JFK, Jr. PLANE CRASH EVOKES MEMORIES OF JIM'S

The tragic circumstances surrounding the deaths of John F. Kennedy, Jr., his wife and sister-in-law in a small plane crash over the weekend, have evoked memories of what happened to Jim. In fact, Jim's death apparently is regarded with such stature as a world event that even the Associated Press has made reference to it in its stories on JFK. Newspapers all over the world on Monday, July 18, carried a sidebar which listed Jim as being among the notables who lost their lives in tragic air crashes:

The other aspect to this story which relates to Jim is how the JFK plane apparently fell from the sky. Jim, of course, ran into heavy rain as he neared Nashville and lost his visual references. A common problem afflicting inexperienced pilots who are only qualified to fly via VFR (visual flight rules) is that they experience spatial disorientation, or vertigo when they lose sight of the horizon. It becomes impossible for them to tell which way is up. Studies show this phenomenon can happen in a matter of a few seconds. Given the fact that radar videotape shows the Kennedy plane apparently plummeted at a rate of descent ten times faster than normal, experts say the only way this could have occurred is if the plane was in a nose-dive. The Jim Reeves plane also went into a spiraling nose dive.

The similarities between the two crashes illustrate once again the dangers inherent when busy people, who don't have the time to become proficient at the controls of high-performance aircraft, overestimate their abilities.

JIM REEVES KINESCOPE GOES FOR $355; BUYER SENDS HOSTILE MESSAGE

As was reported in this space earlier in the week, a rare kinescope of Jim Reeves performing "Four Walls" on the Steve Allen show in 1957 was offered for sale on Ebay, the online auction service. The winning bid was submitted on Friday, July 16th, by Frank Anderson, a man who contributed heavily to last summer's pseudo-biography on Jim by Michael Streissguth. The bidding war accelerated in the final minutes of the auction, with the final price more than doubling.

Larry Jordan, author of a forthcoming new book on Jim, sent Mr. Anderson an email Friday night congratulating him on the purchase and urging that the rare film be shared with fans. Mr. Anderson sent back the following missive. Since he makes erroneous statements about this website, I am posting it for all to see:

"Dear Larry: Don't waste your time or mine trying to communicate with me about the kinescope or anything else. For months, I have read your negative, hateful, venomous comments about me on your website, on amazon.com, and in various emails you have sent to other Jim Reeves fans.

"For the longest time I wondered why you continuously trashed the Streissguth book and anyone associated with it, and then turned your vitriol towards Mike personally. When you announced that you intended to write your own Jim Reeves biography, things became a little clearer. That's a hell of a way to compete: trash your opponent in all the ways you did, then set yourself up as keeper of the flame. Judging from your epistles on the internet, you are the most arrogant, self-serving, self-righteous, hateful, mean-spirited individual I have ever come across in connection with Jim Reeves. Who died and left you in charge? It certainly wasn't Jim Reeves.

"In answer to your question, yes , I'm a big fan of Jim Reeves. And I believe were he alive today, he would try to do to...The Jim Reeves Way, what he did to his own fan club: shut it down. I doubt that he would be in any way proud of your negative, critical, mean attitude. Your way is not the Jim Reeves way.

"You said, 'I'm naturally curious to know what you plan to do with this kinescope.' It's none of your damn business what I plan to do with the kinescope. Who the hell do you think you are?

"I hope to meet you someday just to see if you're man enough to say to my face the things you've said on the internet and behind my back. -- Frank Cordell Anderson <fcanders@bellsouth.net>"

For the record, this website has contained NO attacks on Mr. Anderson, although we have been critical of the Streissguth book due to the large number of errors in it. Meanwhile, Mr. Anderson has posted false claims on amazon.com that Michael Streissguth had the endorsement of the Reeves family, although they hotly deny this. In fact, Reeves family member Lani Arnold even contacted the publisher in Nashville to complain about these assertions.

Larry Jordan decided to write his own book on Jim only AFTER the Streissguth biography was released, and its gross inadequacies became apparent. As a longtime fan of Jim's and close friend of Mary Reeves, Larry felt he was in a good position as a professional writer to do a book that was more accurate. He undertook this massive project at his own expense and is underwriting its publication cost (which will run into the tens of thousands of dollars) himself. The Reeves family as well as some of Jim's closest associates agreed to help Larry only AFTER he submitted some preliminary chapters to them for their perusal. "I had to earn their trust," he explains.

Certainly one ringing endorsement for the Jordan project is Leo Jackson, Jim's long-time lead guitarist, who virtually shadowed Jim from the earliest days of his career and was like a son to Jim. Jackson went everywhere with the international singing star, and saw him like no one else did (including Mary). If ever there were a "keeper of the flame," it is Leo, as he is very protective of Jim's legacy and demands the truth be told. Yet Leo has been one of Jordan's biggest boosters after having read some working drafts of the upcoming book.

It is not the purpose of this website to promote division among Jim Reeves fans -- or, for that matter, to act as a promotional vehicle for Jordan's book. But our one clarion call is for the TRUTH to be upheld -- whether it be in print, on the web, or in communications between fans. So much of what has appeared in print of late has been unfair to Jim, as his friends and family members can attest. Jim Reeves highly prized honor and truthfulness; he would be outraged at the way he was depicted in the Streissguth book, and also by the manner in which some of that book's sources (like Anderson) have assailed others.

When I originally became aware of the letter sent by Mr. Anderson, my first instinct was that this was a private matter. But upon reflection I realized that Mr. Anderson is such a well-known collector, who supplied photographs and other support to the author of last summer's biography, that how he responds to queries about his purchase of the rare Jim Reeves performance film should be made known to other interested fans. Will he horde it (as some rabid collectors have done with Reeves memorabilia over the years), or will he share it with the world? Time will tell. -- Julie

MARY'S CARE IS QUESTIONED

Friends who have visited an ailing Mary Reeves Davis, Jim's widow, in recent months, have been saddened by the fact that some of her urgent physical needs are apparently going unmet in a Nashville nursing home. While the facility she is in is first-class, Mary, who is incapacitated from senile dimentia and other health problems, is still sitting in a second-hand wheelchair with someone else's name on it, that does not fit the contour of her body. It has been suggested that a molded cushion be acquired for her comfort, that can be provided by physical therapists, but this has not been done. Her dental problems are obvious to those who see her once-beautiful smile, and the nursing home can take her for urgent dental care, but this obviously has not occurred either, for some inexplicable reason. Besides all this, Mary's right hand is twisted backward, with her fingernails painfully gouging her wrist. She is badly in need of a bar for her right hand to prevent this condition from occurring. Once again, this has not been taken care of. Of course, the nursing home can only provide that care which is authorized and paid for.

And sadly, there is nothing in Mary's room -- no pictures of Jim, no music -- to remind her of who she is. Recent visitors report that this woman, who is literally a millionaire, doesn't even have a decent wardrobe in her closet.

The court-appointed conservator who is legally responsible for assuring Mary's care is, of course, Bill White, her nephew. No one should have to bring these matters to his attention (he should be monitoring her situation well enough to spot problems himself. That's his job.) But someone DID call him some weeks ago to discuss Mary's care. He promised to look into it, but the problems linger. Each day that goes by represents more misery for Mary. It's inexcusable and shameful.

Is there any legitimate reason why money which is earmarked for Mary's care in her final years is not being expended by her conservator to assure that these specific, minimal needs be met? Any money from the sale of Jim's memorabilia that's leftover in the event of Mary's death will simply go to her second husband, Terry Davis -- who is profiting from Jim's legacy even though he had no part of it.

Every caring person, who hates to see the elderly neglected, should wonder why this woman who was married to the beloved Jim Reeves, has not been better attended to. Mary's friends visit her every week, and closely monitor what's happening to her while Reverend White tends to his flock at his Dallas church. He would do well to re-read Ephesians 4:18 - 19.

