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Don Helms
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Donald Hugh Helms[1] (February 28, 1927 – August 11, 2008) was an American musician who was the steel guitar player of Hank Williams's Drifting Cowboys group.[2] He was a member of the Steel Guitar Hall of Fame (1984).[3]

Biography

[edit]

Helms was a featured musician on a vast number of Hank Williams recordings and provided the high, piercing signature steel guitar sound on more than 100 of Hank's songs and on 10 of his 11 number-one country hits.[4]

Bill Lloyd, the curator of stringed instruments at the Country Music Hall of Fame and Museum, said of Helms: "After the great tunes and Hank's mournful voice, the next thing you think about in those songs is the steel guitar. It is the quintessential honky-tonk steel sound — tuneful, aggressive, full of attitude." Lloyd also credits Helms's sound as a major influence in shifting the sound of country music away from the hillbilly string-band sound popular in the 1930s and toward the more modern electric style that became prominent in the 1940s.[4]

Helms played a double-neck 1948 Gibson Console Grande steel guitar, which lacked the foot pedals found on a more modern pedal steel guitar, which did not come into prominence in country music until after Hank Williams's death in 1953. He tuned the outside neck to A C# E G# B C# E G# (low to high), which he called E6, and the inside neck to F# A B D# F# A C# E, which he called B13. Almost all of Don's classic leads were done on the E6 neck. He used the B13 neck for fills.

After Williams's death, Helms went on to play on many classic country hits, including Patsy Cline's "Walkin' After Midnight", Stonewall Jackson's "Waterloo", the Louvin Brothers' "Cash on the Barrelhead", Lefty Frizzell's "Long Black Veil", and Loretta Lynn's "Blue Kentucky Girl."[4]

Donald Hugh Helms was born in New Brockton, Alabama, and performed with many country music artists throughout the years, including playing steel guitar on Lefty Frizzell's recording of "Long Black Veil". In the late 1950s, Don played on several early Johnny Cash recordings on Columbia Records, The Fabulous Johnny Cash, Now, There Was a Song! and Hymns by Johnny Cash. During the mid-1960s, Helms played in the Wilburn Brothers backup band, the Nashville Tennesseans. He later played behind Hank Williams's daughter Jett Williams.

Helms also played for Hank Williams Jr. and wrote "The Ballad of Hank Williams", which he performed with Hank Jr. on The Pressure Is On LP released in 1981. In the song, Don jokingly refers to being fired by both Hank Sr. and Hank Jr. He also performed with Jett Williams, Hank Sr.'s daughter, and with David Church, a Hank Williams tribute artist.

His last four known sessions were (in order) with Mark David and the Nightly Lights on November 15, 2007, Joey Allcorn's album All Alone Again[1] in early 2008, followed by sessions with Teresa Street, and then what is believed to be his final session, with Vince Gill recording unfinished Hank Williams Sr. tracks.

Death

[edit]

Helms died on August 11, 2008, in Nashville, Tennessee, from complications of heart surgery and diabetes.

References

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Don Helms

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Donald Hugh Helms (February 28, 1927 – August 11, 2008) was an American ist renowned for his pioneering work in music, particularly as the pedal steel player in ' backing band, the Drifting Cowboys, from 1949 until Williams' death in 1953. Born in New Brockton, , Helms grew up on a family farm and developed his signature "crying" sound, which became integral to the style of mid-20th-century . As the last surviving member of the Drifting Cowboys, he contributed to over 100 recordings, including 10 of Williams' 11 No. 1 hits such as "," and "," often using a high-tuned Gibson Console Grand for its penetrating tone suited to live performances. Helms began playing the steel guitar at age 15 with a Silvertone model, practicing over a washtub in his unelectrified home after being inspired by swing pioneer and local musician Neal McCormick. He joined the Drifting Cowboys as a teenager, touring extensively with Williams for about 200 engagements per year, including radio and television appearances, until the singer's untimely death. Helms' innovative techniques, including his emotive bends and slides, helped define the "Helms sound" that elevated the 's role in country ensembles during the era. Following Williams' passing, Helms continued a prolific career, recording and performing with luminaries such as Patsy Cline on "Walkin' After Midnight" (1957), Lefty Frizzell on "Long Black Veil" (1959), Loretta Lynn on "Fool Number One" (1961), Jim Reeves, Stonewall Jackson, and Johnny Cash. He toured with the Wilburn Brothers, Hank Williams Jr., and Jett Williams, and even collaborated with contemporary acts like Rascal Flatts in his later years. In 1977, Helms reformed the Drifting Cowboys for international tours, culminating in a performance at the Smithsonian Institution in 1980, and he was inducted into the Steel Guitar Hall of Fame in 1984. Helms released his autobiography, Settin' the Woods on Fire, in 2005 and remained active in Nashville's music scene until his death from complications of heart surgery and diabetes at age 81 in Nashville, Tennessee.

