All Night Long Blues



Burnett & Rutherford
“All Night Long Blues” (Columbia 15314-D, 1928)

Guitarist and banjoist Dick Burnett became a professional musician around the age of 25 after being blinded during a robbery by a gunshot wound. A few years later, he took teenage fiddler Leonard Rutherford under his wing and the two Kentuckians became one of the most prolific and highly regarded country acts of the 1920s.

“All Night Long Blues” is a particularly good showcase for Burnett’s fantastic vocal delivery and the duo’s expert musicianship. Burnett’s down-home voice takes a number of different shapes on the record, and all of them are interesting. He leads with a clear mountain cry, transitions to a low, earthy moan, and then to a heartfelt, tremor-filled plea. Every time he sings, “All night long,” he lays his soul bare, his voice dripping with raw feeling.

As powerful as Burnett’s singing is, though, it is not the only thing on display here. With Burnett keeping a simple, pleasant rhythm on guitar, Rutherford is simply masterful on the fiddle. He never overpowers the vocals, keeping them the main focal point of the song, but he fills the spaces around the vocals with a sweet, pure sound that makes the record all the more gripping. Rutherford’s playing is some of the smoothest country fiddling you’ll ever hear, and a good reason to seek out more of his recordings with Burnett.

W.L. Gregory: “The first time I saw Leonard Rutherford was in 1923. He was sure a better fiddler than I was – – I was young, and he had me worsted by 7-8 years. When I got in with him, got to playing, me with the fiddle and him with the bow, playing tunes together on the fiddle, that’s the way I began. I began to step it up, stepped it up in his style.

I learned most of my style from him. Then I met Dick [Burnett] and travelled with him for a while about 1929-1930, sometimes sort of replacing Leonard; Dick would play banjo, I played violin. We would go out 75-80 miles, be gone a week at at time. We’d set up shows, sell tickets back at the door in those days; didn’t hand out bills, just advertised maybe in stores and restaurants.

Once I remember we was playing in King Mountain and they called out from the audience and asked up to play LADIES ON THE STEAMBOAT and we did, and Dick got in a big way, and slapping the hide you know and playing his juice harp (NOTE: Dick Burnett did and uncanny imitation of a juice harp with his throat). And he knocked the thumb screw out of the neck and hit the string loose and it wound around the neck and Dick, he just kept going through it on four strings and finally wound it up and he laughed real big and said, ‘Folks, I knocked my thumb screw out but I finished for you on four strings’, and the house, well, it went wild.

Dick was a showman, a real comic in his younger days. He was a great entertainer. And he’d fiddle ever once in awhile. He could play good breakdowns, but was a little rough. BUCKIN MULE, stuff like that. TRAIN 45. When me and Leonard played with him, out somewhere, we would always give him the fiddle on those number cause he’d cut up with it, you know, but come to a slick one that had to be slicked up, he’d hand it back to us then. But he could always attract a crowd.”


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