Howdy folks! Here we go again with 6 other goodies. 5 are Hillbilly boppers. Gene O’Quin was from Texas, and had numerous sides between 1951 and 1954 on Capitol (he recorded for the most part on West Coast). I’ve chosen his great “You Name It (She’s Got It)” from 1954. Speedy West on agressive steel, Harold Hensley on fiddle. The title says it all! Why not Hank Williams? After all, he was the greatest of all Hillbilly singers. Here is one of my ever favorites, “Honky Tonk Blues”, from 1951. Great lyrics, fine backing from the Drifting Cowboys . A singer who was underrated, then adulated in Rockabilly circles: Charlie Feathers. He came from Mississipi, hanged around Sun Studio in 1955, and recorded marvelous sides, among them “Defrost Your Heart”. Backed by the ideal Memphis Hillbilly team of Quinton Claunch (steel) and Bill Cantrell (fiddle), he delivers a fabulous vocal full of emotion. Next year he was going to sing “Get with it” on Meteor! While in Memphis, a fine Hank Williams-style vocal (even with semi-yodel) is done by Bud Deckleman from Arkansas on the top-charted “Day-Dreamin'” – same backing as Charlie Feathers’. What a strong bass! (see elsewhere in the site for the story on Bud Deckleman). Later on we have Little Jimmy Dickens, a long time Hillbilly artist on Columbia. In 1957, on the West Coast, with a wild steel-guitar player behind him (I think he was Curley Shalker), he offers the next-to-Rock’n’Roll “I Got A Hole in My Pocket”. Enjoy the steering sound! Finally Rocking Blues with Chicago Smokey Smothers’ “I Got My Eyes On You” (mid-60s). Have a good time! Bye.
Carl Lee Perkins (1932-1998) is too well known, and information on him is easily available. Search with your engine or go direct to http://en.wikipedia.org/wiki/Carl_Perkins also Rockabilly Hall Of Fame site http://www.rockabillyhall.com/CarlPerkins.html. The Perkins Brothers (Jay B. rhythm guitar, Clayton, bass – later W.S. Holland, d) band began performing in the Covington, Tennessee, area in 1953 and quickly found success with a Hillbilly-boogie type music heavily based on Blues. When they heard in July 1954 Elvis’ Blue Moon Of Kentucky on radio, they decided to go see Sam Phillips to record. First they were cut in Country vein (Turn around, a ballad, being their first disc on Flip 501), because Phillips would not them rivalling with Elvis. With the latter’s departure in November of 1955, they were given freehand, and the result was « Gone gone gone » (Sun 224) in September 1955 : a romping Hillbilly bop, almost a Rockabilly. Three months later, Perkins cut Blue suede shoes, the rest is history…
Smokey Joe (Baugh), vocalist and piano player for the Clyde Leoppard Snearly Ranch Boys (see part 1) had one single (Sun 228, reissued as Sun 393 in the 60s) under his name taken from the 4 sessions he cut on his own between August 1955 and 1956. His style is heavily based on R&B, there is even his raucous voice which reminds one of Fats Waller. « The Signifying Monkey » is a sort of amusing recitation, and a whole lot of then hip animals like monkeys and baboons is cited. The steel-guitar (played by Stan Kesler) is very unobstrusive, and there’s even a trumpet on the B-side « Listen To Me » ! All in all a record on the border of Hillbilly and R&B, the sort of thing Phillips was still looking for, even after the departure of Presley and the crossover success of « Blue Suede Shoes ». He cut similar nature material left in the can (and later issued in Europe) with tracks like « Hula Bop » and « She’s A Woman ».
Little is known about Maggie Sue Wimberly who went to Sun in October 1954 and cut a solitary single (Sun 229) : « How Long/Daydreams Come true ». In the early part of 1954, Sam Phillips had turned down Bud Deckleman and his song (co-penned by the team Quinton Claunch/Bill Cantrell) « Daydreamin’ ». Deckleman had been to Lester Bihari of Meteor and had a huge hit with this record. Phillips tried to catch up on the success and recorded a follow-up, « Daydreams Come True » by Wimberly, which came nowhere. One of the rarest Sun records ever…A fine Hillbilly weeper though.
Charlie Feathers (1932-1998) is also well known. See his official site : http://www.charliefeathers.com/ for a very detailed biography. He arrived at Sun from Mississipi in 1955 and recorded with the duet Quinton Claunch (fiddle)/Stan Kesler (steel) one bopping fast novelty « Peepin’ Eyes » (Flip 503). He claimed later to have directed Elvis Presley’s late Sun sessions, and actually wrote and gave him I Forgot To Remember To Forget (Sun 223) ; Sam Phillips wanted Feathers as a Country singer, and he was not allowed to sing anything else than the great « I’ve Been Deceived » (Flip 503) or the beautiful Defrost Your Heart (Sun 231). Even his demos of Rockabilly songs (Bottle To The Baby, complete with hiccups, later re-cut for King in July 1956 ; or Honky Tonk Kind) were rejected by Phillips. That is why he came, through his brother-in-law, in touch with Meteor Records, and cut the classic Rockabilly « Get With It/Tongue Tied Jill » on April 1rst, 1956.
