Jimmy Davis

Among the ads that are “trending” on Facebook lately, on my account at least, is one that is shilling a little pendant with the inscription “You are my sunshine, my only sunshine” with a suggestion that this would be a good gift for one’s grandchildren. I don’t believe I’ll try it on my grandchildren, but the ad reminded me that we used to sing that song when I was in elementary school, and I used to wonder why.

I was puzzled about that because the song is about an adult theme and is rather morbid.

The chorus is a set-up; the first three lines sound cheerful enough, but the last line implies that something is going on that we are not aware of:

You are my sunshine, my only sunshine. / You make me happy when skies are grey. / You’ll never know, dear, how much I love you.

So far, so good, but then the hammer drops:

Please don’t take my sunshine away.

“Whoa,” I used to think when we sang that song. “Where did that come from? What did the songwriter know that we don’t know?”

The combination of the plaintive melody and the sudden implication that catastrophe looms ahead seemed out of place in my Howdy Doody, Lincoln Logs world.

The verses were even more disturbing.

In the first one, we found ourselves singing in our flutey little voices about someone fantasizing about sleeping with a lover.

The other night, dear, as I lay sleeping / I dreamt I held you in my arms.

But any stimulation our young psyches derived from this image was quickly dispelled:

When I awoke, dear, I was mistaken / so I hung my head and cried.

Clearly, we were not dealing with “April Showers” or “Yankee Doodle.” We knew that before we got to the second verse, it’s dark threat:

I will always love you and make you happy / if you will only say the same. / But if you leave me to love another / you will regret it all one day.

It sounds like the last scene of I Pagliacci. The only thing missing is the knife.

The denouement comes in the third verse, and it isn’t pretty:

You told me once dear, you really loved me / and no one else dear, could come between. / But now you’ve left me and love another. / You have shattered all my dreams.

Jimmie_Davis (2)


“You Are My Sunshine” was recorded on February 5, 1940 by Jimmy Davis and Charles Mitchell. It is, in fact, the most recent state song of Louisiana, so designated in 1977 by a legislature that apparently hadn’t read the lyrics. I say “the most recent state song” because Louisiana adopted two “official state songs” before this one, and it has at least three other “official songs” for specific purposes. The action in 1977 was based largely on the fact that Jimmy Davis had served as governor of Louisiana from 1960 to 1964.

But before the Davis-Mitchell recording, two other versions of the song were cut in 1939—one by the Pine Ridge Boys (Marvin Taylor and Doug Spivey) on August 22 and one by The Rice Brothers Gang on September 13.

When Davis ran for governor in 1944, he often appeared during his campaign riding on a horse named Sunshine and singing this song.

Although Davis or Davis and Mitchell together are usually given credit for writing the song, it appears that Davis actually bought the rights to it from Paul Rice (of the Rice Brothers). Davis took credit for the tune, but never claimed to have written it.

Although it was an odd choice for us kids, “You Are My Sunshine” played an important in the evolution of American popular music. The Jimmy Davis version was popular enough that it made the country sound attractive to people who normally would have ignored it. In 1940, the song was covered four times, including by cowboy singer Gene Autry, but also by Bing Crosby and Lawrence Welk, so that the crossover occurred almost immediately. Among those who have covered it since then are Nat “King ” Cole, Johnny Cash and June Carter, Ray Charles, Ike and Tina Turner, Aretha Franklin, and Mtume.







I’ll wager that not many folks remember this lyric, but I’ll also wager that my son and daughters do:

Maggie dear won’t go out alone
Seems that she must have a chaperone
When we go out, no matter where we’re bound
There’s always someone around

She brings her father, her mother,
her sister and her brother
Oh, I never see Maggie alone
She brings her uncles, her cousins,
she’s got ’em by the dozens
I never see Maggie alone . . . .

That tune, with words by Harry Tilsley, was one of the songs I used to sing with or to my kids during our many car trips.

Slim Whitman 3I learned that song from an album by Slim Whitman, who died today at the age of 90. I still have that album and others by Whitman among the hundreds of vinyl LPs we retain and occasionally play. I obtained those Whitman albums in the 1950s, when I was caught up with what then constituted country-and-western music. The collection also includes Webb Pierce, Kitty Wells, Faron Young, Ferlin Husky, Little Jimmy Dickens, Hank Snow, Bob Gibson, Hank Williams, Elton Britt, Wilf Carter (Luke the Drifter), and Tex Ritter.

 I was listening to doo-wop at the same time, and I already was immersed in opera and other classical music, but that brand of country appealed to me. My friend Michael P. Moran and I even had a country music show for a few years on the radio station at Seton Hall University.

Whitman had a significant following that was partly due to his romantic style. While many country singers liked to dwell on the futility of life (“There Stands the Glass”), Whitman favored love songs and romanticism in general. His voice was also more likely to appeal to an audience beyond the usual country crowd; he was a genuine crooner. And he was a wonderful yodeler — he and Elton Britt were my favorites in that regard.

I lost interest in country music as it became more and more the highly-produced form that defines it now. But I still go back to the vinyl from time to time to hear it done right. Speaking of that, listen to Slim Whitman at THIS LINK.