JIM WAS FEATURED ON TV WEDNESDAY NIGHT

Jim Reeves fans tuned to TNN's "Century of Country" series were treated to five glimpses of Jim Wednesday night, May 26th. The segment focused on the evolution of the Nashville Sound, and included a lot of comments from Jim's producer and famed guitarist Chet Atkins, along with some1997 video of producer Owen Bradley. First we saw Jim looking very elegant in his tuxedo, singing "Four Walls" with the Blue Boys in the background. The show credited him with being in the forefront of helping rescue country music from the encroachments of rock-'n'-roll. In fact, he was the first one shown. They also talked about how he dressed. Next came a brief segment in Studio B as Jim began singing "Golden Memories and Silver Tears." Our only complaint is that they didn't show more of the clip. (Although the video itself is not complete, what they showed was even more abbreviated). We did catch a brief view of Jim standing in the studio after that. A big highlight for a lot of Reeves fans no doubt was the clip of him singing "He'll Have to Go", sitting on a stool and playing his guitar, on T. Tommy Cutrer's show. This has rarely been aired anywhere before, and never to this extent. The narration described how Jim moved in closer to the microphone to achieve his elegant, rich sound. There was also a photo (seen also on this website) of Jim in the studio with the Blue Boys. The final shot of Jim was near the end of the program when they showed him smiling and accepting applause. Naturally, we think the producers should have made note of the fact that not only was Reeves a major force in saving country music, but he took it around the world. His international influence was completely overlooked. But at least THIS time the greatness of Jim Reeves -- singing LIVE -- was on display for everyone to enjoy. It's a good bet that a lot of people who have only heard of him, but never actually HEARD him, were impressed by the video they used on Jim tonight. THREE CHEERS!

JIM REEVES MEMORIAL NEGLECTED, OVERGROWN WITH WEEDS

How would Jim's millions of fans around the world feel if they knew that his memorial park and burial site is looking so unkempt these days? Visitors to the park, including Jim's family members, report sometimes finding that the grass hasn't been mowed and that there are weeds shoulder high. The two-acre plot, on U.S. highway 79 just outside Carthage, Texas, is visited each year by thousands of Jim Reeves fans from all over the globe. There they find a life-sized sculpture of the famous singer, and even a marker denoting the site where his collie Cheyene is buried a few paces behind its master. It is the one place where fans can still make a connection to Jim. Mary spent a fortune on the grounds, the sculpture and the landscape design. Yet ever since the Reeves estate slipped out of Mary's control, the property has periodically been looking pretty ragged. Last August, in time for a ceremony honoring Jim's induction into the Texas Country Music Hall of Fame, the grass was cut to make it presentable. But once again it is looking embarrassingly bad. Recently one of Jim's sisters, Vergie Reeves Thomas, stopped by to pay respects to her brother. She was appalled by the condition of the grounds. The snapshot at right doesn't exactly look like the postcards, does it? It was taken on April 21, 1999 and shows Vergie standing next to the bumper crop of weeds. Also notice the grass hasn't seen a mower lately. It would appear that not only is Jim's recorded legacy being neglected, with unreleased material languishing in storage -- along with his memorabilia -- but his final resting place is also being ignored. How very sad.

JIM MAKES IT INTO THE GUINESS BOOK OF WORLD'S RECORDS

Roger Christiansz advises that Jim's "Distant Drums" made it into the Guiness Book of Records Top 100 Singles of the Century. The basis for the selection was not sales, but on length of time in the charts, position and repeat appearances. As Roger points out, "this is good criteria as the number of units sold today by any artist is greater, with people having greater disposable income and CD, cassette and record players being so easily purchased. Not forgetting that the world's population is greater now than it was in the early 60s. I am so glad that the British held Jim in such high regard and this has helped him into the all time famous 100 singles of the century." Jim's rank is 73 with Elvis coming in at 76, but with two songs. The Cindy Walker composition, which was never recorded by Jim at RCA, but instead was only cut at a demo session as a special gift for Cindy, was overdubbed by Mary and released in 1966. It even topped the Beatles on the charts at the height of their rein!

BMG RELEASES SAME OLD SAME OLD

There is a CD now out in the stores called "Jim Reeves Super Hits." Frankly it's a real mystery why Jim's label , BMG, even released it. It contains no new material -- just the old retreads. While these songs are Reeves classics, they have been widely available for years. Apparently, BMG thinks that by merely repackaging they can sucker people into buying more Reeves product. The songs included are "Four Walls," "Blue Boy," "Losing Your Love," "I Guess I'm Crazy," "Distant Drums," "Is It Really Over?", "Billy Bayou," "He'll Have To Go," "Home," and "This Is It." Is there any Jim Reeves fan on the face of the earth who DOESN'T already have these songs?

The repertoire was selected by the same guy who made the statement that Jim wasn't as big as Patsy Cline. In other words, someone who does not have a firm grasp on Jim's career. (See the "Fan Forum" for further elaboration on this).

Wouldn't it be great if BMG would go back and select some of Jim's lesser-known material, then update it with new instrumentation? Any number of tunes come to mind that have very plaintive arrangements on the originals. Since Jim's beautiful voice is truly timeless, showcasing him in a more contemporary setting makes sense. BMG does not agree, however.

To top it off, the photo they use on the cover is grainy and out of focus. It's certainly not the worst we've seen on Jim, but surely the record company could have come up with something better!

This will no doubt be the ONLY CD the company puts out this year (other than perhaps re-releasing a vinyl record on CD). It's a shame they couldn't have been more creative with this one. Mary's guiding hand is surely missed.

MISINFORMATION ABOUT JIM ABOUNDS ON THE WEB

When the "Jim Reeves Way" website was created, it was done so primarily because so much misinformation about Jim had been posted elsewhere on the web. The Reeves family was upset and so were a lot of us fans, and so we decided to set the record straight. Well, we certainly have our work cut out for us. Those of you who also visit another site dedicated to Jim are getting a steady diet of falsehoods masquerading as facts. For instance, today some guy wrote in who thinks he's an expert on Jim Reeves and made some assertions in a letter which the web master blindly posted, as is his habit, without doing his homework first. Hence more inaccuracies are perpetuated about Jim. When an email was sent to the writer pointing out his errors, he responded, "No sir...re-check your fairy tales...I am in error about nothing when it comes to Jim... Get the story right."

On the other website he writes:
"The baby-blue Rickenbacker flat top now sitting on the guitar stand at the JR Museum..." Fact: Well, there IS no Jim Reeves museum. The property is for sale, the memorabilia warehoused, the estate sold to a carnival operator. We thought everyone knew that.

A second example:
The writer comments that the information contained in the CD "The Essential Jim Reeves" upset him greatly because "...references were made as to Jim being in his forties when he died on July 31, 1964...Jim was just slightly less than one month away from his fortieth birthday when he perished....born August, 1924." Fact: WRONG AGAIN. Jim was born in 1923, as the inscription at his gravesite in Texas attests. (And this was the one established by Mary, unlike the Hall of Fame plaque which says "1924"). We also have a copy of his birth certificate, which lists 1923. Jim consistently shaved a year off his age. The news accounts at the time of his death erroneously reported he was 39. Actually, he was 40. There is a complicated story as to WHY he lied about his age but as his longtime friend Tom Perryman explains, it had to do with his early baseball career.

A third example:
(Referring to the "Jim Reeves On Stage" LP): "I think Mary discontinued it because of her rumored dissatisfaction of the quality (done monaurally on Alexander's Ampex machinery): but, on the contrary, the live album is very clear and was reprocessed in stereo..." Fact: Mary didn't "discontinue" anything. RCA and later BMG had the sole right to decide what would be released (often based on her recommendations) and how long something would stay in circulation. She was often frustrated by their decisions. The live album was augmented by overdubbing instrumental parts to create a richer sound.

MARTY ROBBINS BIGGER THAN JIM REEVES?

When the Academy of Country Music held its annual awards show Wednesday night, a portion of the program was devoted to the greats of the past. Marty Robbins was described as the voice of the '60s for his hit "El Paso." Just one problem. Jim Reeves' "He'll Have to Go" dwarfed "El Paso" in sales and went on to be one of the biggest sellers of the entire decade. In terms of number of units sold, Reeves far outdistanced his colleagues. And his international popularity was staggering -- especially considering that at that time, satellite communication had not yet arrived on the scene, transoceanic telephone calls were not common, and even jet travel across the ocean was something very unique. In other words, Jim Reeves became a star around the world even though mass communication had not yet gone global. Which made this quite a fete, and his popularity even more impressive. For months he was the ONLY American singer on the British charts for instance. How anybody could say that Marty Robbins was a bigger star than Jim Reeves is amazing -- even though Marty WAS Jim's personal favorite among the country artists. Just one more case where Jim didn't get his due. But we fans are used to that by now, aren't we?

