Detroit’s country music scene of the 1950’s featured a solid mix of talents and clubs where folks could stomp ’till two o’clock every night of the week, with some of the wildest sounds this side of Mason-Dixon Line. One man who was there in the thick of the good times was Eddie Jackson, who assembled the hottest bands and shows in town for two decades straight !
He was born in Cooksville, Tennessee, and Eddie’s family, like many Southerners, moved to Detroit during a period a growth in automobile manufacturing. As a youngster during the 1930s and 40s, he took up guitar and singing, and idolized musical giants such as Hank Penny, Milton Brown, Bob Wills and Tommy Duncan (he even met Wills and Duncan in Stockton, CA, while Eddie served with the Navy during WWII). Upon his honorable discharge by Uncle Sam in 1947, Jackson returned to Detroit, and was offered to lead a band the same night he arrived ! From then on, Eddie Jackson and his various combos were crowd-pleasers at shows all over Michigan, parts of Ohio, and Ontario. Around 1950, Eddie’s first group, the Melody Riders, cut a record in Detroit. The song « I’m willing to forget » was his first composition (Fortune 134).
(Accompanying the Riders was Hal Clark on guitar, who later changed his name to Hal Southern and co-wrote « I dreamed of a hillbilly heaven ».) Hal Clark sang his comp on the flip “New set of blues“. As the scene got cooking, Jackson’s band started sizzling, and they found
Hal Clark (Fortune 146) “I don’t mean a thing to you”
themselves booked nightly. Ted’s 10-Hi Bar, on the east side, was the sight of Detroit’s first C&W Jamboree, as hosted by Eddie Jackson and his Cowboy Swingsters (including Tracey White on guitar, and ‘Smitty’ Smith on bass). For several months, the trio performed 15-minutes radio broadcasts from WMLN-FM in Mount Clemens.Eddie Jackson also led a country music variety show, « The Michigan Barn Dance » on Detroit NBC affiliate Channel Four TV, during the early 1950’s. “Baby doll”(first version)
« Baby doll »(second version) (Shelby 297) and « Please don’t cry » were recorded after that, and through the 1950’s the Swingsters played regular shows at a nightclub called the Caravan Gardens.
Eddie Jackson solidified the band’s line-up with Joe Magic on bass & drums (played at the same time!), ‘Uncle’ Jimmy Knuckles on piano, and Tracey White on take off guitar. This group attracted big crowds, as well as popular country singers like Webb Pierce, Jean Shepard, Lefty Frizzell, Red Foley & many other top artists who often stopped in to perform songs with the Swingtsters ! Jackson also had his own program on Royal Oak radio station WEXL-AM, where he spun records and sometimes broadcast from the Caravan. In 1959 the Swingsters cut their most popular record record in Detroit : « I’m learning » backed with the rocker « Blues I can’t hide »(Caravan 101). Even though Jackson says he preferred « Blues… », the ballad « I’m learning » went through the roof of WEXL’s country & western charts. As a result, Eddie was able to pay cash for a new ’59 Cadillac with a convertible top !
Eddie cruised down to Nashville and recorded two more singles, including « You put it there » (Caravan 1004), a song from his last session in a recording studio. By the late 1960’s he quit performing regularly, in favor a starting a successful business. Knuckles, White and others have since passed on. But whenever Eddie Jackson sings and entertain people, the crowd’s humor rises, and sparks fly.
With a mellifluous, deep voice often compared to western singer Rex Allen, Ricky Riddle was an Arkansas-born, Detroit-bred vocalist who gravitated to the western side of country music. His surname was apt, as he was a restless character, always on the go and never satisfied with life in one place for very long. Born Arvin Doyle Riddle on Aug. 22, 1920, in Rector, Ark., his parents moved him, two brothers and one sister to Hamtramck, Mich., around 1933. The Riddle family eventually settled in a house on McClellan Street in Detroit.
