Rambling Rufus Shoffner earned his nickname from his early hobo days when he hopped a train at the age of 16 from his home in Tazewell (or Harrogate?), TN where he was born in 1916 to go wandering: he led a band called the Blue Yodel Boys in 1939 on WROL Knoxville, Tennessee. His neighbor in Tennessee was Hugh Friar, who had later in the Detroit label Clix two fine and very sought after Rockabilly/Country issues (« I can’t stay mad at you », # 805 for example) . But Shoffner’s constant urge to travel resulted in his roaming across much of the country, hustling in one moneymaking scheme after another, before finally settling down in Monroe, Michigan, reuniting with his siblings in 1950. Read the rest of this entry »
Not many things are known about Rem Wall. He was born 1918 in Frankfort, Illinois and he died 1994.
He started at an early age entertaining during the ’30s at different local radio stations and, after being graduated in 1939, decided to settle in Kalamazoo, Michigan. He performed on radios WGFG, later WKZO, where he had even a TV show, « the Green Valley Jamboree » which lasted for 36 years, himself being signed to WKZO for even 44 years.
He then recorded for a lot of companies : Wrightman in 1951 (as Rembert Wall), then Bakersfield (1957), Glenn (1960-62), Wolverine and Columbia. He even had an issue in Great Britain. His music, although hillbilly at the beginning, became more and more softer by the years ’60s. His best songs are : « Heartsick and blue », « Waiting » (lot of echo for this good ballad), « One of these days » (banjo led folkish tune) , « Time alone » from 1962 (a fine shuffler) or « Carried away ».
In 1958 he was chosen by the U.S. Government to represent Country music in Germany and then he toured a lot there.
He seems to have remained a regional hitmaker, having given up his career after his wife’s death during the ’60s. His son Rendal carries on the family tradition as a guitar player.
Sources: various. Wrightman sides and label scan do come from Hillbilly Researcher. Glenn label scans from « 45rpm » blogsite. Picture from hillbilly-music site
« The girl on the matchbox cover« 
« Heartsick and blue« http://www.bopping.org/wp-content/uploads/2013/06/Rem-Wall-Heartsick-and-Blue-45rpm.mp3download
« Waiting« http://www.bopping.org/wp-content/uploads/2013/06/glenn-rem-wall-waiting.mp3download
« I’m losing my tears over you« http://www.bopping.org/wp-content/uploads/2013/06/16.-Rem-Wall-I_m-losing-my-tears-ver-you.mp3download
« One of these days« http://www.bopping.org/wp-content/uploads/2013/06/04.-Rem-Wall-One-of-these-days.mp3download
« Carried away« http://www.bopping.org/wp-content/uploads/2013/06/01.-Rem-Wall-Carried-away.mp3download
« Time alone« http://www.bopping.org/wp-content/uploads/2015/05/Rem-Wall-and-His-Green-Valley-Boys-Time-Alone-Glenn-2105-1962-country.mp3download
You can read a lot more on RemWall by clicking this link: http://www.visioncouncil.org/bobrowe/rem_wall.htm
With a mellifluous, deep voice often compared to western singer Rex Allen, Ricky Riddle was an Arkansas-born, Detroit-bred vocalist who gravitated to the western side of country music. His surname was apt, as he was a restless character, always on the go and never satisfied with life in one place for very long. Born Arvin Doyle Riddle on Aug. 22, 1920, in Rector, Ark., his parents moved him, two brothers and one sister to Hamtramck, Mich., around 1933. The Riddle family eventually settled in a house on McClellan Street in Detroit.
During World War II, Riddle enlisted with the Navy in Chicago, Ill. He served aboard the U.S.S. Adair in the Pacific Theatre. After an honourable discharge in 1946, He returned to Detroit and found a booming country music nightclub scene waiting for him; a result of thousands of new migrants from the South who moved north to build Detroit’s “Arsenal of Democracy.” Riddle pursued the life of a singing cowboy in earnest, writing songs and performing in nightclubs and showcases, sitting in with other entertainers and headlining his own shows.
In 1949, Drake’s Record Shop, located on East Jefferson Avenue, sponsored appearances by Hank Williams, Cowboy Copas and others at the convention center on Woodward Avenue. When Riddle’s friend, singer Eddie Jackson, was hired to open for Williams, Riddle shared the stage with him. Riddle was probably living in Nashville, Tennessee, by then.
