Friday, January 16, 2015

Remembering 1970's Martial Arts Films


Martial arts in Hollywood was practically unknown in the 1930's and 1940's, except maybe for the judo of Asian detective hero Mr. Moto (Peter Lorre) and later in films by James Cagney. After World War II there was jiu-jitsu. After the Korean Conflict, tae-kwondo and karate. After Vietnam there was Thai boxing."By the 1960s, karate-chopping was used in lots of films, even in cartoons, but never central to the plot. Things were different in the Far East, where, beginning in 1949, Wong Fei-Hung (Master Wong) was a lion dancer mythologized into a Robin-Hood-style action hero. The character was so successful, more than 100 features were made. Hong Kong studios cranked out mass-quantities of action tales that combined balletic fighting styles with motifs drawn from history, folklore, nationalism, crime and bestselling novels.


These native martial-arts features were worlds away from the Hollywood productions where kung fu was just another weapon up the sleeve of cop, detective or spy. Beginning in the 1970's, martial-arts movies with cryptic plots and outrageous stunts began being exported to the U.S. The films were shoddily- overdubbed into English, in a mishmash of accents with no real care for what the original Hong Kong scripts might be saying. With few recognizable stars (except for Bruce Lee), the movies were widely ignored by mainstream critics and audiences.


One place they were not ignored was in my home. Because my brother, Mark, was into martial arts, we watched a lot of those movies during the 1970's, usually on Sunday afternoon. Each one had the really bad English overdubs and outrageously iconic sound effects. I remember Kung Fu Theater, Jimmy Wang Yu, Jim Kelly and Chuck Norris, although specific movie titles elude me. While we often giggled at the poor overdubs, the movies were actually good. Lots of fighting and Bruce Lee was all that was needed to keep us watching. The bad English overdubs were an added attraction. While on the screen you could plainly see the Asian actor speaking many words, the English overdub would only be three words, like "I KILL YOU."

1970's martial arts films are a cherished memory from my childhood. I would love to go back to those days and watch those movies again.



Saturday, December 27, 2014

Three Chords

It doesn't take long for a kid who's bought a guitar and is jamming away in the basement to figure out that all he needs is three chords. Or, let me say that another way: If you are a kid who has bought a guitar, head to the basement, or the bedroom, and learn the three chord arrangements...the I, IV, V's of music, and soon you will be on your way to music bliss. Nothing's wrong with complexity if that is what you're into, but the wonderment of it all is when you learn those three chords, like G, C and D, E, A and B, or C, F and G, and and soon you find yourself with tons of material.

What's so hard about three chords? Nothing, well it's a bit more complex than that, but consider all the famous musicians down through the years who succeeded with just three chords, four at the most. That takes in just about every single artist or band that's ever strung up a guitar, through all decades and music genres. AC/DC built a career around three chords. So did Willie Nelson and the Everly Brothers, not to mention Bob Dylan, Johnny Cash and that band from Liverpool -- The Beatles. And, consider that little ol' band from Texas, ZZ Top...same three guys, same three chords.

Country songwriter Harlan Howard said all you need is three chords and the truth, though Woodie Guthrie claimed that if you play more than two chords, you're showing off. Seriously, looking back on music during my lifetime, there are so many out there who went through twenty-five years, eighteen albums, fourteen tours, nine number ones and three chords. From Elvis to James Brown, the Ramones, Patsy Cline and on and on, right through today's musicians, it's as easy, or as hard, as three chords.

I am self-taught and mostly play by ear. I can remember when I first caught on to it. Finding the major chords led to the discovery of minor chords. I would play one, then the other. The difference was clear, and it was also amazing. It was a HUGE discovery, and when I wondered why my three chords did not sound like the three chords on the record, I stumbled upon inverted chords (the different ways to play one chord) and instantly a whole new and exciting world opened up for me. Suddenly, my chords sounded like the record. And, of course, when I discovered all the above, I discovered vocal harmony. Sitting at that old piano on our back porch, that was a great day, hahaha. I LOVE music!

