In the 1940s, he joined with his three brothers and his sister, Rose, to make exuberant music that anticipated rockabilly and rock ’n’ roll.
Don Maddox, the last surviving member of the Maddox Brothers & Rose, a lively sibling band that helped give rise to West Coast honky-tonk, rockabilly and early rock ’n’ roll, died on Sept. 12 in an adult care facility in Medford, Ore. He was 98.
His death, which was not widely reported at the time, was confirmed by his wife of 11 years, Barbara Harvey-Maddox, who said he had been suffering from dementia.
Hailed in the 1940s and ’50s as America’s “most colorful hillbilly band,” the Maddox Brothers & Rose were renowned for their exuberant fusion of barnyard twang and gutbucket R&B, as well as for their uproarious antics onstage. The fringed, embroidered costumes they wore — designed by the Hollywood rodeo tailor Nathan Turk — were equally dazzling, a harbinger of the Western resplendence sported by Buck Owens in the 1960s and later by Gram Parsons and the Flying Burrito Brothers.
Mr. Owens’s lean, hard-driving Bakersfield sound owed a debt to the Maddoxes’ rollicking hillbilly boogie, propelled as it was by the instinctive thwacking by Mr. Maddox’s eldest brother, Fred, on upright bass. The early rockabilly of Elvis Presley was also influenced, notably in the slapping technique of his bass player, Bill Black, who idolized Fred Maddox.
The Maddox sound “was born from that slap bass,” Mr. Maddox said of his brother Fred’s style in an interview for Ken Burns’s multipart PBS documentary “Country Music” in 2019. “Fred didn’t know what the notes were. He just slapped it for rhythm.
“We didn’t call it ‘rockabilly,’” Mr. Maddox went on. “We called it ‘Okie boogie.’”
Mr. Maddox played fiddle, in a sawing down-home mode, and provided backing vocals; his sister, Rose, was the lead vocalist. The other members were his older brothers Cliff and Cal on guitars and his younger brother, Henry, on mandolin.
Rose Maddox died in 1998, Cliff in 1949, Cal in 1968, Henry in 1974 and Fred in 1992.
The account of how the Maddoxes made it to California rivaled the story of their rise within the ranks of West Coast country music — a Depression-era narrative as emblematic as “The Grapes of Wrath.”
In 1933, forced by drought to abandon their life of subsistence farming in rural Alabama, Mr. Maddox and his family — his sharecropper parents, Charlie and Lula (Smith) Maddox, and his five siblings — headed west, hitchhiking and riding in the boxcars of freight trains in search of a better life. Mr. Maddox was 10.
The family picked fruit in migrant labor camps in California, where they squatted in the large concrete drainage cylinders found in construction yards in the industrial part of Oakland known as “Pipe City.”
Quickly fed up with their hardscrabble life, Fred Maddox persuaded the owner of a furniture store to sponsor regular performances by him and his brothers on a radio station in Modesto. The only proviso was that the band, which at the time included only Fred, Cliff and Cal, feature a female singer, a role fulfilled with preternatural command by the 11-year-old Rose.
Two years later, having changed their name from the Alabama Outlaws to the Maddox Brothers & Rose, the group won a competition at the California State Fair that included a two-year contract to perform on radio shows broadcast on KFBK in Sacramento. The next year, Mr. Maddox joined the band — managed, with the strictest of discipline, by the siblings’ mother, known as Mama Maddox.
Don Maddox was born Kenneth Chalmer Maddox on Dec. 7, 1922, in Boaz, Ala., in the foothills of Appalachia.
As a member of the family band from 1940 on, he toured with his siblings and appeared on the popular recordings they made for the Four Star and Columbia labels in the 1940s and ’50s, including their waltzing rendition of Woody Guthrie’s “Philadelphia Lawyer.”
Other hits, like “Whoa Sailor,” “(Pay Me) Alimony” and “Hangover Blues,” were sung from his sister’s perspective and exuded not just womanly independence and pluck but an incipient feminist consciousness as well.
In 1956, after more than a decade of success touring and recording (interrupted only by the military service of Mr. Maddox and his brothers), the act broke up. Rose hired Cal as her accompanist and pursued a solo career. The remaining brothers went on without them, only to call it quits two years later — because, according to Don Maddox, they lacked the talent to make a go of it on their own.
For his part, Mr. Maddox went back to school to study agriculture and bought a 300-acre ranch in Ashland, Ore., where he raised Angus cattle for more than five decades.
In 2012, Mr. Maddox came out of retirement to participate in an exhibition at the Country Music Hall of Fame and Museum in Nashville commemorating the Bakersfield sound that he and his siblings had helped establish. He went on to perform at the Grand Ole Opry, on the singer Marty Stuart’s television show and at festivals, including a headlining engagement in Las Vegas.
His wife is his only immediate survivor. His previous wife, Nila Bussey Maddox, died in 2002.
Besides playing the fiddle and singing backing vocals with his siblings, Mr. Maddox provided the comedic impetus for the group’s gag-laden stage show, particularly through his “Don Juan” persona.
“I was shy around girls, so I took Don Juan as a stage name because the Sons of the Pioneers had a song called ‘Don Juan of Mexico,’” he said in a 2008 interview with The Mail Tribune of Medford.
“I thought that if I learned that song, the girls would think I was a Don Juan and talk to me. Of course, it didn’t work.”
Source: Music - nytimes.com
