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)
Warning: I am experimenting html language, so to set the audio podcasts up beside their texts. This language isn’t that easy. Sorry for inconveniences!
Allstar Record Co.
1953: 3116 Garrow St., Houston TX
1958-1959: 2106 Orean Street, Houston 17, Texas
1960: Allstar Music Enterprises, 8029 Gulf Freeway, Houston 17, Texas
1961-1966: 1110 Washington, South Houston, Texas
also: Allstar Distributors
Allstar Records, a quasi-song-poem label with a slightly more plausible claim to legitimacy than most its song-sharking peers, was the brainchild of Houston country musician/”singer” Daniel James Mechura. The ambitious Mechura started out as the frontman of a local outfit, the Sun Valley Playboys, enjoying one release on the Starday label (which they paid for themselves) in 1955. By that time, Dan had discovered the seedy underworld of songwriter’s clubs and, sensing an opportunity ripe for exploitation, soon began doing business as president of “The Folk Writers Co-Operative Association,” generously offering “every songwriter the help which is necessary to succeed in this competitive field,” as stated in one sales pitch. A record label of their own was the logical outgrowth of this “co-op.”
They were two very different singers who teamed for a brief two years to make some of he most interesting duet recordings of the 1950s. Normally vocal duos were kinfolks who had sung together since the cradle but George McCormick from Tennessee and Earl Aycock from Mississipi did not meet until they were in their early twenties.
George McCormick was born on June 16 1933 and spent his early life near Carthage, the hilly area north of Nashville. The life was tough in rural Tennesseee ; George took an interest in music and formed a string band with two friends, the Thomas Brothers, playing in the local area. They left to Nashville, hoping they could find work with Carl Tipton – what they did, in 1947, but he wouldn’t geting much work and they couldn’t make no money. So the partnership ceased. Next step was a meeting with Big Bess (Jeff), and it paid $ 45 a week. The Thomasses worked four, five or six different shows every morning between 5:30 and 8:30 with any WLAC artist from Bob Jennings to Andy Wilson or Mac O’Dell.
Big Jeff Bess
For several years George played guitar and bass alongside a number of up and coming musicians who passed through Big Jeff’s Playboys band, until too the lead in some shows and was even allowed to make his first recordings as a vocalist : as George Mack on one of Jeff’s Dot Records discs in 1952, he played and sang « I courted an angel » and « I don’t talk to strangers » (Dot 1096). He left in 1953 to play in Martha Carson’s band on WSM radio and the Grand Ole Opry and got a contract with M-G-M Records, for whom he cut 12 tracks within less than one year between August 1953 and July 1954. His first two singles were « Fifty-fifty honky tonkin’ » (MGM 11598) and « Hi there sweet thing » (MGM 11656). « Fifty-fifty » was a song Fred Rose had apparently written especially for Hank Williams, a tale of relationships and nightlife brimming with homespun insights.
McCormick really does sound like Hank on this, without being a ‘soundalike’ : he had the spirit and the style and a hard edge to his voice but a degree of originality too. Musicians Jerry Byrd and Tommy Jackson did their best to recreate the trademark Drifting Cowboys licks and the rhythm section of Chet Atkins, Ray Edenton and Lightning Chance takes the performance along at an appropriately jaunty pace. This first song bas backed by « Don’t add an ex to your name » a clever song written by Knoxville’s Arthur Q. Smith. The disc was a good territorial seller and it could have easily been a major hit. « Hi there sweet thing » was another catchy Hank-ish song and it also gained good reviews.
Four days after Christmas in 1953 George McCormick was back in the studio with the same band. Almost a year after Hank Williams had died the featured song was « The sundown train », with McCormick perfecting the keen edge to his voice until he sounded almost more like Hank than Hank. The flipside was « Flutter bug », a Fred Rose song that still recalled the honky tonkin’ Williams sound and rambling cowboy themes but which had some smoother edges and more crafted lyrics than many of his contemporaries.
George was called for his third six-monthly MGM session on 1 July 1954. This time the musicians took their sound from Hank’s band : in fact they were Hank’s band, the Drifting Cowboys. Sammy Pruett on guitar, Don Helms on steel, Jerry Rivers on fiddle and Cedric Rainwater on bass. The session saw issued the rollicking « Don’t fix up the dog house » (written by Don Helms), and recalling some of Hank’s earliest songs where the dog house had been the indicator of wife troubles. Perhaps the best recording was held back from release and didn’t see the light of day for three years. It was « I’ll keep your name on file ». By the summer of 1954 George had three singles on MGM and had been gone some months from the Jeff Bess show. He had started regularly with Martha Carson, when they arrived in Alabama and did take a new bass player, name Earl Aycock.
