Not much is known about Rudy Hansen, except that he was raised on a farm in New York (unknown date of birth). Later on, he was one of the stars appearing on the WLA’s Midwestern Jamboree, aired every saturday from Cincinati, Oh. Inspired by the Shreveport-based Louisiana Hayride, the show was originally called Boone County Jamboree (named for nearby Boone County in Northern Kentucky). Midwestern Hayride was first broadcast before 1937 and was carried live on the radio each Saturday evening through the early 1970s.
WLW television came on the air in 1948, sharing larger quarters with WLW-AM in the former Elks Building, re-christened Crosley Square. It eventually became the originating studio for the regional network Avco Broadcasting Corporation, which included WLW-A in Atlanta, WLW-D in Dayton, WLW-C in Columbus and later WLW-I in Indianapolis (after WLW-A was sold) when the program moved to television in the early 1950s. Then originating from WLW-TV, Midwestern Hayride was simulcast on WLW-AM until the early 1960s, then was revived in the mid-60s. At the show’s peak there was a one-year waiting list for tickets to be in the audience (100 people was the limit for each weekly show).
Hansen had much success in New Jersey, and got help from Smokey Warren.
In 1954 he cut his first two sides for RCA-Victor « X » sub-label (# 102). Neither « I Walked Away » (ballad) nor « The Mambo Queen » were spectacular songs, the only outstanding being the B side, Country mover, almost pop song.
Then we found him circa July 1956 (according to the Rite matrix system) with two songs on his own label, Rudy Hansen # 1226, cut or issued in Springfield, Oh. « Cry Baby Baby » is an average Country ballad, while « Saturday Jump » is THE side. Fast Rockabilly, urgent vocal, nice steel throughout, wild slapping bass, it’s got everything a ’50s lover could look for. I don’t know if the record itself is rare, although I always seen it labelled « advance release », so Hansen seemingly sent it only to D.J.s. Note that the song was co-written with an interesting artist in his own right, Clay Eager, whom I will discuss one day upon (Republic, Clay Eager, Karl and Sage labels recordings).
In 1957, Hanson got a contract with Decca and recorded in Nashville 6 songs during 3 sessions, all pop : chorus (Anita Kerr), and I cannot really recommend any song, except « Puttin’ On The Style » or « Just As Long » from his last, early 1958, session.
After that Hansen disappeared. Maybe, like many others, he went disillusioned and hung up music.
(C. Eager – R. Hansen)? RUDY HANSEN (Springfield Oh, 1956)
Republic records started when Tennessee left. Bill Beasley had law troubles with Decca Records, who wanted Del Wood masters, and Decca won (but Del Wood went later to RCA). So Beasley started Republic. Billboard (March 1953) announced that “Republic company had to legally acquire the master recordings from the formerly Tennessee label”. By July 1953, there were well over 50 singles on the new label.
Significantly, Republic was launched in August 1952 with a pop singer, Snooky Lanson. This trend continued with Del Wood, Jimmy Sweeney and Pat Boone, but half the Republic catalog remained Country. Beasley transferred such Tennessee stalwarts J.T. Adams, Allen Flatt, Lee Bonds and Sonny Sims to his new label. There were a few new names on Republic like Ted West and Jimmy Simpson. Beasley also continued to record R&B and gospel: Edna Gallmon Cooke, Christine Kittrell, who had hits on their own. Bernard Hardison cut “Too Much”, a hit for Elvis in ’57. Apparently Beasley wrote most of the songs, published by a New York group, under the names of Norris/Beasley/Richards, or Rosenberg, the latter being Lee Rosenberg, Beasley’s secretary.
In June 1953, Alan Bubis connection came to an end. Bubis went to construction, coin machines and liquor stores, far more predictable thanrecord business.
In 1955, Beasley moved Republic to 714 Allison Street, and concluded with Murray Nash (ex-Acuff-Rose and Mercury staffer). Nash engineered most of the Republic sides.
The Republic name and logo was bought in 1957 by Ray Scrivener, and along with Gene Auytry, launched Californian Republic label..
After Republic folded, Dot bought Pat Boone’s contract. Other labels (Chess, Vee-Jay) bought Republic masters. (more…)
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.