Bopping duets, last post (1947-1963)

Howdy folks ! This is the last post on bopping duets. As surely you did notice it, my English is far from fluent ; actually I don’t dream neither think « in English », because it is not my natural language. I really hope you can understand it, and excuse me for writing such intricate phrases yet very common. But I LOVE this bopping music, and let’s keep it first ! My aim is to figure the music posted with record labels and odds and ends on the artists.

mccormick brothersThe McCORMICK BROTHERS were a Tennessee/Kentucky family affair. Lloyd and Kelly held the guitars, younger Haskel was on banjo, Hayden Clark on bass and Charlie Nixon on dobro. They cut for Hickory in Nashville between 1954 and 58 a fine line of Bluegrass and Rockabilly boppers, among them this « Big eyes » (1958, Hickory 1080). Strong strumming boogie electric guitar and vocals in unison. They even had a full album, « Songs for home folks » on Hickory 102 (1961) and still are playing today.

Big eyes

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hickory  mccormick  eyes

Hickory mcCormick - songs
Chester and Lester, the BUCHANAN BROTHERS were another duet group. They hit big in August 1946 with the pioneering « Atomic power » on RCA, and revived a similar theme in November 1947 with « (When you see) Those flying saucers ». (RCA-Victor 20-2385) « You’d better pray to the Lord when you see those flying saucers, it may be the coming of the Judgement Day ». Good vocal and guitar duet. The song was used in 2009 in the animated release of « Monsters VS. Aliens ».

Those flying saucers

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Buchanan_Brothers

Buchanan brothers

 

rca  buchanan-bros. saucerspalford brady

More lovin’

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PAL (or Palford) BRADY (1922-1988) was a native of Tennessee ; himself relocated too in Michigan, where he had records on Lucky 013 (Cincinnati), Clix (Troy, MI), Bragg, among others (late ’50s to mid-60s). His « More lovin ‘ » (Conteste 45-2) from 1961 has two voices for a good « city hillbilly bopper ».

conteste  brady more

 

 

 

Charlie & Wallace, the MERCER BROTHERS came from Metter, GA and began a professional career during the late ’30s. After the WWII they had their own radio show on WMAZ before joining in 1948 the prestigious « Louisiana Hayride ». From 1951 to 1954 they cut a dozen sides for Columbia in Dallas, with their Blue Ridge Boys (Clyde Baum on mandolin and Doyle Strickland (fiddle) + Wayne Raney (harmonica). I chose from their equally constant in quality output « No place to hang my hat » (Columbia 20927, 1952-53), very Delmore Brothers styled. After 1954 they settled in Macon, GA, and WIBB radio station before completely disappear.

No place to hang my hat

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columbia  mercer-bros. place

JOHNNIE (Wright) and JACK (Anglin) were regulars on the ’50s charts, before Anglin was killed in a car crash in 1963. Their «Oh boy ! I love her »  (RCA 47-6932) from ’57 is an enjoyable jumping little opus. Earlier on they had cut the C&W classic « Ashes of love » (revived during the ’80s by the Desert Rose Band), and « Cryin’ heart blues » in 1951, supposed to have been recorded (but lost) by Elvis Presley on Sun Records.
rca  johnnie&jack boy
Oh boy, I love her

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pic Johnnie_Wright,_Kitty_Wells,_Jack_Anglin

dixiana  gross hog

 

 

 

 

 

 

 

On the Kentucky Dixiana label # 105 from 1954, CLIFF GROSS offer a sort of fast talking blues (with the band chanting in unison) with « Hog pen hop », probably recorded in Dallas. Gross was a mountain type fiddler, and Dixiana emanated from Bowling Green, Wayne County.

Hog pen hop

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Spring of love

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PAUL & ROY, The Tennessee River Boys, already discussed in another « Duet » feature (they had a two-sider on Nashville Pace label), have recorded for Mercury in 1953 « Spring of love » (# 6374) : it’s a fast Bluegrass influenced ditty – lead vocal & backing vocal.

mercury  paul&roy spring shamrock golden-state always

 

Always dreaming

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Next track GOLDEN STATE BOYS‘« Always dreaming » was already posted here in April 2013. But I like very much this tune with its urgent vocal, the dobro part of Leon Poindexter, the vocal/mandolin of Herb Rice, and the energetic banjo of Don Parmley [personnel given by a visitor]. Date : early to mid-62, Shamrock 717, Artesia, California.

A solid rocker (with drums), « Good gosh gal » on the Nashville Briar label # 111 by PHIL BEASLEY & CHARLIE BROWN. Nice guitar and steel solo, 1961.

