Black Jack Wayne
Born: February 8, 1923
Died: June 30, 1999
California Hayride
KEEN San Jose, CA
KVSM San Mateo, CA
Along the way, we’ll find artists who cause some discussion back and forth or even some debate. No, not about their music, but about the details of their career. We’ve already seen some discussion on this fellow in an exchange of emails. But, somehow we stumbled across an issue of Cowboy Songs from December 1957 that had a column written by Imogene Ellwanger who provides some tidbits. And a few other mentions elsewhere, too.
It has proven difficult to find something other than this short biography taken from hillbilly-music.com site. Black Jack Wayne (real last name : Shults) was a native of Oklahoma who moved to the San Francisco Bay Area when he was 14. He started guitar playing as a hobby but later on down the road, it became part of his career. He had an injury of some type and came back to the Bay Area and decided to join his brother’s band, the « Rattlesnake Ramblers ».
In 1950 he and his younger brother Chuck « Charles » bought the « Garden of Allah » nightclub, located in Niles, north of Hayward-Oakland Highway. They hired country artist Ed Cima to transform the Garden by painting cartoon cowboys and western scenes in a whimsical mural over the walls. He also hand painted the ceiling to look like the Taj Mahal. They tried to change the name but people wouldn’t accept it, so it remained the Garden of Allah.?In its heyday, the Garden catered to rock and roll fans on Friday nights, country western lovers on Saturdays and square dancers on Sundays. In mid-1956, he had three daily shows over the all-western radio station KVSM out of San Mateo, California. And a one hour show over television station KOVR with the « Bar 10 Ranch Boys ».
Black Jack and the Bar-10 Ranch Boys had several recordings in 1954 on the Cavalier label. Back then their latest release was « A Dream Just Won’t Do » along with « Nip or Two » (# 839) or Jack’s brother Chuck Wayne‘s « Mean Mean Mean » (# 836). The latter seems to be the Bud Hobbs song.
Later on in her column, Ms. Ellwanger mentions that KOVR, Channel 13 in Stockton, had two Western music shows on the air. One show had Glenn Stepp and his band. The other had Black Jack Wayne and his « Bar 11 Ranch Boys ». Black Jack had also started a live radio show from the Garden of Allah nightclub he owned that was broadcast over KEEN every Saturday night. She also wrote that there was a possibility that the « California Hayride » might start a show originating from the Garden of Allah every Friday night over Channel 13 in Stockton.
In 1955 on the Spur label we found Charles (Chuck) Wayne for two solid Hardrock Gunter type hillbilly rockers (hillbilly bop with a dose of western swing), « Rockin’ Rollin’ Rhythm » and « Rodeo Time Is Here » # 1245), and maybe more with « The Golden Key » (# 1248).
In 1957, per a column in Cowboy Songs by Imogene Chapman, we find that Black Jack had his own record label – Black Jack. And around that time, had put out his first recording, « Time Stole My Empire » b/w « Shallow Water Blues » : the latter being a strong fast bluesy number. Tom Hall and Terry Fell helped on the record with their guitar and harmonica. At the time, they mentioned that you could order the record from Black Jack in care of radio station KVSM in San Mateo, California. No coincidence that Ms. Chapman might mention Black Jack, for in the same issue featuring « Stars on the Horizon », she is listed as the president of his ‘fast-growing’ and ‘real-active’ fan club.
Later on, we found a mention on Channel 2, KTVU, now of the Fox Network, on the Bayinsider.com… « Not all of KTVU’s local programming was noteworthy or long-lasting. There was The Black Jack Wayne Show, a western variety show… »
In the KVSM studio (San Mateo), Black Jack Wayne cut in 1957 his next record « What Makes Me Hang Around » and backed Rose and Cal Maddox on « Gotta Travel On » (Black Jack 104). Medium honky tonk (nice guitar), with Jack vocally fronting, backed on chorus by Rose. His cooperation with the Maddoxes led him to offer them « Ugly & Slouchy » (Columbia 40836)
In 1959 Chuck Wayne had « Wishing/Thank You Call Again » on Ozark 963, both pop country. Incidentally the latter was written by two comperes of the Rural Rhythm days, Johnny O’Neal and Johnny Tyler. Black Jack Wayne and the Roving Gamblers backed Bill Carter on « Baby Brother ». B-side, « Ride, Gunman, Ride », was a Jack Wayne original. Chuck Wayne had his last known recordings in 1959 on Black Jack 106 with « I’m Sending You Some Roses /Blue Moon Waltz » (untraced record).
