publishing wing, many of which carried Macy’s name as co-composer as part of the
deal to get them recorded and released. By the end of 1951 the label had folded.
Reeves’ chance with Macy’s came about thanks to a visit to KGRI by one of the
label’s first artists, Barney Varderman, who with his Drifting Texans was popular
locally in East Texas, where he worked at KSFA, Nacogdoches. He had also ap-
peared on the rising Saturday night barn dance the Louisiana Hayride, broadcast
from nearby Shreveport on 50,000 watt KWKH.
Vardeman visited KGRI to pro-
mote his first Macy’s single and, re-
alising Reeves’ desire to record, put
him in touch with Macy. A success-
ful audition was arranged, and a re-
cording session organized, all ex-
penses - as was the rule of the day -
coming out of Reeves’ pocket. He
borrowed a clapped out Chevrolet
from a friend who had a car dealer-
ship in Henderson to drive to Hou-
ston and, according to biographer
Michael Streissguth, took with him
three local musicians from Bob
Cross’ Troubadours: drummer Bill
Morris (who actually played bass on
the session), electric guitarist
Bobby Davis and steel guitarist
Billy Bob Turner.
9
at KGRI, Henderson, Texas.
from left: Cole Knight (Frank Ledbetter),
Al Courtney, and Sonny Day (Jim Reeves).