TRYING TO LOCATE MAUREEN MARSH

I am trying to locate Maureen Marsh, the infamous Jim Reeves fan who has been the subject of some foreign TV documentaries over the years. At last report she lived in the UK. If anyone knows how I may contact her, either by mail or phone, I would appreciate your emailing me. I promise to keep this information strictly confidential. -- Julie

WILL JIM BE FEATURED ON "A CENTURY OF COUNTRY MUSIC"?

If you've seen any installments of the Nashville Network's 13-part weekly series on Wednesdays entitled "Century of Country," you may be wondering if they will ever get around to mentioning Jim Reeves. Word has it that an upcoming show toward the latter part of May will focus on two men who did much to create the "Nashville Sound" -- Jim's producer Chet Atkins, and Owen Bradley. It will be very difficult to do a show about the evolution of this musical style without focusing on the most successful representative of it -- Gentleman Jim. But would anyone like to bet that TNN will find a way to overlook him or at least give him short shrift? We DO know that the people putting together the series have, indeed, made some inquiries about Jim. But whether he will get the credit he is due is still, at this point, unknown.

DID JIM APPEAR IN TWO MOVIES? NO WAY

Several people have written in to let me know that the latest issue of Country Weekly magazine (April 27, 1999) has a question and answer about Jim Reeves. Charlotte Toomey of Goshen, N.Y. writes, "I've always been a fan of the late Jim Reeves. My sister thinks he appeared ina few movies many years ago. I don't remember any."

The answer, by Julie G. Bandy, who handles the Q&A feature, says: "Gentleman Jim, as he was known, had a small part in the 1953 film 'Gun Fury' with Rock Hudson and Donna Reed. He also played the leading role and sang in the South African film 'Kimberley Jim,' filmed in 1963 and released in the United States a year after he died in a plane crash near Nashville on July 31, 1964."

Unfortunately, Country Weekly's information is only partially correct. Jim did NOT appear in any film before 1963's"Kimberley Jim." In fact, in several interviews, he commented that although he had been offered bit parts years earlier, he had turned them all down because he didn't want to take a "back seat" to anybody. No doubt the magazine got this erroneous information from a movie database online that has put out this wrong info in recent months.

I don't know if there was another "James Reeves" who assumed the bit part in the film or not, but at least all of Jim's closest associates and family deny he was ever in that western.

Keep in mind that Jim was a virtual unknown in 1953, still working in radio although he of course had the hit "Mexican Joe" by then. But he was certainly not yet big enough to appear with the likes of Rock or Donna out in Hollywood!

At least the magazine ran a nice photo of Jim in a tuxedo.

WANT TO BUY JIM'S HOME? IT'S NOW FOR SALE

Ed Gregory, who bought the Reeves estate with an unsecured note and has been the target of attempts by the Reeves family to overturn a court's decision allowing a dubious sale by an ill Mary Reeves to go through, has been running ads trying to dispose of the real estate that came with the deal. Among the pieces of property he is trying to sell is the Jim Reeves home at 400 Westchester Drive in Madison, Tenn. and the 18th-century mansion sitting on 14.91 acres at 5007 Gallatin Pike, which housed the Jim Reeves Museum. The historic site also includes 1,132-square feet of gift shop, 830 square feet of offices plus several other buildings. This site is one of the last remaining parcels along a busy thoroughfare, and perfect for someone to develop a hotel. Merely being listed on the National Register of Historic Places does not confer any protection for the property; it could be torn down. In addition to the museum property is a three-bedroom home at 1001 Joyce Lane (next to the museum); a 400-acre farm in Rutherford County which Mary owned; a warehouse; the office which once housed Jim Reeves Enterprises; and 5.51 acres just off I-40 near Severville, Tenn. (not far from Dollywood) also owned by Mary.

A lot of this real estate is worth far more than what Mr. Gregory paid for it, so he'll make out well on any sale. Most notably, he retains the rights to the Jim Reeves name, image, royalties and memorabilia. Still nothing has been done to display Jim's personal and career artifacts for the fans.

So anxious is Mr. Gregory to get rid of the Reeves real estate that he says all is "for sale, trade or we will at least consider whatever type of reasonable, creative offer you propose. Owner finance of any of the above properties with a reasonable down payment, and subject to owner's approving applicant's credit. Will consider trade for stocks, bonds, good mortgage, yacht, airplane, etc."

Some fan with the right finances thus has a chance to live in the home where Jim and Mary Reeves once lived.

"KIMBERLEY JIM" RE-ISSUE A FINE EFFORT

The Chicago-based SOUNDIES independent label, in cooperation with BMG Special Products, has just put out the first CD re-issue of music from Jim's 1963 movie, "Kimberley Jim." The liner notes feature comments which were solicited exclusively from visitors to this website. The remarks, combined with rare poster art from the movie and stills taken on the set, make this a great collector's item to own. The sound quality, of course, is good since BMG itself had control over the remastering process. The CD cover uses art from the original LP release and all 14 of the album cuts. SOUNDIES president Kevin Parks has also chosen a nice picture of Jim for the inside cover of the booklet, and the remainder of the liner notes give fans a good insight into the making of the movie. Everything about the presentation is first-class.

When you read through the comments used from our website visitors, you realize just how much Jim's only starring role meant to his fans. Several people recalled having seen the film for the first time when they were only children, and now their kids are enjoying the film on home video.

Kevin promises that this is only the first of possible future releases of Jim Reeves material. It's also a bargain at a price that includes postage and handling. To order, click here.

JIM REEVES GOT "SAPPIER" AS TIME WENT ON?

"Reviewer" Rich Kienzle and his poison pen are at it again. You remember this is the guy who wrote nasty things about Jim in two consecutive issues of Country Music magazine (see below), including saying that his gentlemanly persona was just a facade. Incidentally, Kienzle never even had the courtesy to reply to a letter which Jim's secretary, Joyce Jackson, sent him challenging some of his assertions. It looks like Richie is broadening his outreach a bit, now doing reviews for Music Boulevard, an online CD-ordering company. Woe be unto the people who rely on HIS reviews to decide whether or not to order music. He writes now that Jim was "one of the foremost exponents of the musically neutral Nashville sound" -- whatever THAT means. Kienzle erroneously says that [producer] "Chet Atkins reinvented Reeves with the 1957 hit ballad 'Four Walls'". But the comment that most offends is Kienzle's strange assertion that "Reeves' music got sappier as time went by." To those who don't know any better, they may think this is true. I am wondering how many Reeves fans out there think the last songs Jim recorded in July 1964 just before his death are SAPPY? Let me know if you do. They include "Make the World Go Away," "This Is It", "I Can't Stop Loving You," "Not Until the Next Time," "There's That Smile Again," "In the Misty Moonlight," "Missing You," and "Maureen," among others. Not a dud or a "sappy song" in the lot! What is it with this guy Kienzle, anyway? (It is interesting to note that he's a friend of Michael Streissguth. It figures). The greatest singer of the century continues to outsell artists both living and dead... Must be a lot of sappy people out there huh, Rich?

HERE'S AN UPDATE ON THE LITIGATION SURROUNDING THE REEVES ESTATE

A number of visitors to this website have sent emails in recent weeks asking for an update on the litigation involving the Reeves estate. (To read about the history of this dispute, click here).

A hearing had been scheduled for this month to consider Lani Arnold's request for medical information pertaining to Mary Reeves Davis, who is incapacitated through illness and living in a nursing home. That hearing was postponed, however, when Bill White, Mary's nephew and conservator, said he needed still more time to review her medical records.

This strikes a lot of observers as strange, because White has previously rejected Mrs. Arnold's assertions that Mary was not competent at the time she signed papers revoking an earlier trust agreement. How could he have reached this conclusion without having previously examined her medical records?

Mrs. Arnold tried to make this an issue in Judge Frank Clement, Jr.'s courtroom, but didn't get far. However, she has her uncle Jim's famous tenacity and vows to press forward, including concrete plans to take this matter to a federal court level to achieve justice.

In an order entered by the Probate Court on August 25, 1997, under which Bill White was appointed conservator of Mary's estate, Judge Clement directed that White begin an investigation of the facts and circumstances of certain business and trust transactions, and that he prepare a report for the court.

On Nov. 3, 1997, White filed a preliminary report saying he felt the trust was valid. On Nov. 4, 1997, immediately following a hearing, Judge Clement approved the sale of realty and other asserts, including Jim Reeves memorabilia, to Ed Gregory's United Shows of America.