Black Jack Wayne had several interesting records on Cheyenne, among them « Dancing With A Stranger » (# 114) in 1960, before a couple on Big West and a solitary issue in 1962 on Decca. Charles Wayne also backed Mel Dorsey (« Little Lil » rocker) on Black Jack.
sources: main source was « hillbilly-music.com » site. Many Youtube label shots. And a lot of research! I am not THAT satisfied with this article.
We don’t know anything about Jack Derrick’s early life. He seems to have emanated from Texas in 1921, and he began recording as early as 1946 in a sparse honky tonk (mainly guitars) instrumentation for King. This label did issue on both main serie as well as on Deluxe and Federal the result of 12 songs two sessions. Best tunes are one « Truck Drivin’ Man » , « Got Worried Blues In My Mind », « I Want A Woman (That Can Cook » or « Triflin’ Baby ». I don’t know if any tune did meet the success, although « Truck Drivin’ Man » remains as a minor classic : it even has been re-recorded in the early ’60s on a « trucker » LP (# 866 « Truck Drivers Songs »). Another curiosity is the line in the song: «
« When my truck drivin’ man comes into town
I’ll dress up in my silken gown »
So Derrick was ahead of his time with a gay trucker song.
Later on we find Derrick on a solitary Majestic issue of 1950-51. Why he appeared on this West coast label is unknown. « Can’t Find The Keyhole » is of course a drunken song.
Derrick also had issues on the Clifton and Eagle labels (untraced) during the early 50s.
Back in 1955, Cowboy Jack Derrick was working at KNUZ in Houston, Texas. He hosted a show called the « KNUZ Corral » each day from 11:00am to 1:25pm, Monday through Saturday.??On Saturday night, he would sing and do comedy as well as part of the KNUZ Saturday Night Jamboree. To finish off his weekends of personal appearances, he performed at the Magnolia Gardens on Sundays where they did outdoor shows.??In late 1954, Biff Collie and Jack wrote Martha Ferguson of Pickin’ and Singin’ News that they had a ‘homecoming’ type of show lined up for their Christmas Jamboree show over KNUZ. Texas Bill Strength and Arlie Duff were to make appearances.??In May of 1955, we note that Jack wrote a letter of encouragement to the new publication, Country & Western Jamboree to help disc jockeys like himself keep up on the news.??In the summer of 1955, Jack wrote one of those regional roundup columns and gave us some insight into the KNUZ Saturday Night Jamboree show. It was held at the City auditorium and broadcast every Saturday night from 8:00 pm to 11:00 pm. At that time, he told readers some of the members of their cast were Link Davis, Sonny Burns, Floyd Tillman, and, Burt and Charley. The show would also include guest appearances by other acts who were probably making appearances in the area and included such names as Red Foley, Tex Ritter, Eddie Dean, T. Texas Tyler, Tommy Collins and Jimmie Davis. He also told readers of another Jamboree show that he had learned about when he visited with the show’s organizer, Hank Jones over in Hammond, Louisiana. That show, The Southeastern Jamboree was held on Saturday nights at the Reimers Auditorium in Hammond.??
Finally he had two interesting boppers in 1955-57. One is on Starday (# 205) , « Waitin’ and Watchin’ », which is fine. Even better is the very first Longhorn issue « Black Mail », full of energy and happiness (# 501). After that Derrick disappears at least from the recording scene : only one more picture shows him in 1960 with Hal Harris.
Note. Drunken Hobo pointed out the two versions of « Truck Driving Man », which had escaped me.
credits: Allan Turner for Federal and True-Tone (South Africa pressing) scans. Hillbilly Researcher for Majestic issue. « HillbillyBoogie1″ (You tube) for the mid-50s bio details.Various sources (also own collection) for the rest. Comments welcome!
Howdy folks! Here is my new selection. First GEORGE KENT from Texas. He must have cut « Don’t Go Back Again » circa 1961-62: heavy bass, weeping steel and fiddle solo, on the Maverick label (# 1001). The whole has been influenced by Wynn Stewart and reminds me of the Bakersfield sound. Now from Kansas City and a real hillbilly boogie on the Red Barn label, « Bad Daddy Blues » by BOBBY COOK & BUDDY NELSON with the Texas Saddle Pals. Chorus on a guitar/fiddle/mandolin backing.