Jackson visited Riddle in Nashville during ’49, and Riddle took him to witness his new buddy Clyde Julian “Red” Foley record what became a major hit for Decca Records, “Chattanoogie Shoe Shine Boy.” Compared to the size to which it grew a decade later, the country music business in Nashville was small, thriving through the projects of independent record labels, music publishers and promoters who tapped local artists working at Nashville clubs and radio stations; particularly members of the “Grand Ole Opry” barn dance at clear-channel WSM. In January 1950, Riddle’s first commercial recording appeared as the premier issue of the Tennessee label, a record company created by three Nashville businessmen, including a jukebox serviceman. Riddle’s “Second Hand Heart” on Tennessee no. 711 (numbered for luck, no doubt) was a good seller, and a hit in Detroit. Riddle cut several more releases for Tennessee over the next two years:
Second hand heart http://www.bopping.org/wp-content/uploads/2015/05/tennessee-711A-Ricky-Riddle-second-hand-heart.mp3download
“Second Hand Heart” and the song on the record’s flip side, “Somebody’s Stealin’ My Baby’s Sugar,” were both covered by several artists, including Houston’s Benny Leaders (4-Star), Bill Johnson and the Casanova Boys (London) and, more than a decade later, Everett “Swanee” Caldwell remade “Second Hand Heart” for King.
« Somebody’s stealin’ my baby’s sugar » http://www.bopping.org/wp-content/uploads/2015/05/tennesse-711B-Ricky-Riddle-somebodys-stealing-my-babys-sugar.mp3download
By 1950, Riddle was operating a nightclub in Nashville. He befriended Arizona singer Marty Robbins, whose first appearance at the “Grand Ole Opry” occurred in early 1951. Probably in 1950, Riddle bought author rights to Robbins’ song “Ain’t You Ashamed,” (# 715) which became Riddle’s second release on Tennessee, # 713. (Detroit musician and Capitol Records distributor Bob McDonald purchased a share in the song from Riddle.) Cowboy singer Bob Atcher covered the song for Capitol. The flipside of “Are you ashamed” was a good honky-tonk, a version (later by Skeets McDonald) of “Smoke comes out my chimney just the same”.
Ain’t you ashamed http://www.bopping.org/wp-content/uploads/2015/05/tennessee-713A-Ricky-Riddle-aint-you-ashamed.mp3download
« Smoke comes out my chimney just the same« http://www.bopping.org/wp-content/uploads/2015/05/tennessee-713B-Ricky-Riddle-smoke-comes-out-my-chimney-just-the-same.mp3download
Riddle recorded Robbins’ “Heartsick” for another Tennessee release. He attempted to present Robbins with a recording contract, but the company’s artists and repertoire man passed on the deal. Robbins went on to launch a storied career with Columbia Records in May 1951.
Among other releases on Tennessee, Riddle sang a duet with Anita Kerr, leader of the Anita Kerr Singers, on a heart song called “The Price Of Love,” again attributed to Riddle and McDonald. On “Boogie woogie Tennessee”(# 717) (a take-off to “Tennessee saturday night”), Riddle had Ernie Newton, the bassman who wrote much later “Country boy’s dream” for Carl Perkins. He seems far from young on this recording, and the suave assurance of both Riddle and the backing group is almost at odds with the subject matter. Riddle made 8 records for Tennessee, one of them being “Heartsick”, the first Marty Robbins’ song he recorded commercially. After the label’s biggest hit played out in 1951-52
(Del Wood’s “Down Yonder” of 1951), the Tennessee label closed its doors.
Boogie woogie Tennessee http://www.bopping.org/wp-content/uploads/2015/05/riddle-boogie-woogie-tennessee.mp3download
I got other fish to fry http://www.bopping.org/wp-content/uploads/2015/05/tennessee-732A-Ricky-Riddle-I-got-other-fish-to-fry.mp3download
The tall, easygoing Riddle persevered; he worked on the Renfro Valley Barn Dance as Wayne Turner, but was canned for habitual drunkeness. He then cut a single for Decca’s subsidiary Coral Records in 1953, the fine double-sider “What do you do” and “You belong to another” (# 64157). In early 1954, he recorded the bouncy “Steamboat Boogie” for M-G-M Records # 11741, with steel guitarist Don Helms and Chet Atkins on electric guitar. Framing the clever lyrics of the song was the refrain: Steamboat boogie / Rock, rock, rockin’ along. But for the fiddles, the song rocked like Bill “Rock Around The Clock” Haley’s earliest efforts. The flip side, “A Brand New Heart,” was written by Riddle as a follow-up to “Second Hand Heart.”
Remaining Tennessee sides of interest: “Cold icy feet” (# 758) and the fast “I’m so lonesome” (# 801).