Early Life

Childhood and Family

Donald Hugh Helms was born on February 28, 1927, in New Brockton, , on his family's small farm. He grew up in a farming household as the son of James Earlie Helms and Edna Helms, alongside his brothers Glenn and Ted, where daily life revolved around agricultural labor without the conveniences of electricity. In this rural setting, Helms' early exposure to music came primarily through radio broadcasts, which introduced him to the Texas swing sound pioneered by and the Texas Playboys. These influences from afar sparked his initial fascination with music amid the demands of farm work.

Introduction to Music

Don Helms received his first as a gift from his grandmother at the age of 15, marking the beginning of his deep engagement with the instrument. This Silvertone lap steel ignited his passion for the distinctive sound of the , which he would go on to master. Helms' early influences included a local performance by steel guitarist "Pappy" Neal McCormick, whose playing captivated him and inspired his pursuit of the instrument. Additionally, he drew significant inspiration from Leon McAuliffe's innovative style, particularly the tune "Take It Away, Leon," which exemplified the fluid, expressive techniques of . Largely self-taught due to the isolation of rural , Helms honed his skills through radio broadcasts of programs and persistent trial-and-error experimentation on his family's farm. His initial practice routines involved hours of daily repetition, often in makeshift settings amid farm chores, as he sought to replicate the sounds he heard on the airwaves. Adapting to the steel guitar's lap-style playing presented notable challenges, including the need to balance the instrument on his lap while using a bar to notes and a volume pedal for dynamics, requiring patience to develop the precise control essential for its weeping, sliding tones. This self-reliant approach in the rural setting fostered his unique, intuitive grasp of the instrument.

Career

Early Performances and Local Bands

Helms secured his first paid musical engagements around the age of 16 or 17, performing in rural honky-tonks and roadhouses near his hometown of New Brockton. These early gigs were part of the burgeoning regional scene, influenced by pioneers like and local steel guitarists such as Pappy Neal McCormick, whose performances had inspired Helms to take up the instrument. In his late teens, Helms formed the Rhythm Boys, a band comprising local musicians including cousins and friends, which played in backwoods venues across Coffee County, including areas around Enterprise. The group drew from the lively circuit and regional country traditions, helping Helms hone his skills amid noisy bar environments and establish a budding reputation in southeast 's music community. Balancing these performances with life on the presented significant challenges, as Helms juggled agricultural duties with late-night shows and practiced his —purchased at age 15—using makeshift methods like amplifying over a washtub due to the lack of at home. Travel to gigs often involved rudimentary transportation suited to farm life, underscoring the grassroots nature of his initial foray into professional .

Time with Hank Williams

Don Helms joined ' backing band, the Drifting Cowboys, in 1943 at the age of 16, serving as the ist during Williams' rise to stardom. After a brief interruption for military service from 1944 to 1946, Helms rejoined the group in 1949, coinciding with Williams' debut on the Grand Ole Opry and the band's national prominence. During his tenure, which lasted until Williams' death in 1953, Helms contributed to over 100 of Williams' recordings, providing the signature weeping lines that defined the sound. Helms' steel guitar work featured prominently on 10 of Williams' 11 number-one hits, including "I'm So Lonesome I Could Cry," and "." He played a double-neck Gibson Console Grande, a non-pedal tuned to produce high-pitched, emotive "crying" notes that cut through the mix and evoked deep melancholy, as heard in tracks like "" and "." These contributions were essential to Williams' sound, with Fred Rose instructing Helms to emphasize piercing tones for live settings in noisy roadhouses. The Drifting Cowboys, with Helms on steel, supported Williams in hundreds of live performances, including regular Grand Ole Opry appearances starting in 1949 and extensive tours across the United States. Band dynamics were marked by Williams' charismatic yet reclusive personality; he nicknamed Helms "Shag" for his curly hair and often relied on him during sessions, as in the 1952 recording of "Your Cheatin' Heart," where Williams deferred to Helms to initiate the take in a single, flawless run. Helms later reflected on Williams as emotionally distant, noting, "I was Hank’s best friend and I hardly knew him. He would not open up," highlighting the singer's inner struggles amid the band's grueling schedule.