Also on November 4th, the court declined to approve the report of conservator Bill White recommending the approval of the July 9, 1996 trust agreement executed by Mary Reeves Davis (the so-called "second trust"). He further ordered that a "status conference" be held at which the validity of the second trust may be considered. The court authorized the conservator to submit additional reports to the court as deemed appropriate and bearing on the validity of the second trust.

More than a year has gone by and Bill White still has not acted. In the meantime, Terry Davis, Mary's second husband, has been drawing over $20,000 a month for his share of the proceeds from the sale of the estate.

On Nov. 18, 1998, attorney George Cate, Jr., who is paid by the Reeves estate to advise White, wrote him a letter for the record, offering his opinion as to why he thinks the second trust is valid. It says in part, "In my opinion, Mary Reeves Davis was mentally competent, had independent legal advice, and was not subject to undue influence by any outside party, when she executed the trust instrument dated 7-11-96. With special emphasis upon my personal interview with Cecil Branstetter (attorney), Carrol Kilgore (attorney), and Charles Young (CPA), I advise you that any presumption of undue influence by Terry Davis while he held a power of attorney for Mary Reeves Davis appears to me to be rebutted by clear and convincing evidence."

Incredibly, he based his opinion about Mary's physical and emotional state on merely having talked to two other attornies and a CPA -- in addition to Terry Davis -- none of whom are qualified to evaluate Mary's medical status. It sounds to us like there are too many lawyers involved here and not enough common sense.

Lani Arnold insists that qualified medical authorities, including persons treating Mary at the time, have vital information which proves she was NOT competent at the time the second trust was signed. Even though this information is critical, Mrs. Arnold believes she has not had an adequate opportunity to present this evidence in court.

Cates goes on to say "In any event, concerning the expense, the delay, and the highly questionable outcome of litigation to contest the validity of the trust, it does not appear to me to be in the best interests of Mary Reeves Davis for you as conservator to initiate proceedings to set aside the trust instrument."

Because she believed White was dragging his feet, Mrs. Arnold recently filed a motion for a status conference. She petitioned the court to conduct an inventory of the assets of Mary's that are secured and held by White; do an accounting of the receipts and disbursements of the conservator; and plan for the discovery of facts relevant to the validity of the second trust (which includes matters pertinent to Mary's competency at the time she signed the agreement).

On December 30, 1998, White filed a "conservator's response to the motion of Lani Arnold for a status conference. " In part, he said that it is specifically his responsibility under the court's guidance and direction to evaluate her medical situation, and he questions whether Mrs. Arnold has any legal standing to participate further in this case.

A status conference was scheduled for this month in Nashville, but incredibly, Bill White still claimed he needed more time to review Mary's medical records.

Wouldn't you think that any conscientious conservator, who claims to be so close to his dear aunt Mary and is looking after her best interests, would have done that by now?

Mrs. Arnold says that White "didn't even know what kind of condition Mary was in when she signed [the second trust]," because, as she understands it, Bill White "had not seen her in years."

If it were determined that Mary was not mentally functional at the time she signed the second agreement, and/or was coerced into signing it, it could potentially throw into the question the sale of the estate to Ed Gregory. It is worth noting that Bill White, who also pastors a large Baptist church in the Dallas area, is pursuing his singing career by getting bookings through Mr. Gregory's carnival company.

By comparison, Lani Arnold filed a disclaimer with the court which notes that although the first trust agreement signed by Mary gave Lani the right to operate a gift shop and to receive generous compensation for her services, she has subsequently disclaimed and renounced the rights granted to her. In court papers, Mrs. Arnold says she has "not accepted, used or benefited from the rights granted to me in the [first] trust agreement..." In other words, she's not pursuing this case for the money. Just for justice to Mary and Jim's legacy.

Conservator White's preoccupation seems to be with the business side of the estate, rather than getting to the truth about whether or not Mary was mentally competent and/or subjected to coercion from Terry Davis or others when she allegedly signed a second set of papers revoking a trust she'd signed just a month earlier. A second trust, incidentally, which awarded her husband Terry Davis half of everything she owned, including rights to Jim's memorablia, recordings and future royalties. The estate of course was then sold to Ed Gregory of United Shows.

On another point, the Reeves family has been told that Mary does not have a will. Interestingly, a will supercedes a trust. But you don't have to file a will until the person is deceased. Normally it resides in your attorney's files. But Mary's lawyer at the time, Mr. Kilgore, says he never had a copy. Mr. Kilgore is part of a law firm that also represents Terry Davis.

Persons close to Mary insist she did, indeed, have a will, that specified among other things that the royalties and publishing rights stay in the Reeves family. Just as Jim had provided for this in his will as far back as 1958.

It is inconceivable that a sharp businesswoman like Mary Reeves would not have made exact provisions in a will for the disposition of everything that she and Jim had worked so many years to establish -- and instead would allow her fate to reside with her second husband, who abused her.

Given the fact that Lani Arnold was told Mary has no will, she was shocked to discover, when reviewing financial disclosure paperwork that the court ordered Bill White to file, that there is an item listed on 9/25/97 as follows: "Conference with administrative official -- conservator, general -- releasing codicil to conservator." She asks: How can they release a codicil to a will that White claims doesn't exist? This is one of the many questions that will be posed in future court proceedings. Another hearing is set for April 23rd in Nashville.

Incidentally, the financial disclosure paperwork also contains a long list of charges for an attorney to meet with both Bill White and Ed Gregory. Who has to pick up the tab for this? You guessed it: Mary.

MORE ABOUT WINIFRED BREAST

Since I wrote about Winifred Breast back around Christmas time (she's the high soprano that sang on some of Jim's biggest songs), a number of people have emailed me to ask for more information about her. Winifred used to supplement the four Anita Kerr singers and is featured on such Reeves standards as "Heartbreak In Silhouette" and "Golden Memories and Silver Tears" as well as the songs he did in the Afrikaans language. Winifred is a very special kind of singer, equally at home singing country and folk music, art songs, the great sacred oratorio literature and the classics. She has appeared as a soloist with the Nashville Symphony and even been featured on the old Arthur Godfrey radio and TV programs. And she has taught voice professionally, including at Vanderbilt. Winifred has two CDs available, including a lovely one featuring obscure but beautiful Christmas folk songs. I thought you might like to hear a selection from a CD of hers called "Simple Gifts." The song I'm presenting here is entitled "I Will Walk With My Love." If you listen closely to the lyrics, you can imagine her singing it about Jim. Click here to listen to it in streaming RealAudio. To hear an example of Winifred singing with Jim, listen to this beautiful rendition of "Tahiti." You hear her begin the song doing the high soprano part, and then she moves in to sing sort of a duet with Jim. After listening to her, I'm confident you will be realize again how Jim surrounded himself with such talented people, who helped him make his recordings so enduring. Winifred's smooth voice blends perfectly with Jim Reeves. Just email me if you'd like to find out how to order either of her CDs. I strongly recommend them both. Winifred will be delighted to hear from Jim's fans! She's a dear lady...

GARRISON KEILLOR USES REEVES SONG TO RIDICULE

Garrison Keillor, well-known Minnesota-based humorist and host of the weekly "Prairie Home Companion" program on National Public Radio featured a strange routine on his show this weekend that doesn't sit too well with Reeves fans. Keillor began singing Jim Reeves' signature song, "He'll Have to Go." In the midst of it, another recurring character on the show, a hermit named Larry, who supposedly lives in a basement, interrupted the song. He commented: "That's the nice thing about a radio. You can turn it off. All this waiting in the basement, the reception is so poor. All we get down here is the one station.The one with him on it..." Jim Reeves was not mentioned, but one wonders why Keillor chose Jim's beautiful song as the one to ridicule, by having one of the characters in the comedy sketch suggest that the music was so distasteful he had to turn it off? Keillor has featured the music of a wide array of people on his show, with guests including Chet Atkins and Emmylou Harris. We have been waiting for years for Garrison to mention Jim, but he still has not done so. Instead, he uses the one song that is ONLY associated with Reeves -- and then makes fun of it. This is truly sad...

MORE ON LEO AS OF 3/14/99

Leo had to return to the hospital this week for his third surgery, but is back home convalescing. Your cards are appeciated and can still be mailed in care of the hospital address shown below. He is only able to get around by using a walker and is still in much pain.