« What do you do« http://www.bopping.org/wp-content/uploads/2015/05/coral-64157-Ricky-Riddle-what-do-you-do.mp3download
« You belong to another« http://www.bopping.org/wp-content/uploads/2015/05/coral-64175-Ricky-Riddle-you-belong-to-another.mp3download
« Steamboat boogie« http://www.bopping.org/wp-content/uploads/2015/05/MGM-11741-Steamboat-Boogie-Ricky-Riddle.mp3download
« Cold icy feet« http://www.bopping.org/wp-content/uploads/2015/05/tennessee-758A-Ricky-Riddle-cold-icy-feet.mp3download
« I’m so lonesome« http://www.bopping.org/wp-content/uploads/2015/05/tennessee-801B-Ricky-Riddle-Im-so-lonesome.mp3download
In 1956, Riddle cut two releases for Decca Records. The first featured the trucker’s “Drivin’ Down The Wrong Side Of The Road,” backed with “I’m A Whip Crackin’ Daddy.” The single sounded like it was recorded at Owen Bradley’s Quonset hut in Nashville. Riddle’s second Decca single featured the Anita Kerr Singers for a country-pop production, “The House I Used To Live In,” and a song with religious content (he had cut similar material for the Tennessee label) called “If Jesus Had To Pray (What About Me?)” During the 1950s, while living in Nashville, Riddle performed as a guest at the “Renfro Valley Barn Dance” in Kentucky, and as a guest on the “Grand Ole Opry.”
His parents moved from Michigan to Tempe, Ariz., and Riddle traveled the country, visiting friends and family while singing in nightclubs along the way.
« Driving down the wrong side of the road« http://www.bopping.org/wp-content/uploads/2015/05/decca-29813-Ricky-Riddle-Drivin-Down-The-Wrong-Side-Of-The-Road.mp3download
« I’m a whip crackin’ daddy« http://www.bopping.org/wp-content/uploads/2015/05/decca-29813-Ricky-Riddle-Im-A-Whip-Crackin-Daddy.mp3download
Around 1968 Riddle settled in Arizona for a spell. There he recorded the finest vocal performances of his career for the Rio Grande label, based in Glendale. For starters, he cut a version of the traditional cowboy song, “Streets Of Laredo,” as well as “Reata Pass,” his own western composition. Riddle reprised “Ain’t You Ashamed” and “Second hand heart” besides coming up with some swinging shuffles like “Don’t You Worry” a cheeky ode to overdoing it at the bar, and “(There’s ) Something In Your Future.” and finally “Jo Ann”. The band was top-notch, delivering punchy performances with quality production and arrangements, including a stellar steel guitarist.
« Something in your future« http://www.bopping.org/wp-content/uploads/2015/05/Ricky-Riddle-Something-In-Your-Future.mp3download
« Jo Ann »http://www.bopping.org/wp-content/uploads/2015/05/Ricky-Riddle-Jo-Ann.mp3download
an untraced 45 by Riddle
With a broad, toothy smile, Riddle had a likeable personality and visited Michigan often, to see his siblings and their families, and check up on musician friends he grew up with in Detroit. While in town, he made the rounds of local radio stations and sat with country music disk jockeys for on-air interviews. At some point during the 1970s, Riddle moved back to Michigan and took a job as a security guard in Hamtramck. Late one night, Riddle walked out the door of a Detroit bar and was mugged. When police found him, he stank of liquor and the officers mistook his condition for simply being drunk. They placed the unconscious Riddle in a jail cell for the night. When he didn’t respond to attempts to wake him in the morning, Riddle was admitted to the Veterans Administration hospital. Doctors found that Riddle had suffered a stroke resulting from a blow to his head; he was paralysed on his right side.
Riddle’s brother, E. Marvin Riddle, arranged for him to live at the Clintonview Care Convalescent Home in Clinton Township. Relatives and friends visited regularly. Mentally, Riddle was the same person, but he was unable to sing and play guitar. To cheer him up, a niece often called a local country music station to request Riddle’s records, and they played them late at night when he enjoyed listening to his radio. Riddle passed away on Aug. 8, 1988. His ashes were interned at the top of the hill in St. John’s cemetery in Fraser, Mich.
© Craig “Bones” Maki, 2010
Thanks, as usual, to Ronald ’78rpm’ Keppner for scanning the rare Tennessee/Coral/Decca labels. Rest of the tunes do come from Internet, as: Ricky Riddle discography (Praguefrank)
TOM JAMES is completely unknown except in the Rockabilly/R&R circles for his Klix issue « Track down baby/Hey baby » from 1957. No whereabouts neither his birthday year are known. Is even still alive today ?
He already had come from Oklahoma when he got a recording contract with RCA-Victor. His only session with this major label came early 1954 in Nashville, Tennessee.
Tom James(vo,g) with Chet Atkins(el g) Louis Innis(rh g) Robert Foster(steel g) Dale Parker (bjo) Bob Moore(b).
