" C L A R E N C E W H I T E C H R O N I C L E S "
The Online Newsletter of A Guitar Virtuso
March 8, 1997 (Number 4.)
Edited by Etsuo Eito
Copyright by Bluegrass Workshop "North Field" 1997
To post notes to this digest, send an E-mail message to
To subscribe or unsubscribe, send an E-mail message to the
same address with the appropriate word in the subject field.
Previous editions of "CLARENCE WHITE CHRONICLES" are available
in paper magazine format at Bluegrass Workshop "North Field"
C/O Etsuo Eito : 2-13-7,Kitahirano,Himeji,Hyogo, 670 JAPAN
No part of this newsletter can be reprinted in any format
without editor's permission.
<< Contents of This Issue >>
/~~\\ , , ,
|#===||=========#***> * "E-Mails from the subscribers"
\__// ' ' John Delgatto
** "W a y n e M o o r e (#2)" the former bassist
of the legendary country-rock band "Nashville West"...
Written by Steve Wisner
[ E-MAIL from the Subscribers ]
Date: Sun, Feb 23, 1997 09:05:55 -0800 (PST)
>From: John Delgatto
To: Etsuo Eito
Subject: Nice job! the CWC newsletter
Nice job, it's funny how time makes people get dates and events not that
all correct. Hey, who cares, it nices that people remember. I hope in our
booklet with the Clarence White box set which we hope to have out in 1998,
all this and more will be set straight. Thanks to your efforts Clarence's
memory will continue.
Clarence's daughter,Michelle, is doing fine and remarried last year. She
just had another baby, her fourth. We saw her in September and spent the
day with her back in Tennessee.
The Nashville West CD album is being released this month finally with added
tracks, new artwork and Marty Stuart's notes!
P.O. Box 5853
Pasadena, CA 91117-0853
Date: Thu, 27 Feb 1997 17:31:28 +0100
>From: Gunnar Holmlund, Goteburg University
To : email@example.com
Subject: Sweden Online again
Thanks for your quick reply and the first postings
of the Clarence White Chronicles - very nice !
As I tried to say, Robert Ahl who made the recording
of Kentucky Colonels sent all his material to ROUNDER
and it is in their possession today.
What I copied for you, was the review of this show
(in Swedish) from the fanzines Kountry Korral and
the Tennessee News. I can resend if these were
not forwarded to you.
Is it a fact that Susie White and their child were killed
in an autoaccident ? When did this happened ?
I saw a nice page on Clarence by Richard Russell at
Thanks for the Chronicles and for your work with the memory
of one the greatest guitarists !
Date: Sun, Mar 2, 1997 09:20:09 -0800(PST)
>From: Steve Pottier
To: Etsu Eito
Subject: Memories of those times...
I did a radio show on Clarence White that broadcast last Saturday...........
By the way, thanks for sending the newsletters! I really enjoy reading them.
Years ago when I was in college, I met Andy Evans, and went over to his
house (as I remember he lived in Paris, California) and met his mother. We
played some tunes and then she said that I played like this friend of
theirs, Clarence White! She told me stories of the White brothers and the
"junior white brothers- the Rice brothers." She said Tony admired Clarence,
and once took a big nail and scratched his guitar so it would be like
Clarence's! Anyway, that letter in the newsletter brought back memories of
those times, very nice.
..... Continued from the last issue .....
******* W a y n e M o o r e ******* (#2)
the former bassist of the legendary country-rock band "Nashville West"...
Written by Steve Wisner
Nashville West continued to back many Paxton produced artists during 1967-
1968, among them, the Gosdin Brothers (whom Clarence had played lead guitar
for in 1966) and Gary Paxton. One of Gary's strongest singles, released on
Capitol, featured all the members of Nashville West prominently. That record
was "Mother-In-Law"/ "Miles and Cities". Gene played harmonica and drums on
the session; Clarence took guitar solos on both sides; Wayne contributed
bass and with Gib sang background and Gib also wrote the side B. Nashville
West played a similar backing role for the Gosdin Brothers' classic "Sounds
of Goodbye" album which appeared on Capitol in 1968. Gib and Wayne even
wrote one song for the album, "Woman's Disgrace".
