Dex's midnight rumblers               

Music was left poorer by the 2024 loss of Dex Romweber.

The erstwhile Flat Duo Jets' frontman was a hulking and stentorian-voiced guitar-basher. He quivered and jittered in onstage paroxysms and, following the FDJ's term, issued numerous solo discs of rum aspect. Each slashed.

In 2025, he was posthumously inducted into the North Carolina Music Hall of Fame. 

And last June saw the second North Carolina DexFest, at which family members, friends, and fellow musicians gathered to share reminiscences and coalesce in fond memorial. Bands appearing included tribute vehicle The Flat Do-Over Jets and Lenny Kaye and Friends.

Over solo years, Dex worked with collaborators including "Crash" Larue and sister Sara. Consistent, though, was roots-genres genuiness -- even if it favored brashly strutting interpretations likely to slap every skull in the place.

Dex's writing was of monumental stature. Fans (who were legion) bore witness to the union of hound dog rhythms and high musical art, as six-string manhandlings made unlikely common cause with majestic passages and august symphonic movements. 

His was a class of one.

Dex's works were tunefully logical within helter-skelter contexts. Throughout floated ghosts lugubrious, stricken, and -- at moments -- jaunty and piano-rolling. It was as if each rising moon ushered an All Hallow's Eve you just couldn't dig enough.

Ethereal intonings, voodoo toms, kitchenware that rattle-clanked like skeletal percussion, and stark word murals clawed away a curtain behind which lurked strange terrains. All rampages were seized up from a familiar Rock'n'Roll cauldron, though accented in unique enunciation.

2023's Good Thing Going (Propeller Sound Recordings) proved to be Dex's final full-length wax. "Dex finds a balance between battered guitars, piano ballads, and reverb-drenched vibes while powered by the inspiration of classic Gospel and soulful R&B," reads Propeller's website description.

The wonderfully incendiary title number features quintessential Dex facets: Gruff vocals on first-name bases with every note on the musical rainbow; mad strumming straight out of a cloudburst; angelic choruses impeccable in grandeur; and determination so all-powerful one can see cords stand out from the author's strained neck.

Instrumental "Andrieux Boogie" does a fancy-footed ragtime promenade with jocular bell tinklings and piano skedaddling. Even those possessed of zero dancing skills will cut the closest rug to shreds.

Some tracks later, Mr. Romweber gave Mann/Weil's chestnut "Shape of Things to Come" crisp animation by asserting trademark boldness.

"Tell Laura I Love Her," a 1960 teen-heartbreak melodrama, was exhumed and revivified with the sincerity of its portrayals of loving-sacrifice and eternal devotion pledge.

The final of 12 cuts, "I Found My Love," unspooled in elegant simplicity. The understated echo on Dex's bottomless vocalizing emphasized the song's vitality. (He plainly knew the subject personally.) Guitar resolutely soldiered forward, its adamance proud.

Dex Romweber's was a funhouse zone in which curiosities, emotionalism, and demolition dive-bombing all held deeds. No one could have gotten out. But then, none of us desired to.

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Videos: "Juvenile Delinquent" (:38 1987)  "Brazil"    "Jungle Drums"   "Trouble of the World"   Live (2023 acoustic performance 8:49) "Good Thing Going"

Of brother Shine                                                               

Even in death, Tennessee's James Louis "Shine" Wilbourn maintains as rightful a grasp on American music as anyone found on this site. He was reportedly a staple at the West Tennessee Farmer's Market. He ran a shoeshine stand there, into his seventies, and entertained by unspooling familiar musics of the region in one-man guitar / harmonica renditions -- a feat not in common evidence today.

No record establishing his final year could be located when this piece was being prepared. But an account relates he was active as recently as October 2014; in fact, he was that year made the first recipient of the Jack and Jerry Smith Community Spirit Award, in Nashville.

A Jackson Sun newspaper account at the time related that "When it was announced that Wilbourn had won the award, the craft room at the West Tennessee Farmer's Market was filled with shouts of joy and clapping from friends."

He had devoted decades of his hard life to folk musics -- Blues, Rock'n'Roll, Country, Bluegrass, and Gospel. In 2012, Shine (he'd gotten the nickname while shining shoes as a youngster) explained to an interviewer how he came to music; more precisely, how it had come to him.