Sidney Earl Aycock was born in Meridian, Mississipi in 1930. He took an interest in hillbilly music at a young age and played guitar/bass with local bands of east Mississipi, even joining Bill Nettles’ Dixie Blues Boys and playing bass on « Hadacol Boogie ». After a stint in USAF he worked as a DJ before auditioning for Martha Carson. Towards the end of 1954 he teamed up with George McCormick to sing duets as part of the Martha Carson Show. According to the latter, « Earl liked Carl Smith. My favorite was Hank Williams. That’s one reason Earl and I sounded so good together ; our styles had a nice blend. Generally Earl sang the lead and I sang tenor harmonies. »
Before long the new duo started to think about making records. They heard Mercury’s A&R man Dee Kilpatrick was looking to sign a duet act. The deal was made in January 1955, and in next February George and Earl were in the studio for their first Mercury release. All in all, the duet recorded twelve songs ; Mercury issued them over a period of a year and a half. From the opening few seconds of the first session it was clear that the legacy of Hank Williams was not going to frame the sound of a George and Earl record. Earl had a clearer diction ; Chet Atkins, at home with raunchier stuff, had brought another lead guitarist, Joe Edwards, who had a more driving style. This was echoed by the attacking approach of fiddler Benny Martin. Rhythm section (Bob Moore and Ray Edenton) was augmented by drummer Buddy Harmon and Floyd Cramer on piano. This was an altogether ‘bigger’ sound with something of the new rockabilly styling McCormick had heard when playing with Elvis Presley on package shows.
The prime song was « Got anything good », a gloriously tight recording that fit right between uptempo honky tonk and rockabilly. The song was written by Detroit-based country singer Rufus Shoffner (« Mother-in-law boogie » on Fortune). The flipside, « Can I » was about a woman leaving her man. Again there is a good balance between country and rockabilly with a take-off guitar solo from Chet Atkins and fiddle runs setting the pace as much as the drums. « Billboard » review of April 1955 was good and before long Mercury issued the other two tracks of the session. « Sweet little miss blue eyes » is introduced by a fiddle riff and develops onto a fast-flowing love song where the singers take substantial solo parts as well as their duet sections. The song was something of a hit and has become a minor standard as recorded by Carl Smith, Bill Monroe, Ray Price, Vince Gill. The song was given to them by Don Helms and Merle ‘Red’ Taylor (the man who cut in 1955 « Don’t worry about nuthing » in Memphis on Meteor records, as Mason Dixon). In contrast, « Going steady with the blues » has a more modern stop-time sound and features Joe Edwards on guitar behind an exclusively harmony vocal.
Sometime in the summer of 1955 the hot new vocal duo was back in a Nashville studio for Mercury although the details and the musicians are not known. The instrumentation is similar to the first session ; just add Shot Jackson on steel guitar and almost certainly Del Wood on piano. « Heartaches » opens with a full-throated duet that gives way to a solo lead by Aycock and a modern-sounding take on the fiddle and the steel solo duet. It was backed on the third George and Earl single by « Don’t don’t don’t », provided by Louisiana-based record producer J. D. Mller. A fourth single coupled Autry Inman’s « Take a look at my darlin’ » with « Cry baby cry », a song written by Gene Davis (later Bo Davis on Crest) and inspired by « Why baby why ». It is kicked off in trademark style by fiddler Benny Martin and the duo sing strongly over a tinkling piano until the piano and fiddle take solos. Earl has a more ‘country’ voice, while George has moved further away from Hank’s style.
Early weeks of 1956, that was the third Mercury session. Musicians unknown, but could be largely the same again. « Remember and regret » is a plaintive love song written by Wayne Walker, one of in-house songwriters employed by Nashville publishers. This is a country-sounding record with fiddle solos and embellishments well to the fore but it retains the tinkling piano and the drum-augmented beat.
The next song was different entirely : out of nowhere comes a pop vocal leading to a cheerful and impossibly catchy lyric about « Eleven roses ». Originally a song poem and cut by a NY doo-wop group : quite how the song made its way into a hillbilly session in Nashville is a mystery.
The two last songs were in fact issued first : « Done gone » and « Better stop look and listen ». « Done gone », written by Don Helms was intended to be a hit. McCormick remembers : « It had a rocking style and Joe Edwards really played up that rockabilly guitar ». The Mercury label had equally high hopes on the other side, provided by J. D. Miller (and also recorded by Johnny Jano , although unissued at the time). It opens with a hurrying duet leading into an Elvis Presley-styled lyric from Earl and a ringing and rocky guitar solo probably by Joe Edwards. Just at the time Earl Aycock moved to Texas (the origin state of his wife, who wanted him to stop touring around) to become again a disc-jockey, so the duet ended overnight. The story of Earl Aycock will come separately.