Jimmy Haggett was inspired by the phrasing of Jim Reeves, and took (without knowing it) a Luke McDaniels’ song, « No More » (from 1952), although with different lyrics. Flip was « They Call Our Love A Sin » (Sun 236). The record had sold 448 copies a year after release, and the songs are pretty tame. Shortly after, Haggett tried his hands at Rockabilly but felt uneasy and hired a front singer to replace him. But that’s another story.
Warren Smith (1932-1981) is well documented too. See : http://www.rockabillyhall.com/WarrenSmith.html. He went from Mississipi as lead singer of Clyde Leoppard Snearly Ranch Boys and was presented to Sam Phillips early in 1956 by Johnny Cash who gave him his very first song: Rock’n’Roll Ruby (Sun 239) – which George Jones claims to have written, instead of Cash. Anyhow the demo of it by Cash was published in U.K. in the 80s. But Smith was an ably Country singer – the best he heard at Sun, to quote Phillips – and his renderings are quite good flavored Rockabilly/Hillbilly Bop songs : I’d Rather Be Safe Than Sorry (Sun 239), Black Jack David (Sun 250), So Long I’m Gone (Sun 268), Tonight Will Be The Last Night (unissued at the time) or later effort Goodbye Mr. Love (Sun 314). Disappointed by a constant rivality with Jerry Lee Lewis, he moved to Hollywood and Liberty Records in 1959 as a Country singer and succeed a little.
The Miller Sisters (Elsie & Jo) were a local Memphis act, discovered by Phillips in 1955. Elsie Jo Miller and Mildred Wages did originate from Elvis’ hometown, Tupelo, Mississipi ; they were offered to record for Sun at 5 occasions between March 1955 and July 1957, so Sam Phillips must have been confident enough in them as a duet. First they cut a passable Hillbilly weeper on Flip 504 (Someday You Will Pay), backed by the then cream of Sun studio musicians : Stan Kesler on guitar, Quinton Claunch on steel-guitar, Bill Cantrell on fiddle, Marcus Van Story on bass ; even Charlie Feathers used spoons on this tune ! Later in 1956 they embarked on the Rockabilly bandwagon and cut a little classic, Ten Cats Down (Sun 255), with the accompaniment of members of Clyde Leoppard Snearly Ranch Boys, aptly augmented by the sax of Ace Cannon. They were also involved as vocalists on Cast King 1956/1957 session (originally unissued) which produced the beautiful « Can’t find time to pray ». They did disappear after 1957.
Slim Rhodes (Ethell Cletus ‘Slim’ Rhodes) (see part 1) had a Hillbilly boogie romper on Sun 238 with « Gonna Romp and Stomp » ; he had well adapted from the wild sounds of Hillbilly Bop instrumental « Skunk Hollow Boogie » (Gilt-Edge 5015, recorded at Sun in July 1950) to the new trends of 1956. « Romp… » is still Hillbilly Bop in essence, but the pace is Rockabilly (note the classic guitar solo), as is their next effort (Sun 256) : Take And Give/Do What I Do (vocal Dusty Rhodes). Two very fine Sun records ! Last recording of Rhodes for Phillips was in 1958, and of far lesser interest (I’ve never been so blue), hence unissued then.
Billy Riley (Pocahontas, Ark., 1933 ; dead August 2, 2009). Born to a poor sharecropping clan, Riley developed a passion for blues and learned to pick guitar watching the older black musicians his family worked alongside. Although he made some early appearances performing on local radio, Riley’s career took shape after he was discharged from the Army in the mid-’50s. Moving to Memphis, Riley soon hooked up with a crew of fledgling country musicians that included “Cowboy” Jack Clement. He and his truck driver partner, Slim Wallace, founded the tiny Fernwood label in a South Memphis garage and cut Riley’s debut recordings, “Trouble Bound” and “Think Before Your Go“(still unissued today). Clement took the tapes to Sam Phillips over at Sun Records so he could master a single. Impressed by what he heard, Phillips ended up hiring Clement to work at Sun, and signed Riley. Hence « Trouble Bound/Rock With Me Baby » (Sun 245). Riley and his group – which included drummer J.M. Van Eaton and guitarist Roland Janes — would also become the de facto house band at Sun, providing the backing on numerous hits. Another Hillbilly song recorded at a Rockabilly pace is the underrated « I Want You Baby » (Sun 260), overshadowed by the A-side which made Riley famous until today, the classic « Flyin’ Saucer Rock’n’Roll ».