Wednesday, December 24, 2014

The Night Before Christmas With Steve Lawson

'Twas the night before Christmas when all over Facebook, not a member was posting, not even a look. The folks with computers were sitting in chairs in hopes that their weatherman would soon be there. When up on the screen there arose such a clatter, I spit Coke all over the place, what on earth was the matter.

I signed into Windows and quickly I dashed to open up YouTube and watch Johnny Cash. Keith Moon on drums with the Who, Hall & Oates, Dave Letterman and Paul Shafer on the late night TV show, when what to my wondering eyes should appear but Fleetwood Mac, I had nothing to fear.

There was an old, old drummer, so lively and quick, I knew in a moment the singer was Stevie Nicks. With more harmony than the Eagles, the Beatles they came and I whistled and shouted and called them by name:

"Now George! Now Ringo!
Now Paul and John, too!
And the 5th one, Billy Preston!
Oh, and Brian Epstein can't forget that dude!
To the top of the charts!
To Royal Albert Hall!
 She Loves You, Yeah, Yeah, Yeah
John, George, Ringo and Paul!"

Well, I grabbed a Twinkie as I heard on the roof, the shingles were dancing, it was the wind you goof! I put down my laptop after turning down the sound, in came Steve Lawson, he was back from town.

He was dressed like a drummer from his head to his foot. I started to leave but he said stay put. A bundle of drum sticks he had flung on his back. He looked like the drummer from the rock group, The Knack.

I choked on that Twinkie when he sang Chuck Berry, he sang Guns N Roses right after Peter, Paul and Mary! He had a crumb on his face and a smudge on his belly, then he asked me if I, too, wanted a peanut butter and jelly.

He wasn't chubby or plump, more like an elf on the shelf, and I laughed when I saw him, then spilled Sprite all over myself. A blink of his eye and a twist of his head soon gave me to know he was out of bread.

He said a few words, then went straight to work on a can of pop, he was a soda jerk. After taking a tissue and blowing his nose, he unplugged his iPod, then out the door he goes.

As he left he sang to a beat while I whistled. It sounded pretty much like a bear in a thistle. Then I heard him exclaim as he drove out of sight, here's the weather you all, it's gonna be a good night!



Thursday, December 18, 2014

The Peafowl Chronicle


Growing up, my family lived on a farm at Wago, Kentucky for 25+ years. For most of those years, a family of peafowls lived in the woods just behind our home, nesting on the ground but roosting in the trees. Even though technically the male is properly called a peacock, the female a peahen, and the immature offspring a peachick, to us they were simply, peafowls.

Sometimes more than one of the beautiful birds would come into our yard. They were always aware of us and would keep a safe distance. As small children, us kids spent a lot of time trying to chase those things down. If one of us ever succeeded, it was very, very rare.

Eventually, we left them alone for fear they would stop coming around us. It was almost as if they were our pets, like a dog or a cat. They shed plenty of their feathers in our yard, so we always had a nice collection.



Occasionally, one would venture onto the front porch to catch a glimpse of its reflection in the glass door. They would spread their wings and rotate in a circle, proudly showing off their magnificent beauty. Sometimes, one might see its reflection in the bumper of one of the vehicles parked in the driveway and would spread its wings and rotate round and round in the front yard.

Many mornings, we would waken to the sound of a peacock running to and fro on our rooftop. Always, it was way before we wanted to wake up. I guess they thought if they were awake, everyone else should be, too.




One thing we discovered real soon after moving to the farm, Not only was a peafowl proud, it was also LOUD! It always happened during mating season, when we would hear it. AH AAAAH AH! several times in a row, then a break, followed by more AH AAAAH AH's! There was never an advanced warning that the 'scream' was about to take place. It would definitely hard to sleep during it. What made even more alarming was the natural reverb sound attached to each scream, thanks to the hollow wooded area where the peafowls lived. Sometimes more than one peafowl would scream at the same time. It would rival any sound coming from the stereo speakers in our cars parked in the driveway. It was something you could not ignore. The first of the screams always got your attention, like the rock quarry blasting without any advanced warning. Thankfully, for our sake, love for the peafowl was seasonal. It would begin in the early spring and sometimes continue well into the summer... it was all night, every night. Along with the raucous screams, the peafowl also made other noises that were less ear-piercingly offensive. One in particular was a honking sound, like that of a goose, which the bird usually did when confronted by something, or in our case -- someone!

