I was a kid when I saw Charlie Daniels play. At least I think it was him. I could be mistaken. I remember sitting in the cheap seats of the dim Nashville auditorium to see the Grand Ole Opry.
My father was whistling, two-fingered. That’s the funny thing about the Opry. Even though it was a place for seeing a show, it wasn’t a place where people were quiet.
No sir. An Opry man didn’t merely applaud the Statler Brothers, Grandpa Jones, or the immortal Sarah Cannon. This was a place where a man put both fingers into his own mouth and whistled like he was calling horses.
That night my father was eating something. Peanuts I think. But he still managed to whistle between every song, and after every joke. Fingers in the mouth.
The irony is that he was a bad whistler. Some whistlers could shatter glass, but my father sounded like an asthmatic jug player.
That night, I was so enamored with the guy playing a fiddle onstage that I
tried a two-finger whistle, just to show my support. I managed to spray spit all over the lady in front of me.
She gave me a dirty look and I apologized, but she was not buying it.
The guy with the violin was large. Big brown beard. Sunglasses. He looked like a Pentecostal deacon wearing a silverbelly cattleman’s hat, and a belt buckle bigger than a hub from a Studebaker.
Looking back, I hope it was Charlie Daniels because Charlie played a tune that became an American fixture in those days. It was a song that everyone’s daddy listened to while changing the oil or fixing the bathroom sink.
I am of course talking about a song that involves the Devil going down to Georgia, looking for a soul to steal.
It was a country song that my Bible-slapping mother hated so much that she would have…