"Well, down in Toone in the 1950s, my uncle had a cafe," he recalled. "On Friday, after people had worked in the fields all week, they'd come to Uncle Ray's. The Kids would play outside while the grown-ups danced to the jukebox. They listened and danced to everything from Elvis to Chuck Berry, Fats Domino to Gospel.

"Sometimes us kids would look in, and they'd be crying. We guessed they had the blues."

He eventually took up a guitar. And he was soon inspired to also reach for the harmonica. 

"I worked at Old Country Store, and the Bluegrass players would come out and play. I'd hang around behind the counter. And while they played, I'd play along 'til I could make my sound fit theirs."

In Shine's autumn years, he operated a Memphis shoeshine stand. But he could on a moment's notice produce a harmonica and give free, loud, and stirring vent to real-world feelings familiar to all. 

Some said he was closely associated with Jaxon Records, located just down the street from his shoeshine stand. But accounts differ as to whether he personally recorded for the label. (An email query sent to Jaxon was not answered by presstime. Perhaps the label is now inactive.)

Underscored by Shine's story is the vital connection everyday people have to music. It belongs to those unheralded by fame machinery, no less than the limousine fortunate.

The Delta Rhythm Boys: Voices swingin' the Word 

Rock'n'Roll was hardly the 'Devil's Music' harrumphing 1950s criticasters assailed it as being. From its genesis, our rollick internalized tent-revivalism's whirling dervish, but owed also to melodic spiritualizing. 

It's always been as much about expression as emotion.

Among gospel serenaders whose joyful labors fed into the nascent musical form were 1934 Oklahoma-germinated Delta Rhythm Boys. (Shortly following their coalescence, they moved to Louisiana.) The sonorous Jubilee quartet would eventually scale 1941 charts with "Dry Bones." They minted the half-step progressions and regressions since associated with the song. The Boys' rendition enjoyed showcases in 15 films, including 1955's Rock'n'Roll Revue.

A reasonable assumption is that any professional competitiveness between the Delta Rhythm Boys and other 'Golden Age of Gospel' vocal groups -- for instance, the Golden Gate Quartet, Soul Stirrers, Swan Silvertones, and Dixie Hummingbirds -- was friendly in nature. They did, after all, work for the same Boss.

1960's Swingin' Spirituals (Coral) was only one of the foursome's recordings. But its 12 cuts into thick vinyl portrayed the Boys' excellent gifts from the Lord, as well as their devotion to Him and dedication to spreading His sublime Word. 

Alongside "Dry Bones," further executive renderings proclaimed the glories that await all who seek them. "So High, So Low, So Wide" and "Joshua Fit De Battle of Jericho" found the group's eminent singers snapped to attention and evincing the polished, respectful manner appropriate. 

The endeavor demanded Class with a capital C.

Between those two, "Great Gettin' Up Mornin'" combined latin percussion with a smoother-than-smooth chorus, against which a bass voice boomed "Fair thee well!" to forsaken sinners of all stripes.

"Sit Down" featured a chorusers / basso profundo exchange:

"What are you doing out of your seat?"

"I just got to Heaven, gotta look all around!"

"What are you doing on the Golden Street?" 

"I just got to Heaven, gotta walk around!"

It was exactly fitting that the rapturous quartet received accompaniment by what were doubtlessly some of the finest musicians available. In fact, every facet of Swingin' Spirituals -- voices upraised in praise, instrumentation nonpareil, and production fit for the august undertaking -- rang loudly and proudly of sanctified soldiers in God's Great Army.

Numerous similarly reverential waxings followed, as did further worldwide acclaim. In later years, and after undergoing several personnel permutations (noted members went to their rewards), the Delta Rhythm Boys relocated to European climes. 

And in 1987, the curtain descended for the final time.

But the Delta Rhythm Boys' tones were so aburst with Divine resonance; their wondrous tones -- preserved on vinyl and in film footage -- still have the effect of shaking away temporal woes and delivering up a Gospel-abundant horn of plenty from which joyful belief speaks.

We need but listen.