The peacock you see in the photo above often found its way to that very spot outside the kitchen windows. My brother, Ronnie, would open the window and feed it loaf bread and Pringles potato chips. He thought that was a big deal and always laughed about it. The rest of us did, too! I think that's why I've kept this photo around all these years, after he was killed in the automobile accident in 1981. He died so young, and so long ago now that some of the memories are slowly fading. Thankfully, this photo helps me to recall a childhood that included him.

Supposedly, the lifespan for a peafowl is 23 years. Eventually, after many, many years, we stopped seeing or hearing the peafowls that lived on that farm with us. Whenever I recall those happy days, filled with much fun and laughter as a child growing up on that farm, I always remember those peafowls, proud and loud, always running around, strutting their stuff, always several steps ahead of one of us, always screaming. Always screaming. Those were good days.

Friday, December 12, 2014

George Reneau: "The Blind Minstrel of the Smoky Mountains"

The following is the most complete biography and discography available online for old-time freelance country and blues artist, George Reneau. All other information about him only includes his work for Vocalion Records, however, as you will read, there is more to the story of George Reneau: "The Blind Minstrel of the Smoky Mountains." The only thing missing, other than probably a few song titles, is his photograph. If you have a copy of his photograph, please let me know. - The Notorious Meddler

George McKinney Reneau was born May 18, 1902 in Jefferson County, Tennessee, at Dandridge. Presumably blind at birth, not much else is known about his growing up years, except that at some point he learned to play the guitar and the harmonica. Just after World War I, George left Jefferson County, Tennessee to make a living on downtown Knoxville streets playing guitar and harmonica and singing his songs for whomever would stop to listen.


One man who stopped was Gus Nennsteil. He worked for Sterchi Brothers Furniture, regional purveyors of phonographs, and one of the most influential recording promoters in the South. At Nennsteil's encouraging, Sterchi's sent Reneau to New York in the spring of 1924 to record songs for Vocalion Records, which desired to enter into a new field of commercially recorded music known as Hillbilly music. George Reneau was the perfect artist to get it started. Between April 1924 and October 1925, he recorded more than 50 selections for Vocalion's new hillbilly catalog at the firm's New York City studio, on West 43rd Street. The first release was the beautifully done 'Lonesome Road Blues' (Vocalion 14809B) on April 18, 1924. Take a few moments and listen to this very fine recording...



The Aeolian Company of New York had started the Vocalion label in 1916 and it was a popular label for a while. Lots of big names or future stars recorded there at one time or another. The list includes Roy Acuff, Louis Armstrong, Count Basie, Carter Family, Benny Goodman, Billie Holiday, Robert Johnson, Uncle Dave Macon, Glenn Miller, Roy Rogers, Sons of the Pioneers, Lawrence Welk and Bob Wills. The first known recording of "The House Of The Rising Sun" by Clarence Ashley and Gwen Foster was on Vocalion. Later, Vocalion was sold to Brunswick Records, which sold to Warner Brothers. In 1931, the entire Vocalion operation was licensed to the American Record Corporation, which was later purchased by CBS. Finally, in 1938, Vocalion became a subsidiary of Columbia Records, only to be discontinued in 1940.








Behind the Scenes
I doubt that very people who bought Reneau's records suspected that another artist, not Reneau, was actually "ghost singing" on most of them. Reneau received all of the credit on his first 30 or so recordings, but the voice behind the records belonged to (at the time) a little-known vaudeville singer named Gene Austin, who would become the most successful pop vocalist of the late 1920s. There was hardly any cause for such suspicion, unless one might have wondered how Reneau could play the harmonica and sing at the same time, as was the case on a couple of recordings. Not that having Austin sing was a bad thing. It actually was a good thing. Go back and re-listen to "The Lonesome Road" and see just how great that recording is. Austin's vocals were perfect for that record.

