He was an enormously successful and popular country music star, a man who recorded over 90 chart hits with a unique style that wasn’t exactly rockabilly, but certainly influenced the shape it hillbilly rockers to come. He was related to hillbilly royalty through his marriage to June Carter, not to mention that his daughter became a country music hit maker in her own right. You know who I’m talking about of course – the one and only Carl Smith. (He also wore black on occasion, but to the point…)
Born in 1927, and hailing from Roy Acuff’s hometown of Maynardville, Tennessee, Carl Smith grew up like many Southern boys of the depression, idolizing singing cowboys in the movies and hillbilly musicians on the radio. Acquiring his first guitar at the age of ten, Smith took advantage of any opportunity to play music at local dances, socials and school programs. He found work as a professional musician while he was still in high school in various bands centered around Knoxville and Cas Walker’s radio show on station WROL. But his pursuit of a fulltime music career was temporarily interrupted by his stint in the U.S. Navy in 1945-46.
After returning from the service, Smith found fulltime work as a musician in the Knoxville area where WROL was becoming a triple-A farm team of sorts for the Grand Ole Opry in Nashville and a prime location for record companies to discover up-and-comers in the hillbilly scene. In 1950, with Hank Williams selling records hand over fist for MGM, every major label was looking for stars that could deliver the new, post-war, hard-edged honky tonk style. For Columbia Records, the then 23 year-old Carl Smith was just what they were looking for. Smith found himself in the fast lane to hillbilly stardom, signed to both the Grand Ole Opry and Columbia Records in less than a month. While he might not have been the tortured hillbilly poet that Hank was, Smith had many other assets including a strong, clear voice, his country boy good looks, a head full of wavy hair, and perhaps best of all, he lacked the self-destructive tendencies that were constantly derailing Williams’ career.Smith quickly proved himself a master of just about any form of hillbilly music he set his sights on — from Eddy Arnold-style crooners to Hank Williams-style honky-tonk heartbreakers, to heartfelt gospel that any mother would approve of. But the style that Smith really made his own came from Saturday nights, not Sunday mornings. It was “honky-tonk stomp.” Up-tempo slices of hillbilly bravado and swagger like “(When You Feel Like You’re in Love) Don’t Just Stand There,” “Trademark,” “Hey Joe!” , « Dog-gone It, Baby, I’m In Love » and “Back Up Buddy” where Smith really made his mark on the evolving palette of hillbilly music.
It was a style that Hank Williams had pioneered with songs like “Honky Tonkin’” and “Mind Your Own Business” and that he referred to as “sock rhythm.” But ole Hank’s “sock” was just the 2-4 backbeat that had marked the dividing line between white and black popular music for so long, and that more and more hillbilly musicians were picking up on in the late forties. Smith was a natural for this younger, hipper and hotter form of hillbilly music, but he never came across as the threatening rebel. “The Country Gentleman,” as he became known, could deliver a heartbreaking ballad that brought tears to the eyes of the bluest blue-nose and then toss off a stomper that thrilled the budding teeny-bopper crowd with his down home machismo.
« hey Joe! »
« Dog-gone it baby, I’m in love » http://www.bopping.org/wp-content/uploads/2014/04/Carl-Smith-Dog-Gone-It-Baby-Im-In-Love-1954.mp3download
« Back up buddy » http://www.bopping.org/wp-content/uploads/2014/04/columbia-21266-carl-smith-BACK-UP-BUDDY.mp3download
While seldom acknowledged as such, Carl Smith, along with other honky-tonk stompers like Webb Pierce, Faron Young and Hawkshaw Hawkins were adding the final ingredients to the musical gumbo that would spit out rockabilly in just a few years. The young, hot shot attitude, combined with a driving beat and the good looks of many of these honky tonkers provided true swoon appeal to a generation of corn-fed gals, whose younger sisters would be screaming for the “Memphis Flash” and his fellow rockabilly cats in just a few short years. But of course you gotta have a hot band to play hot music, and that’s exactly what Smith assembled with his road band, The Tunesmiths. Featuring top session men like Junior Husky (on bass) and Buddy Harman, but most especially the master steel guitarist, Johnny Silbert (then 17 years old), the Tunesmiths developed a hot style that drew from both Western Swing and the nascent rock’n’roll beat. Other Tunesmiths’ members included drummer Farris Coursey, ex-Hank Williams’ Drifting Cowboys Sammy Pruett on lead guitar or future Jordanaires’ Gordon Stoker on piano. There’s never been any fiddle in Smith’s hillbilly boppers, another sign of him being ahead of his time.