A pleasant hillbilly on the Ohio Esta label from 1956, « Within These Four Walls » by one SYBIL GIANI. 2 guitar solos, but nothing spectacular though. Esta from Hamilton was better known for its Rockabilly sides.
Then from Nashville, a veteran from the Bullet label, RAY BATTS. It’s on the Ernie Young’s R&B Excello label, a rare opportunity to hear bop music on a « black » label » (the other notable in this case being « I’m The Man » by Al Ferrier). Anyway, « Stealin’ Sugar » (# 2028) is a fast number, with nice guitar soloes on a solid piano backing.
On the big Carl Burkardt concern of low-budget labels, here Big 4 Hits, we find PRESTON WARD and « New Green Light« . I don’t know who cut the original version, anyway here is top class backing over a fine vocal.
Finally two Rocking blues wildies by GAR BACON. On Okeh first, he does the rasping Bo-Diddley-beat « Marshall, Marshall ». On the Baton label, « There’s Gonna Be Rockin’ Tonight » strangely sounds like a white singer. You’ve got to hear both to compare.
I will be out of town circa May 15, so next fortnight on June 1rst, ok?
Howdy folks!
This time a nice percentage will be made of records issued on major labels, beginning with Decca and the WILBURN BROTHERS (Ted &Doyle). They offer a nice version of the old ’30s Shelton Brothers’ standard « Deep Elem Blues« , recorded in Nashville (no doubt usual crew) in January 1956. (Decca 29887)
The second major will be Capitol and the uncommon in Bopping (because he’s too well-known) MERLE TRAVIS. Billy Liebert, an accomplished West coast session pianist, pounds the ivories for « Louisiana Boogie » from December 1952. Same evening session that produced « Bayou Baby« . (Capitol 2902). Happy hillbilly boogie!
We jump on a very smal label from Richmond, KY. Actually Burdette land had only two releases in 1960 and here it is the first by HUBERT BARNARD, « Boy She Has Gone« . Nice bopper.
Back to majors, on a subsidiary of Columbia. OKeh was maybe devoted to newcomers on the main label, although no one knows exactly why Columbia launched this short-lived serie (only 59 records issued) in 1953. In April of that year, recently signed JOE MAPHIS and his wife ROSE LEE (they were married 1952) recorded the future classic « Dim Lights, Thick Smoke (and Loud, Loud Music) » (OKeh 18013). This is what Honky tonk is all about!
TOMMY BOYLES had been cutting in 1959 « We’re Bugging Out » on the Murco label of Shreveport, La. Hear him with the « artist » button on the upper left. Here in 1960 he does another self-penned « Don’t Be Somebody Else’s Baby » on the N.J. Granite label (# 552). His story in his own words can be found on the Rockabilly Hall of Fame site.
Finally, from 1967 or 68, on the prolific Adco label (maybe a property of Hobo Jack Adkins) from Cincinnati, OH – mainly Bluegrass, Garage or Sacred tunes between 1960 and 1975, CUDDLES C. NEWSOME (rn. Corbet Newsome), born 1928, for both sides of his solitary ever 45 « So Long Baby/One Little Kiss » – nice guitar. This is Country-rock at its best.
Howdy, folks! Here we go first with a romper, the fast BILLY SCOTT « You’re Braggin, Boy » on a Tee-Vee, OP 4 Star label (#225). Great steel and piano, and call-and-response format. Then in Nashville for the Marty Robbins’ owned Robbins label (# 1005) by the typical hillbilly duet of TOMMY & JOHNNY. They do « I’ll Go On » (#1004), tinkling piano, sawing fiddle and steel -all have their solos, but nothing exceptional!
Nashville on the Bullet label. I couldn’t find any picture of the label (# 706) of « Walking Up Stairs« , by Texan PAUL BLUNT, which, according to Kevin Coffey, could well be the the forerunner of the young Eddie Cochran for « Twenty Flight Rock » six years later. Steel and piano (Blunt was at ease with both) for this fine bopper. Blunt was a renowned session player (Lefty Frizzell, Bill Boyd) since the ’40s and had records on Columbia and Imperial too. Thanks go to Michel Ruppli! Thanks to DrunkenHobo, a faithful visitor, here is the label!
Paul Blunt
Ohio based AL WINKLER on his own Winkler label (# 45-88) for this « Show Boat Boogie« , along with the Warren County Band. It’s a belter (call-and-response), two guitars, it rolls.