Later, Vocalion let Reneau do the singing on several great recordings, including "The Prisoner's Song" (14991), "Wild Bill Jones" (14998A) and "Jesse James" (14897B).




A Pioneer
George Reneau's recordings are quite good. Some have suggested his works were minor classics. I contend they were much more than that. Before there was Roy Acuff and the Carter Family, there was George Reneau. Before there was Jimmie Rodgers, there was George Reneau. His career began and ended before the famous Bristol sessions which led to the discovery of those three stars and most everyone else. He was before the Grand Ole Opry. George Reneau recorded a whole stack of early blues, country and gospel songs. His selections were all of great material, so he had good taste.

Listen to Arkansas Traveler, which showcases George Reneau's fine harmonica playing. Also, notice the beautiful reddish brown vinyl record, an early trait that set Vocalion Records aside from all the other record labels...





’On Top of Old Smoky’ was recorded by George Reneau, as a solo (Vocalion 15366) and with Lester McFarland, as the Collins Brothers (Paramount 3030).

The Lonesome Road Blues
Credit for the first known recording of The Lonesome Road Blues is given to Henry Whitter of Fries, Virgina. He allegedly recorded the song in December of 1923. It was released on Okeh Records in January of 1924. Vocalion Records released George Reneau's version three months later, on April 18, 1924. Edison Records released the song by Reneau and Austin as The Blue Ridge Duo in May of 1925. They had recorded the song at Edison's studio on September 22, 1924. Down through the years, the song has been recorded by many artists, including Woody Guthrie, Bill Monroe, Earl Scruggs and the Grateful Dead.

I'm going down this road feeling bad
I'm going down this road feeling bad
I'm going down this road feeling bad, Lord, lord
And I ain't a-gonna be treated this a-way
And I ain't a-gonna be treated this a-way

George Reneau's Vocalion Records Discography
Arkansas Traveler 14813B 4/24
Bad Companions 15150 10/25
Bald Headed End Of The Broom 14930B 9/17/24
Birmingham 14946B 9/12/24
Blue Ridge Blues 14815A 4/28/24
Casey Jones 14813A 4/21/24
Gambling On The Sabbath Day 15149 10/25
Here, Rattler, Here 14814 4/28/24
I'm Glad My Wife's In Europe 15194B 10/25
I've Got The Railroad Blues 14946A 9/17/24
Jack And Joe 15182 10/25
Jesse James 14897B 9/24
Letter Edged In Black 14998B 2/24/25
Life's Railway To Heaven 14811B 4/21/24
Little Brown Jug 14812B 4/18/24
Little Rosewood Casket 14997B 2/24/25
Lonesome Road Blues 14809B 4/18/24
Love Always Has Its Way 15347 10/25
May I Sleep In Your Barn 15149B 10/25
My Redeemer 15046A 9/17/24
Never Miss Your Mother Till She's Gone 14811 4/21/24
Old Man On The Hill 15347B 10/25
Old Rugged Cross 15348 10/25
On Top Of Old Smoky 15366B 10/25
Railroad Lover 15194 10/25
Red Wing 14896B 9/10/24
Rock All Our Babies To Sleep 14997A 2/24/25
Rovin' Gambler 15148A 10/25
Sinking Of The Titanic 15148B 10/25
Smoky Mountain Blues 14896A 9/15/24
Susie Ann 14815B 4/28/24
The C And O Wreck 14897A 9/16/24
The Hand Of Fate 15182B 10/25
The Lightning Express 14991B 2/24/25
The New Market Wreck 14930A 9/12/24
The Prisoner's Song 14991A 2/24/25
Two Orphans 15349 9/18/25
Turkey In The Straw 14812A 4/21/24
We're Floating Down The Stream Of Time 15046B 9/18/25
Weeping Willow Tree 15349 10/25
When I Shall Cross Over The Dark Rolling Tide 15348B 10/25
When The Work's All Done This Fall 1510B 10/25
When You And I Were Young, Maggie 14814 4/28/24
Wild And Reckless Hoboes 14999A 2/24/25
Wild Bill Jones 14998A 2/24/25
Woman"s Suffrage 14999B 2/24/25
Wreck Of The Southern 97 14809A 4/18/24


The Blue Ridge Duo on Edison Records
In addition to making records for Vocalion, Reneau and Austin were hired to records tracks for Thomas Edison's label, Edison Records. On that label, they were known as The Blue Ridge Duo. In 1924 and 1925, The Blue Ridge Duo recorded for Edison in both cylinder and record formats.