BIRTHDAY WISHES TO JIM'S SECRETARY

Happy Birthday greetings go to Joyce Jackson, Jim Reeves' longtime personal secretary, who worked for JR Enterprises for over 30 years! Today, Wednesday, is her birthday. She will be celebrating with a small party that is going to feature some of the who's who of Nashville. (I'll tell you more about it later in the week). Incidentally, a lot of you have sent in questions to Joyce and she is just finishing the answers, which I hope to post this weekend. As many of you know, it was my pleasure to host Joyce in our home a month or so ago when she visited Iowa, and she participated in a live, 2-hour chat -- the FIRST of its kind on the web -- with Jim's fans around the world. We may be doing that again sometime soon! It was really interesting and we heard from places like South Africa, Nova Scotia, Australia, Canada and of course the U.S.

THE LATEST ON LEO AS OF 3/10/99

Leo Jackson, Jim's lead guitarist who was injured recently at his home near Nashville, was released from the hospital on Friday and is now recuperating at home. Those of you who haven't gotten around to sending him a get well card can still do so in care of the hospital address listed below; the cards will be forwarded to his residence.

Leo's entire leg is in a cast so his mobility is very much restricted. His family, of course, is helping him and he's also had friends stop by. Top Norway singer Arne Benoni has been in town recording this past week, so he's been by to see his good pal Leo as well.

An important note: In light of the fact that some of the contents of this website are turning up elsewhere on the web, (including information copied from this page about Leo), here is a clarification of copyright restrictions (in addition to the formal notice which appears at the bottom of each page): Be aware: No text, photos, graphics or audio materials shall be directly or indirectly published, rewritten for posting on the web or redistributed in any medium without the express written permission in advance by the hostess of this website. -- Julie Campbell

WILL NEW COUNTRY MUSIC DOCUMENTARY MENTION JIM REEVES?

Bob Schieffer, Washington correspondent for the CBS television network, was in Nashville recently to narrate a documentary series on country music. The 13-week series, "Century of Country Music," will begin airing March 31 on The Nashville Network.

Would anyone like to bet money that Jim Reeves either gets completely overlooked, or will only get a brief mention? Invariably, the people who research these things are TV writers with no background in country music. So we end up seeing minor stars of the past get a disproportionate share of the attention, depending on the whims of the people who write these show scripts.

Schieffer said he found that "Working with these people was just a whole lot of fun. It was changing the subject after 13 months of covering the adventures of Monica Lewinsky -- a break in the action, a treat." Schieffer, who normally hosts "Face the Nation," interviewed Waylon Jennings and Willie Nelson for the special, and he says he is partial to their "outlaw music." Actor James Garner will also host Century of Country.

WOULD FANS LIKE TO HEAR UNRELEASED MATERIAL BY JIM?...

...That's the question posed by Tom Perryman, longtime friend of Jim and Mary Reeves, in a phone call to us today. When asked about the existence of unreleased material by Jim, Perryman (who works for the new owner of the Reeves estate) said there indeed was some. Then he asked if we thought fans would actually be interested in it, or whether it would have only limited appeal. Perhaps some of you would like to comment by sending a note to the Fan Forum. We understand Tom checks this site regularly so he'll no doubt be interested in your response. Given the fact that Reader's Digest magazine has just released ANOTHER compilation of Jim's material (including 13 live performances taken from the "Jim Reeves On Stage" and "Live at the Opry" albums, plus studio tracks), it should be pretty clear that there IS indeed interest in Jim around the world. (Previous Digest releases on Jim have gone platinum last year). People are even buying repackagings that offer no new material. Since this year is the 35th anniversary of Jim's death, it would be nice to see something "new" released on him.

MORE ON LEO AS OF 3/6/99

A lot of you have been wanting an update on the condition of Leo Jackson, who was injured recently in a mishap at his home. Leo had his second surgery on Thursday and is feeling better now that more repair has been done on his severely broken left ankle. He has been in a considerable amount of pain in recent days but as of Friday had talked with friends on the phone while sitting up in a chair. His entire leg is immobilized. He is anxious to get home and concentrate on his recovery. He appreciates all the cards and letters he has been receiving. Keep sending them!

This update is posted Monday night, March 1st. Leo Jackson is scheduled to have more surgery on Tuesday, so we are all praying for him. He has already been receiving cards and letters from our website visitors, and I want to encourage everyone to send him a card at the address below. But PLEASE DON'T CALL him. The man is flat on his back in the hospital and a few overzealous fans have gotten the number and phoned him in the last few days. Even though they of course meant well, it imposes an extra burden on Leo at a time when he needs to be getting his rest and concentrating on recovery. Hope you will just send a "get well" card instead. I'll keep you updated on his convalescence.

LEO JACKSON INJURED IN FALL AT HOME

We have just learned that longtime Blue Boys lead guitarist and right-hand man Leo Jackson was injured Thursday afternoon, Feb. 25th, in a fall from a ladder at his home just outside of Nashville. Leo was trimming a tree with a chain saw when a limb fell, knocking the ladder out from under him. He broke his left ankle so severely it required emergency surgery last night, and he is in a great deal of pain. Doctors are concerned about the possibility of infection, and his entire leg is in a splint. We would like to encourage every Jim Reeves fan out there to send Leo a "Get Well" card right away so he knows we're thinking of him. Leo, as you may know, has been a true "keeper of the flame," and a man whom Jim regarded as "the son he never had." He is still a top Nashville recording session musician. Last year, Leo underwent heart bypass surgery and with the severe leg injury he faces a long period of recuperation.

Send your get well wishes to Leo at:

Leo Jackson
c/o Columbia Nashville Memorial Hospital
612 West Due West Avenue / Room #429
Madison, Tennessee 37115

CLARIFICATION ON SESSION FILES

A few emails have been received from people wondering about the recent posting in this space with regard to the Jim Reeves discography compiled by three well-known Reeves fans. I had pointed out some errors based not only on what Joyce Jackson, Jim's secretary, had noticed in reviewing this material, but also based on other information which has recently come to my attention. My point here was not to denigrate the extensive research that Kurt Rokita, Arie den Dulk and Richard Weize have done in compiling information on Jim's recording sessions. These individuals should be applauded for their efforts. However, the fact remains that their list is simply not complete. I have a studio recording of Jim's, for instance, that does not appear on the list -- and others are known to exist. Session sheets have also turned up seeming to indicate that Jim recorded additional songs which likewise are not included in the published discography. Some of the musicians who worked on Jim's sessions also have indicated they've found errors.

None of this, however, is to suggest throwing out the baby with the bath water. The published discography in the Bear book, for instance, DOES provide valuable insight into a lot of Jim's studio work. However, it is the opinion of this web hostess that the authors should have included a disclaimer advising fans that the discography was not necessarily complete, and could contain flaws. I'm sure we would all have understood if they'd merely said "this is the best available information we could obtain at this time" -- and thus held open the door for new information which would inevitably arise in the future. This they chose not to do. Instead, many fans have accepted this published information as gospel.

The whole purpose of this website is to facilitate an exchange of information about Jim. We all need to keep an open mind and learn from each other. -- Julie

CONFLICT OF INTEREST?

It has been pointed out by a visitor to this website that Alanna Nash, the woman who "reviewed" Michael Streissguth's book (see below) for Country Weekly magazine, is listed in his author's credits as being one of the people who helped him with his book. Gee, that sounds like a conflict of interest, doesn't it? Ms. Nash helps him and then writes a favorable review? Wonder why she didn't disclose to her readers her personal involvement with a book she wrote a supposedly objective review about? Someone should at least make sure the editors of Country Weekly are aware of this obvious conflict of interest.

"KIMBERLY JIM" SOUNDTRACK TO BE REISSUED ON CD; YOU'RE INVITED TO HELP!

The Chicago-based SOUNDIES label is inviting visitors to "The Jim Reeves Way" website to participate in a unique project. The soundtrack for the movie "Kimberly Jim," which Jim Reeves filmed in South Africa in 1963, is finally going to be remastered and then re-issued on CD. The company is asking all you visitors to this website exclusively to contribute your ideas and comments, for inclusion in the liner notes. To read the full details, click here.