From California and a Tom Sims’ cassette (unable to find a label scan), for a Bluegrass wildie: The GOLDEN STATE BOYS on the Ivory label (same as Tex Holland). Powerful banjo and mandolin. Chorus, then urgent vocal on « Always Dreaming« .
Finally the and only BUFFALO JOHNSON. The name can seem not that familiar. He had a long string of releases on Mercury, Gateway (« T’ain’t Big Enough« , # 520, with Jimmie Ballard on vocal) among others in the late 40s/early 50S. Here he offers a good guitar picking bopper. I still do research on him.
Ray Sanders
Curley Ray Sanders was born in 1935 in St John, KY. he was a DJ on WCTO (Campbellsville, KY) in 1956, and on WBRT (Bardstown, KY) in 1958. WBRT is where he recorded with Joe Brown on San Records, possibly paid for by Curley. He was a regular on the Renfro Valley Barn Dance (KY) in 1958.
I may not know much about Curley but I found quite a few records by him. He shows up in about 1949/50 on Star Talent from Dallas, TX (#749 – Last On Your List / Penny For Your Thoughts). There was a Curley Sanders (assuming it’s him) appearing on the Saturday Night Shindig over WFAA (Dallas) in the early 50′s. Then I find two discs on Imperial (#8197 – Love ‘em Country Style / My Heart Is Yours Alone – Mid 53), (#8226 – Too Much Lovin’ / I’m Reaching For Heaven – Dec 53/Jan 54).
By 1956, Curley’s obviously incorporated some « Cat Music » in his repertoire and he’s found here hollering for all he’s worth (well, not quite hollering, but there’s an urgency in his vocals). The A side I’ve yet to hear. Flip « Brand New Rock And Roll », (Jamboree 590) is a stop/start rocker with cool lyrics and some fine accompaniment by his band (who I presume are the Santones.) I think there’s an under recorded mandolin or something playing through the solos but the guitar is drowning it out. Anyhow, it’s a fabulous track, reviewed by Billboard April 27, 1957. Almost awesome! [Malcolm Chapman, Starday Custom Series]
Curley springs up on the Concept label twice after the issue here and records another disc on Jamboree (which isn’t pressed by Starday). (Concept #897 – Dynamite / You’re Smiling (I’m Crying) 1957 – Elizabethtown, KY), (Concept #898 – Walking Blues / This Time – 57/8), (Jamboree 1833 – Heartsick And Blue / I’ll Obey My Heart - 57/58 – still located in Buffalo, KY and featuring the Kentucky Rangers).
Joel Ray Sprowls, owner/producer of the Jamboree, recalled that his first meeting with Sanders, from Cecilia, was at a talent show Sprowls emceed at Buffalo School in May 1954.
“The Kentucky Rangers band won the contest and Curly was their featured singer,” Sprowls said.
When Sprowls started his Jamboree [label] the following September, he added Sanders as a featured singer.
“Curly, who got his nickname because of his curly hair, was around 6-feet-tall, muscular, had a smooth voice and was good looking,” Sprowls said. “He played a flattop guitar, and I remember his big song while at the Jamboree was ‘Rose Marie‘.
With Sanders’ looks and talent, Sprowls didn’t think the entertainer would remain in the local area very long.
“He worked as a DJ at WBRT-AM radio in Bardstown, but I knew he would move on if the opportunities arose,” Sprowls said. “He was only at the Jamboree for about two months.”
Sanders performed at Renfro Valley and debuted on the Opry in 1959 which led to his big break in 1960 when he signed with Liberty and recorded “Lonelyville,” a record that rose to the top-20 country songs that year.
During a long career, he had 26 Billboard charted songs, winning the Academy of Country Music’s most promising new male artist award in 1968. His recording of “All I Ever Need Is You” stayed on the charts for 16 straight weeks in 1971.
He spent two and a half years on the road singing harmony for Ray Price, including Price’s signature recording of “Heartaches by the Number,” and was a cast member of Hee Haw 1971-73.
In 1977, he became the house act at the White Sands in Riverside, Calif.
“I lost touch with Curly years ago, but I understand he played the night club circuit, then moved to Hawaii,” Sprowls said.
According to an online press release, he toured with many of the great names in music including Elvis Presley, Marty Robbins, Waylon Jennings, Connie Smith, Buck Owens, Merle Haggard, Johnny and June Carter Cash, plus he had several hit songs in Europe.