The Blue Ridge Duo sings "Little Brown Jug" on Edison Records: http://youtu.be/a68i7zRMXvk

Other songs recorded for Edison Records, cylinder and disc, include:
Lonesome Road Blues (51515-R)
Blue Ridge Blues (51515-L)
Turkey In The Straw - Breakdown (51502-R)
Susie Ann (51502-L)
Arkansas Traveler (4936: Blue Amberol/9732: Edison Record)
Little Brown Jug (4973: Blue Amberol/9730A: Edison Record)
You'll Never Miss Your Mother Till She's Gone (4961: Blue Amberol/9731: Edison Record)

This is probably an incomplete list. I haven't found any other Edison recordings by the Blue Ridge Duo. I will update this story as I find more.


The Freelance Artist
There is nothing written about why, in 1927, George Reneau started making records with Lester McFarland. Like Reneau, McFarland was a blind musician and singer who was living in the Knoxville area when the Vocalion scout making looking for talent. A champion fiddle player, he was one part of the duo, Mac & Bob, along with Robert Gardner. McFarland was originally from Gray, Kentucky and Gardner hailed from Oliver Springs, Tennessee. They met at the Kentucky School for the Blind in 1915 and soon began performing together on the Keith Vaudeville Circuit beginning in 1922, and on WNOX in Knoxville from 1925 on. Discovered by a Brunswick talent scout in 1926, Mac and Bob began a long and prolific recording career. Their biggest seller was “When the Roses Bloom Again.” In 1931, Brunswick was bought out by the American Record Corporation and Mac and Bob were retained on the Sears & Roebuck label, Conqueror. That same year, Mac and Bob became regulars on the WLS Barn Dance in Chicago. Their recording career ended when Sears decided to shut down Conqueror in 1941. Mac and Bob retired from the WLS Barn Dance in 1950. Robert Gardner died at age 81 in 1978, and Lester McFarland followed him in 1984, aged 82. George Reneau and Lester McFarland recorded several tracks, usually as the Smoky Mountain Twins, but also under nearly a dozen other names, such as The Cramer Brothers, The Collins Brothers and Lonesome Pine Twins. There songs were released on several different record labels, including Conquer, Regal, Domino, Banner and Challenge. Here is their (partial at best) discography.








Smoky Mountain Twins
A Picture From Life's Other Side 7316
Put My Little Shoes Away 7327 6/15/27
I Was Born 4,000 Years Ago 7323 6/15/27
There's No Disappointment In Heaven 7337 Sara Jane 7330 6/15
In The Good Old Summertime 7336 6/16
Where We'll Never Grow Old 7317
You'll Never Miss Your Mother Till She's Gone Catalog #: 7072

Collins Brothers
Love Always Has Its Way 7324
If I Could Hear My Mother Pray Again Cat#: 3039
On Top of Old Smokey Cat#: 3040
Put My Little Shoes Away Cat#: 3040
Sara Jane Cat#: 3041
I Was Born Four Thousand Years Ago Cat#: 3041
In the Good Old Summertime Cat#: 3042
When the Work’s All Done This Fall Cat#: 3042

Lonesome Pine Twins
There's No Disappointment In Heaven 7318
In The Good Old Summertime 7336
A Picture From Life's Other Side 7316-2
Will The Circle Be Unbroken? E25595
When They Ring The Golden Bells Label: 2019
Dem Bones Gwin Rise Again E25677
Six Feet Of Earth E25512
Dollar And The Devil E32622
Bird With A Broken Pinion E27954
Bird In A Gilded Cage E28796
When The Saints Go Marching In Label: 2023
The Vacant Chair E27964
Silver Threads Among The Gold E25496
You'll Never Miss Your Mother Till She's Gone Label: 2164
Where We'll Never Grow Old 7317
Dollar And The Devil E32622
Good Lord Takin' Care Of The Poor Folks Label: 2021
Ring Dem Heavenly Bells E27928
Let Me Hear The Songs My Mother Used To Sing Label: 2024
When You And I Were Young, Maggie Label: 2025

