Biography
Riley Puckett emerged among the foundational figures in country music, shaping the genre through both his solo recordings and his contributions to the Skillet Lickers. Born George Riley Puckett on May 7, 1894, in Alpharetta, GA, he lost his sight in infancy due to a medical mishap despite normal vision at birth. At the Macon School for the Blind he mastered Braille while taking up the banjo and then the guitar, cultivating an idiosyncratic arhythmic approach that used bass-note runs to connect chord changes; his performances also drew notice at regional fiddling contests.
Puckett first appeared on radio in 1922 alongside Clayton McMichen’s Hometown Band on WSB Atlanta. He soon ranked among the station’s most popular artists and began performing as a soloist. In 1923 he formed the Hometown Boys with mandolinist Ted Hawkins and fiddler Lowe Stokes; his polished vocals and yodeling drew a loyal WSB audience that dubbed him “the Ball Mountain Caruso.” The following year he traveled with James “Gideon” Tanner to Columbia’s New York studios and recorded his debut sides, among them a version of Fiddlin’ John Carson’s “The Little Old Log Cabin,” “Steamboat Bill,” and “Rock All Our Babies to Sleep,” the latter widely regarded as the first country record to feature yodeling. Those releases met strong demand, prompting a second session later in 1924 in which Puckett, accompanying himself on banjo, cut “Oh Susannah” and “You’ll Never Miss Your Mother Till She’s Gone.”
When Columbia launched its 15000-D Hillbilly Series in 1925, Puckett became one of the label’s leading sellers, surpassed only by Vernon Dalhart. He joined the Skillet Lickers in 1926 alongside Gid Tanner and Clayton McMichen, remaining until 1931. In 1927 he partnered with high tenor Hugh Cross for the first commercial recording of “Red River Valley.” The pair completed two additional sessions that yielded “Gonna Raise a Ruckus Tonight” (issued as the Alabama Barnstormers), “Call Me Back Pal o’ Mine,” and “My Wild Irish Rose.”
Although the Depression curtailed his once-prolific output, it did not end his career. Subsequent releases appeared under assorted group names and pseudonyms; the most successful was 1931’s “My Carolina Home,” credited to McMichen’s Melody Men. Following the original Skillet Lickers’ dissolution, Puckett worked with McMichen’s Georgia Wildcats. When the Skillet Lickers regrouped in 1932, he also joined Bert Layne’s Mountaineers and recorded several duets with Red Jones, including “I Only Want a Buddy, Not a Sweetheart” and “St. Louis Blues.”
By 1936 Puckett was touring with former Mainer Mountaineer “Daddy” John Love and again appeared with Bert Layne. After mounting his own tent show across the South, he returned to New York to record with Red Jones, producing “Alttoona Train Wreck,” “Take Me Back to My Carolina Home,” and “The Broken Engagement.” He did not enter the studio again until 1940, when he cut the pop-oriented “Oh, Johnny, Oh,” “Little Sir Echo,” and “South of the Border.” His final session took place in 1941 and included “How Come You Do Me Like You Do,” “Railroad Blues,” and “Peach Picking Time in Georgia.” Puckett continued broadcasting with the Stone Mountain Boys until July 14, 1946, when he succumbed to blood poisoning from an untreated boil on his neck.
Puckett first appeared on radio in 1922 alongside Clayton McMichen’s Hometown Band on WSB Atlanta. He soon ranked among the station’s most popular artists and began performing as a soloist. In 1923 he formed the Hometown Boys with mandolinist Ted Hawkins and fiddler Lowe Stokes; his polished vocals and yodeling drew a loyal WSB audience that dubbed him “the Ball Mountain Caruso.” The following year he traveled with James “Gideon” Tanner to Columbia’s New York studios and recorded his debut sides, among them a version of Fiddlin’ John Carson’s “The Little Old Log Cabin,” “Steamboat Bill,” and “Rock All Our Babies to Sleep,” the latter widely regarded as the first country record to feature yodeling. Those releases met strong demand, prompting a second session later in 1924 in which Puckett, accompanying himself on banjo, cut “Oh Susannah” and “You’ll Never Miss Your Mother Till She’s Gone.”
When Columbia launched its 15000-D Hillbilly Series in 1925, Puckett became one of the label’s leading sellers, surpassed only by Vernon Dalhart. He joined the Skillet Lickers in 1926 alongside Gid Tanner and Clayton McMichen, remaining until 1931. In 1927 he partnered with high tenor Hugh Cross for the first commercial recording of “Red River Valley.” The pair completed two additional sessions that yielded “Gonna Raise a Ruckus Tonight” (issued as the Alabama Barnstormers), “Call Me Back Pal o’ Mine,” and “My Wild Irish Rose.”
Although the Depression curtailed his once-prolific output, it did not end his career. Subsequent releases appeared under assorted group names and pseudonyms; the most successful was 1931’s “My Carolina Home,” credited to McMichen’s Melody Men. Following the original Skillet Lickers’ dissolution, Puckett worked with McMichen’s Georgia Wildcats. When the Skillet Lickers regrouped in 1932, he also joined Bert Layne’s Mountaineers and recorded several duets with Red Jones, including “I Only Want a Buddy, Not a Sweetheart” and “St. Louis Blues.”
By 1936 Puckett was touring with former Mainer Mountaineer “Daddy” John Love and again appeared with Bert Layne. After mounting his own tent show across the South, he returned to New York to record with Red Jones, producing “Alttoona Train Wreck,” “Take Me Back to My Carolina Home,” and “The Broken Engagement.” He did not enter the studio again until 1940, when he cut the pop-oriented “Oh, Johnny, Oh,” “Little Sir Echo,” and “South of the Border.” His final session took place in 1941 and included “How Come You Do Me Like You Do,” “Railroad Blues,” and “Peach Picking Time in Georgia.” Puckett continued broadcasting with the Stone Mountain Boys until July 14, 1946, when he succumbed to blood poisoning from an untreated boil on his neck.
Albums
Singles