Post-Williams Session Work

Following ' death on January 1, 1953, Don Helms relocated to Nashville later that year, leveraging his experience from the Drifting Cowboys to establish himself as a freelance . This move positioned him at the heart of the emerging Nashville recording scene, where he contributed his distinctive sound to a wide array of artists during the 1950s and 1960s. Helms quickly joined Ray Price's band, the Cherokee Cowboys, playing a pivotal role in Price's transition to the smoother and contributing to hits like "Crazy Arms" in 1956. He also recorded with , adding to tracks that helped define Husky's style, and with on Decca sessions, including efforts that preserved Tubb's traditional country essence amid evolving production trends. His work extended to projects, where he provided backing for Johnny Cash's early albums such as The Fabulous Johnny Cash (1959) and Hymns by Johnny Cash (1959), enhancing the raw energy of Cash's Sun-era sound with subtle steel accents. One of Helms' most iconic contributions came on Patsy Cline's breakthrough single "Walkin' After Midnight" (1957), recorded at Decca under producer Owen Bradley, where his weeping intro set the song's haunting tone and helped propel it to No. 12 on the and No. 2 on the pop . In the early era, Helms also supported on her debut hits like "" (1962) for Decca, layering steel guitar fills that complemented Lynn's straightforward vocal delivery; during this period, he toured and performed with the Wilburn Brothers, who promoted Lynn. Throughout the 1950s and 1960s, Helms adapted to innovative studio techniques, including overdubs and multi-track backing, which were hallmarks of pioneered at studios like Bradley's Barn and for labels such as Columbia and Decca. Working frequently with Bradley, he focused on precise, emotive fills that blended seamlessly into ensemble recordings, often tracking after basic rhythm sections to add atmospheric depth without overpowering vocals. This versatility solidified his reputation as a go-to session player for thousands of recordings, bridging traditional with the polished productions that dominated the era.

Later Collaborations and Projects

In the late 1970s, Helms reunited with members of the original Drifting Cowboys band and began selective collaborations that honored his legacy with Hank Williams Sr., including performances with during the early 1970s and extending into later decades. He also contributed steel guitar to recordings by , maintaining the familial musical ties through shared stage and studio work. Helms co-wrote and recorded "The Ballad of Hank Williams" with in 1981 for the album , a tribute track that parodied "" while recounting Sr.'s life and career. This collaboration highlighted Helms' songwriting alongside his instrumental role, blending humor and reverence in a style reminiscent of Williams Sr.'s roots. In the 1980s and 1990s, Helms toured extensively with , Sr.'s daughter, providing for her performances and recordings that celebrated her father's catalog. He also worked with during this period, including a notable 2008 Country's Family Reunion appearance where they performed "If You Ever Have Forever in Mind." These partnerships emphasized Helms' enduring technique in live settings. Into the 2000s, Helms participated in tribute projects, such as the 2000 50 Years of Legendary Steel Guitar, which featured his instrumental interpretations of classics. He made appearances, including invitations to perform with as late as 2003, underscoring his active role in Nashville's traditional scene. Helms' final recordings occurred in 2008, just months before his death, including sessions with to complete unfinished Sr. tracks like "I Hope You Shed a Million Tears," captured live without overdubs to preserve authenticity. He also contributed to contemporary projects with artists such as and , demonstrating his adaptability while rooted in sounds. These efforts marked the close of his career, focused on legacy tributes and family-inspired collaborations.