Videos: "Dry Bones"   "Great Gettin' Up Mornin'"   "Joshua Fit De Battle of Jericho"   "Sit Down" (live 1968)   "Great Gettin' Up Mornin'"

Back In the Day 1957, 2010

Tennessee Ernie Ford

Ol' Rockin' Ern (Capitol)

Old Time Religion (Green Hill)

Ernie's rustic-life matriculation left him seasoned in manners that ensured he was first-hand familiar with both fence post and altar call. His back-country boogie kicked heels to the swiss-cheese moon and back down to grassland. But the man's honorings of the Divine promise of salvation were horses of different colors altogether.

The bass-baritone immensity of his voice -- rip-snorting and aw-shucks gleeful in secular circumstances -- assumed reverential tones indicative of heart-and-soul sincerity in the presence of celestial majesty. 

Both records compiled tracks Ernie had previously waxed. Cliffie Stone, Speedy West, and Jimmy Bryant played on Ol' Rockin' Ern's songs - the three dealt wizardry in Cliffie's Hometown Jamboree band. (And the pipe-puffing bass-string guru authored four songs featured.) Their respective flairs stand out like shoes on a cobra.

Some of Old Time Religion's 15 selections also included Cliffie and Speedy (though their talents were recalled as a bit muted). And harmonic nobility the Jordanaires imbued tracks with characteristically august intonations. As was illustrated by sacred numbers restored from 1956 forward, Ernie's standing-in-need-of- prayer renditions prompted introspection and awareness that the loving Supreme Creator's hand beckoned. 

Recommended Ol' Rockin' Ern: "Milk 'Em in the Mornin' Blues," "Catfish Boogie," "Anticipation Blues," "Country Junction," "Shot-Gun Boogie," "Blackberry Boogie," "Ain't Nobody's Business But My Own"

Recommended: Old Time Religion: "Just Over in the Gloryland," "Old Time Religion," "It Is Well With My Soul," "Just a Little Talk With Jesus," "I Love to Tell the Story," "Take My Hand, Precious Lord," "The Old Rugged Cross," "Whispering Hope," "I Need Thee Every Hour"

Videos: "Country Junction"   "Blackberry Boogie"   "Ain't Nobody's Business but My Own" (w/Kay Starr)   "Just Over in the Gloryland"   "I Love to Tell the Story"   "Whispering Hope"

Ol' Rockin' Ern:

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Old Time Religion:

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With Randolph Scott on the set of 1951 film Man In the Saddle

Pontus J Back

Mikko Rintanen and Lelle Törnqvist (keys and drums, respectively) join Rockpastor Pontus J Back (vocals, guitar) in raising Blues-marinated Rock'n'Roll too few play in 2026. Should you find yourself stomping a jig, clapping uncontrollably, and shouting joyfulness - well, that ain't nothin' but the spirit. 

"Talk to God"

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Rocket Revellers

Let's Have Some Fun!   digital album

(Dionysus Records / self-reissued)

Up Vancouver way, the joint is jumpin': A countrified, swinging ensemble up front raises a ruckus every cool dynamo swears by. All kinds of yahoo menfolk and downhome dollies set the woods on fire, ears filled and limbs goaded by sounds birthed in humble barrel houses and barn dances of yore. Window glass shudders in time to swaybacked outpour. Taking turns under the center spot are busy fiddles, animated lap steel, and vocals whose casual drawl indicates unvarnished homefolkness. Couples hoot appreciation, as guitars are sweetly picked and drums do exactly right. Black-and-whites cavort. Joyfulness says closing time can go to blazes.

Recommended: "Let's Have Some Fun," "I Hear You Talkin'," "How Long," "Sweet Talkin' Mama," "I'm an Old Man," "You Ain't Nothin' but Fine," "7 Nights to Rock," "Red Top," "I'm Out"

Videos: "How Long"     "You Ain't Nothin' but Fine (live)   "7 Nights to Rock" (live)   "Red Top"

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Ten Pin Rattlers

Beggars and Thieves

(Screaming Hyena Records)

Substantially weightier than spartan combos (whose starkness is its own merit), Ten Pin Rattlers don't only come to the table, but knock its legs flat away. Traditional Rockabilly and Rock'n'Roll aspects are amped up to perilous extremes. (Rarely do guitars leap with such sweet savagery.) Take your mug to a good time that guarantees innocence will be jettisoned, and don't be surprised if neighbors pound on your walls. Like we'd care.

