Jim Stanton and Rich-R-Tone Music
Bluegrass music evolved in the late 1930s in the Appalachians as an answer to the progressive new country music sounds of western swing and honky tonk music. This era produced the styles we generally consider as country music today. In contrast to these styles, bluegrass music sounded rather old-fashioned and therefore, was highly embraced by rural people from such Appalachian states as Kentucky, Tennessee, Virginia, West Virginia, and the Carolinas. A mixture of the old-time mountain folk music from the south, blues, and even some jazz, bluegrass music was more innovative as people back then thought and soon, spread across the country.
The father of bluegrass was, of course, Bill Monroe from Kentucky, who became a driving force in the development of the style. His band, the Blue Grass Boys, gave the music its name, and their appearances on the Grand Ole Opry, one of the nation's best known country music radio programs, gave the style important exposure. However, Monroe was not the only artist that took part in this development.
One of the first, if not the first, independent record producer that recorded bluegrass music was Johnson City, Tennessee, music entrepreneur James Hobart "Jim" Stanton. Previously, bluegrass music had been recorded of course but only by major labels, which naturally were mainly interested in sales numbers and therefore only recorded artists that sold. Stanton, on the other hand, did not chose his artists under commercial aspects - at least not mainly - but recorded them on his Rich-R-Tone label because he liked the way they performed music. Thus, he preserved local artists' music and culture, giving us even today an idea what bluegrass music sounded like in places such as Piney Flats, Tennessee, or Grassy Creek, North Carolina, in the late 1940s and early 1950s.
While Stanton kept on recording bluegrass and country music throughout the decades, he began working with black gospel groups in the 1960s and released numerous discs on his Champ record label. Indeed, he was not tied to one music style but recorded what he either considered appropriate or, the business man he was, if someone paid for it.
James Hobart Stanton was born in 1918 in Johnson City in Washington County, Tennessee, to Dana G. Stanton and his wife Ida Bell (née Yates). Both his father's and his mother's families were longtime residents of the coal mining region of Washington County, which biggest town is Johnson City.
Stanton was still a boy when the city became the place of an important event in country music history: in October 1928 and October 1929, Columbia Records set up a mobile recording studio and, headed by Columbia's Old Familiar Tunes department chief Frank Walker, conducted countless sessions of regional old-time folk and gospel musicians. Besides the Bristol sessions (during which RCA discovered Jimmie Rodgers and the Carter Family) and the Knoxville sessions, the Johnson City sessions are today regarded as one of the most important events in old-time music and early country music. If Stanton took actually notice of what was going on in downtown Johnson City at that time is not known. But it cemented the city's status as a regional music center.
By the mid 1930s, while still being a teenager, Stanton was working for a jukebox operator, traveling the Appalachians and selling discs for jukebox playing. His long and extensive journeys throughout the Appalachians probably gave him a better understanding of the music culture and its artists. Though, it still took him some years to recognize the potential and to finally set out on his own.
In 1937, his sister Myrtle passed away at the young age of just 20 years. However, around the same time, Stanton married Mary K. Flaherty, whose family was also from Johnson City. In 1939, he took over the company he was working for and spent the war years working his jukebox disc salesman job. He sold the business in 1942 and moved to Cincinnati, where he worked for Wurlitzer jukeboxes and became acquainted with Syd Nathan, who was about to start King Records. Stanton then went into partnership with Tommy Grinnell, forming a jukebox business with him in 1944 in Richmond, Virginia, but sold his share two years later. Inspired by Nathan and his independent record company, Stanton had decided to try his luck as an independent record producer by fall 1946. Previously, Stanton had watched the major labels turning out disc after disc and assumed that he could do it just as good.
Local radio was an important tool for Stanton. He did not only use it as a sales channel but also to find new, promising talent to record. During 1947, Stanton recorded and released several discs on local artists. One of the most influential steps in his career was the addition of Ralph and Carter Stanley to his Rich-R-Tone label. Billed as "Stanley Brothers and the Clinch Mountain Boys", the Carters and their band were already popular within a 100 miles radius around Norton, Virginia, and appeared on local WNVA there. It was their performance of "Little Glass of Wine" that won over Stanton, so he arranged a recording session for the Stanley Brothers in September 1947 at radio WOPI in nearby Bristol, Tennessee. Their debut was released later that year but it was their third disc, "The Little Glass of Wine" b/w "Little Maggie" (Rich-R-Tone #423) from March 1948 that became their first regional hit. Carl Sauceman, a young bluegrass musician who would also record for Rich-R-Tone eventually, worked part-time as a distributor for both Mercury and Stanton, hauling thousands of Stanley Brothers discs to record shops in the Appalachian regions of Tennessee, Kentucky, (West) Virginia, and the Carolinas.
Other notable bluegrass acts that eventually became famous were Wilma Lee & Stoney Cooper, the Bailey Brothers, Curly King and his Tennessee Hilltoppers, among other more regional acts. He also set up the Folk Star label in the late 1940s. But Stanton was not tied to one musical style. He also recorded mainstream country music, proto-rockabilly country boogie, gospel, and even some rhythm & blues during those years. Among all those artists, Buffalo Johnson remained the most prolific one, recording in nearly every of the aforementioned style from the 1940s well into the 1970s on Rich-R-Tone.
Stanton moved his operations to Campbellsville, Kentucky, where he merged Rich-R-Tone with the equally influential Acme record label. Rich-R-Tone ceased operations in 1953 and Stanton moved to Nashville, Tennessee, which had developed into a center for country music business by then. He started Champ Records in 1965, which had offices in both Nashville and Johnson City, and produced all kinds of music on this label. Though, black gospel albums became the company's main product, releasing numerous LPs until the early 1980s. Stanton's work with black gospel groups is largely unknown today, although he produced a large quantity of records for these bands. He also reactivated Rich-R-Tone during the 1960s, releasing country music on it, and worked for United Music World of West Columbia, South Carolina, from 1974 until 1976.
Jim Stanton passed away on July 15, 1989, in Nashville, Tennessee. He is buried at Monte Vista Memorial Park in Johnson City. Stanton's influence on American roots music is hard to ignore but until recent years, his legacy remained commonly unrecognized. In 2022, the state of Tennessee erected a historical marker on Johnson City's West Main Street to honor Stanton. Since then, the awareness of Stanton's efforts has increased. Bear Family Records released a 12-CD box set entitled "The Rich-R-Tone Folk Star Story" in September 2025, containing all surviving recordings from the period 1946 - 1954. Dr. Ted Olson from East Tennessee State University and Matteo Ringressi, Italian bluegrass musician, collector, and researcher, were instrumental in putting this box together.
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