Sammy Pruett left to Hank
A perfect example of the musical style that Carl Smith and the Tunesmiths developed is their 1955 recording of “Baby I’m Ready.” It’s a song that both swings and rocks as Smith declares his readiness to show his lady a hot time on the town. And all with a charm that probably left the young lady’s mother and father smiling and waving from the front porch as that “good boy” took their daughter out for a night of hillbilly whoopee.
« Baby, I’m Ready » http://www.bopping.org/wp-content/uploads/2014/04/25.-Baby-Im-Ready.mp3download
Ricky Van Shelton « Baby I’m ready » (1987)http://www.bopping.org/wp-content/uploads/2014/04/ricky-van-shelton-baby-Im-ready.mp3download
Also take a listen to the proto-rockabilly (by rhythm and lyrics) « Go Boy Go » or « No, I don’t believe I will »
« Go, boy go » http://www.bopping.org/wp-content/uploads/2014/04/columbia-21266-carl-smith-go-boy-go.mp3download
« No, I don’t believe I will » http://www.bopping.org/wp-content/uploads/2014/04/13-Carl-Smith-No-I-Dont-Believe-I-Will.mp3download>download
In June of 1952, Smith married June Carter, daughter of musical matriarch Maybelle Carter. The couple settled just north of Nashville in the suburb of Madison. Smith cut several gospel recordings with the Carter Sisters, and in 1954 the couple cut a pair of novelty songs with June playing comedic foil to the more straight-laced Smith in sort of gender-switched hillbilly version of the shtick that Louis Prima and Keely Smith were conquering Vegas with. The couple’s next collaboration, their daughter, and future country star Carlene Carter arrived in 1955.
But even among hillbilly royalty, matrimony is not without its challenges. The couple split in 1956 with Smith marrying fellow Grand Ole Opry star, and hillbilly music’s first “glamour queen” Goldie Hill the following year. Smith left the Opry near the end of 1956 in a swirl of behind-the-scene politics to take top billing on the Phillip Morris Country Music Show, a free traveling revue sponsored by the cigarette company that ran through 1957 and ’58, often playing the same cities and dates as the Opry-sponsored road show. Smith then made the leap to TV stardom as the co-host of Five Star Jubilee and later the Canadian-produced Carl Smith’s Country Music Hall.
The Tunesmiths: « Oh! stop » http://www.bopping.org/wp-content/uploads/2014/04/columbia-21386-The-Tunesmiths-Oh-Stop.mp3download
The Tunesmiths: « Doorstep to Heaven » http://www.bopping.org/wp-content/uploads/2014/04/columbia-21522-CARL-SMITH-WITH-THE-TUNESMITHS-doorstep-to-heaven.mp3download
Although his hottest period was in the pre-Elvis era, Smith continued to produce solid country hits through the sixties and early seventies. He even managed to hold the strings and vocal chorus of the then popular “Nashville Sound” at bay on his recordings, staying true to a more traditional honky tonk sound. He left Columbia Records in 1973 and after a short stint on Hickory Records made the rare move of voluntarily retiring from the music business in 1978.
He spent his later years enjoying the fruits of a country boy’s dream, on his 500 acre horse and cattle ranch in Williamson County, Tennessee. He was elected to the Country Music Hall of Fame in 2003. His wife Goldie, passed away in 2005 with Smith following her in January of 2010 at the age of 82.
