved within the Jimmy Rodgers Museum in his hometown of Meridian, Mississippi.

Whereas Rogers is most related to the 000-45, the guitars constructed for him by the Weymann firm additionally noticed in depth use. In keeping with Nolan Porterfield’s definitive Rodgers biography, Jimmie was utilizing one in efficiency by August 1928 on the newest. Based mostly on photographic proof, Rodgers acquired two custom-made Weymann guitars – one with a slotted headstock, one other with the strong selection. Each had Rodgers’ identify on the fretboard and the Weymann brand on the headstock inlaid in pearl script, extra elegant and complex than Martin’s block letters, however more durable to learn from the viewers! Whereas marginally much less flashy than the 000-45, these Weymanns are nonetheless stunning and putting.

As a part of this association, the Philadelphia firm acquired the rights to make use of Rodgers’ identify on a manufacturing mannequin. It’s not identified if he was promised a royalty or if it was a quid professional quo for a free instrument! Regardless of the phrases, it was apparently not unique (in that case, Rodgers ignored it!) as he performed and posed together with his Martin and Weymann guitars interchangeably.

H.A. Weymann & Son was almost as honored as Martin, and in addition based by a German immigrant, Henry Arnold Weymann (in 1852). They had been initially a retail operation buying and selling in items like jewellery and watches, largely imported from Germany. After Henry died in 1892, son Harry William steered the enterprise into musical items, which they started to construct and import.

Weymann prospered within the 1910s and ’20s with high-grade banjos, their distinctive Mando-Lute, and flat-top guitars. The retail retailer typically offered Martin guitars, so that they had been acquainted with their Pennsylvania neighbor’s designs. In 1922, Weymann purchased nearly 1,300 ukuleles for resale from Martin, however rapidly got here out with their very own very related fashions. By way of construct high quality, Weymanns of the interval had been about as near Martins as anybody ever obtained.

Rodgers’ slot-head Weymann is preserved within the Nation Music Corridor Of Fame – well-used and far repaired. The highest has no pearl trim, however as a substitute, elaborate/multi-layered wooden marquetry across the border and soundhole. An uncommon function is prolonged ribs alongside the mahogany sides, relatively like a violin – a development quirk Weymann used on Mando-Lutes and some different guitars. The instrument was examined within the early ’90s by Nashville luthier John Arnold, who then created a number of replicas. The primary was for presentation to Doc Watson, who had been allowed to play the unique.

Porterfield quotes Billy Burkes, certainly one of Rodgers’ most-faithful accompanists, relating to the 1929 Victor session for “Hobo Invoice’s Final Experience.” Burkes recalled, “I performed Jimmie’s Weymann guitar on this explicit tune and you’ll discover the distinction in tone; the best way it recorded. My, that was a stupendous instrument.”

After finding out the unique guitar, Arnold described the tone as “Extra of a Larson Brothers-type sound… punchier and extra projection than a Martin.”

He asserts that if one listens fastidiously to Rodgers’ guitar-and-vocal recordings, tonal variations between the guitars are audible.

Although Rodgrers had his Weymann in 1928, it apparently took a while earlier than Weymann had its Jimmie Rodgers Particular Mannequin 890 prepared on the market. It appeared within the firm’s 1930-’31 catalog billed as “An instrument for the Artist.” Whereas not a precise duplicate of Rodgers’ {custom} Weymanns, it’s nonetheless a high-grade flat-top. Weymann’s top-of-the-line guitar, with a listing value of $90 together with a hardshell case, it was pretty costly – double the price of Martin’s mahogany 00-18 and $5 greater than a rosewood 000-28. Past that, the timing couldn’t have been worse, as The Despair was actually kicking in. Banjo and ukulele gross sales had just about collapsed, so, like different makers, Weymann was desperately attempting to shift to guitars. The Mannequin 890 was their new flagship, however few of Jimmie’s acolytes might afford a $90 guitar. On the identical time, Martin had simply launched its 14-fret OM fashions, which quickly eclipsed the previous 12-fret design within the public creativeness.