THE BLIND LEADING THE BLIND

Nashville-based book publisher Rutledge Hill seems to have gotten its "sea legs" of late, finally succeeding in drumming up some publicity for Michael Steissguth's problem-plagued Jim Reeves biography which was published last Summer. This time it's Country Weekly magazine which carries a review by Alanna Nash in its February 2, 1999 issue. It doesn't take Ms. Nash long to make a mistake, as when she says in the first paragraph that Jim died at the controls of a "two-seater plane." (Of course, it was a FOUR passenger Beachcraft Debonair). She does say some nice things about Jim, calling him "one of Nashville's finest singers," whom she credits with ushering in the "pop-orchestrated Nashville Sound." But Alanna buys into the idiocity of Streissguth's assertions about Jim's early life by telling her readers that Reeves had an "indulgent Texas childhood". Ya, right. Picking cotton sure made Jim and his sharecropper family rich, didn't it? The truth is, Jim scraped for everything he got. Nash further says Streissguth's "most compelling chapter" concerns the plane crash. But the chapter dealing with the crash is woefully incomplete and -- like the rest of the book -- misleading in its ill-founded conclusions. Ms. Nash reports that Streissguth "does an admirable job in ferreting out witnesses". Does that include Mrs. Herb Schucher, who has been DEAD for years? We suppose that, seeing Streissguth's lengthy list of supposed "author interviews," the reviewer assumed he'd actually talked to all these people. But the reality is that a long string of people have DENIED talking to Streissguth or even knowing who he was or that he published a book on Jim Reeves. Even when the Reeves family contacted Rutledge Hill publisher Larry Stone by phone, to tell him they did NOT talk with his author, and had NOT cooperated in the preparation of the book (contrary to Frank Anderson's assertions on the internet), Stone stood by Streissguth. Which shows you the sort of integrity this publisher has. Rutledge knew even before the book was distributed that there were serious problems with it. But they went ahead anyway, and continue to market it as a "definitive" account of Jim Reeves' life, even though they know it is not. In conclusion, Alanna Nash does note that "the reader may yearn for more on Reeves as a songwriter, or the details of the singer's after-death duets with Patsy Cline and Deborah Allen." Or how about his groundbreaking performance at Carnegie Hall? Or scores of other facets of Jim's life which are completely missing from the book. But Nash's last line is a good one: "Maybe 'Gentleman Jim' keeps some secrets from us still..."

PLANS TO BRING BACK THE "LOUISIANA HAYRIDE"

Plans are afoot to bring back the "Louisiana Hayride," the Shreveport-based radio show that gave Jim Reeves and so many others their start. The Associated Press did a story on the couple who own the rights to the "Hayride" name, and who are planning to hold a 50th anniversary concert on April 3, 1999 in the restored Municipal Auditorium. Read the full story here.

REEVES CONFUSED WITH JOHNNY CASH?

As most Jim Reeves fans know, he was born in Texas. The well-regarded magazine of his home state, Texas Monthly, featured an article on the history of country music in a recent issue. Jim is included, and this can be seen online here. For some reason, the earliest photos of Jim seem to be the ones most readily available -- or at least those are the ones everybody seems to prefer as opposed to the way he REALLY looked (see above). And of course Texas Monthly likewise ran an early, less attractive picture of Jim. Anyway, in their narrative about Reeves, writer Chester Rosson duly notes that Jim introduced several innovations to his recordings, including such pop instruments as oboe and French horn. But then he goes on to add that "Gentleman Jim wore a black suit and tie." Hmmm.That's a strangely emphatic statement -- and a rather misleading one at that. Is he confusing Jim with "the man in black", Johnny Cash? Yes, Jim occasionally wore a black tuxedo. But he more often wore a red one with black lapel. He also had dinner jackets in white and, of course, blue. Seems kinda strange that this writer thought he wore black!

COUNTRY MUSIC MAGAZINE HAS 3-PAGE ARTICLE ON JIM, INCLUDING ON A COVER

Jim Reeves so seldom gets the publicity he deserves, and then when he does the stories are invariably flawed with inaccuracies and distortions. The same man, Rich Kienzle, who wrote the complimentary review of Michael Streissguth's Reeves bio for Country Music magazine last issue (see below) has himself produced a three-page article which appears in the Jan./Feb. 1999 issue of the magazine. This time the result is a mixed blessing. A full-page cover picture of Jim appears on the front of "The Journal," an insert within Country Music. They predictably used one of the early, less flattering photos of Jim (why not one of the later, better ones?), but at least the story labels him "Crossover Pioneer." Which is nice to see for a change.

The subhead reads "Hard country at the start, he became the first superstar of the smooth, late '50s Nashville Sound movement that saved the industry. Behind that gentle voice lurked a complex personality." Fair enough.

Kienzle begins with a quote from Ezra Pound that "I have never known anyone worth a damn who wasn't irascible," so we suppose that's Kienzle's way of mitigating the affect of the criticisms he expresses of Jim in the article. He does a fairly good job outlining the high points of Jim's life from childhood, and for the most part is amazingly accurate down to details. He writes "'Gentleman Jim' remains at the heart of Reeves' image 34 years after his death. A soft-spoken Texas honky-tonk singer who altered his vocal style and came to exemplify the smoother Nashville sound, his benign visage beams from old LP covers, radiating modesty and humility. All that masked a complex personality. Nothing could stand in the way of Jim Reeves. If he wanted something, he got it. If something upset him, everyone heard of it, and not even stardom could temper his fierce temper and acid tongue."

Here we go again. Seems to us Rich has been reading too much of Streissguth's revisionist view of history. One of the reasons Jim had high blood pressure and an ulcer is because he BOTTLED THINGS UP instead of blowing off steam, or making sure "everyone heard of it" like Kienzle claims. Can you imagine the stress of projecting a gentlemanly image, given the hardships of life on the road? Larry Jordan, who is working on a major new biography of Jim to be published later this Spring, says that of the scores of close Reeves associates he's interviewed, they all say one thing above all else: That the nickname "Gentleman Jim" truly fit him. One would expect that people who knew the truth about Reeves, those who dealt with him in his office or on a very personal level, would be the ones to reveal any inconsistencies between the public and private man. Yet Jordan reports that they are the very ones who steadfastly defend Jim against charges from outsiders like Kienzle of supposed bad manners. In fact, Jordan relates that songwriter Hank Cochran, who penned such greats as "Make the World Go Away" and "I Fall to Pieces," let loose a stream of profanity to describe those who would characterize Jim as being a self-indulgent adult of bad temper. He was furious to hear of these charges, and recalled incidents in which Jim was even polite to drunks who would accost him. Cochran tells in Jordan's book of one episode in which he and Jim stopped by a little bar for a drink, only to have someone thrust a guitar in Jim's face and fairly demand that he sing. Instead of getting upset, Cochran said Reeves calmly sat down at a table in this little honky-tonk and "sang songs that no one ever heard Jim Reeves sing before...all for five or six drunks sitting around this dive." Does that sound like a man who didn't have control of his temper?

Kienzle perceptively gives Jim credit for experimenting with the smoother ballad style first with "Am I Losing You" -- even before "Four Walls" was recorded. Unlike Streissguth, he correctly credits Jim with possessing "a solid command of how to use a mike," but then contradictorily credits producer Chet Atkins with "having him sing virtually on top of it", even though Chet himself says it was ALL Jim's idea to get close to the microphone.

He refers to Jim's "dark-hued, understated vocal elegance," then goes on to talk about Reeves' first tour of South Africa. Strangely, he seems to be giving Chet Atkins and Floyd Cramer co-credit for the success of the tour, saying they'd first recorded an album in Nashville that "included four songs in Afrikaans." Well, since Atkins and Cramer were musicians and didn't sing a note, who did Kienzle think SANG those four songs and thus paved the way for a successful tour of that continent?

Kienzle faults Jim for deciding to learn to fly, saying he was "easily rattled." But how does he know? Did he ever meet him? Has he spoken with the people closest to Jim who unfailingly say that it took a lot to get Jim upset and that he was always so easygoing? The Jordan book will relate many episodes from a "Who's Who" in country music who recite example after example of how calmly Reeves conducted himself, even mediating disputes. Says one person quoted, "Jim could have had a brilliant career as a diplomat. And I mean that seriously." It is therefore infuriating to see the Kienzle/Streissguth revisionism take over, attempting to destroy Jim's well-earned reputation as a gentleman.