Reflecting on his decision to retire from the music business Smith told Tim Ghianni in a 2003 interview for the Tennessean, “I just wanted to play cowboy. My philosophy is doing what I want to do.” A darn good philosophy for a country boy, but of course we can all be grateful that for a time, bringing a hot beat, a snarl and a swagger to country music was just what Carl Smith wanted to do and what he was best at.
Biography and pictures taken from the net. Scans and music mostly from private collections.
Nothing to do with Jimmy Carter’s supposed brother ! That Bill Carter was a member of the Big Jim DeNoone’s Rhythm Busters.
His story begins on December 12, 1929, when he was born in Eagleton, Arkansas, one of ten siblings, the son of an itinerant share cropper. By the time he was nine years old, he was singing on KGHI out of Little Rock, Arkansas. In 1937 , the family moved to Broken Bow, Oklahoma. Bill’s father got a job with the Southern Pacific Railroad in Indio, California, in 1943, and the family headed west. Bill’s interest in music was encouraged, and he took voice lessons during his teens, as well as performing on radio stations KRBO (Indio) and KROX (Modesto), modelling himself on Eddy Arnold. After graduating from Coachella Valley High school, Bill gained employment with the Johnson lumber Company in Grass Valley, and confined his performings to weekends.
In 1949 he joined USAF, and whilst stationed at Lackland and subsequently Parks AFB in Calfornia, Bill formed several bands, playing with the likes of Shorty Lavender (lead guitar and fiddle), Slim Roberts (fiddle), and Bob Cooper (drums). His music was firmly strenched in C&W and performing at NCO clubs kept his hand in. Whilst still in the Air Force, he got to perform with Cal Smith’s band in San Leandro, as well as playing dates in the San Francisco area, and venturing as far afield as San Antonio, Texas radio stations to perform. Read the rest of this entry »
For this early Spring favorites selection, I’ve chosen mostly – that is unusual – major labels recordings!
The first three on King probably all cut in Cincinnati between 1949 and 1950. The earliest track is by RED PERKINS (born in 1890), who had begun his career before WWII and was later the featured vocalist of PAUL HOWARD Arkansas Cotton Pickers (see below). Here it is his « Hoe-Down Boogie » (King 792), a fine call-and-response fast bopper. He also had « Crocodile tears » the next year. His first issue on King (# 773) was « Texas Boogie« , and the personnel was then Jabbo Arrington [gt], Billy Bowman [steel], Bob Moore [bass], Roddy Bristol [fiddle], Fiddlin’ Red Herron [fiddle], Joe Rea [drums], poss. Harold Horner [piano]. The backing is probably similar.
Second selection is of course by PAUL HOWARD: « The boogie’s fine tonight« . Fine piano bopper (# 871), and the next is by the famous REDD STEWART, featured vocalist of Pee Wee King‘s Golden West Cowboys. Actually, except accordion (inaudible) the GWC are the backing band of Stewart for this great « Brother drop dead » (# 843). Fine piano, aggressive steel punctuating the beat.
Red Perkins, « Hoe-down boogie » http://www.bopping.org/wp-content/uploads/2014/04/Red-Perkins-Hoe-Down-Boogie.mp3download
Paul Howard « The boogie’s fine tonight » http://www.bopping.org/wp-content/uploads/2014/04/king-873AA-Paul-Howard-The-boogie_s-fine-tonight.mp3download
One step away to West coast on the Capitol label for GENE O’QUIN and « I specialize in love » (# 2715). Fast bopper from 1954.
Gene O’Quin « I specialize in love » http://www.bopping.org/wp-content/uploads/2014/04/Gene-OQuinn-I-specialize-in-love.mp3download
Back to early days. Dallas, Texas, Jim Beck’s studio, April 1951. The MERCER Brothers (Wallace and Charlie), an old-time male duet do a very energetic « Wish bone » on Columbia 20978. They sound like the Delmore Brothers, and even have WAYNE RANEY on harmonica for a great solo! Thanks to Jack Dumery to have led me to them (and for the CD!)