Musical Style and Contributions

Steel Guitar Technique

Helms mastered lap-style playing on the non-pedal , positioning the instrument horizontally across his lap to allow for fluid slides and precise control over note sustain. He incorporated a volume pedal, such as the Hilton model, to produce dynamic swells that built tension and release in phrases, contributing to the emotive "" quality of his tone through gradual volume increases and decreases. A key element of Helms' approach involved applying specific bar pressure to the strings, enabling subtle pitch variations and that enhanced emotional depth in honky-tonk phrasing. He achieved string bending by tilting and pressing the bar against the strings, creating bends up to a whole tone without mechanical aids, which allowed for expressive, blues-inflected lines that mirrored vocal inflections. Helms' primary instrument was a 1948 Gibson Console Grande, a double-neck lap steel with eight strings per neck tuned in an E13 configuration on the outer neck for high-tension chords. He paired it with a 1949 Fender Pro amplifier to achieve a resonant, penetrating tone, occasionally modifying setups for clarity in live and recording environments. Early in his adoption of the instrument, Helms drew influence from steel guitarist Leon McAuliffe of and the Playboys.

Signature Sound and Innovations

Don Helms' signature sound on the was characterized by its plaintive, weeping tones that added emotional depth to honky-tonk recordings, particularly those of . Using a double-neck tuned in E13 on the outer neck, Helms produced smooth, fluid lines that mimicked the human voice, creating a "crying" quality through slanted bar techniques and harmonic voicings. This approach, enhanced by studio reverb effects, gave his playing a distinctive, resonant that became synonymous with the raw emotionality of early . Helms innovated by elevating the steel guitar from a rhythmic or background element to a primary lead voice in country arrangements, often weaving melodic phrases that paralleled and amplified the singer's delivery. In Williams' tracks, his solos and fills served as countermelodies, integrating the instrument seamlessly into the ensemble while allowing it to carry narrative weight, a technique that expanded the steel guitar's role in honky-tonk beyond mere ornamentation. This integration influenced the structure of country songs, making the steel a versatile foil for vocals and setting a precedent for its prominence in live and recorded performances. Over time, Helms' sound evolved from the gritty, aggressive rawness of the Williams era—marked by bold, attitude-filled phrasing—to the more refined polish of during his session work in the and . Collaborations with producer Owen Bradley on Patsy Cline's hits, such as "," showcased a smoother, more controlled application of his technique, adapting the weeping tones to lush, string-backed productions that broadened country's appeal. This transition reflected broader shifts in the genre, where Helms' adaptability helped bridge honky-tonk's visceral edge with Nashville's sophisticated sheen. Helms' innovations and distinctive tone profoundly influenced later steel guitarists, carrying its legacy into modern country.

Personal Life and Legacy

Family and Personal Interests

In 1945, Helms married Hazel Ouida Cullifer, forming a stable partnership that endured for 63 years and provided a steadfast home base amid his extensive travels and recording sessions. The couple raised two sons, Donald Franklin (known as Frank) and Timothy Marc (known as Marc), who grew up in a supportive family environment that contrasted sharply with the chaotic, alcohol-fueled lifestyle of Helms' longtime collaborator , who died at age 29 from related excesses. The Helms family made their primary residence in the Nashville area, including , where Hazel managed the household during Don's frequent absences for performances and studio work. Outside his professional pursuits, Helms nurtured a passion for collecting vintage s, most notably preserving his 1949 Gibson Console Grande —the instrument he played on ' classic recordings—which he kept close at home under his bed as a cherished personal artifact. He also informally mentored emerging ists by sharing stories and techniques from his career during casual encounters and family gatherings.

Honors and Recognition

Don Helms was inducted into the Steel Guitar Hall of Fame in 1984, recognizing his pioneering contributions to the instrument in country music. This honor highlighted his indelible style and long-standing influence as a and band member. Throughout his later years, Helms was frequently acknowledged as the last surviving member of Hank Williams's Drifting Cowboys band, a distinction noted in numerous obituaries and documentaries that celebrated his role in preserving the group's legacy. This recognition underscored his unique position as a living link to one of country music's foundational acts. His career longevity, spanning over six decades, formed the basis for these tributes to his enduring impact. Helms has been prominently featured in country music histories and retrospectives, where his work is credited with shaping the emotional depth of Williams's recordings. For instance, archival interviews and biographical accounts from institutions like the Country Music Hall of Fame emphasize his foundational role in the Drifting Cowboys' sound. Following his death in 2008, Helms received posthumous recognition for his final recording session collaborating with Vince Gill and Rodney Crowell on unfinished Hank Williams songs, released in 2011 on the album The Lost Notebooks of Hank Williams, which was highlighted in contemporary music coverage as a fitting capstone to his career. These acknowledgments from artists like Gill reinforced Helms's status as a revered figure in Nashville's musical community.