(Thomas Radio Productions) Nashville,February 17,1954
E4VB-3624 Don’t lead me on RCA Victor 20/47-5790, Cactus 5052
E4VB-3625 Your kind of lovin’ RCA Victor 20/47-5695, Cactus RCA vol.2
E4VB-3626 Sample of your love RCA Victor 20/47-5695
E4VB-3627 I’m a pig about your lovin’ RCA Victor 20/47-5790
All four tracks are uptempos, the slowest being « Sample of your love ». They are nothing but pleasant hillbilly boppers (prominent bass) although a bit common.
« Dont lead me on« http://www.bopping.org/wp-content/uploads/2015/05/Sample-Of-Your-Love.mp3download
« Your kind of lovin’« http://www.bopping.org/wp-content/uploads/2015/05/Tom-James-Your-Kinda-Lovin.mp3download
« Sample of your love« http://www.bopping.org/wp-content/uploads/2015/05/Sample-Of-Your-Love.mp3downoad
« I‘m a pig about your lovin‘ »http://www.bopping.org/wp-content/uploads/2015/05/10-Tom-James-Im-A-Pig-About-Your-Lovin.mp3download Read the rest of this entry »
An important Texas artist of the ’30s and ’40s, (W.A.) SLUMBER NICHOL. He first cut records and had shows with the Sons of the Pioneers, then went after WWII to S&G label for the romping « Cotton pickin’ boogie » (# 3003)(vocal Andy Hallcom). He also had the first postwar version of « Cocaine blues », credited to T.J. Arnall. I never knew if this was actually Nichols disguising himself under a nom de plume. The song was reissued on Imperial, then covered by a lot of artists i.e. Roy Hogsed on Coast, later on Capitol, had the best-selling version ; Billy Hughes had his own version on King, among others. Later on Nichols had « Booger red blues » (unheard – sounds promising) on Imperial 8047, and now his track grows cold.
« Cotton pickin’ boogie« http://www.bopping.org/wp-content/uploads/2015/05/s-g-3001-Slumber-Nichols-Western-Aces-Cotton-Pickin-Boogie-1950-.mp3download
On to Nashville on the M-G-M label by PAUL DAVIS, a nice bopper (great bass) with « Big money » (# 12357)(1956), complete with steel and piano accompaniment over a firm vocal.
« Big money« http://www.bopping.org/wp-content/uploads/2015/05/Paul-Davis-Big-Money.mp3download
From Tennessee to Louisiana in Ville Platte : ALDUS ROGER & his Lafayette Playboys. He has « Cajun special » on Swallow 110, from 1959-60. Even for me, French-speaking being, it’s hard to understand all the lyrics !
« Cajun special »http://www.bopping.org/wp-content/uploads/2015/05/swallow-110-ALDUS-ROGER-CAJUN-SPECIAL.mp3download
From Texas on the Towne House (Sulphur Springs) label (# 11): EUEL HALL & the Rhythm Rockers for two nice bluesy country-rock sides, « Stand in line » and « Blue feeling » . Small but very efficient backing, a prominent lead guitar.
Euel Hall « Blue feeling« http://www.bopping.org/wp-content/uploads/2015/05/towne-house-11-Euel-Hall-Blue-Feeling.mp3download
Euel Hall « Stand in line« http://www.bopping.org/wp-content/uploads/2015/05/towne-house-11-Euel-Hall-Stand-In-Line.mp3download
Finally probably her first ever record from 1960 on the Zero label (# 107) by LORETTA LYNN, « I’m a honky tonk girl ».
« I’m a honky tonk girl« http://www.bopping.org/wp-content/uploads/2015/05/zero-107-Loretta-Lynn-Im-A-Honky-Tonk-Girl-ZERO-107.mp3download
First I offer RED LEWIS on Kasko 1643 (Santa Claus, Indiana) for « I’ll move along ». Strong lead guitar and a melodic steel solo. DrunkenHobo, do you know something more about this record?
« I’ll move along« http://www.bopping.org/wp-content/uploads/2015/04/Red-Lewis-Ill-Move-Along.mp3download
Then we’ll turn to a talented artist who deserved much more fame than he’s got during his 2 or 3 years tenure at RCA-Victor Records. Born in 1925, he was noted, after his discharge from U.S. Marine, by A&R man Steve Sholes. So EDDIE MARSHALL cut 9 good singles between 1950 and 1952.
His first, « The Tom Cat blues » (RCA 48-0357), recorded in NYC in May 1950, had Tony Matola on lead guitar, a fiddle, a steel who does a fine job and a bass, and as waited, is a medium-paced bluesy number. An organ comes in the background for good effect.
« The Tom Cat blues« http://www.bopping.org/wp-content/uploads/2015/04/Eddie-Marshall-The-Tom-Cat-Blues.mp3download
In December 1950, he cut the already little classic « Coffee, cigarettes and tears » (21-0413) known by Charlie « Peanut » Faircloth [see a recent Fortnight's favorites to hear the latter's version]. His version is jazzy and lot more faster than Faircloth’s. Very nice fiddle.