Rich Kienzle writes of the 1964 European stint that "another strenuous tour was sure to unleash the Bad Humor man and it happened again at a U.S. military enlisted men's club in Germany. Confronted by boisterous, drunken GI's who refused to listen, he stormed off, leaving angry fans." Here's another case of myth being accepted as history. Leo Jackson, who was onstage at the time, said it was CHET ATKINS who called the soldiers a bunch of "animals" and Jim never uttered a word in anger, though he'd patiently tried to get them to settle down. ALL the performers walked off the stage because it was impossible to perform. So why should Jim be singled out? Kienzel says "similar incidents happened at other clubs, offending his military audiences. Reeves couldn't have cared less." What other incidents? The reviews in the papers at the time were all glowing! Jim DID care what military audiences thought of him, as evidenced by the fact that he did many FREE shows for armed services personnel stationed around the world, as well as numerous transcription shows for them.

If you overlook these flaws, the article in the latest issue of Country Music is overall quite a flattering one, because it also provides fans with a lot of very useful information and even some seldom-seen pictures (including one of Mary in her office, surrounded by memorabilia). It's too bad that the writer apparently felt he needed to throw some mud at Jim's image in order to seem credible. Shame on you, Rich.

SURPRISE, SURPRISE. REEVES OVERLOOKED AGAIN BY NASHVILLE MEDIA

The esteemed Nashville Tennessean newspaper carried a major article in its Sunday, January 3, 1999 edition headlined "Music Gave Nashville Identity." Written by Jay Orr and Tom Roland, the story is a fascinating examination of how "Music City" has relied on country music to define itself. The writers give a fairly comprehensive recitation of people and events who all played a part since the turn of the century in shaping the $2 billion a year country music industry. But when the narrative gets to the part when a mention of Jim Reeves would be appropriate -- he once again is overlooked. While the newspaper finds the space to refer to obscure artists like Gene Vincent and The Binkley Brothers (WHO????), they fail to take note of the major role Reeves played almost single-handedly in broadening the appeal of country music on both a national and international basis, thus helping Nashville gain attention as a newly-minted music center.

The writers are simplistic and elliptical when they say that industry execs formed the Country Music Association in 1958 to spread the popularity of the idiom, and did research to help broadcast programmers -- as if all it took was promotion. Without artists like Reeves (and a few select others) to create the product, the CMA wouldn't have had anything to promote! Then the Tennessean obliquely refers to concerts in New York that "demonstrated country music's appeal." Well, who HEADLINED the biggest breakthrough concert? Jim Reeves.

Even the plaque honoring Reeves in the Country Music Hall of Fame says that "his rich voice brought millions of new fans to country music from every corner of the world." Jim was the ONLY country star booked on a USO tour of Europe in 1954, and when he achieved later stardom overseas he was at times the ONLY American artist on the charts in Great Britain, for instance. Elvis wasn't. Jim Reeves was. And how many singers from Nashville achieved the sort of hero worship that Reeves attained in South Africa or (then) Ceylon? All of which helped focus the world's attention on Music City as an emerging entertainment mecca.

The story is good as far as it goes. But somehow Jim just keeps falling through the cracks.

COUNTRY MUSIC MAGAZINE REVIEWER ENDORSES STREISSGUTH'S TRAVESTY

The latest issue of Country Music magazine (Nov.-Dec.) has a review of Michael Streissguth's farcial book on Jim Reeves ("From A Moth To a Flame"). Reviewer Rich Kienzle says Streissguth's "research is solid," and that "the book's only dubious moment" is when the author says something nice about Jim at the end! He credits Streissguth with "fairly examining" Jim's life but complains that he shouldn't have tried to mollify fans upset by this "worthy book by apologizing for its honesty."

What a bunch of bull....

Obviously, a review like this from a writer who doesn't know what he's talking about, only helps Streissguth perpetuate the fraud. And his book IS fraudulent. He falsely claims to have interviewed a long list of people who, in fact, deny ever having talked to him (such as members of the Reeves family). He ignores key, on-the-record accounts of Jim's closest associates, and relies instead on a handful of people of dubious integrity and motivation, who were only on the periphery of Jim's life. His book is marrred by major inaccuracies, absurd distortions and glaring omissions. He ventures into the dangerous realm of psychological speculation, despite his lack of credentials to do so. He doesn't even tell people that Jim performed at Carnegie Hall -- a career highlight. Instead, he describes Reeves as rude to fans, "demonic" at times, who was violently-tempered toward his wife -- whom Jim allegedly had literally "cowering" in corners. (This is hotly denied by those who knew both Jim and Mary).

And magazine reviewer Kienzle bought all this and thought Michael Streissguth didn't go far enough!

In the book, Alex Zanetis is repeatedly quoted as a so-called expert on Jim's life. Yet the truth is, he was NOT an intimate acquaintance of Jim's. In fact, Jim had a falling out with Zanetis over a business dispute (though this is not mentioned in the book). Zanetis makes a long list of silly comments which Streissguth never attempted to corroborate, and merely reports as fact. One such example concerns an incident in which Zanetis claims to have been so determined to pitch a song to Jim that he literally broke down the door to Jim's hotel room, only to find a frightened Jim shivering under the covers begging Zanetis not to hurt him. But this does not ring true because Jim was of an athletic build and strong temperament, who proved on more than one occasion that he could take care of himself (as when he punched out some guys who attacked him after a show -- knocking one of them unconscious). As Leo Jackson remarked, "If Alex really broke into Jim's hotel room, he'd be dead. Jim would have killed him. And that's a fact."

As for Jim's gentlemanly persona, Rich Kienzle confidently asserts, "No man could be that saintly..." He claims Jim's reputation was just a "facade" that Streissguth's "research and interviews with various Reeves associates peel away." Yet there are scores of contemporaneous accounts from people who knew Jim (fellow musicians and fans alike), who all attest to his extraordinary patience, well-mannered countenance, and reputation for high principles.

Like Streissguth, Rich Kienzle claims Jim's personality traits "proved fatal," as when he supposedly barnstormed into a thunderstorm and crashed his small plane. Never mind that the transcript of the conversation between the Nashville control tower and Reeves refutes this false assertion. Writers like Kienzle and Streissguth don't take the time to acquaint themselves with the facts when there's money to be made perpetuating untruths.

One lingering question remains: Since the Streissguth portrait of Jim starkly contradicts the image of Reeves that Country Music magazine itself has presented its readers over the years, which are we to believe? Was the magazine lying? Or is Streissguth?

Fans upset by this nonsensical review, who wish to write the magazine, should address County Music Magazine, One Turkey Hill Road South, Westport, CT. 06880. Mark envelope: "Attention, Letters." Sign your full name.

LORRIE MORGAN CALLS JIM REEVES ONE OF "THE GREATS"

In a new Associated Press story by Jim Patterson, singer Lorrie Morgan expounds on a variety of topics -- including the current state of country music. She recently recorded an album of pop standards entitled "Secret Love." She did so knowing that country radio probably wouldn't play much of it. Patterson quotes Lorrie as saying "I'd love for country music to embrace this album and say, 'This is one of our artists taking a walk barefoot through the park for a few months,''' Morgan says. "Half the songs I hear on country radio are not country music, so why not play a couple of these cuts?'' Lorrie learned to love all types of music due to the influence of her father, famed Opry star George Morgan, who died in 1975. Turning philosophical about music, Lorrie reflected, "When you think about the greats, like Jim Reeves and Eddy Arnold and George Morgan, there really isn't that much of a difference between their singing and Andy Williams and Perry Como,'' Morgan said. "It's just the instrumentation that was a lot different.'' So true. She goes on to say "Great music never dies, it never gets old. It's never outdated." Again, a profound statement -- and one that so clearly applies to Jim Reeves. It's nice to have someone speak of Jim -- even listing him first among artists whom Lorrie Morgan feels were "greats", since Reeves is so often overlooked these days. Thanks, Lorrie!