Jo Jones, an Elizabethtown resident whose late husband Bob played steel guitar at a performance with Sanders and Price in Owensboro, met with Sanders while she was on vacation in Hawaii in 2006.
“He didn’t say if he was still singing or not, but he did say that he was a representative for a vitamin company and did demos at local pharmacies each Saturday,” Jones said. “He was living in Waimea at the time, but said he was thinking of moving to Honolulu.”
from an article by Ron Benningen (Dec. 29, 2011) in « LaRue », Kentucky newspaper. Infos on Jamboree 590 from Malcolm C. Chapman site « Starday Custom ». Music from various sources: my collection or Internet. Does someone have « Heartsick and blue » on Jamboree 1833? Unable to find it. Thanks Drunken Hobo, who provided the sound to it. It’s a fair hillbilly rocker, lotsa rockabilly guitar, even a mandolin, and Sanders in fine vocal form.
Hello there!
This time is a little special one. Very recently the legendary CLAUDE KING passed away. I chose first from his Louisiana original days. First hillbilly bop , 1953, with « Take It Like A Man » (708) on the short-lived hillbilly Specialty serie (mostly cut in Shreveport), then his solitary Rockabilly on the small Dee-Jay label of Nashville (1957)(1248), « Run Baby Run« .
From I don’t know where, but « Mountain » label seems to refer to Appalachian mountains, a LEO GOSNELL on this 4 Star custom, OP 299, for two fine sides: « Juke Joint Honey » and « Woman Running Around« .
Savoy from New Jersey was indeed a big R&B concern. However it had a short lived Country 3000 serie. Here it is RAY GODFREY and his « Overall Song » (3021).
On Adair 620, a tremendous Bluegrass « A Use To Be » by a BRYANT WILSON.
Finally in California, Fable 546 label, with RAMBLIN’ EVERETT and « Cincinnati Woman« . Excuse me, I was not that inspired to comment this time. Music speaks by itself. Maybe you prefer it?
Hello folks ! Hi to returners, welcome to newcomers…
This is my bi-monthly choice of stomping, shuffling hillbilly boppers, sometimes rockers, and by surprise, R&B rockers.
Let’s begin on the West Coast, but I am not sure, as the Sage label used to sweep products largely from other areas along: the gentle rocker « Seven Come Eleven » by Al Muniz (# 262). It seem date from 1958. A prominent piano, a bit jazzy guitar solo. All this transpires laziness !
Then in Ohio, (Cincinnati) by Miss Joy Whittaker. She seems to have been a good seller, as she has records as soon as 1955 on M and J, and Esta in 1957. Excellent 215 is a label owned by Mrs. Estel Scarborough as the others. Dating this record « Toe Tappin Rhythm » has proven difficult : the only other I know is # 279 (Logan Valley Boys) from May 1957. So I’d assume this one as being from late ’55/early ’56. As from the bass beginning instro, we have a a mix of hillbilly bop (fiddle has its solo) and a rock-a-billy guitar. Exciting firm voice and many breaks. Could please to Rockabilly fans.
Down to Texas with the Corpus Christi DJ Kenny Everett, who does a fine country-rocker (1958) on All Star 7173 with « What Is It ». Accompaniment is a typical Houston one : fiddle (solo), steel (2 solos), piano (solo) and drums.
Marshall Lail then from Atlanta, Georgia for two tracks. On Sunrise first (# 001) for the energic late ’50s complaint « I need You So » (More Than You Know), before a more melodic and sentimental «Countless Hours Of Heartaches », podcasted by a certain « Mr. Honky Tonk » on his channel. No indication of the label. Finally way up North, in Hammond, Indiana, for the great bluegrassstune on the Mar-Vel 355 label by the Thomas Brothers, Melvin and Elvin, « Way High , Way Low« . Great interplay between the three voices (falsetto and barytone). A classic !
Billboard 17 Nov. 58
Billboard 8 Aug. 56
March 28th, 2013. Dan Nail wrote the following line: « Marshall Lail was my Father. He recorded « I Need You So » and « Countless Hours of Heartache » in 1960 at NRCO Studios in Avondale, Georgia. He printed up 500 copies on his own label called Sunrise Records. »
Billboard March 26, 1955
Very few things are actually known of this very minor artist from New Jersey. All I learnt came from Billboard short snippets, and the records themselves. Indeed no personal data. Edmond seems (according to his 5 or 6 records over a period of 12 years) not to have moved from the New Jersey area, except in 1955: in the near West Va.
