This fortnight’s favorites feature will be separated in two sections. First we will be wandering between some artists of various importance. Second we will hook up on a familiar theme in 1954-55, that of « Daydreamin’ »…
First comes the very unknown from the early days, WALLY MOORE& His Tennesseans. He cut seemingly first for the R&B indie Acorn (a subsidiary of N.J. giant Savoy label), which had its Hillbilly serie : « A dream lives on » (# 317-B) in 1951. A sweet little jumping bopper with good voice from Moore. The steel is uninspired, but the guitar takes a fresh short solo. Earlier he had been on the big concern Savoy – again in its 3000 Hillbilly serie – for the proto-Rockabilly « Down at the picture show » (# 3025). He had also a good disc on # 3023, « Tie a little string around your finger » (announced by 7th Jan. 1950 Billboard issue); I include the reverse side, « A vision of yesterday« , a weeping ballad for a change, because of the mandolin accompaniment and the Hawaii style steel (which sounds like Jerry Byrd, according to the provider of this 78rpm, Ronald Keppner). Finally Moore had another record on Regent 170 [unheard] then he disappeared from my researching antennas.
Galen Gart’s ARLD gives the date of Savoy 3024 (wedged in between the two Wally Moore issues) as issued in January 1950, and Acorn 316 on March 1951.
Billboard Feb. 18, 1950
The name CURLEY SANDERS surely rings a bell to many. He had first waxed for Dallas’ Star Talent label (« Last on your list », # 749), then he came to Imperial in 1951, Concept later, finally on Jamboree. That’s when in 1956 he cut his most famous track « Brand new Rock’n’Roll », a fiery slice of wild Rockabilly (# 590). I’ve chosen his second issue on Jamboree (# 1833A) « Heartsick and blue », again with the Kentucky Rangers : backing of piano, a rockabilly picking guitar solo, a good steel solo and a welcome mandolin solo over a urgent vocal. Sanders story was told in this site in March 2013.
From West Monroe, La. comes the back-to-back Dos record by AL DOSS (# 944). Fine uptempo of « That’s my baby ». Quieter is the double-voiced flipside « Everytime you waltz again ». A nice little record. Doss had another good record on Dos # 945 with two boppers: « Why do dont » and « Everytime you waltz« .
Both sides have a « GS » written in wax; so a Gold Star recording location (Houston) is probable.
In 1954 on Meteor # 5014 BUD DECKLEMAN had a mammoth hit with « Daydreamin’ », the quintessential Hillbilly bop heard even in New Orleans [n° 2 in Cashbox charts], or Des Moines (Iowa), not to say Memphis [n° 1] of course. Sam Phillips had previously turned down Deckleman and was bitterly biting his fingers..Les Bihari (Meteor label’s boss), who had renamed Daydreamers the label’s house-band (for Jess Hooper, Barney Burcham and Jimmy Haggett), was very cutup when Deckleman agreed to the offer made by M-G-M, still in the hunt for another Hank Williams. Bud Deckleman waxed a dozen sides [all were released] between 1955 and 1956, and athough he had a small success with « No one dear but you » (M-G-M 11952, March 1955), his style really out of date at the time being eluded him the renewal of his contract with M-G-M. Here it is « I gotta find a way », the very last song he cut for M-G-M on October 18, 1956 (# 12419), and the penultimate issue (before # 12552, « I done fell too fer/As long as I can dream », a prophetically title !). Good, excellent bopper, very confident and driving. The story of Bud Deckleman can be found in this site, as it has been told in May 2009. Unfortunately Deckleman’s career gradually came at its end in 1957, because he was out of date and, according to Q. Claunch « You’d never be quite sure you could rely on him ». Final record in 1961 on Stompertime # 1400, « I’ll be the one/I’m sorry now », a fine swansong in the M-G-M days mould. Deckleman died in February 1998.
And that’s when the story of « Daydreamin’ » begins, thanks to its writers, Mrrs. Bill Cantrell and Quinton Claunch. (respectively guitarist and fiddler on the « Daydreamin’ » session) : led by Sam Phillips in astray, they wrote the follow-up, « Daydreams come true » for Maggie Sue Wimberly at Sun (# 229) and Buddy Bain, Kay Wayne and Merle (Red) Taylor at Meteor (# 5027). Note that both of them played on the two sessions!
In the meantime « Daydreamin’ » had been covered at least 7 times, first by Jimmy Newman (Dot), who hit to # 7 in early 1955 with it; then by Wanda Jackson, Carl McVoy, and later by Tibby Edwards (on Todd) or Warren Storm. I include the version made very early by DOUG BRAGG on Coral (# 61364) – recorded January 1955, it’s a carbon copy of Deckleman’s, which went unsuccessful. He liked the theme, as he even had also his sequels to « Daydreamin’ » on Houston, Tx. D Records 3 years later : « Daydreaming again » (# 1018)[with little yodels..] and its reverse, « If I find my dream girl » ! Of course Bragg also recorded for Dixie and Skippy. His story was told in this site in December 2012.