Mercer Brothers « Wish bone » http://www.bopping.org/wp-content/uploads/2014/04/columbia-20978-mercer-bros-wish-bones.mp3download
Eddie Crosby « Blues stay away from me » http://www.bopping.org/wp-content/uploads/2014/04/Eddie-Crosby-quotBlues-Stay-Away-From-Mequot-78-rpm.mp3download
Danny Dedmon « Hula hula woogie » http://www.bopping.org/wp-content/uploads/2014/04/Danny-Dedmon-Hula-hula-woogie.mp3download
The link with the former is the Delmore and a version of their all-time great « Blues stay away from me« , a cityfied rendition (Cincinnat, August 1949) by EDDIE CROSBY. Nice guitar (could be Zeke Turner).
Finally back in Dallas with DANNY DEDMON, former vocalist of Bill Nettles. Actually his Rhythm Ramblers are Nettles’ Dixie Blues boys. Here he does in 1947 the amusing « Hula hula boogie » on Imperial 8019.
Sources: my own collection and the net for artists pictures.
For this new serie I have chosen to focus on 7 releases on the Imperial label. Indeed they all will be from the famous 8000 serie, and more precisely (with one exception) in the 8200.
Imperial 8000 had begun in 1947 with releases from Danny Dedmon or Link Davis, and the serie had pursued throughout the late 40s and early 50s with varying success. Sides appeared by Jimmy Heap, Tommy Duncan or more obscure artists as Ed Camp or Harry Rodcay. All had a label adorned by 5 stars, and were issued in red (78 rpm) or blue (45 rpm). Majority of sides were cut in Dallas (Jim Beck’s studio).
In 1953, Imperial had a huge success with the first white cover of Big Mama Thornton’s « Hound Dog » by BILLY STARR (# 8186). It’s a very nice version: belting vocal, haunting guitar, nice piano and accentuated drums. Actually it’s almost a rocker. Recorded in March 1953, it had contenders by Eddie Hazlewood, Betsy Gay and Tommy Duncan, all on Intro. Herald in NY had Cleve Jackson’s version (actually Jackson Toombs — full story elsewhere in the site).
Then comes up CURLEY SANDERS, who cut « Too much loving’ » in April 53. A good, fast hillbilly, in average (steel,piano, fiddle, guitar and bass) format.(# 8226). GENE HENSLEE next (# 8204) in June 53 had « I’m like a kid a-waitin’ », similar to his other releases, « Dig’n'datin’ » or « Rockin’ baby ». July 1953 saw cut the nice, very effective (bass) medium paced « Talking to the man in the moon » by BILLY Mc GHEE (# 8214).
Billy Starr « Hound dog » http://www.bopping.org/wp-content/uploads/2014/03/imperial-8186-billy-strr-hound-dog.mp3download
Curley Sanders « Too much lovin’ » http://www.bopping.org/wp-content/uploads/2014/03/imperial-8226-curley-sanders-too-much-lovin_.mp3download
Gene Henslee « I’m like a kid a-waitin’ » http://www.bopping.org/wp-content/uploads/2014/03/gene-henslee-Im-like-a-kid-awaitin.mp3download
Billy McGhee « Talking to the man in the moon » http://www.bopping.org/wp-content/uploads/2014/03/Imperial-8214-billy-mcGhee-Talking-to-the-man-in-the-moon.mp3download
Earl Songer « Whoopie baby » http://www.bopping.org/wp-content/uploads/2014/03/Earl-Songer-Whoopie-baby.mp3download
Van Howard « I’m not a kid anymore » http://www.bopping.org/wp-content/uploads/2014/03/imperial-8234-van-howard.mp3download
Then comes in 1954 next artist, VAN HOWARD and the minor classic « I’m not a kid anymore » (# 8234). Real name Howard Vanderverdner. This track was covered recently (mid 90s) by the Starlighters.
# 8259 is the number to the great « Whoopie baby » by EARL SONGER. Seemingly this was cut in Detroit.
Finally another song lent from a smaller label: « Dunce cap » by JIMMY KELLY, this time from Louisiana’s Jiffy label. Great steel.(# 8275)
Jimmy Kelly « Dunce cap » http://www.bopping.org/wp-content/uploads/2014/03/Imperial-8275-jimmy-kelly-dunce-cap.mp3download
Thanks to Ronald Keppner for the loan of rare 78rpm.