My first exposure to Edmond’s music came through a Tom Sims’ cassette. Then over the years I have been lucky enough to find the rare copy, and I think that, apart his solitary Lerac issue, here is below his entire output.
It seems that his first record came out on Original 107, a very small label from Little Ferry, NJ, in March 1955. Billboard refers is as running fine in the Wheeling, W. Va. area, where Edmond and (apparently) his wife Terry were appearing. A side («I’ll Take The Blame ») is ordinary male/female duet, with mandolin and steel backing. Nothing spectacular. Flipside (« Your Wedding Day ») has Terry singing alone, over Lee speaking a monolog.
Then leaping towards late fifties/early sixties (impossible to ascertain), we find on the Norm label the great solid and melodic « When I’m Alone » (# 1000). It has a good guitar and steel solo, and is adorned by «Lee Edmond – Bob Raymond » « and the Country Stringers », first appellation of the backing band, later re-used. Both sides credited to Lee Edmond, who seems the boss and producer. Flipside is « My Heart Tells Me So » : a nice, although average, Country-rocker duet. There are discreet drums for the first time.
Same outfit goes then on Belt 1001, without « Country Stringers » though, for « Treasure Of My Throne », a mediocre medium weeper. Just added is a dobro. Flipside is better, « Crying Party » : a medium drinking song, as an adress to a bartender.
We find another ordinary double sider on Rowe 007, from 1962. A just above average « Born With The Blues » – complete with chorus for the first time, more dobro and a guitar solo. It’s not bad either but ordinary Country-rock, as its flipside « My Heart Tells Me So », a lower standard revamp of the Norm side. The « Country Stringers » have becoe « The Swinging Travelers ».
Billboard June 2, 1962
Then 1965 two issues on the Solar label from Union Beach, New Jersey. Back to « Country Stringers », and Edmond is the producer. First the fast « Secretly (We’ll Have To Share Our Love)» (#1007). Good sharp guitar, dobro and steel solos. An excellent track. Alas, I din’t hear the flipside « Darling I’ll Let You Go », rumoured to be a weeper. Finally in 1967 on Solar 1011, « With Her On My Mind » (Good Evening Bartender), an O.K. fast song, well sung over guitar and steel backing. « Take My Heart » is a weeper, under average standard.
That leaves me with Lee Edmond’s last known 45 on the Lerac label (# 101) : « Woman/Woman With The Cold Hands », which I cannot comment at all on. I did order it, but it’s got lost over Atlantic Ocean…
All in all, a reasonable output over 12 years for a very minor artist of the East Coast. Few of his tracks are really worth looking for, like both Solars, or the Norm one. In the podcasts I have not included B-sides and weepers.
From Phillips J. Tricker’s article in « Roll Street Journal » # 19 (Spring 1987)
Ramblin’ Jimmie Dolan – the very name evokes to me pictures of a man of travel, a man of the West. His name turns up frequently on record lists and he had sole thirty four releases issued on at least three different labels, and the majority on the major CAPITOL. Those thirty plus discs were put out over the comparatively short period of 7 years and much of his material has been overlooked by many collectors as a few of his later less inspiring releases are those that surface most frequently and I believe a some what false picture has emerged, musically, on an artist who contributed much to our kind of record collecting [hillbilly bop/hillbilly boogie].
As often happens, the early years of the singers we investigate are shrouded in mystery. Jimmie is no exception. In fact by our comencing at the start with his birth on the 29th October 1924, we meet our initial problem. I have seen two versions in print. The first said rural part of Missouri while in a radio interview in 1952 Jimmie’s reply was « Wyoming ». As his first reported radio work was at KWK in St. Louis, Missouri ; and as a boy he was a great fan of Western movies, I tend to place a little more credence on the former location. This thought is supported by these two points. During his earliest days in the music business, he did not use that tag – Ramblin’ – but by the time of 1952 interview, not only he was using that word in his name, but was often billed as « America’s Cowboy Troubadour ». In that case, maybe it was considered a better ploy to give impression of coming from a state synonymous with cowboys – Wyoming. A third version comes from www.hillbilly-music.com. Dolan would have been born largely earlier, same day and month in 1916 and…California, which would be his musical base during the ’40s and ’50s. Who knows ?
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