« »Coffee, cigarettes and tears« http://www.bopping.org/wp-content/uploads/2015/04/eddie-marshall-__-coffee-cigarettes-and-tears.mp3download
In December 1951, he cut his teeth on Rodney Morris ’ « Mobilin baby of mine »(20-4661), with sound effects, with a very nasal voice and new : a piano backing. Same tune was revived January 1952 on the West coast for Capitol (#2075) by Gene O’Quin. I include Gene’s version for comparison.
Marshall retired from business afterwards to deal with his family.
Gene O’Quin « Mobilin’ baby of mine« http://www.bopping.org/wp-content/uploads/2015/04/Mobilin-Baby-Of-Mine-Gene-OQuin.mp3download
Finally from California on the Big State label (# 101), GRADY ROLLINS and the filthy « Spit-toon song », with steel effect and harmonica, as a sequel to « Chew tobacco rag ».
Enjoy the selections ! Some info was taken for Eddie Marshall from Paul Vidal’s BigVJamboree.blogspot site.
Go to a map of the U.S., search « Biloxi », and you’ll find this small city in the Harrison county, down south of Mississipi. That’s where the Fine label story begins. But before that and its debuts, we must look at its founders. Professor Marion Carpenter had a recording studio open to local facilities in Biloxi and was associated with steel guitar player Murphy Monroe « Pee Wee » Maddux (born 1923). The latter’s name had over the years several changes : from « Pee Wee » to « Pee-Wee », even « PeWee ». He was also a songwriter (Kitty Wells in 1956 ; or « Fools like me » for Jerry Lee Lewis, or more « Rocky road of love » for Curtis Gordon, even Fats Domino : « What a price »), and his earliest efforts as recording artist (at least he is credited as such on the labels) are to be found in March 1952 on M-G-M records, cut in Nashville : « My hobo heart » and « Lover’s crime ». The vocals were done by a certain Al Britt for two average boppers. Maddux penned a good percentage of the songs on Fine, among them the Ernie Chaffin ones.
« My hobo heart« http://www.bopping.org/wp-content/uploads/2015/04/mgm-11224-Peewee-Maddux-vocal-by-Al-Britt-My-Hobo-Heart.mp3download
« Lover’s crime« http://www.bopping.org/wp-content/uploads/2015/04/mgm-11281-Peewee-Maddux-And-His-Lazy-River-Boys-Lovers-Crime.mp3download
In 1954 the pair Carpenter/Maddux launched a microscopic label, Gulf Coast, which they issued a certain DAN SEAL on : « You gotta walk that line » (# 1012) is a lively little opus, but nothing particular, and it sinked into obscurity. But SEAL reemerged next year on the new comperes’ label, FINE for two ballads, « I wake at dawn (with you on my mind ) » being the best one (# 1003).
« You gotta walk that line« http://www.bopping.org/wp-content/uploads/2015/04/01-Dan-Seal-You-Gotta-Walk-That-Line.mp3download
« I wake at dawn« http://www.bopping.org/wp-content/uploads/2015/04/05-Dan-Seal-I-Wake-At-Dawn-With-You-On-My-Mind.mp3download
JIM OWEN then came with the rollicking « Sie Simon shuffle » (# 1004) : it’s a jumping hillbilly rocker with a fiddle solo and one from Pee Wee Maddux on steel well to the fore. Owen had late ’50s his own Owe Man label where he issued « The key’s in the mail box » (see below). On to JOHNNY BOZEMAN and the good « She’s my bayou babe » (# 1006). Bozeman went afterwards in 1957 on Mobile, Alabama, Sandy label, which he co-founded with Paul Bose, and saw a classic horror rocker « Rockin’ in the graveyard » by Jackie Morningstar in 1959. Bozeman himself had « Blues and I » (# Sandy 1001)(alas, unheard) and what is described in a sale list as « doo wop rockabilly », « How many ».
Jim Owen, « Sie Simon shuffle« http://www.bopping.org/wp-content/uploads/2015/04/07-Jim-Owen-Sie-Simon-Shuffle.mp3download
Johnny Bozeman, « She’s my bayou babe« http://www.bopping.org/wp-content/uploads/2015/04/12-Johnny-Bozeman-Shes-My-Bayou-Babe.mp3do<nload
November 5, 1955
Other artists on the Fine label included ANN RAYE and his fine (co-sung with Jim Owen) bopper « Our wedding band » (# 1001). Raye had also had earlier 2 singles on Starday and 1 on Decca in 1956. Incidentally she was the daughter of local promoter Frank « Yankie » Barhanovich, and through her father’s activities, went on to share in 1955 some Elvis Presley shows in Biloxi. Moreover on Fine, HANNA FAYE had the ballad « It pays to be true » (# 1008). Other men : J. W. THOMPSON and the good honky-tonker « It’s your turn » (# 1007) – later he cut « When you’re honky tonkin’ » on the Toledo label (# 1003) out of Alexandria, Louisiana. Or B. F. JOHNSON : the fine bopper « I wish I could believe you » (# 1011)(great mandolin!).