Let’s begin this new favorites selection with the first (?) record by an artist who would have much, much later fame as Boxcar Willie. Here he’s named MARTY MARTIN on the Honeycomb label and he sings a good « Mobile, Alabama blues ».
Marty Martin « Mobile, Alabama blues » http://www.bopping.org/wp-content/uploads/2014/03/24-Marty-Martin-Mobile-Alabama-Blues.mp3download
Les & Helen Tussey « They went around » http://www.bopping.org/wp-content/uploads/2014/03/Les-Helen-Tussey-They-Went-Around-Rockabilly-45.mp3download
From Indiana in 1960 we find on the Wayne Raney‘s label Poor Boy LES & HELEN TUSSEY doing the nice rockabilly « They went around« .
Next is a famous ARTHUR SMITH on a rare French MGM Issue for the instrumental « Guitar and piano boogie ». Title says it all.
Arthur Smith « Guitar and piano boogie » http://www.bopping.org/wp-content/uploads/2014/03/MGM-4070-arthur-smith-guitar-and-piano-boogie.mp3download
Finally, thanks to a Mr. Noel T, I put my hands on two rare JESS WILLARD disks. First the completely unknown G&G 107 double-sider « I’m branding my darling with my heart » (earlier cut by Jack Guthrie) and « Hillbilly heaven » (this is apparently not Eddie Dean’s song). Both sides are gentle hillbilly boppers from 1957. G&G was a parent label to Ka-Hi which Willard had « I’m telling you » on. Second is the Sundown 126 « Cops and robbers/Night time is cry time » from 1959, posthumously issued. Alas, both sides are completely pop.
Jess Willard « I’m branding my darling with my heart » http://www.bopping.org/wp-content/uploads/2014/03/gg-107-jess-willard-Im-branding-my-darling-with-my-heart-Jess-Willard-G-G-107.mp3download
Jess Willard « Hillbilly heaven » http://www.bopping.org/wp-content/uploads/2014/03/Hillbilly-Heaven-Jess-Willard-G-G-107.mp3download
Jess Willard « Night time is cry time » http://www.bopping.org/wp-content/uploads/2014/03/sundown-126-A-Night-time-is-cry-time-Jess-Willard-Sundown-126.mp3download
Jess Willard « Cops and robbers » http://www.bopping.org/wp-content/uploads/2014/03/sundown-126-BCops-and-robbers-Jess-Willard-Sundown-126.mp3download
Despite recording fairly prolifically (36 sides cut for Mercury between 1946 and 1949) in the years immediately following World War II, Art Gibson is not widely remembered these days among the fans of vintage country music. Among hard-core collectors of the music of the 1940s-50s, however, he is highly revered, his recordings ardently collected , and celebrated as one of the most individual and infectious honky-tonk performers of the era. He’s cut mostly for Mercury (1946-49), and two single sessions later, one for the small Replica label in 1954, the other for Sunny during the 60s.
The high quality of his output aside, it isn’t surprising that Gibson is not better remembered these days for he kept a surprisingly low profile for most of his career. Other than a mid-40s photograph in the music mag The Mountain Broadcast and Prairie recorder, and a handful of very brief mentions in other music press of the era, he seems to have mostly operated under the radar, not courting much publicity, playing clubs and letting his music speak for itself. This low-key approach accounts, at least in part, for the fact that he didn’t become a bigger star, as it has proved a frustrating roadblock for any researcher hoping to build a fuller picture of his activities in his recording heyday and beyond. Much about Art Gibson’s career remains a mystery, and internet is mute about him. What is certain, however, is that he was a fine honky-tonk singer and songwriter, and that he left a compelling recorded legacy that deserves to be more widely heard. Read the rest of this entry »
Howdy y’all, folks. A little bit late, back from holidays. Here is my new choice of favorites. As usual, a selection of tunes of the great era.
