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Harold Lowe Jr. / [Nashville] Tennessean
Don Helms, seen in 1961, was the last surviving member of Hank Williams'
band, the Drifting Cowboys, and played at the country music titan's side
for the better part of a decade, from 1943 until Williams' death at age
29 on the way to a New Year's Day 1953 performance in Canton, Ohio.
Don Helms, 81; steel guitarist for Hank Williams
Harold Lowe Jr. / [Nashville] Tennessean
Don Helms, seen in 1961, was the last surviving member of Hank Williams'
band, the Drifting Cowboys, and played at the country music titan's side
for the better part of a decade, from 1943 until Williams' death at age
29 on the way to a New Year's Day 1953 performance in Canton, Ohio.
By Randy Lewis, Los Angeles Times Staff Writer
August 14, 2008
Don Helms, the steel guitarist whose aching instrumental cry gave
musical voice to the anguish and the joy in virtually all the key
recordings by country music titan Hank Williams, died Monday in
Nashville, apparently of a heart attack. He was 81.
Helms died at Skyline Medical Center, said Michael Thomas, a director at
Forest Lawn Funeral Home.
Don Helms hosts Ernest Tubb Midnight Jamboree radio show (March 2007)
Don Helms MySpace tribute page
Helms, the last surviving member of Williams' band, the Drifting
Cowboys, played at Williams' side for the better part of a decade, from
1943 until his death at age 29 on the way to a New Year's Day 1953
performance in Canton, Ohio.
FOR THE RECORD:
Helms obituary: The obituary of steel guitar player Don Helms in
Thursday's California section stated that the Hank Williams recordings
featuring Helms included "I'm So Lonesome I Could Cry." Steel guitarist
Jerry Byrd performed on that recording. ?
Helms' steel guitar sound brought a visceral mournfulness to Williams'
heartache ballads, including "Your Cheatin' Heart," "I'm So Lonesome I
Could Cry," “Cold, Cold Heart” and "I Can't Help It (If I'm
Still In Love With You)." It also provided the electric jolt to his
upbeat hits such as "Jambalaya (On the Bayou)" and "Hey, Good Lookin'."
"It was crystal clear to me that he single-handedly gave this music its
identity," 19-time Grammy-winning singer-songwriter-guitarist Vince Gill
said Wednesday. "On so many of those records, the sound of that weeping
guitar is what you hear long before you hear Hank's voice."
The key element of Helms' style was the piercing, high-pitched notes he
favored, a strategy suggested to him early on by fabled Nashville
publisher, songwriter and producer Fred Rose, who helped shape Williams'
songs and career.
"That treble would stall dogs," said John Rumble, senior historian at
Nashville's Country Music Hall of Fame and Museum. "Don told me that one
time when he was recording with Hank, Fred Rose took his hands and put
them out just past the treble strings and said, 'Don, play up here.'
"It was Fred's belief, which proved accurate, that a high, whining sound
would cut through the noise of a typical roadhouse or bar where people
would be talking, dancing and carrying on."
George Jones, widely considered the greatest country singer since
Williams, said Thursday, "Hank Sr. was always my favorite artist and is
still my favorite artist, so you'd have to say Don Helms was right there
with Hank in my mind. I think all the sidemen that Hank used back in
those days were the finest musicians in the world. And Don was the
standout player. You heard him more than anyone except the fiddle. It's
a sad thing to see them all go."
Donald Hugh Helms was born Feb. 28, 1927, in New Brockton, Ala., where
he was reared on a small farm. As a boy, he was enamored of the music of
Bob Wills & the Texas Playboys, particularly steel guitarist Leon
McAuliffe.
Helms got his first steel guitar, a gift from his grandmother, when he
was 15, and at 18 he began playing with Williams in joints around
Alabama.
He left the band for a couple of years when he was drafted by the Army
during World War II. In 1946, Helms chose to remain closer to home when
Williams headed to Nashville. But by the time Williams joined the Grand
Ole Opry in 1949, he'd brought Helms back into the Drifting Cowboys.
After Williams' premature death, Helms joined Ray Price's band and was a
key part of his success in the 1950s.
His contributions also can be heard on Patsy Cline's "Walking After
Midnight," Ernest Tubb's "Letters Have No Arms," Stonewall Jackson's
"Waterloo" and hundreds of recordings by Loretta Lynn, Johnny Cash, Carl
Perkins, Ferlin Husky, Chet Atkins, the Wilburn Brothers, Jim Reeves and
others.
In recent years, he also recorded sessions with Rascal Flatts, Martina
McBride, Taylor Swift, Bon Jovi and Kid Rock.
Helms played the older style of non-pedal steel guitar, favoring a 1949
Gibson model he was able to afford once Williams' songs started making
money for the band. He kept that instrument under his bed at his home in
Hendersonville, Tenn., pulling it out only for special occasions.
Helms remained a working musician until the end, keeping the family
connection alive over time by playing for Hank Williams Jr. in the
late-1960s and early '70s; later with Jett Williams, the daughter born a
few days after Hank Sr. died; and Hank Jr.'s son, Hank Williams III.
Gill brought him in for a session about two months ago, part of a
project of putting music to lyrics from a batch of unfinished songs
Williams left behind. He and Rodney Crowell worked together on the song,
titled "I Hope You Shed a Million Tears," and when it came time to
record it, Gill said, "I told Rodney, 'I heard Don play the other day,
and I just think it would be so authentic and great if we had him play
on it. . . . The neat thing for me was how the spirit of it felt like
the era of that music. We all gathered in a circle and played together,
played live; there was no overdubbing, no fixing it in a studio . . .
"I don't have any idea if that's the last thing he ever played on, it
very well could be," Gill said. "If it was, I'll treasure it like
nothing else I've ever done."
Helms wrote a book of reminiscences of his tenure in the Drifting
Cowboys titled "Settin' the Woods on Fire -- Confessions of Hank's Steel
Guitar Player,” published in 2005. He also recorded two CDs’
worth of stories about his life and career, as well as several albums of
instrumentals.
By Helms' count, he played on 104 recordings Williams made and
accompanied him at hundreds of live performances.
"The story I hadn't heard until recently," singer-songwriter Marty
Stuart said Wednesday, "was about the last time he saw Hank. Somebody
asked him about it on one of those Q&A panels we often have here. He
said they were recording and Hank walked up -- he called him Shag
because of his curly hair -- and said 'Shag, I got a new song I just
come up with. I want you to give me a pretty kickoff for it. It goes
something like this.' Don said, 'We recorded the thing, we did it in one
take, then Hank said 'I'm tired' and he left the studio. That was the
last I ever saw him. The song was 'Your Cheatin' Heart.' " That was in
September 1952. The record was released posthumously and became one of
Williams' biggest hits.
Helms is survived by his wife of 63 years, Hazel; two sons, Don and
Timothy Helms; two brothers; three grandchildren; and four
great-grandchildren. Services will be held today in Goodlettsville,
Tenn., north of Nashville.
***@latimes.com