Ann Raye & Jim Owen, « Our wedding band« http://www.bopping.org/wp-content/uploads/2015/04/03-Ann-Raye-Jim-Owen-Our-Wedding-Band.mp3download
Hanna Faye « It pays to be true« http://www.bopping.org/wp-content/uploads/2015/04/17-Hanna-Faye-It-Pays-To-Be-True.mp3download
J.W. Thompson « It’s your turn« http://www.bopping.org/wp-content/uploads/2015/04/15-J.-W.-Thompson-His-Red-River-Trio-Its-Your-Turn.mp3download
J.W. Thompson« When you’re honky tonkin‘ »http://www.bopping.org/wp-content/uploads/2015/04/When-Youre-Honky-Tonkin-J-W-Thompson.mp3download
B.F. Johnson« I wish I could believe you« http://www.bopping.org/wp-content/uploads/2015/04/01-Dan-Seal-You-Gotta-Walk-That-Line.mp3download
J.W. Thompson. Nov. 12, 1955
Pee Wee Maddux on steel guitar
The most important artist however was ERNIE CHAFFIN who made his recording beginnings on Fine with « The stop look and listen song »b/w « The heart of me » (1010), before Carpenter and Maddux went with him to Nashville to meet country promoter Jim Denny and A&R man Paul Cohen. A deal with Decca never concluded but Fred Rose took Chaffin on his burgeoning Hickory label. 4 sides were issued without success, then Chaffin came to Sun, and Maddux backed him on such a classic as « Feelin’ low » (Sun 262).
« The stop look and listen song« http://www.bopping.org/wp-content/uploads/2015/04/21-Ernie-Chaffin-The-Stop-Look-Listen-Song.mp3download
« The heart of me« http://www.bopping.org/wp-content/uploads/2015/04/22-Ernie-Chaffin-The-Heart-Of-Me.mp3download
Ernie Chaffin [Hickory]« Get me on your mind« http://www.bopping.org/wp-content/uploads/2015/04/get-me-on-your-mind-1024.mp3download
Later on, Carpenter and Maddux helped a lot Jimmy Donley in his early career and got him his Decca contract in 1957.
Maddux cut « New red river valley » (instrumental) for Judd Phillips label Judd (#1010) in 1958. He died and is buried in Gulfport, MS, in 1993.
All in all, a short lived affair (Fine folded after 20 issues, in 1957), but a good starter for many an artist.
From the notes of Allan Turner on the BACM CD « A ‘Fine’ hillbilly song – Country music on the Fine label » # 392. Various researches to. Somelocalloser.blogspot for Jim Owen’s Owe Man sides.
December 25, 1954
‘One of the newest members of the King country and
western roster is eighteen year old Bobby Roberts.
Young Bobby was born in Chattanooga, Tennessee on
September 12, 1937. Bobby always dreamed of becoming a
recording artist and he started getting his experience
young. He appeared in a musical show when only nine.
Both his mother and father encouraged Bobby in his
chosen career. Young Bobby Roberts did part time work
to help him through high school. He was graduated in
June 1953 and began going about the task of gaining
experience in the music world. His biggest thrill was
when over three thousand persons attended one of his
personal appearances. Roberts has worked as a grocery
clerk, car hop, shined shoes, polished cars and washed
dishes, always dreaming of becoming a professional
musician‘.(as written on the DJ bio copy of King 4868)
At least some factual data can now be gleaned on
Roberts’ origins. He recorded one session for King in August
1955 and I’m assuming that it is the same Bobby
Roberts that recorded for the Memphis based Hut label
in 1958. However, I’m not entirely convinced that the
Roberts on Sky is the same person. I base this
assumption on aural evidence (the vocalists on both
records contrast distinctly) and the fact that Sky was
based in Mississippi. Having said that, from a logical
point of view it most likely is the same Roberts on
all three labels, as Joe Griffith, a high school
friend of Roberts, covered both of Roberts’ Sky
recordings and both were apparently based in Memphis
at the time. Further, considering Roberts Tennessee
origins, it possibly is the same Roberts on all four
My query here is, can anyone confirm that the Bobby
Roberts on King, Sky and Hut is the same person? Or
can anyone else shed any light at all on this? It has to
be noted Roberts wrote all his material.
Using a number of different sources, I managed to
compile the following Bobby Roberts discography,
19 August 1955. Cincinnati, Ohio
Bobby Roberts And The Ozark Drifters.