Sources : my own archives ; notes by Martin Hawkins to Ace CD « The complete Meteor rockabilly and hillbilly recordings » ; 45cat and 78rpm-world. Michel Ruppli’s « The M-G-M label » (session details). As usual thanks to Ronald Keppner for his precious help on Wally Moore 78rpm. Thanks DrunkenHobo for the press snippet.
Douglas Clifton Bragg was born on April 13, 1928, in the small East Texas town of Gilmer. He was among four children born to Bonnie and James Claudie Bragg. He attended Gilmer public schools and developed an interest in music during his teen years. He started performing in and around Tyler during the late 1940’s. His first marriage produced five children, all of whom were boys. By the early 1950’s Doug was appearing on the Big « D » Jamboree and working days as a meat cutter.(suite…)
Dixie – The very name evokes pictures of the Southern areas of the USA. Dixie records have been fascinating collectors for over 35 years now . Of course the word Dixie was used by many different labels throughout the States, anyway it is the main 2000 series that I am interested. Formed as an offshoot of Starday in late 1957, the idea seemed to be trying out new artists who, if successful, were transfered to Starday or using label as a custom one. Shelby Singleton seems to have been the man in charge at the beginning. Three of the first five discs were recorded in Daz Dood’s TRI-DEC label studio (Miami, Florida) and BENNY JOY’s « Spin The Bottle » was actually released on TRI-DEC 8667 in ’57 with « Hey High School Baby » on the flip. The Dixie release (2001) does sound slightly different, but as the vocal comments are same, it would appear that Starday re-mastered and the bass and drums sound more muffled on this hot slab of Rockabilly. Of a number of tracks recorded at this session, « Steady With Betty » was placed on flip of the Dixie issue and has some outstanding guitar in the break.
The other two discs recorded at TRI-DEC were GENE WATSON’s I’ll Always Love You/Little Valley (2003), a couple of ballads of little interest, and the marvelous rockin’ JIMMIE LEE « Three Little Wishes » (2005), one of the better but lesser known items on the label. With his band « The Playboys », Jimmie lays down a fine rocking opus that has a superb break split between a hot pumping piano and a very biting guitarist, and with handclaps and vocal comments, all making for a quality item.
Sandwiched between these Florida recordings are the first Texas recordings, both by DOUG BRAGG and probably recorded at Seller’s Recording Studio in Dallas. Issue 2002 couples « Red Rover/Lovin’ On My Mind », both tracks being slowish pounders of which the latter is the better of the breaks which combines piano and guitar, although to be fair the vocal is tougher on « Red Rover ». It is the second Bragg release that is the better of the two with « Pretty Little Thing » (2004) being an excellent fast rocker that has a very good break from the guitar and piano. There is a chorus in this that fits in well and the guitarist solo’s on to the end of the record. Doug recorded for quite a few Texas labels such as D during the 50’s and 60’s.
The next three releases on Dixie are all by Texas artists. DEE (Mullinax) & PATTY (Timmons) have a nice duet Bopper with « Don’t Tease Me » (2006) on which the band are very solid behind their relaxed vocalising. They were also on D and Mercury. ORVILLE COUCH, a Country singer from the Dallas/Fort Worth area had discs on boty Starday and Dixie in 1958 and his « Easy Does It » (2007) can best be described as a Rock ballad with obstrusive chorus, but he has a good voice and the guitarist is excellent on this one, although he always sounds more at home on Hillbilly material he cut for Starday and I assume that the Dixie release, probably arranged by local producer/manager Jim Shell, was a deliberate attempt to sell to the teenage market.
The very next release is one of the all-time Rockabilly greats with DERRELL FELTS & The Confederates : « Playmates/The Weepers » (2008). A crashing guitar intro and Derrell’s urgent vocal supported by driving bass and frantic drummer all combine to make « Playmates » so damn good with a superb guitar break. Texan Derrell Felts slows it down for the flipside « The Weepers » but it’s still top quality Rockabilly with lead and rhythm guitars combining for a really fine break. KEN HAMMOCK (also on Starday) offers an instrumental « Blue Guitar Jump» (2009).
The next disc is one of the least known, and arguably one of the best on the label with BILL CARROLL’s brilliant « Feel So Good » (2010) which came out at the end of 1958. I am very intrigued by the songwriting credit of Shuler/Hunter (Eddie Shuler of Goldband, and Pete Hunter, a Southern D.J. ?). The sound on this one is very similar to many of the classic rockabilly platters on the Goldband label. A real ‘lived in’ vocal on this an dit is a very catchy song with a piercing guitar break as Bill tells his tale helped by a couple of backup voices.