Cramer Brothers
Sara Jane 7065
In The Good Old Summertime 7336-3
On Top Of Old Smoky 7326
There's No Disappointment in Heaven Label: 8127alt
If I Could Hear My Mother Pray Again Label: 8058
Love Always Has It's Way 7324
I was Born Four Thousand Years Ago Label: 8059
Blue Ridge Mountain Blues 6124
Put My Little Shoes Away 7327



Unfortunately, Reneau's style of music did not fit in when the jazz era took over and by the time he turned 27, George's day as a recording artist had come and gone. Without a record contract, he was forced to once again take to the streets to make a living.


Sadly, George Reneau died of pneumonia on June 5, 1938. He was still a young man so one can just imagine what life for him would have been like had he lived and stayed in good health and continued to make records. I encourage you to take the time to listen to his recordings. I believe you will become a fan of George Reneau, 'The Blind Minstrel of the Smoky Mountains,' as I have.



Sunday, December 7, 2014

Dec. 7, 1941: Remembering Clay Cooper Rector


Henry and Margaret Huffaker of Wayne County had thirteen children. Their daughter, Hettie, was my great-grandmother. Her sister, Laura, was the mother of Wendell and Lela Rector of Albany. Who could have known that when Clay left home to join the U.S. Navy that he would never return. Clay was aboard the USS Arizona when the Japanese struck Pearl Harbor on December 7, 1941.


The first torpedo in the assault on Pearl Harbor hit the USS Raleigh at about 7:55 a.m., Sunday morning. Battleship Row was hit at 7:57 a.m. The USS ARIZONA was moored inboard of the repair ship Vestal when the attack occurred. At 8:10 a.m. a Japanese Type 97 Attack Bomber dropped a bomb that struck the Arizona between the No. 1 and No. 2 turret. This bomb was a converted armor piercing artillery shell that ignited the Arizona's forward magazine. Blazing furiously, the once majestic battleship Arizona violently exploded, sinking to the bottom of the harbor.


This December 7th mark 73 years that 1,177 men, including Storekeeper 3rd Class Clay Rector of Albany, rest at the bottom of the harbor, encased in the Arizona's rusty hull. In the Navy's known history, there has never been a ship that has taken so many of its crew down with her.


The Notorious Meddler pauses to remember Clay Cooper Rector, and the others aboard the USS ARIZONA who paid the supreme sacrifice while in service to the United States of America.


Thursday, December 4, 2014

A Short Bio Of Thomas Wood



Thomas Wood was born on Aug. 5, 1779. He grew up on his fathers farm in Washington County, North Carolina (later Tennessee). At age 18. he served in the state militia. Afterwards, he accompanied his brothers, William, Samuel, John and George to a new life in Kentucky. He recorded 200 acres on Spring Creek, near present-day Albany, on December 18, 1798. He worked as a chain carrier on important surveys done by his brother, William. When his father died in 1800, Thomas returned to Washington County to take care of family matters. While there, he met his future bride, Mary Bayless. After marriage, they joined Thomas' brothers in Kentucky.



Thomas and Mary joined Clear Fork Baptist Church by letter in February of 1804. Thomas took an active part and filled in as church clerk when his brother, William, was in Frankfort serving in the State Legislature. Thomas was appointed deacon in July of 1811. Over the next two decades, Thomas faithfully served in his church. Then, in 1834, he went to Illinois to visit his brothers, James and Samuel. While there, he bought 160 acres intending to relocate. But, upon returning to Kentucky his boot rubbed a blister on his foot, resulting in blood poisoning that caused his death eight days after returning home.