Nashville West also made several attempt at recording on their own. Eddie
Tickner, successful manager of the Byrds, the Dillards and later the Flying
Burrito Brothers (with partner Jim Dickson) arranged a few session for the
band but nothing was ever issued. Gib explains: "We tried making records but
we were way ahead of ourselves. We were doing country-rock but we couldn't
get nothing happening." Songs that Gib recalls recording as Nashville West
include: "Two People","Miles And Cities", "Mister Somebody" and "My Robin".
Tickner was especially impressed with Wayne Moore whom he thought had the
best chance as a commercial country artist out of the Nashville West quartet.
Wayne remembers that Tickner wanted him to learn some new material but the
bassist let the opportunity of a projected recording session slip by. "At
that time I was having some personal problem and I was a little too shy and
laid back" says Wayne.
Gary Paxton also recorded the members of Nashville West,in various backings,
as solo artists and released records on them for his Bakersfield Internation-
al label. Part of Gib and Gene's 1966 session was issued in the form of two
singles as "Cajun Gib and Gene",Clarence White had a couple instrumental 45s
and Wayne Moore had a coupling under his own name released. "Hey, Juliana",
written by Wayne, is partly sung in French adding a Cajun flavor but a
rauching sax break in the middle adds some good time rock n' roll feeling.
The side B of the single, "Rocks In My Head", is more straight-ahead country
with Clarence White's string bender playing having an organ like-sound.
Fortunately, for country-rock fans, Nashville West's legacy was preserved
on vinyl by Sierra Records in 1978, courtesy of Gene Parsons, who recorded
the group on his Sony tape machine in a club in 1967. Clarence White's
string bender playing is at the forefront in every tune on the album (Sierra
SRS-8701) since Gene purposely placed his mike next to Clarence's amplifier.
Gene himself was attempting to learn some of Clarence's innovative guitar
techniques on a pull-string model that he and Clarence had developed but
little did Mr.Parsons realize that the tape, made solely for practice
purposes would eventually represent the only recorded evidence of Nashville
West. The album, no doubt, represents a fair cross-section of material the
band performed. There was pop, rock and country all included in Nashville
The variety of songs performed for 1967 "made them much more than your
typical bar band," wrote Jim Bickhart in his liner notes to the Nashville
West album. Little mention, though, is made of Wayne Moore in Bickhart's
notes as his role in the band was given minor treatment. Wayne did play more
than a supporting role with Nashville West as the live performances clearly
attest. Although Gib did much of the lead singing, Wayne sang a good deal as
well. His renditions of "Memphis" and "I Washed My HAnds In Muddy Water",
although overshadowed by Clarence's playing, give evidence of a solid lead
Nashville West continued to work mostly in the Palmdale area during the
first half of 1968 until Clarence accepted an offer to join the Byrds in
July. Gene PArsons followed Clarence into the Byrds a short time later and
Nashville West subsequently disbanded. Gib and Wayne remained together and
assembled a new band, the Reasons,which included various musicians from time
to time. Bob Warford, a Clarence White sound-alike, played lead guitar for
the group while Chuck Morgan came in on keyboards and either Dennis Morse or
Stan Pratt played drums.During this period Gib and Wayne developed a regular
comedy routine with the group which was apparently well received. Dennis
Morse recalls the skit: "I tell you, Wayne Moore and Gib used to do a comedy
skit about this guy Mr.Custer or something, and they had the people rolling
on the floor. Wayne was really a good comedian and a picker and an excellent
Wayne left the Reasons for a brief period in 1968-69 to tour with country
singer Garn Littledyke about which Eric White says: "Wayne went to Vegas to
make the big time and that lasted about three months..." Disillusioned with
his Nevada experience, Wayne returned to Palmdale where Gib Guilbeau hired
him as lead and rhythm guitarist. Eric White, who had replaced Wayne on bass
in Gib's band earlier, said : "Wayne had been a lead player years before. He
was all right for the oldies but goodies type rock n' roll - Chuck Berry
type stuff - but he didn't really like playing lead."
Gib's band continued to be a training ground for many aspiring musicians.
Freddy Weller, on the recommendation of Clarence White, had already hired
Bob Warford in 1969 to tour with him, and soon Linda Ronstadt was dropping
by to see Bib's band in Palmdale. Looking to put together a country-rock
backup group, Linda offered Gib, Eric White and Stan Pratt a chance to go on
the road. Linda already had John Beland lined up as her lead guitarist so
consequently Wayne was excluded. "I was playin' rhythm guitar so I told 'em,
'Take it', you know" says Wayne.