HARRY HANSON on the Louisiana Empire label (# 795, a Starday custom) with « Just remember » from 1959. Fine primitive hillbilly bop which could well have been cut 3 or 4 years earlier.
Harry Hanson, « Just remember » http://www.bopping.org/wp-content/uploads/2014/03/Harry-Hanson-Just-Remember-1959.mp3download
Cal Davis, « Partnership love affair » http://www.bopping.org/wp-content/uploads/2014/03/fortune-185-Cal-Davis-Partnership-Love-Affair-1956.mp3download
From Detroit on Fortune 185, CAL DAVIS and rockabilly « Partnership love affair« , complete with steel and guitar.
Two sides by the very good EUEL HALL from Texas, on the Towne House label (# 11). Lazy vocal, assuring guitar for « Blue feeling » and « Stand in line« . Cross between hillbilly bop and rockabilly.
Euel Hall « Stand in line » http://www.bopping.org/wp-content/uploads/2014/03/towne-house-11-Euel-Hall-Stand-In-Line.mp3download
Euel Hall, « Blue feeling » http://www.bopping.org/wp-content/uploads/2014/03/towne-house-11-Euel-Hall-Blue-Feeling.mp3download
BILLY BARNETT now and the minor classic « Tired of your honky tonk love » on the Phoenix Tex label (# 105). Fine guitar.
And finally, a fast bluegrass bopper by KEN CLARK, « Big man » on Starday 495 from 1960. Great banjo and mandolin backing. Ken Clark was also on the Nashville label (see elsewhere in the site).
Billy Barnett « Tired of your honky tonk love » http://www.bopping.org/wp-content/uploads/2014/03/Tex-105B-Billy-Barnett-Tired-Of-Your-Honky-Tonk-Love-www.keepvid.com_.mp3download
Ken Clark, « Big man » http://www.bopping.org/wp-content/uploads/2014/03/starday-495-Ken-Clark-Big-Man-www.keepvid.com_.mp3download
Howdy folks. Excuse me, a little bit late…
First on the D label (#1034), the very Hollyish « Sady » by DOUG STANFORD. Very nice Rockabilly guitar and vocal hiccups. A medium bluesy « Separate ration blues » by BILL FREEMAN (later on All-star)(vocal « Buddy » Young): good piano, sax and fiddle.
Hillbilly boogie with AL WINKLER for « Show boat boogie » on the Winkler label # 45-88 . Boogie guitar, mandolin, and call-and-response format.
Doug Stanford, « Sady »http://www.bopping.org/wp-content/uploads/2014/01/D-1034A-Doug-Stanford-Sady-.mp3download
Bill Freeman (Bddy Young) « Separate ration blues » http://www.bopping.org/wp-content/uploads/2014/01/TEXTALENT-Bill-Freeman-separate-ration-blues.mp3download
Al Winkler, « Show boat boogie » http://www.bopping.org/wp-content/uploads/2014/01/winkler-88-Al-Winkler-The-Warren-Country-Band-Showboat-Boogie.mp3download
From Indiana, a fast blegrass, « A use to be » by BRYANT WILSON on Adair 620. A nice atmospheric (steel led) « Stoney mountain » by BOBBY BROWN on Backwater 945.
And finally CHUCK GODDARD on the famous Georgia Trepur label (# 1005) with the piano-led « The moon won’t tell« .
Bryant Wilson « A use to be » http://www.bopping.org/wp-content/uploads/2014/01/adair-620-Bryant-Wilson-and-the-Kentucky-Rambler-A-Used-To-Be-.mp3download
Bobby Brown « Stoney mountain » http://www.bopping.org/wp-content/uploads/2014/01/blackwater-945-Bobby-Brown-And-The-Country-Music-Makers-Stoney-Mountain-Where-I-Lost-My-Love.mp3download
Chuck Goddard « The moon won’t tell » http://www.bopping.org/wp-content/uploads/2014/01/TREPUR-1005-Chuck-Goddard-The-Moon-Wont-Tell-...-58-Hillbilly-Bop.mp3download
There will be next fortnight in early March only.