The Daily Star in Beirut published this story today about Kareem Salama, whom the writer describes as America’s first Muslim country-and-western singer-songwriter. It’s funny: Just yesterday a family member was telling me of his disagreement with his sons – they’re 17 and 18 – over whether there is any difference between “country music” and “country and western music.” The boys’ opinion is that “western” is not part of the genre. The dad cites Tex Ritter and Gene Autry, among others, as evidence of the contrary. My own opinion is that the genre can no longer be defined – if it ever could be. It has evolved from the front porch to the honky tonk to the high-tech audio/video recording studio, and there are more and more people  in the industry who have less and less of the kind of life experience that generated the form in the first place. That’s to be expected. And now we have Salama, who may be the first but probably won’t be the last Muslim to put on the broad-brimmed hat. As the story indicates, although he was born and reared in Oklahoma and now lives in Texas, he brings to his music a perspective and a range of interests that never would have occurred to those who dreamed of an “Old Rugged Cross” or warned that “There’s No Excuse if You Don’t Know the Savior.”

It’s a brave new world.


By Amany Al-Sayyed
Special to The Daily Star

BEIRUT: If you’re tired of arguing with your pals about whether culture-clash between down-home America and the Muslim Middle East is inevitable, you need look no further than Kareem Salama. The 31-year-old Salama is known as America’s first Muslim country-and-western singer-songwriter. Born in Ponca City, Oklahoma to Egyptian immigrant parents, he goes horseback riding and enjoys his mother’s southern cooking. He’s performed in Italy and Germany, typically with a guitar accompanist and black cowboy boots. He even sings in a southern twang.

Salama’s music reflects many influences – pop, rock and folk as well as country-and-western. Then there’s the inspiration he takes from the Koran. “I enjoy listening to the Koran recited with a beautiful voice,” he said in an email interview, “or listening to songs praise God or the Prophet Mohammad or praising something good in general.”

He says the work of 17th-century English poet John Donne’s has been “a favorite of mine when I was a teenager and it still is. In order to memorize them, and other western poems, I made them into songs with a melody. This is common in Arabic poetry because it is written and then sung using ‘maqamat.’ I memorized some Arabic poetry the same way.

“Sayidna Ali wrote a line of poetry that says, ‘If it were that wealth were brought by intellect then all the rich people would be wealthy.’ Wealth and fame, these things are difficult to explain.”

Salama describes his music is a hybrid of an American-Arab experience. His latest self-marketed debut albums include 2006’s “Generous Peace” and “This Life of Mine,” from 2007. During Israel’s summer 2006 bombing campaign against Lebanon, Salama released a special single dedicated to the crisis, “Prayers at Night.”

Salama’s parents moved to the US in the late 1960s, where they pursued a university education at various universities, including MIT. Salama himself holds a B.Sc. in chemical engineering and earned a law degree in 2007.

The singer-songwriter depicts a near-idyllic American childhood. “I spent it doing stuff outside like playing baseball with friends or sitting on the porch at night drinking Kool Aid,” he reminisced. “Maybe we’d even sneak out and throw toilet paper at the neighbor’s house.”

Though he hasn’t been in Egypt for some time, he said he finds American rural life not unlike what he found while visiting his parents’ home. “The country style here resembles the ‘Shaabiyyah’ element in Egypt,” he said. “I grew up in the country and my music has a more traditional style to it.”

The songwriting process he describes will be familiar to young pop musicians around the world. “Sometimes I have a thought or idea about a song,” he says. “I sit with my guitar. I start singing it with a melody or rhythm underneath it. Then a line or idea comes to me about something and it flows out of me in tandem always with the melody. Then I write a rhythm.”

Afterward, he sits with his producer, who works the melody and the chord progression around the song with a piano interlude here, or a riff there.

Salama says he writes his own lyrics, mostly about chivalry, love, home and family values. Yes, he knows Umm Khoultoum and likes her music. “I don’t demonize or idolize any particular time or era,” he says, “because there’s something good in all times. You get more modern progression sound in the remixes today, but there’s still enough of the old, because people still appreciate it.”

Though he doesn’t sing about Arabic cultural heritage, Salama believes he still weaves its spirit into his music. He says his lyrics are inspired by readings from Al-Ghazali, John Makdisi and “Maqamaat al-Hareeri” as much as good old Southern race/slavery narratives – “Uncle Tom’s Cabin” for instance. “There is an enjoyment of the old and the new,” he said. “That’s why I think country music is the most lucrative market in the USA.”

Salama continues to live in Texas where he pursues his musical career. He still prefers shawarma over falafel, loves to go horseback riding and believes line dance resembles Arabic dabkeh. A polymath, he’s finishing a book on political fiction.

Though he’s faced challenges as the son of immigrants, Salama depicts himself as an American nationalist. “As far as my relationship with my American-ness, yeah I love my home,” he said. “I’d still visit other places but I love this place. I had a good childhood and I’ve always been happy where I was born. I can relate to it. As for the racist element, I think of it like this: it’s like having a family with a history in abuse; at the end of the day they’re still your family.

“I don’t neglect the Egyptian part of me or that of my parents,” he continues. “But you get some people here who have a bad experience and they wake up one day and say; ‘I’m only Egyptian or I’m only Lebanese.’ That’s fine but in my opinion, I say I’m sorry you’re not just one thing.”


For more information on Salama’s performances and music, visit www.kareemsalama.com

Copyright (c) 2009 The Daily Star


Posting my blog at http://www.autoinventions.com has added plenty of hits, although I can’t understand the pattern at all. One movie review blog I wrote has been getting more hits than anything else, but I can’t see why.