Death

Don Helms died on August 11, 2008, at Skyline Medical Center in Nashville, Tennessee, at the age of 81. The cause of death was complications from heart surgery and long-term diabetes. He had remained an active performer until his health began to decline in recent years. Funeral services were held on August 14, 2008, at Forest Lawn Funeral Home in , with interment following at Forest Lawn Memorial Gardens in the same city. Helms was survived by his wife of 63 years, Cullifer Helms; sons Franklin Helms and Timothy Marc Helms; two brothers; three grandchildren; and five great-grandchildren. Initial media coverage highlighted Helms' enduring influence on , with tributes from fellow musicians such as , who noted his vital role in shaping the sound alongside . Obituaries in major outlets like and emphasized his session work with artists including and , underscoring the immediate recognition of his legacy following his passing.

References

  1. https://www.theguardian.com/music/2008/aug/26/1
  2. https://adp.library.ucsb.edu/index.php/mastertalent/detail/320743/Helms_Donald_Don
  3. https://www.sfgate.com/bayarea/article/Steel-guitarist-Don-Helms-dies-3273124.php
  4. https://www.nytimes.com/2008/08/17/arts/music/17helms.html
  5. https://www.legacy.com/us/obituaries/tennessean/name/donald-helms-obituary?id=25157564
  6. https://people.well.com/user/wellvis/donhelms.html
  7. https://www.latimes.com/archives/la-xpm-2008-aug-14-me-helms14-story.html
  8. https://www.washingtonpost.com/archive/local/2008/08/18/celebrated-steel-guitarist-don-helms-81/8fe85e2c-d4c9-474f-9482-a79495382617/
  9. https://www.the-independent.com/news/obituaries/don-helms-hank-williams-steel-guitarist-935319.html
  10. https://www.angelfire.com/ny3/thedriftingcowboys/bios.html
  11. https://www.nucountry.com.au/archive-old-site/public_html/articles/diary/september2008/080908_donhelms_obit.htm
  12. https://www.voanews.com/a/a-13-2008-08-14-voa74/402115.html
  13. https://americansongwriter.com/dons-helms-add-some-steel-guitar-don-helms-and-the-songwriting-of-hank-williams-sr/
  14. https://countryroadtv.com/artist/don-helms/
  15. https://www.stalbertgazette.com/local-entertainment/stories-and-songs-about-the-legendary-hank-williams-1300017
  16. https://www.countrymusichalloffame.org/oral-history/don-helms
  17. https://www.npr.org/sections/allsongs/2008/08/don_helms_1927_2008_1.html
  18. https://open.spotify.com/artist/6KamCH3odQFKabFyouDA0X
  19. https://www.youtube.com/watch?v=IvE4JTS3VO0
  20. https://www.discogs.com/release/2619465-Don-Helms-50-Years-Of-Legendary-Steel-Guitar
  21. https://www.edreynolds1995.com/2003/01/
  22. https://bb.steelguitarforum.com/viewtopic.php?t=114191
  23. https://www.facebook.com/GatorRockVideo/photos/jean-shepard-on-the-grand-ole-opry-with-webb-pierce-center-1956-don-helms-on-ste/1578647935494798/
  24. https://www.facebook.com/groups/STEELGUITARPLAYERS/posts/8863821230384506/
  25. https://bb.steelguitarforum.com/viewtopic.php?t=279926
  26. https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/descriptions-and-essays/
  27. https://dash.harvard.edu/bitstream/handle/1/41140202/PARLER-DISSERTATION-2017.pdf?sequence=1
  28. https://bb.steelguitarforum.com/viewtopic.php?t=117142
  29. https://www.nytimes.com/2015/08/02/arts/music/buddy-emmons-virtuoso-of-the-steel-guitar-dies-at-78.html
  30. https://www.washingtonpost.com/archive/lifestyle/1999/09/25/hank-williams-countrys-unknowable-heart/195f38dd-f169-4e66-9456-bf7cb7128851/
  31. https://music.apple.com/us/album/the-lost-notebooks-of-hank-williams/467503399
  32. https://www.legacy.com/us/obituaries/chipleypaper/name/donald-hugh-helms-obituary?id=49658608
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