This Knoxville bluegrass brother group was largely overshadowed by the Brewster Brothers, with whom the siblings Audie and Earl Webster performed and recorded as part of a unit that was named with a great deal of brotherly love: the Brewster Brothers and Four Brothers Quartet. The implied confusion is enough to make one’s head spin along the lines of a deep shot of the liquor brewed in the hills above Knoxville. The band name suggests the presence of three sets of brothers, four of them related, but in reality there was only the combination of the Webster Brothers and the Brewster Brothers , totalling four. This is by no means the worst mistake in math in terms of bluegrass band names. That honor would probably go to the 7 Flat Mountain Boys, which was usually a quartet. At any rate, some bluegrass fans assume the Webster Brothers were like the Brewster Brothers in that they became prolifically recorded sidemen working in the bands of bigger bluegrass and country names, such as Carl Butler or Red Allen. This premise is normally based on the existence of players such as or Otis Webster or Jackie Webster, but neither of these old-time pickers nor any other Webster was a part of the Webster Brothers unit. Audie Webster played mandolin, guitar, and sang, while his more handsome brother Earl Webster was cut out to be a frontman, learning to handle lead vocals and rhythm guitar in order to live up to expectations. In tandem with the Brewster Brothers, it was the Webster Brothers who got to wear the light-colored suits and the former brothers got the dark stripes. Whatever meaning this might have in the bluegrass hierachy is unknown, but it seems important to mention. Singer Carl Butler, also a Knoxville lad, also formed a working combination with the Webster Brothers, cutting some records with them for Columbia, but owed no strict allegiance to the family. Butler also sang with other area brother groups, such as the Bailey Brothers – who, coincidentally appeared on the Grand Old Opry with the Brewster Brothers — and the Sauceman Brothers. In a sense, the basic concept of the lead vocal in a Knoxville bluegrass “brother” band of the ’50s can be likened to an old-time mystery: one can always assume the Butler did it. One he did with the Webster Brothers was “Somebody Touched Me » a bluegrass gospel warhorse that has been cut in nearly 50 different versions.
The Webster Brothers collaboration with Carl Butler was going on for a full year, between October 1954 and November 1955 – they had already cut themselves 4 sides in March 1954 . During this term they recorded 16 sides, either on the Okeh label (a subsidiary of Columbia), or on the main label. An half was made of religious songs, well settled in Bluegrass tradition, the other included rural Boppers that had an appeal to the white market. Their best songs were : « Kisses don’t lie »/ »I wouldn’t change you if I could » (Okeh 18052)
Years later the Webster Brothers issued in 1962 on the Nashville Do-ra-me label (# 1432) a modern Bluegrass song, « My heart won’t let me forget». One more ’45 on the IHS label and that was it, they disappeared from music scene.
(Nov. 2nd, 2018). A visitor (Daniel – thanks to him) advised bopping.org of another, later 45 rpm by the Webster Bros., under the name of “Earl & Audie” on K-Ark 753, released in 1967: “Blue, Blue’s In Green” – nice ballad (good steel): downloaddownload Sources : a biography by Eugene Chadbourne on AllMusic site. Ronald Keppner and 78-world for label scans. Willem Agenant (Columbia 20000 serie) for the music.
Hello Folks ! This is the late May 2017 bopping fortnite’s selection. It begins with a Starday custom disc on the Friendly label [from Milan, TN] (# 853) by RAY BELL : « Yodelin’ catfish blues » [what a title!], which is a cross, in my mind, between Rockabilly and Bopper. Dating from 1960 or even later. No guitar solo. A good song anyway which growns on one’s ears at every listening. Bell had another disc on Queen (obviously distributed by King), but a Jay Miller production: it is a suggestion of a Louisiana recording or at least a link. Same Queen label has a Miller protégé, Katie Webster. So the link may be strong. « Blues tavern » (# 24006, June 1961) is a decent uptempo hillbilly ballad. He also had two “leased” titles on the same date which went unissued at King.
Next selection is by three guys (brothers) also well-known, first as the Willis Brothers (led by the eldest of them, James « Guy » Willis) then later as OKLAHOMA WRANGLERS. They put between 1946 and 54 on line a fine string of Country rockers and hillbilly Boppers. I’ve chosen – an uneasy task – two boppers. First the fast «Hoot howl boogie » from April 1951, issued on RCA 20-4309. Piano accompanying throughout the tune (Vic Willis), nice guitar solo (Guy Willis) over a fiddle part (Skeeter Willis) + two unknowns : steel player and a thudding double-bassist. It has an irressistible beat.
Second song is a program per se : « Hillbilly rhythm » (RCA 20-4848, cut May 1952). Not as fast as the previous song, it’s excellent all the way. Fiddle part is more prominent, while the brothers sing the refrain in unison. Guy Willis even plays in a style Merle Travis had done famous several years ago. More on the Oklahoma Wranglers in a not too distant future, when I put my hands on biographical details.
MALCOLM PARKER seems to have migrated from Nashville to West coast (or was it the opposite). The first record noticed was on a California label, Mesa 101: a mid-tempo, nice rhythm-guitar and vocal led for « The tears you saved », stylistically from the early ’60s, although the label indicate « Stereo », which may indicate a 1970’s issue: a great record for this era! Then a second issue on Code, a Nashville label (# 301), early ’60s too. It’s a great rocker (piano and great guitar solo) for « Come along with me ». Perhaps different artists with the same name ? I found (but unheard) one side described by its vendor as « hillbilly » , « The panther den/We’re through » on the Bee (location unknown : label too much damaged), on the RootsVinylGuide site, which is usually very helpful. But not this time ! Anyone help us all?