Bobby Roberts – vcl, other personnel unknown : steel, fiddle,st-bass.
K3995 ‘Her And My Best Friend’ King 4868
K3996 ‘I’m Gonna Comb You Outta My Hair’ King 4837
« Her and my best friend« http://www.bopping.org/wp-content/uploads/2015/04/Her-And-My-Best-Friend-Bobby-Roberts-King-45-4868-1956.mp3download
« I’m gonna comb you outta my hair« http://www.bopping.org/wp-content/uploads/2015/04/31-Im-Gonna-Comb-You-Outta-My-Hair-Bobby-Roberts.mp3download
billboard Nov. 5, 1955
« My undecided heart« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-And-The-Ozark-Drifters-My-Undecided-Heart-King-4837.mp3download
« I’m pulllin’ stakes and leavin’ you« http://www.bopping.org/wp-content/uploads/2015/04/08-Im-Pulling-Stakes-And-Leaving-You-Bobby-Roberts.mp3download
billboard Jan. 21, 1956
K3997 ‘My Undecided Heart’ King 4837
K3998 ‘I’m Pullin’ Stakes And Leavin’ You’ King 4868
Bobby Roberts with Highpockets Delta Rockets. Mississippi label
Bobby Roberts – vcl, other personnel unknown : ld-g, b, d .
45-S-34 ‘Big Sandy’ Sky 56-101
45-S-33 ‘She’s My Woman’ Sky 56-101
« Big Sandy« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Big-Sandy.mp3download
« She’s my woman« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Shes-My-Woman.mp3download
Bobby Roberts with Bad Habits. Memphis, TN, label.
Bobby Roberts – vcl, other personnel unknown : ld-g,b,d.
« Hop, skip and jump« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Hop-Skip-And-Jump.mp3download
« Cravin« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Cravin.mp3download
4706 ‘Hop Skip And Jump’ Hut 881
4707 ‘Cravin » Hut 881
from the notes of Shane Hughes, « Yahoo » « rockin’ records» group.
This Roberts has obviously nothing to do with the one on U.S.A. label and the other on Cameo, who came later early ’60s, and drastically change in style.
Bobby Roberts’ music, from editor’s point of view.
It is hard to imagine such a change in so little time in style between the King session and the Sky one.
All 4 sides cut at King (« with the Ozark Drifters ») are pure dreamed hillbilly a la Hank Williams. All medium paced tracks, they feature a strong string-bass, and a weird steel-guitar, both propelled by a crisp fiddle. Vocal is a dream, Roberts has a firm voice, even some semi-yodelling vocalizing over nice lyrics.
In complete contrast, the Sky sides are out-and-out rockers. « Big Sandy » is a screamer, and the whole thing is a gas. « She’s my woman », a bit slower, fetches to Rockabilly. Note on the reissue the presence of the Jennings Brothers.
« Cravin’ » is a routinely rocker, while « Hop skip and jump » (not the Collins Kids’ number, neither the York Brothers’ on Bullet ) is an average rocker – even a sax – which Billy Riley could have cut this style. Actually it bears a little similarity with « Pearly Lee »..
The son to Bobby Roberts once posted in « bopping » that his father was the same man on King, Sky and Hut ; so I asked for some details and a picture, if available – no answer..
With thanks to Uncle Gil (King 4868 sound file) and Dave Cruse (King 4868 label scan). Internet research.
Joe Griffith « Big Sandy » (Reelfoot unissued)http://www.bopping.org/wp-content/uploads/2015/04/Joe-Griffith-Big-Sandy.mp3download
Joe Griffith « She’s my woman« (Reelfoot unissued)http://www.bopping.org/wp-content/uploads/2015/04/08-Im-Pulling-Stakes-And-Leaving-You-Bobby-Roberts.mp3download
WADE HOLMES to begin comes from the East coast and was managed by Ben Adelman from Wahington, D.C. He is particular having records released only on (leased masters) Four Star, and budget Spin-O-Rama, Mount Vernon Music and Crown labels LPs, before during the Sixties on several issues on Adelman’s other labels : Sutton and Empire. I’ve chosen first his great rendition of Carl Smith‘s « Go boy go » from 1954 on Blue Ribbon 35-49. It’s pure Hillbilly rock, near Rockabilly. Second we have, from February 1954, the fast honky-tonker « You’re too tired (for me) » (4 * 1656), when Holmes had his own show on WPGC (Washington?). Finally here he comes once more with the superior (a great , great crisp lead guitar) « I’ll just pretend » from 1960 on the Almanac label (# 809), also backed by a fine fiddle (solo), and billed as « The singing truck driver ». No evidence at all he’s had converted himself as such with more truckers’ songs.