Thomas' daughter, Mary, was the wife of well-known preacher, Isaac Tipton Reneau. Before he became a preacher in 1835, Reneau taught school at Clear Fork. He started doing that in 1830.



Thomas' son, Reuben Wood, was murdered by Champ Ferguson during the civil war. It happened on December 1, 1861 at Wood's home. Ferguson shot Reuben in his stomach, but Reuben was able to go inside his house, where he grabbed a hatchet. The two men scuffled for several minutes. At one point, Ferguson dropped his pistol onto a bed, where it got lost in the covers. Ferguson ran from the house leaving the wounded a wounded man behind. Reuben Wood died three days later on December 4, 1861.

Wednesday, December 3, 2014

Deacon Pleasant Smith

"Do not weep for me, for my hour is near..."

Pleasant H. Smith as born on July 12, 1818 and died on February 15, 1892 at the age of 73. He was married to Irene Wood Smith. Both of them grew up at Clear Fork Baptist Church. Their families were very involved and extremely devoted church members from the very beginning of the church's existence. For instance, Pleasant's father, Jesse, and Jesse's brother, Phillip, installed the first floor in the original church meeting house. Phillip was a deacon. Pleasant's grandfather, George Smith, was a charter member. Irene's grandfather, Thomas Wood, was a church deacon, as was his brother, Samuel. Their brother, William, was a charter member of the church and served as clerk from 1802 to 1850.

So, it isn't any wonder that on December 28, 1873, Pleasant Smith was ordained a deacon of his beloved church. He served his church faithfully. When he died in 1892, his family had been members of Clear Fork for nearly a century. Pleasant was so thought of that at his death, a committee was formed to write his obituary for a memorial page that would be added to the church minutes. The committee was comprised of deacon J.E. Reeves, trustee Hile Upchurch, clerk John Wilson and James Pittman. The obituary was published in the April 23, 1892 minutes.

"The silent messenger of death has come in our midst and removed one of our trusted sentinels from His high place in Zion."

"Obituary of P.H. Smith"

"Tribute of respect by the members of Clear Fork Church of Christ to the memory of brother P.H. Smith. Dearly beloved brethren and sisters, we have no words by which we can express the gratitude due from us to our heavenly Father for sparing the lives of the dear brethren and sisters who are letting their light shine that others might be constrained to glorify our Father in heaven. Yet, the silent messenger of death has come in our midst and removed one of our trusted sentinels from His high place in Zion. And, we feel that his long life of usefulness secured for him the confidence of our entire brotherhood and entitles him to a memorial page upon the Clear Fork Church book. He joined the Clear Fork Church the fourth Saturday of October 1871. He lived a religious life in which he enjoyed uninterrupted fellowship and served as deacon 'til his death. His faithfulness entitles him to more than a passing notice. Bro. P.H. Smith was ordained deacon the fourth Sabbath in December 1873 by elders J.B. McCallon, John Garrett and Joseph Denton. Bro. P.H. Smith departed this life February 15, 1892, aged 73 years, 4 months, and 3 days, but the labors of love with him have ended and his works following him. We believe our loss is his gain, hence we ought to submit to the will of our Heavenly Father who called His child (our brother) from labor to the rest of the good, and bind us more strongly in the bands of unbroken brotherhood. Nearly at deaths door, he tells his friends "do not weep for me, for my hour is near." Then, he entered into that sweet sleep from which none ever wake to weep. While we pay this last tribute of respect to the memory of him, we would shed tears of sympathy and Christian condolence with his grief smitten widow who was languishing on the bed of affliction at the time of her companion's death, and to his bereaved children."

Respectfully submitted,
J.E. Reeves
Agile Upchurch
James Pittman
J.A. Wilson
- Committee

Done and signed by order of the church.
Alvin Bertram, moderator
J.A. Wilson, clerk

Pleasant and Irene Smith are buried at Irwin Cemetery.

Note: Regarding the phrase used in the obituary, "Clear Fork Church of Christ." The church has always been Baptist. For years, Clear Fork Baptist Church used the phrase, "The church of Jesus Christ on Clear Fork Creek."