ART ONTARIO is a well-known figure among Rockabilly circles. He had releases on Dixie (« It must be me », # 2019 (Madison, TN) in 1959, then as Art Buchanan, on sparse Dixie regional issues or on Flame during the early ’60s. Now a rare Starday custom, Illinois label (# 725) presents « Wiggle walkin’ boogie ». A great vocal, an insistant lead guitar (solo) over fine inventive drums. A nice record.
A jumping little tune now on an Atlanta Leo’s label (# 2016) for BLUEGRASS ERVIN : « I won’t cry alone ». Lots of fiddle (at times, played pizzicato, like a mandolin; at other times, duetting with steel). Steel is great, plus a clever guitar player. A great, great light country-rocker !
Finally FREEMAN ERVIN [apparently no connection with the preceding artist] in 1962 for « Living doll » on the Newbury, OH Bryte label # 241. Banjo-led, and high-pitched vocal. Good bopping Bluegrass to finish this issue.
Sources: thanks to UncleGil Rockin’ Archives (Oklahoma Wranglers files) ; HillbillyBoogie1 Youtube chain ; RootsVinylGuide for various scans, as 78rpm-world ; BF CD for Carl Butler personal on this session ; RCS for Art Ontario.
Hello folks. The link between the 8 songs this time would be either the BREWSTER Brothers, either the WEBSTER Bros, either Knoxville, TN, and would last from 1954 to 1962/63.
In Manchester, KY, circa 1957-59, there were the BREWSTER Brothers. Originally from Tennessee, the elder Willie G. (mandolin and vocal) had begun late ’40s as sideman for the Bailey Bros. He even replaced Dan Bailey when the latter was gone to service duties. In 1953, the Brewster Bros. and the Smokey Mountain Hillbillies found much success on Scottsboro, AL. WROS radio. Not so long after that, joined by younger Franklin “Bud” Brewster (guitar and banjo, plus vocal), the brothers backed in 1957/58 Carl Story for recording sessions on Mercury, Starday, or small companies like Wayne Raney’s Rimrock label. Willie estimates they cut three hundred songs with Story! Around the same time, they went to perform on a regular basis for the Cas Walker radio & T.V. show in Knoxville, TN. They backed Red Rector among others. That’s when they recorded for Acme Records 1776, out of Manchester, KY. two sacred songs in bluegrass style, among them “I’ll Be Happy In My Home“. They were joined by the FOUR BROTHERS QUARTET, which was composed of Audie (mandolin and tenor voice) and Earl (guitar and lead vocal) WEBSTER. More on them below.
The BREWSTER Brothers, as the Jaguar’s (sic), went on to record Rock’n’roll in 1959 on Janet, in Manchester, KY, too, which was simply Acme revived after being sold. Bud Brewster had the fine « I Coud If I Would (But I Ain’t) », on Janet 201, along with the vocalist Harold Harper on the average White rock (insistant guitar riff) flipside « The Big Noise ». After that I lost their trail.
The WEBSTER Brothers, Earl and Audie, started in Philadelphia, TN., playing in schools and churches. They joined WNOX in Knoxville, TN and made 6 sides for Columbia/Okeh in 1954, all great boppers. Let’s begin with the earliest « Till The End Of The World Rolls ‘Round » and « It’s All Left Up To You », issued in January 1954 on Okeh 18056. Fast, fiddle-led (a short steel solo), with Earl on guitar and lead vocal being joined by Audie on harmony duetting chorus.
In October 1954, they joined in Nashville Carl Butler for a long Columbia recording session, and that’s when they cut their best tune ever, the great « Road Of Broken Hearts » – urgent vocal, fine fiddle by Dale Potter, a barely audible Don Helms on steel (Columbia 21421). The same session saw them cut the fine flipside « Seven Year Blues ». Later on (November 1955) they joined Carl Butler (leader) for two religious sides, « Looking Through The Windows Of Heaven » and « Walkin’ In God’s Sunshine » (Columbia 21473). Very nice fast sacred hillbilly.
We found them much, much later (1962/63) on the Nashville Do-Ra-Me label for a far less interesting « My Heart Won’t Let Me Forget », almost pop-country (# 1439).
As usual, comments welcome. You know, these sides are thrown as the best I know today. Indeed they can be rare (they come from my collection or from the net), but it’s the quality that matters !
From the notes to Old Timey LP 126 « Classic Country Duets » and « Early Days Of Bluegrass, vol. 2 » (Rounder 1014, 1976).
Hi! Here are my new favorites, be it Hillbilly bop, Bluegrass, Honky Tonk, Country rock-a-ballad, or even a bit of Western swing. CARL BUTLER was on Capitol, and cut mainly unclassifiable Hillbilly/Bluegrass sides. I’ve chosen his great “No Trespassing” from 1951, complete with hiccups and banjo/fiddle. Then to early Honky tonk with WEBB PIERCE. One of his very early sides on Decca (1951): “California Blues” (78 rpm – I will be moving soon, so already packed all my precious shellacs and can’t have a label scan). Back to Hillbilly bop with a fairly obscure artist, JACK HUNT (Capitol, 1953) and lazy vocal on “All I Can Do Is Sit Ad Cry”. A short insight into MERLE LINDSAY’s career. He fronted the Oklahoma scene from the mid-forties, and had numerous sides on many labels; here we hear “Mop Rag Boogie” (MGM). A nice Country Rockaballad from 1958 on the Sandy label out of Alabama by JOHNNY FOSTER “Locked Away From Your Heart” (# 1028). I love his sincere vocal. Finally a late 60s Hillbilly Bop by KED KILLEN (Western Ranch), “Hey Pretty Mama”. I don’t know an awful lot of him, except that his style dates from at least 15 years earlier. Couldn’t find his work except on a Cattle LP moons ago, or a Tom Sims Cassette. Enjoy the selections! Bye…