Malcolm Yelvington (see part 1) had well adapted to 1956 trends with his unique brand of Western Swing/Hillbilly Bop for a February 1956 session which produced the uptempo « Rockin’ With My Baby » (full of reference to then R&R hits) and the slower, much more interesting « It’s Me Baby » (Sun 246). Later Yelvington recorded mainly mainstream Country, always flavored of Western swing : tracks (unissued then) like « Trumpet » or « Goodbye Marie », to be found on 1990’s Bear Family compilation « Sun – The Country years » 10-LP boxset. It also included a different version of « Yakety Yak » to that Meteor Records released in 1956.
It was not before October 1956 that Sam Phillips (too busy cutting Rockabilly and Rock’n’Roll sessions) recorded more Hillbilly, this time with Ernie Chaffin. The latter went from Biloxi, MS. and had had records from 1954 on Fine and Hickory labels. « His style was as unique as Johnny Cash’s : he depended on a percussive, repeated rhythmic pattern and minimal instrumentation. Unlike Cash’s work, however, Chaffin’s songs (most often composed by his acoustic guitar player Murphy ‘Pee Wee’ Maddux) were highly melodic and his voice had considerable range. While the songs were lyrically more conventional than the stark lonesome ballads of Cash, Chaffin’s songs drew much of their power from unusual and arresting chord changes. » (Hank Davis) Between October 1956 and June 1958, Chaffin had 7 Sun sessions, resulting in 4 Sun singles, the best being the first two, and the most memorable and accomplished tracks being « Feelin’ Low » (Sun 262) and «Laughin’ And Jokin’ » (Sun 275). Both are on the border of Hillbilly Bop, and announce the future Country music of the late 50s/early 60s, when Rock’n’Roll and Rockabilly were integrated into it. All in all Ernie Chaffin recorded 15 songs for Sun, and they are all on the Bear Family boxset .
Sam Phillips made relatively few mistakes in his choices, but after the discovery of Cast King (Joseph Dudley King) tapes in the Sun vaults, it is surprising why he didn’t release ANYTHING by him, like another mystery, the now famous Jimmy Wages. Maybe too busy with Rock’n’Roll bands ! Cast King cut one convincing religious narration (« Can’t Find Time To Pray ») in 1956 with the Miller Sisters as backing vocals, but the most interesting track was to come in June or July 1957 with « When You Stop Loving me » : « It is a splendid song and must have stood a fair chance of success. Although neither the composition nor the performance are really polished, the end product is quite spectacular (…) Instrumentally it’s a gem, featuring standout steel-guitar work and some nice dobro. » (Hank Davis/Colin Escott). It’s a « Country waltz beautifully sung, which stands alongside Sun’s finest Country records and his non-appearance is a mystery. »
Mack Self was a real Country singer, and although he tried a variety of other styles when at Sun, he always retained a country purity in his vocals and his band was never going on rough edges. He had 5 sessions between 1955/1956 and 1959 and only had two singles (from which one on Phillips International), the other being (Sun 273) « Easy To Love/Everyday » . The solitary Sun release had very little chance of success in 1957, and actually sounded anachronic for the times being. Beautifully sung Country ballads ; and Phillips allowed Self to sing that, when he released at the same period pounding rockers by the likes of Carl Perkins, Tommy Blake, Wade & Dick, Ray Harris ! But a real treasure was unearthed in the 1990s on the aforementioned Bear Family boxset : Self had recorded a Hillbilly session in 1955/1956, complete with steel-guitar and fiddle. « Easy To Love » is plaintive, and the fiddle of Bill Cantrell well to the fore. The same session gave us a near-Rockabilly Hillbilly Bop, « Goin’ Crazy », complete with slapping bass (Jimmy Evans – is he the same guy as the one later on Rivermont and « The Joint Is Really Jumpin’ » rasping piano rocker ?).
We came to an end with the Hillbilly Bop sides cut by Elvis Presley. Actually he cut at least 8 Hillbilly sides in his own unmistakingly style, and 5 went their way as B-sides of his Sun singles. They are too well-known, but listen to them closely as Hillbilly Bop sides…Johnny Cash was also near Hillbilly, although he never used steel-guitar neither a fiddle – but his style was really his own and did in fact owe very little to Hillbilly…Do not forget The Rhythm Rockers (Sun 250) and “Fiddle Bop/Juke Box, Help me find my baby” – actually Hardrock Gunter. Phillips leased them from Emperor Records, it wasn’t his production.
Credits: all the color pictures that bear “The Country Years” do come from the Bear Family boxset BCD 15211 “Sun – The Country Years”
All label pictures do come from www.rockincountrystyle.com