Good gosh gal

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briar beasley  good

 

 

It’s useless to present the YORK BROTHERS (their story is on this site). Here is one of their rarest issues on their own York Bros. Records # 600Y-100, from 1963, and the great « Monday morning blues ».

Monday morning blues

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york-brothers york-bros. Monday

 

colonial franklin-bros.  realMore of a solid rocker on Chapel Hill, NC Colonial label (# 7000 from June 1959) by the FRANKLIN BROTHERS. « So real » is strong, that’s not Hillbilly bop, but a real Rocker for a change!

So real

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We are going to the end with FRANKIE SHORT & DEE GUNTER on the Balto, MD Wango label (# 201) : again a solid version of Don Reno‘s « Country boy rock’n’roll » . Remember L.C. Smith and « Radio boogie » (2nd version) on this label.

Country boy rock’n’roll

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wango short  country

 

 

Used sources: Wikipedia, Youtube,ancestry.com (Pal Brady), hillbilly-music.com, Galen Gart’s ARLD, 45rpm.com

early April 2013 fortnight’s favourites

rich-r'tone johnson somethngHowdy, folks! Here we go first with a romper, the fast BILLY SCOTTYou’re Braggin, Boy” on a Tee-Vee, OP 4 Star label (#225). Great steel and piano, and call-and-response format. Then in Nashville for the Marty Robbins’ owned Robbins label (# 1005) by the typical hillbilly duet of TOMMY & JOHNNY. They do “I’ll Go On” (#1004), tinkling piano, sawing fiddle and steel -all have their solos, but nothing exceptional!

tee vee scott braggin'

robbins tommy&johnny go

 

 

 

 

 

 

 

 

 

 

 

 

Nashville on the Bullet label. I couldn’t find any picture of the label (# 706) of “Walking Up Stairs“, by Texan PAUL BLUNT, which, according to Kevin Coffey, could well be the the forerunner of the young Eddie Cochran for “Twenty Flight Rock” six years later.  Steel and piano (Blunt was at ease with both) for this fine bopper. Blunt was a renowned session player (Lefty Frizzell, Bill Boyd) since the ’40s and had records on Columbia and Imperial too. Thanks go to Michel Ruppli! Thanks to DrunkenHobo, a faithful visitor, here is the label!bullet blunt upstairs

Paul Blunt

Paul Blunt

 

Ohio based AL WINKLER on his own Winkler label (# 45-88) for this “Show Boat Boogie“, along with the Warren County Band. It’s a belter (call-and-response), two guitars, it rolls.

From California and a Tom Sims’ cassette (I found a label scan), for a Bluegrass wildie: The GOLDEN STATE BOYS on the Shamrock label (# 717) . Powerful banjo and mandolin. Chorus, then urgent vocal on “Always Dreaming“. The Golden State consisted of Hal Poindexter (guitar/writer), Vern & Rex Gordin, plus virtuoso young Chris Hillman on mandolin. Disc from 1962. shamrock golden-state-boys dreaming

Finally the one and only BUFFALO  JOHNSON. The name can seem not that familiar. He had a long string of releases on Mercury, Gateway (“T’ain’t Big Enough“, # 520, with Jimmie Ballard on vocal) among others in the late 40s/early 50S. Here he offers a good guitar picking bopper. I still do research on him.

 

 

winkler wnkler show

 

 

 

 

 

 

 

 

 

 

 

 

 

A visitor, Mr. Jason Odd, gave me the following details (September 30th) on the GOLDEN STATE BOYS:””Always Dreaming” — Herb Rice is playing mandolin and singing high harmony. Hal Poindexter is singing lead.
Although not issued until as late as August of 1962 (this date may be wrong) the Golden State Boys debut 45 single ‘Always dreaming’ b/w ‘Wicked woman’ (Shamrock 717) was recorded in early 1962.

The Golden State Boys at the time were Don Parmley (banjo), Herb Rice (mandolin, vocals), Leon Poindexter (vocals, dobro, guitar), Harry Kniss (bass, vocals), and Hal Poindexter (vocals, guitar).

Hal actually quit the band for part of 1962, but rejoined a radically different line-up later that same year. Hal and Don Parmley were the real constants in the group after that, although by late 1963 they were down to a quartet with Don, Hal and the Gosdin Brothers Rex and Vern. With a disagreement over management [Bob Flowers] Parmley and the Gosdins went out on their own as the Golden State Boys with Chris Hillman taking over on mandolin, while Vern Gosdin switched from mandolin to guitar. That group briefly worked as the Golden State Boys until Hal Poindexter and Bob Flowers took control of the name and rebuilt the group.

The Gosdin-Hillman-Parmley combo became known as the Blue Diamond Boys and as that group cut the album that was later credited to the Hillmen when released in 1969.” Thanks Jason!