Next stop for Wayne was a guitarist/bassist with Jack Reeves,a local singer
who Eric White describes as "an imitator. He could do a lot of country
artists, Elvis, you know, and put on quite a show." Along with Dennis Morse
on drums, Eric White also joined Wayne in Reeves' band. (Eric had been eased
out of Ronstadt's band in favor of Thad Maxwell). Reeves did quite a bit of
recording locally and cut one of Wayne's song, "Six Million Teardrops".
By the mid-1970's Wayne received a better offer to tour and record with
former Columbia Records' artist Johnny Western. Wayne picked up the fiddle
during this time and would add it to Western's shows as well as a comedy act.
Around 1977, Wayne went to Nashville to see old friend Gary Paxton who had
become a successful country and gospel producer. Wayne was interested in
getting some of his songs published and perhaps recorded but little happened.
While in town though, Wayne ran into Vern Gosdin who Paxton was producing.
Vern convinced Wayne to join his band but the association was brief and
Wayne returned to Palmdale after several months.
Not long after Wayne left Nashville, an album appeared in 1978, which
credited three songs to Wayne Moore. The record was titled "Country Premier"
and was released on the Christensen label, distributed by Album World out of
Nashville. The songs that list Wayne as vocalist are: "Drowning My Sorrow",
"My Lastest Sin" and "Lonely World", all of them very good country songs but
unfortunately not by Wayne Moore of Nashville West. Mysteriously, Wayne's
"Six Million Teardrops", sung by Gene Humphrey, is on the album as well as
two cuts by Gib Guilbeau which previously appeared on the Shiloh label.
Wayne, after listening to the songs, was adament that the vocalist was not
him and after repeated playings, it's clear that this is indeed a different
1980 saw Wayne move to the Albuquerque area where his wife originally
hailed from. Johnny Western, who Wayne had returned to work with after Vern
Gosdin, was performing throughout the Southwest during this time so Wayne
was more centrally located for the group's activities. When Vern Gosdin
played a show in Alburquerque in 1983, the two old friends visited and Wayne,
once again, joined Vern's band as bassist/harmony vocalist. Having to spend
a fair amount of time in Nashville,Wayne frequently stayed with Gib Guilbeau
who was still attempting to keep the Burrito Brothers going. Gib was
interested in bringing Wayne into the group but in the end, told Wayne to
remain with Gosdin as the future of the former group was shaky. Vern Gosdin
was also interested in promoting Wayne's career and wanted to do a recording
session as producer of his bassist but unexplicably, nothing materialized.
In the end, working steadily on the road, "making little money and spending
a lot of time away from home", Wayne dicided to return to New Mexico. As is
generally the case with most Nashville artists, Vern Gosdin's producers
always used a studio band on his recordings so Wayne's bass work or singing
never graced a Gosdin record.
Currently, Wayne stays busy by playing bass in a local group, Charmin and
Gold Country and even does some television and movie acting on the side.
(Most notably he had a small role in a 1979 "McCloud" movie.) Music, and in
particular, recording a "real country album" of his own material is foremost
on Wayne's mind. He's been in touch with both Gene Parsons and Gib Guilbeau
during the past few months and, with the breakup of the Burrito Brothers
earlier this year, it looks as though Gib is very serious about getting
Wayne involved in a new group. Wayne seems ready to pursue music full time
again, and, working with Gib Guilbeau would suit him fine. Gib too, is
determined to help Wayne, "even if I have to sit down and make him write",
he laughingly says. "He's a good musician and he deserves a shot."
--- concluded ---
Retyped in the CWC online newsletter #3 & #4 March 1997
by the special courtesy of Steve Wisner.
No one can reprint or quote in any part from this work
without author's permission.
*** End of The Mail ***
| The desk of CLARENCE WHITE CHRONICLES |
| Bluegrass Workshop "North Field" |
| C/O Etsuo Eito |
| 2-13-7,Kitahirano, |
| Himeji,Hyogo, 670 JAPAN |
| PHONE/FAX: +81-792-82-0821 |
| E-MAIL : firstname.lastname@example.org |
| CQL00071@niftyserve.or.jp |
|_____ _______________________ _____|
| | | |
| | | |
| | | |
| | | | See You Later.....
________________| |______________________| |_________________________
Your Always Kentucky Colonelly,
Etsuo Eito / Himeji,Hyogo, JAPAN
e-mail address: email@example.com
Clarence White Chronicles 5
Back to Chronicles Index Page
Back to Home