Late January 2017 bopping hillbilly and rockabilly fortnight’s favorites

Howdy folks ! This is the second 2017 fortnight, that of late January. It will cover very various styles, be it hillbilly boppers, country rockers or rockabillies, even one Bluegrass bopper, from 1955 to 1961.

First an uptempo atmospheric bluesy rockabilly from Bald Knob, AR, on the CKM label (# 1000) by BUDDY PHILLIPS with Rocking Ramblers, « River boat blues » from 1956 (valued at $ 100-125). I enclose for comparison the original version of the song by ALTON GUYON and his Boogie Blues Boys on the Judsonia, AR. Arkansas label (# 553), a Starday custom from 1956. This time the song is taken at a slow, lazy, bluesy pace – fine fiddle (valued at $ 150-200). Back to Buddy Phillips for the CKM flipside « Coffee baby » (written by Alton Guyon), less fast than the « River boat blues » side, but good and bluesy. Pity that Phillips disappeared afterwards.

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Buddy Phillips, “River boat blues

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Buddy Phillips, “Coffee baby

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Alton GuyonRiver boat blues

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Memphian EDDIE BOND (1933-2013) had many strings to his bow : band leader, D.J., radio station manager, night club owner, chief police and editor of an entertainment newpaper (pheww..). Here are his first sides on the Ekko label (# 1015) cut July 1955 in Nashville with Hank Garland on lead guitar and Jerry Byrd on steel. « Talking of the wall » and « Double duty lovin’ » (written by Vernon Claud, later on Decca with « Baby’s gone ») are uptempo Rockabilly/Boppers, very ordinary, which of course went nowhere. They are valued $ 100-150. Later in 1956, Bond recorded a famous string of classic Rockabilly releases on the Mercury label, « Rockin’ daddy » (# 70826) (the original being cut late ’55 by Sonny Fisher – Starday 179) is the most well-known.

Talking off the wall

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Double duty lovin‘”

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ekko-1015-eddie-bond-double-duty-lovinTwo issues on the Starday associated Dixie label from the late Fifties to the early Sixties. ELMER BRYANT on Dixie 906 from 1960 (value $ 75-100) delivers the cheerful bopper « Gertie’s carter broke », which has a Louisiana bouquet, with fine fiddle and steel. The medium-paced flipside « Will I be ashamed tomorrow », although very good and sincere, is more conventional country.

Gertie’s Carter broke

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Will I be ashamed tomorrow

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The other Dixie discussed is Dixie 1170 from 1961 by LITTLE CHUCK DANIELS : « I’ve got my brand on you » is a bit J. Cash-styled, an uptempo bass chords guitar opus with good effect on voice : honest Country rocker. I add by Daniels his issue on Dixie 1153, « Night shift », same style.

I’ve got my brand on you

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Night shift

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A plaintive Hillbilly now by BILL STUCKER vocal – Tune Twisters on the Indiana Ruby label (# 430) , « I go on pretending » from 1956 : a nice discreet guitar, some snare drums.

I go on pretending


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ROLLIE WEBBER from California was a part of the now well-known Bakersfield sound, and had issues on Pep and Virgelle among other labels. Here he offers « Painting the town » on the Tally label (#150), a fine bopper with prominent steel ( sounds like Ralph Mooney).

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Painting the town

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Finally from Detroit on Fortune 187 from 1957 : BUSTER TUNER & his Pinnacle Mt. Boys for « That old heartbreak express ». It’s a bluegrass bopper, Turner is in fine voice, and mandolin to the fore.

That old heartbreak express

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Buster Turner on dobro

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That’s it, folks !

Sources : YouTube (Dixie issues) ; my own researches ; RCS for Eddie Bond ; Malcolm Chapman’s blogsite (« Starday customs ») for Alton Guyon.

Lloyd (Arnold) McCollough & the Drifting Hillbillies story

I found the story on RaB-HOF site. It’s not that often a relative to an artist offers such a complete and accurate story. It even goes back to the beginning of 20th century!  So I decided to let its author speak by herself. Here it is:

LLOYD ARNOLD McCOLLOUGH STORY

by: Annette Wondergem (Lloyd’s niece)

with additions from Dave Travis, Al Turner, Terry Gordon & Bo BerglindLAnDH1954

A raw December wind sent an icy chill through the tall, lean young man who stared longingly at the mandolin in the display window of the music store. Just a few more dollars saved from odd jobs and sacrificed lunches and that fine instrument would be his. He pulled his collar closer about his throat and turned wistfully homeward. The year was 1950, the place was Memphis, Tennessee and the young man was Lloyd Arnold McCollough. At this point Lloyd had a lifetime ahead of him and he could imagine the possibilities that a mandolin could bring. Twenty years later the pressure of a touring musician had begun to take it’s toll. But, let’s not go ahead of time, the story of Lloyd Arnold, who became a pioneer of early Memphis music, began many years earlier.

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