Eddie Skelton, courtesy Dennis West
EDDIE SKELTON had three Dixie records as well as at least two on Starday itself. Strangely they being issued at the same time too. Eddie who was from the Virginia’s had formed a band with his brother called the Rhythmtones and their first one on Dixie « Keep It Swinging » (2011) is a much sought after rocking gem that has a hot guitar behind a good vocalist and a cat who jumps all over the piano in the second break. Great one. Dennis West says (December 2015) Eddie was from Kingsport, TN.
Yet another elusive disc has been DEE JOHNSON’s « Just Look Don’t Touch » (2012) which has been described to as a solid Country rocker. There is no (2013) : unlucky number ?
Following the gap comes « Your Lying Ways » (2014) by BILL GOODWIN & His Western Ramblers. This is not as strong as his « Teenage Blues » (Starday) but is none the less a solid Country rocker with fine steel guitar, an dis a lot better than the later 60’s releases he had on Bandbox in Denver, Colo.
EDDIE SKELTON returnsfor an instrumental work out on« Rebel’s Retreat » that rocks along showcasing guitar/piano/sax and has a slow rocker « Love You Too Much » (2015) that has a nice brooding sound to it with some excellent bluesy piano and guitar.
The disc by MEL PRICE that comes next « Little Dog Blues » (2016) is the best rocking record I’ve heard by him. The first important ingredient is that the song has something going for it. Mel’s voice suits this self penned song and the backin, was the Santa Fe Rangers, is of high standard with brilliant guitar. I wonder why two of the tracks cut at this session were issued in Dixie 800 series. Mel had a number of releases on Starday, Blue Hen and Regan, and despite the name of his band, appears to have been active along the North Eastern seaboard of the USA.
CATHY KELLEY’s « Blues Hanging Around » (2017) is a Country rocker that sounds very Nashville and lives up to its title, and came out in mid-59.
Right from the opening notes of GROOVE JOE POOVEY’s famous « Ten long Fingers » (2018) with C.B. Oliver’s piano pumpng behind Joe’s assured vocal and a growling sax player who gets a good and dirty sound from his horn. An absolute classic whose rarity pales when one considers how rare his « Move Around » (Dixie 733) just a year before.
Use of the word rare, very overused with records brings us nicely to ART ONTARIO and his « It Must Be Me »(2019) which is a very fine bluesy rocker with an unusually toned guitar that has two excellent breaks. Mind this one is certainly not as rare as this son of Ohio’s « Queen From Bowling Green » issued under the name of ART BUCHANAN (Dixie 823).
For a chunk of good old Rock’n’Roll you’ll have to go a long way to beat « Blast Off » (2020) by the unknown ALDEN HOLLOWAY. Set at a fast jive pace, this one has some blisering guitar work and a good old honking sax before the guitar returns. The other side is an instrumental « Swinging The Rock » featuring both the above ; I wonder is his « Loving Is My Business » (Starday 714) was cut at the same session. Holloway was a Virginian.
I have been unable to throw any light on HUGHEY BUNCH & The Bradley Farm Hands and their « South Wind » on Dixie 2021. It is not the same « South Wind » that was cut by the late Billy Wallace on REPUBLIC, but is a nice Hillbilly Rock side that has a very prominent banjo on this side and also on the flipside « Cry Tomorrow » which just gets the edge with me as the guitar work is better. Bunch was from Morristown, TN. according to Dennis West.
By now, the latter months of 1959 signs of pop rock begin to show up as on DEE JOHNSON’s « Back To School » (2022), which was probably cut at an earlier session. A basic line up of guitar and rhythm section aided by handclaps, a chorus and tinkling piano ; it is quite pleasant.
I was impressed by JAY GALLEGHER and his « Crazy Legs » (2023). A fast tempo’d rocker opened by a heavy drummer, a rocking guitar and a really pumping piano. There is a chorus on this but it suits the song and the guitarist cuts loose a great break amidst the handclapping. The flip is a bit of a shock too : « Steady Flame » is not so fast but I almost prefer this side with it’s clever guitar break that is followed by the pianist who is really enjoying himself.Dixie 2024 (Larry Streeter) unheard.
EDDIE SKELTON goes instrumental once more with « Curly » (2025). Mid paced guitar/piano/sax that is pleasing rather than exciting as it takes too long to get into its stride. And so we come to the end of the DIXIE 2000 series with BOBBY MACK and his « Who Put The Blues In Your Heart » (2025) which is a nice piece of Nashville Country.
(reprint from Phillip J. Tricker’s article in Roll Street Journal # v8, Summer 1984)
Recommended listening: Collector CD 4411 and the Dixie Collector series (2222 to 4444)