The results of all that is an especially uncommon instrument. Most fall into a good serial-number vary, suggesting a brief manufacturing run. Some present variations in options, indicating they had been individually finished-out. Weymann’s earlier guitars and banjos carried the Keystone State model, whereas the Rodgers fashions have a plain Weymann gold decal on the headstock rear. The type and serial quantity are die-stamped into the headstock’s high edge.

The primary Weymann Jimmie Rodgers Mannequin 890 proven right here is an early instance, made in 1931 and with serial quantity 45673. It matches the catalog illustration with the headstock and fretboard coated in flashy pearloid. The 12-fret physique is 145/8″ extensive (between a 00 and 000 measurement) made from high-grade mahogany with elaborate colored-wood marquetry across the certain fringe of the spruce high and herringbone soundhole trim. These didn’t have the flowery raised rims across the sides. The highest is delicately X-braced and supposed for metal strings; the catalog talked about that intestine stringing was accessible as an possibility.

The one-piece mahogany neck has a medium-V profile with an extended 251/2″ scale and 13/4″ extensive nut. The flashy full size pearloid fingerboard is devoid of place marks, however there are three aspect dots on the white celluloid binding. The strong pearloid-faced headstock has a barely crested profile and a diagonal multicolored “Weymann” brand decal. Oddly sufficient, the one point out of Rodgers is a small strip paper label underneath the soundhole that reads, “Jimmie Rodgers Particular Mannequin – Victor Recording and Nationwide Radio Artist.” Rodgers’ picture was featured on the catalog web page, however not prominently; actually, they had been underselling the endorsement premise!

The opposite featured Mannequin 890 (serial quantity 47172) represents one of many final made, presumably completed in 1932-’33, shortly earlier than the corporate ceased manufacturing. The guitar is analogous however with a regular rosewood fretboard rather than the pearloid, which can have been an economic system measure or just utilizing up accessible elements. The strong headstock stays pearloid-faced, with the diagonal Weymann decal.

An attention-grabbing (if impractical) function of each is Weymann’s centered-gear banjo tuners as a substitute of guitar machines. Within the late ’20s, there was a short fad for becoming banjo tuners to guitars, each Martin and Gibson giving it a attempt. Weymann’s proprietary banjo pegs had been distinctive – gentle, useful, and inconspicuous, mounted discreetly and countersunk into the again of the headstock. They labored effectively sufficient on banjos, however their tiny gears – delicate sufficient to be a part of a pocket watch – usually proved overmatched by the stress of guitar strings.

Each guitars are well-preserved and authentic for his or her age, 90-plus years alongside. The skinny lacquer end on the later one exhibits typical decide put on to the highest usually seen on well-strummed flat-tops. The one notable alteration is the tuners, that are trendy high-grade banjo items changing the unique Weymann banjo tuners.

There aren’t many larger-body/non-Martin/non-Larson steel-string flat-tops of this period that match the Weymanns’ construct and sound high quality. If not as actually distinctive as Jimmie’s authentic {custom} guitars, a Mannequin 890 stays a delight to play. The sound is highly effective and wealthy, with a bit extra top-end sing than many related Martins, however by no means missing depth. One hopes Jimmie would have been happy with them, at the very least; they actually sound nice for his bass note-and-strum type.

Weymann ceased instrument manufacture in 1933, a casualty of The Despair. The corporate offered its manufacturing unit in December ’33, then offered re-branded Chicago catalog guitars. The Jimmie Rodgers Particular is their wonderful six-string swan music, a very nice instrument even when not a hit on the time. Whereas not as well-remembered as its namesake (and even his {custom} Martin), the Jimmie Rodgers Particular is a becoming memorial to the person who, lengthy earlier than Elvis or the Beatles, made the guitar the central object of want for numerous younger picking-and-strumming dreamers.

This text initially appeared in VG’s September 2024 situation. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.