Hu-se-co was founded by Odell Johnson in Hobart, Oklahoma. The label apparently lasted from late 1956 to early 1958, and the main issues were issued in 1957. No label listing does exist, so I don’t know if my presentation is complete, as Hu-se-co was a pretty small label for the time being.
First record was cut in Autumn 1956 by DERAL CLOUR and Charley Drake and coupled the very fine primitive Hillbilly bopper/Rockabilly « Sundown (boogie) » with the ballad « Winter (in my heart) ». Clour has said in an interview published by the RockaBilly HOF that the record was cut at Gene Sullivan’s studio on Capitol Hill in Hobart. Deral Clour was to appear at Ernest Tubb’s in Nashville in 1959.
Deral Clour & Charley Drake
Deral Clour and Charley Drake « Sundown (boogie) » http://www.bopping.org/wp-content/uploads/2014/01/Deral-Clour-And-Charley-Drake-Sundown-Boogie.mp3download
Deral Clour and Charley Drake, « Winter (in my heart) » http://www.bopping.org/wp-content/uploads/2014/01/Deral-Clour-And-Charley-Drake-Winter-In-My-Heart.mp3download
Then in 1957, three singles of equal musical value. Most important is the rollicking/jumping//western sides by DOYLE MADDEN, backed by Merl Lindsay‘s Oklahoma Nightriders, « Gonna learn to rock » and « Tonights the night for love » (1-757), both written by Lindsay and one Vonnie Mack. The latter (rn Yvonne deVaney) was at one time Yvonne O’Day on Capitol, then in 1956 Vonnie Mack in 1956 on Columbia, where she turned more or less pop. Later she fronted vocally Merl Lindsay’s band.
Doyle Madden « Gonna learn to rock » http://www.bopping.org/wp-content/uploads/2014/01/hu-se-co-757-1BDoyle-Madden-Gonna-Learn-To-Rock.mp3download
Doyle Madden, « Tonights the night for love » http://www.bopping.org/wp-content/uploads/2014/01/hu-se-co-757A-Doyle-Madden-Tonights-The-Night-For-Love.mp3download
Second record backed by Merl Lindsay’s Oklahoma Night Riders is by JIM RAY: average ’50s country/honky tonk, main instruments being fiddles and steel. « A little too late » and « My heart belong to you » are on (# A-557).
Jim Ray, « My heart belongs to you » http://www.bopping.org/wp-content/uploads/2014/01/hu-se-co-557-Jim-Ray-My-Heart-Belongs-To-You.mp3download
Jim Ray, « A little too late » http://www.bopping.org/wp-content/uploads/2014/01/hu-se-co-557-Jim-Ray-A-Little-Too-Late.mp3download
The third 1957 issue (if the « 57 » sequence has some sense) is a very nice country rocker by FLOYD ANDREWS, « Buy myself a rubber doll » (3-757), with strong guitar and steel to the fore. Floyd Andrews, « Buy myself a rubber doll » http://www.bopping.org/wp-content/uploads/2014/01/hu-se-co-757-Floyd-Andrews-Buy-Myself-A-Rubber-Doll-1957.mp3download
One issue by COWBOY (Charlie) HUFF escaped to my antennas, « Swingin’ alone tonite/Tulsa town waltz » (757). It’s the same man who had records in the Starday custom serie (»No two timin’ me »).
Cowboy Huff « No two timing’ me » http://www.bopping.org/wp-content/uploads/2014/01/45-616a-Cowboy-Huff-No-Two-Timin-Me-huff-02-57.mp3download
And we nearly reached to the end of label with the 1958 issue by BILL & BINK ( with drummer Dwight), whose two-sided « Bed bug boogie/Do and don’t blues » (1358) could be described as primitive bluesy hillbilly/rockabilly.
Bill & Bink, « Bed bug boogie » http://www.bopping.org/wp-content/uploads/2014/01/Bill-Bink-Bed-Bug-Boogie-Rockabilly-45.mp3download « Do and don’t blues » http://www.bopping.org/wp-content/uploads/2014/01/Bill-Bink-Do-And-Dont-Blues-Rockabilly-45.mp3download
The indefatigable and faithful DRUNKENHOBO has found three more HU-SE-CO records! Thanks Dean.