Recommended: "Freeborn Man" (feat. Justin Pacy and Buddy Sullivan), "Pray" (feat. Billy Ferraro and Buddy Sullivan), "Caroline" (feat. Tommy Gaudette and Matt St. Jean), "Radio:The Tommy Song" (feat. Tommy Gaudette), "Rockshow" (feat. Chris CC Newell), "Write This Down" (feat. Justin Pacy and Buddy Sullivan), "Human Theatre" (feat. Tommy Gaudette and Matt St. Jean), "Rise" (feat. Dan Nutton)

Videos: "Caroline"   "Rockshow"   "Human Theatre"   "Rise"

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Drunken Prayer

Thy Burdens

(Dial Back Sound / Well-Kept Secret)

The enriching product of Appalachian-dwelling Morgan Geer's bended-knee, musical heritage and fertile imagination. The man's past, per legend, includes regaling bikers with hymns learned from a great-grandmother. Guided here by Drive-By Trucker Matt Patton and accompanied by unassumingly adroit companions to actualize his marvelous (and broadly accessible) musings, Morgan draws from rural wellsprings. His grained throat bespeaks worldly seasoning as it rises to proclaim Divine adoration and hopes for transcendence.

Recommended: "Selfishness of Man," "Just a Closer Walk with Thee," "When They Ring Them Golden Bells," "Rock of Ages," "Bedside of a Neighbor," "Tramp on the Street," "Ezekiel Saw the Wheel," "Soldier of the Cross," "Long Ago, Far Away," "Thy Burdens Are Greater Than Mine"

Videos: "When They Ring Them Golden Bells"   "Ezekiel Saw the Wheel"   "Thy Burdens Are Greater Than Mine"

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Rough Trade

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Back In the Day, 1959

Wilma Lee & Stoney Cooper

The Big Wheel   

(Hickory)

They sported no costly finery, the folks who hailed Wilma as "The First Lady of Bluegrass," just farmland work-duds and faded housedresses. (Though they got slickered-up for Sunday preaching and barndances.)  Her humble 1930's West Virginia origin - she sang Gospel with her family - led first to radio, next to a decade with Wheeling's WWVA-AM,  and eventually to that desired destination of all musically-turned clod-kickers: the Opry boards. Along that road, she turned her hand to several common-folks music machines. And at her side was git-up fiddler Dale T. "Stoney" Cooper, whom she had espoused in 1941. The two-made-one produced homespun Gospel profound, invigorating, and of timeless reward. Calloused steppers enthused.

Recommended: "There's a Big Wheel," "Canadian Reel," "Walking My Lord Up Calvary Hill," "Big Midnight Special," "Each Season Changes You," "Home Sweet Home," "He Taught Them How"

Video: "There's a Big Wheel"  "Big Midnight Special"    "He Taught Them How"

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Louvin Brothers

Satan Is Real   LP

(Bad Billy Records)

Bad Billy offers this 1959 classic on red vinyl; copies are limited to 300 units.Veteran critic John Morthland (whose early 1970s Creem writings impressed) observed professional songcraftsmen penned some tracks, here. (One of several exceptions being the title cut, written by the crooning brothers). I don't know whether 'just a job' insincerity was implied. And accounts of mandolin-picking Ira's addictions and combustability also suggest conflict. But just as he and Charlie are now hailed as among vocal-duo elites for their stratospheric, high lonesome stylings, wooden pews once teemed with country folk for whom Divine spirit embodied each tranquil passage. And for those good souls, that meant everything.

Recommended: "Satan Is Real," "There's a Higher Power," "The Christian Life," "The River Of Jordan," "The Kneeling Drunkard's Plea," "Are You Afraid To Die," "He Can Be Found," "The Drunkard's Doom," "Satan's Jeweled Crown," "The Angels Rejoiced Last Night"

Videos: "Satan Is Real,"   "The Kneeling Drunkard's Plea" (This standout song was written by Mother Maybelle Carter and several of her daughters, of the storied Carter Family.)

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