« Go boy go« http://www.bopping.org/wp-content/uploads/2015/03/Wade-Holmes-Go-Boy-Go.mp3download
« You’re too tired (for me)« http://www.bopping.org/wp-content/uploads/2015/03/08-Wade-Holmes-Youre-Too-Tired-For-Me.mp3download
« I’ll just pretend« http://www.bopping.org/wp-content/uploads/2015/03/Wade-Holmes-Ill-Just-Pretend.mp3download
From Kansas City , 1950 or 1951 on the copious Red Barn label (# RH 1166)(see Allan Turner’s Hillbilly Researcher‘s blogsite for more info on this label), BOBBY COOK & BUDDY NELSON, « The Texas Saddle Pals » have a brisk duet, with fine fiddle, a guitar solo and even a mandolin in « Big daddy blues ». A very lively track.
« Big daddy blues« http://www.bopping.org/wp-content/uploads/2015/03/red-barn-1166-A-Bobby-Cook-Buddy-Nelson-The-Texas-Saddle-Pals-Bad-Daddy-Blues.mp3download
From West coast in California in 1954/55, a well-known band leader on the Salinas area (radio stations KDON and KSBW), BASHFUL BOBBY WOOTEN on the Four Star (special serie) P 102, with one high-voiced MARTHA LOU GACHES for « Peeping Tom ». Gaches had also one issue on Pep (Bakersfield) and was at one time associated as vocalist with Big Jim DeNoone.Wooten had also one famous rocker « Goin’ deer huntin’ » in 1960 on the G.R.C. label and had two other issues on this 4* P serie.
« Peeping Tom« http://www.bopping.org/wp-content/uploads/2015/03/Bobby-Wooten-Martha-Lou-Gaches-Peeping-Tom.mp3download
Martha Lou Gaches
From Santa Claus, Indiana, in 1965 or 66, a great country rocker « Snuffy Smith » by JOHNNY ACTON on the Kasko label (# 1644). It has a weird steel solo (too short), good guitar and indeed drums. Acton was also, with the Acton Sisters, on his own (?) label in 1968 (# 703), for a solitary issue (« Just between you and I », a country record), from Indianapolis.
« Snuffy Smith« http://www.bopping.org/wp-content/uploads/2015/03/kasko-1644B-Johnny-Acton-Snuffy-Smith.mp3download
That’s all folks for this time. Enjoy the selections !
Lannis Trahan, born in 1923, hailed from Louisiana, hence his artist name « Louisiana Lannis », and was also a songwriter: he wrote his 6 sides. He had three singles in 1956 before disappearing. The one on Starday is pure hillbilly rock : « Muscadine eyes » is a fast ditty opus, with a furious fiddle, apparently cut at Goldstar in Houston, Texas while its flipside « Much too much » (Starday 268, actually A-side) has more than a Latin appeal with its hopping rhythm. « Muscadine eyes » is not a common track, only being revived moons ago on the U.K. Ace album « Stars of Texas honky tonk » # 703 (1987)
« Muscadine eyes« http://www.bopping.org/wp-content/uploads/2015/04/starday-268B-Louisiana-Lannis-Muscadine-eyes.mp3download
« Much too much« http://www.bopping.org/wp-content/uploads/2015/04/starday-268A-louisiana-Lannis-Much-Too-Much.mp3download
Lannis will however be best remembered today for his second offering, this time on Snowcap 1215/1216 : « Tongue twister boogie » has a great wild steel guitar and is a really fast rockabilly rocker, not dissimilar to Jimmy Lee & Wayne Walker « Love me ». A demented piano player comes for a short solo. « Walking out » is no less good, and just a little less furious. Both sides prefixed « GS » surely were cut at Goldstar. As fiddle is the main instrument on the 4 previous sides, one can wonder if it’s Lannis playing ? The Snowcap issue fetches $ 700-800, and is only currently available on collectors’ reissues.
« Tongue twister boogie« http://www.bopping.org/wp-content/uploads/2015/04/Louisiana-Lannis-Tongue-Twister-Boogie.mp3download
« Walking out« http://www.bopping.org/wp-content/uploads/2015/04/Louisiana-Lannis-Walking-Out.mp3download
Billboard Feb. 16, 1956, « a good country novelty »
Alas « Fido/Doomed to love » (Snowcap 101) are, according to Pascal Perrault, pop songs to escape (weepers), and of no interest at all. Strange that a man capable of such songs as « Tongue twister boogie » could do pop songs in the same period. Trahan, whose name is common among Cajun area (see Cornelius « Pee Wee Trahan« , who made a career also as Jericho Jones and Johnny Rebel), died in February 1983 (age 59, cause of death unknown), and was buried in the Marine’s veteran branch of the Houston National Cemetery. The Trahans had came from France, maybe Burgundy during the XVI° or XVII° century.
Sources: various and Internet thing!