JIM'S FAVORITE HIGH SOPRANO HAS BEAUTIFUL CDs AVAILABLE

The name "Winifred Breast" probably doesn't ring a bell with most Jim Reeves fans. However, you have heard her lovely voice without realizing it. She's the high soprano that augmented the Anita Kerr singers on Jim's Christmas album, plus hits like "Golden Memories and Silver Tears" and many more. A good way to hear her is to listen to the intro when the chorus sings "It's the memory of an old Christmas card". You can pick her out very readily on that one. Winnie, as her friends call her, has a couple of solo CDs available, which she kindly sent us this week. In a word, they are wonderful. They were recorded at RCA and one of the engineers was Chuck Seitz, who also worked on some of Jim's sessions. One CD is called "A Christmas Delight" -- and indeed it is a delight. It features little-known folk carols from around the world. Included are "The Virgin Mary Had a Baby Boy" (an exciting West Indian spiritual with an unusual rhythmic and melodic twist drawn from the Spanish and Portuguese heritage which underlies the West Indian music tradition). There's a Polish lullabye called "Infant Holy, Infant Lowly," a gentle Polish lullabye from the 16th century; French carol in a bright mood called "Ye Shepherds Lave Your Flock;" "I Wonder As I wander" (which many people don't now is a traditional Appalachian Mountains carol), and more. On "Silent Night" Winnie sings with only a guitar accompaniement -- just like like when the song was first performed by Joseph Mohr and Franz Gruber in Oberndorf, near Salzburg, Austria, in 1818. Our favorite is "Carol of the Bagpipers", which sounds completely different than what the title suggests. Winifred soars with her beautiful bell-clear voice. She can touch your heart through her music, and it just goes to show you the magnificently talented people that used to accompany Jim into the studio. We'll tell you more about her second CD after the holidays. The Christmas CD would make a terrific gift for a loved one or for yourself. If you're interested in acquiring one, send us an email and we can put you in touch with Winnifred directly! Click HERE.

The new 4-CD Bear Family set, "Jim Reeves and Friends: Radio Days" has been released, containing 117 songs. The compilation consists of all known shows from the "Country Music Time" series Jim did for the Air Force. (He also recorded many other transcription shows for other branches of the armed services, and Bear plans to release those as well in subsequent volumes).

Overlooking for the moment that Bear inexplicably chose one of the worst (and earliest) photos of Jim they could ever have come up with to put on the cover (he looks like he's wearing a beaver on his head), the major surprise here is that the sound quality at least is so good. Bear has done a wonderful job of remastering the old tapes. (They were unable to locate any of the original transcription disks so had to rely on taped copies). It's a testament to the advances in digital engineering that they were able to eliminate tape hiss, clicks and pops, and bring out details in the original recordings, so much so that the result is nothing short of exciting. You can even hear the brush on the drums, the click of fingers on guitar strings, the breaths Jim takes between phrases. His voice is full, rich and strong. Those of us who have heard the original tapes, and compared them with the CD result, would almost think Bear had augmented the arrangements with additional instruments, but they did not. That's how full the sound is. You hear the nuances in the music more clearly than ever before.

Of course, the charm of this boxed set is that Jim talks between numbers, commenting on the songs he performs in a sort of stream-of-consciousness fashion. One gains a new appreciation for his talent. There is a strong resemblance between his radio persona and that of another world-famous crooner who did a lot of broadcast work -- Bing Crosby.

The CMT shows are intact, except that commercials for the Air Force have been excised. You also get to hear guest stars like Jean Shepard, Chet Atkins, Archie Campbell, Stringbean, Del Wood, the Anita Kerr singers and more!

A bonus is that Bear has included a 24-page oversize book. Larry Jordan (who is writing a major biography on Jim for release in Spring 1999) wrote over 7,000 words for the booklet. It touches many bases regarding Jim and the transcription shows, and also subtly sets the record straight with regard to some of the fallacious allegations contained in the Streissguth book. The booklet contains some NEW pictures of Jim never seen before. Some of these are of Jim sitting at a piano in the studio and looking very contemplative. Even the cover of the booklet (shown at right) is a shot that fans have not seen before. And there are pics of the guest stars as well.

While the booklet is scant on details as to the actual dates these shows were recorded (because no one knows for sure), most Jim Reeves fans aren't going to be concerned about such minutae. They're only interested in hearing "new" performances by Jim. And this set will more than satisfy that desire.

The cost of the 4-CD boxed set is $89. To order call Margaret, 615-833-6525.

(To hear a 60-second sample in RealAudio click icon).

JIM SHORT-CHANGED AGAIN

The magazine "Country Weekly" recently did a cover story on "Legendary" country music stars. While they devoted an entire page each to a number of stars like Hank Williams and Patsy Cline, Jim did NOT get a page to himself. Surprise, surprise. He barely got a passing mention, and the writers made no reference to the major contribution he made to the popularization of country music on a global basis. But of course stars like Lefty did so much more for country music than Jim did, don't you know? Hmmm. Wonder how many of them toured Europe or South Africa, or had 34 charted songs AFTER their death? Wonder how many records they sold compared to Jim? Oh well. What does the truth matter to these young, know-nothing types who run Nashville these days? We remember a big show TNN did a couple of years ago with Larry Gatlin as host. It was devoted to country music stars who had died tragically. MOST of the show was centered around Johnny Horton. Not to take anything away from Johnny, who was a great star -- but his success didn't even begin to compare with Jim's. Yet from the way the producers of the show presented it, you would have thought Johnny was a gigantic success and Jim was only a footnote. Indeed, Jim was only mentioned at the end with a photo on screen that lasted about two seconds.

One holiday tradition that a lot of families observe is to get out their copy of Jim's "Twelve Songs of Christmas." This wonderful collection never seems to grow old. In fact, now is one of the few times during the year when Jim's music turns up on radio stations that typically only program pop. Jim recorded 11 of these songs in two sessions -- Oct. 19 and 24, 1962. Leo Jackson played guitar, as did Velma Smith. Bill Ackerman was on drums, Floyd Cramer piano, Bill Pursell vibes/chimes and Billy Burks on accordion. There was also a string section of six players, including Jim's favorite, Cecil Brower. On both sessions, Jim used the Anita Kerr singers, supplemented by high soprano Winifred Breast. Interestingly, "Silver Bells" wasn't completed until July 5,1963, when the studio was all decked out in Christmas decorations, thanks to Elvis Presley, who had been recording a holiday album in the midst of Summer. We understand the CD version of this release has gone out of print, but a few copies can be found here and there. If you run across one, you may want to grab it.

Here's a question for you: Which has a longer half-life: spent nuclear fuel, or the Gannaway films of 1950s Opry stars? The answer is a toss-up, judging by the fact that once again -- for the umpteenth time -- Gannaway shows are running on TNN. Over the years the producers have done just about everything that could conceivably be done with these segments to milk the last nickel out of them-- including repackagings, editing in new camera shots from re-created performances, and even overdubbing more instruments to create a fuller sound. What is little known is that the stars who performed on those shows -- originally filmed at Owen Bradley's studio by the Gannaway folks -- had some financial complaints that were ultimately litigated in court. Ernest Tubb was so angry about the situation that he refused to allow anyone to mention the name Gannoway in his presence. Still, from a historical perspective, the shows are a priceless bit of history -- filmed in 35 millimeter color and achieving a quality that was rare for its time.

Jim Reeves was actually born on a farm in Panola County, Texas near DeBerry, but Carthage claims him as their own. In August, around the time of what would have been Jim's 75th birthday, he was inducted into the Texas Country Music Hall of Fame located there. He shares that honor with Gene Autry, and also Tex Ritter -- another native of Panola County. Joe Allison (co-writer of "He'll Have to Go") and songwriter Cindy Walker (who was Jim's favorite composer) were likewise honored, as was Willie Nelson. Fans have been wondering what, exactly, the museum has of Jim's on display. One visitor reports that about the only thing of significance is a suit of clothes that was donated by Tom and Billie Perryman, longtime friends of the singer. Otherwise, the museum is notably lacking in Reeves collectibles, despite the fact that Ed Gregory of United Shows, new owner of Jim's estate, was the toast of the town at the event. Fans of Jim's should write the Carthage Chamber to urge them to include more artifacts of Jim's in their exhibit.

One of Jim's nephews -- the REAL one, that is (not the guy who used to be related by marriage 29 years ago and still bills himself as a relative) -- has a CD available that may interest country fans. John Rex Reeves will be the first to admit that there will NEVER be another singer like his uncle Jim. So he doesn't try to imitate him. But John Rex has produced a very listenable album of standards and original tunes, entitled "After All These Years." John Rex has an active fan club in England and recently toured England and Scotland where he performed to sell-out audiences. He has appeared on several television shows and is busy making personal appearances year-round. If you'd like more information, contact him by writing House of Rex, P.O. Box 2093, Humble, Texas, 77338.