George McCormick carried on for a while with the Martha Carson Show, but she wanted to go to New York and work up there. He said : « She had a big following including a lot of Christian people and she was a big star in country gospel music. » He told Martha Carson : « I’m not going to the city, I’m staying right here in the country ».
When he finally severed his connection with Martha Carson’s show, George needed new work and a new record label. He then worked for two years with the Louvin Brothers, whom he had backed up on the Opry show for a couple of years in 1952-1953. He played rhythm and sang (baritone) wih them, touring all around the country.
The new record label was MGM and his session took place on January 12 1957 at the RCAVictor studio in Nashville. Fiddle and steel sounds of earlier MGM sessions are long gone ; it seems to be Joe Edwards on guitar and Buddy Harman on drums. Pianist, bass player and chorus are unidentified. The session produced four songs, although George’s final single, « Doubt », was backed by « I’ll keep your name on file » from three years ago. The first single coupled the Joe Gibson’s moody « The blues moved in this morning » with the Bryants’ « After all we’ve been through ». « Blues » has a fine guitar solo but is marred by an irritating, repetitive piano figure while « After all » moves close to a pop ballad sound. Last track « Ain’t got nothing but the blues » is lost.
George’s vocals on this session are self-consciously less country than in former years and it is clear he was capable of many different vocal performances. MGM although did not exercise their option for another session, and George probably didn’t know it would be several years before he recorded again as a solo vocalist : actually Hank Williams tribute sessions in 1963 for two low-budget labels. He toured extensively in the East with Wilma Lee and Stoney Cooper until 1965, when Porter Wagoner hired him in his Wagonmasters. He appeared in many of the 686 episodes of the Porter Wagoner TV show. Then his last three singles were in 1968-69 on the Stop label : best seller being « Big Wind ». Then he went to work with Billy Grammer and along the way for controversial Alabama Governor George Wallace, before he left after an incident, and went with Grandpa Jones. He stayed with Jones twenty-two years and retired in 1996.
Porter Wagoner TV show
Article based on notes of Martin Hawkins for the BF George & Earl CD « Better stop look and listen ». Some label scans do come from John Burton, Udo Frank or Dean C. Morris : thanks to them. Music from various sources, including a Tom Sims’ cassette. Pictures from the records or from the web.
Billboard Aug. 19 1957 "Blues moved in this morning"
Howdy folks! Here are my ‘new’ favourite tunes of early this month. As usual I try to give you oddities to illustrate the music, although lacking of inspiration and enthusiasm this time!
Red and Lige, The TURNER BROTHERS, were a duet group from Tennessee. I don’t know if they were related to the more famous brothers, Zeke and Zeb (King and Bullet labels). They offer here a strong Country-boogie with “Honky Tonk Mama” on the Radio Artist label (the one which issued Jimmie Skinner first sides). Circa 1950.
PECK TOUCHTON, a native of Texas, had a solitary release on Sarg (“You’ve Changed Your Tune“). He also recorded for Pappy Daily’s Starday label, without seeing any issue, following a mixing of label stickers during a car wreck! The whole story was told by Andrew Brown in his excellent site, Wired For Sound. See it here:
Touchton’s record, “Let Me Catch My Breath” was finally issued under the name of George Jones (Starday 160).
Out of Texas or West Louisiana, and at one time associated as a singer with Bill Nettles, DANNY DEDMON had records as early as 1947 on Imperial. Here is his “Hula Hula Woogie“, typical Texas Honky-tonk of the late Forties, with a touch of Western swing. The Rhythm Ramblers were actually Nettles’ band.
George McCormick (he had discs on M-G-M, for example, “Fifty-Fifty Honky Tonkin’ Tonight”) and Earl Aycock teamed as GEORGE & EARL in 1956, and had a string of Rockabilly releases on the Mercury label. I’ve chosen one of their most dynamic sides, “Done Gone“. Nashville musicians behind them. The duet folded shortly afterwards.
Out of Nashville came CLAY EAGER on the Republic label. Although he was a celebrity as D.J. in the St.Louis/St.Paul, MO, area, he had cut this fine “Bobbie Lou” in Nashville. We finish with the wild, rasping young ETTA JAMES on the West Coast. “Tough Lover” is backed by the ubiquitous Maxwell Davis.