A Bluegrass rockabilly flavored « If you’re after my heart » by the group RAMBLIN RASCALS on Hu-se-co. Flipside unheard « We both love the same girl ».
Ramblin Rascals « If you’re after my heart » http://www.bopping.org/wp-content/uploads/2014/01/The-Ramblin-Rascals-If-Youre-After-My-Heart-Rockabilly-45.mp3download
Then WESLEY (Sleepy) MOORE and « Old mother Nature » (Hu-se-co 1257)(flip side « If you’d say you care ».
Wesley Moore « Old mother Nature » http://www.bopping.org/wp-content/uploads/2014/01/HU-SE-CO-1057-Wesley-Sleepy-Moore-Old-Mother-Nature-...-56-Hillbilly-Bop.mp3download
Dean finally mentions a third disc by HURSHUL CLOTHIER, which proves untraceable. Clothier was an Oklahoma ace fiddler, backed by the Oklhahoma Travelers (founded 1953), who had « Will you please » on Hu-se-co 2-757.
Earl Aycock was born in 1930 in Meridian, the hometown of the « Father of Country Music » Jimmie Rodgers . He started his career as a disc jockey, before that he joined the U.S. Air Force in 1951 and he played in Bill Nettles’ band as bassist. With Nettles he made also his first recordings , when he was cast on the famous « Hadacol Boogie » .
After Aycock was released from the Air Force, he returned to Meridian. In 1954, he played with Martha Carson in Birmingham, Alabama. Shortly after been received quickly found in Nashville, Tennessee, back where he accompanied Carson at sessions for Capitol Records and RCA Victor,he appeared with her at the Grand Ole Opry and toured with Bill Carlisle, Hank Snow and Elvis Presley and took over the function of emcee . Aycock was the first musician in the Opry in 1955 with an electrically amplified bass.
In Martha Carson’s band , another young musician played named George McCormick . Soon Aycock became friends with McCormick and the two formed the duo George and Earl . By 1956, both musicians took on for three Mercury Records singles but none of them were hits , despite promising sales figures. After the release of their last record in April 1956 Aycock left Nashville and moved his work to Houston, Texas, where he was drawn in 1955 with his wife.
In Houston, he had received a lucrative offer and was active as the frontman of his own band as well as a disc jockey. In 1957, he also worked for Starday Records’ Hillbilly Hit Parade for a number of uncredited sides. In the spring of 1958 he appeared at Allstar Records with his first solo single « The Love That Thrills / Magic Words » . By the end of the 1950s he brought Bill Will Bourne to D Records and also wrote for Claude Gray « Letter Overdue » . 1958 Aycock moved back to Meridian , worked until 1959 and still when KRCT in Baytown , Texas.
In Meridian Aycock worked in the 1960s, continued in radio and television before he left the music scene and went into the insurance business.
From Wikipedia with some corrections and additions. Thanks to Tony Biggs.
« I want you, I need you, I love you » (Dixie 508), uncredited) http://www.bopping.org/wp-content/uploads/2014/01/Earl-Aycock-I-Want-You-I-Need-You-I-Love-You-Dixie-508.mp3download
« Turn her down » (Dixie 516, uncredited) http://www.bopping.org/wp-content/uploads/2014/01/Earl-Aycock-Turn-Her-Down-Dixie-516.mp3download
« The same two lips » (Dixie 519, uncredited) http://www.bopping.org/wp-content/uploads/2014/01/earl-aycock-The-Same-Two-Lips-Dixie-519.mp3download
« I‘m coming home » (Dixie 520, uncredited) http://www.bopping.org/wp-content/uploads/2014/01/Earl-Aycock-Im-Coming-Home-dixie-520.mp3download
« The love that thrills » (Allstar) http://www.bopping.org/wp-content/uploads/2014/01/allstar-7164-aycock_earl_thelovethatthrills1.mp3download