During World War II, Riddle enlisted with the Navy in Chicago, Ill. He served aboard the U.S.S. Adair in the Pacific Theatre. After an honourable discharge in 1946, He returned to Detroit and found a booming country music nightclub scene waiting for him; a result of thousands of new migrants from the South who moved north to build Detroit’s “Arsenal of Democracy.” Riddle pursued the life of a singing cowboy in earnest, writing songs and performing in nightclubs and showcases, sitting in with other entertainers and headlining his own shows.
In 1949, Drake’s Record Shop, located on East Jefferson Avenue, sponsored appearances by Hank Williams, Cowboy Copas and others at the convention center on Woodward Avenue. When Riddle’s friend, singer Eddie Jackson, was hired to open for Williams, Riddle shared the stage with him. Riddle was probably living in Nashville, Tennessee, by then.
Jackson visited Riddle in Nashville during ’49, and Riddle took him to witness his new buddy Clyde Julian “Red” Foley record what became a major hit for Decca Records, “Chattanoogie Shoe Shine Boy.” Compared to the size to which it grew a decade later, the country music business in Nashville was small, thriving through the projects of independent record labels, music publishers and promoters who tapped local artists working at Nashville clubs and radio stations; particularly members of the “Grand Ole Opry” barn dance at clear-channel WSM. In January 1950, Riddle’s first commercial recording appeared as the premier issue of the Tennessee label, a record company created by three Nashville businessmen, including a jukebox serviceman. Riddle’s “Second Hand Heart” on Tennessee no. 711 (numbered for luck, no doubt) was a good seller, and a hit in Detroit. Riddle cut several more releases for Tennessee over the next two years:
By 1950, Riddle was operating a nightclub in Nashville. He befriended Arizona singer Marty Robbins, whose first appearance at the “Grand Ole Opry” occurred in early 1951. Probably in 1950, Riddle bought author rights to Robbins’ song “Ain’t You Ashamed,” (# 715) which became Riddle’s second release on Tennessee, # 713. (Detroit musician and Capitol Records distributor Bob McDonald purchased a share in the song from Riddle.) Cowboy singer Bob Atcher covered the song for Capitol. The flipside of “Are you ashamed” was a good honky-tonk, a version (later by Skeets McDonald) of “Smoke comes out my chimney just the same”.
“Smoke comes out my chimney just the same“download
Riddle recorded Robbins’ “Heartsick” for another Tennessee release. He attempted to present Robbins with a recording contract, but the company’s artists and repertoire man passed on the deal. Robbins went on to launch a storied career with Columbia Records in May 1951.
Among other releases on Tennessee, Riddle sang a duet with Anita Kerr, leader of the Anita Kerr Singers, on a heart song called “The Price Of Love,” again attributed to Riddle and McDonald. On “Boogie woogie Tennessee”(# 717) (a take-off to “Tennessee saturday night”), Riddle had Ernie Newton, the bassman who wrote much later “Country boy’s dream” for Carl Perkins. He seems far from young on this recording, and the suave assurance of both Riddle and the backing group is almost at odds with the subject matter. Riddle made 8 records for Tennessee, one of them being “Heartsick”, the first Marty Robbins’ song he recorded commercially. After the label’s biggest hit played out in 1951-52
(Del Wood’s “Down Yonder” of 1951), the Tennessee label closed its doors.
The tall, easygoing Riddle persevered; he worked on the Renfro Valley Barn Dance as Wayne Turner, but was canned for habitual drunkeness. He then cut a single for Decca’s subsidiary Coral Records in 1953, the fine double-sider “What do you do” and “You belong to another” (# 64157). In early 1954, he recorded the bouncy “Steamboat Boogie” for M-G-M Records # 11741, with steel guitarist Don Helms and Chet Atkins on electric guitar. Framing the clever lyrics of the song was the refrain: Steamboat boogie / Rock, rock, rockin’ along. But for the fiddles, the song rocked like Bill “Rock Around The Clock” Haley’s earliest efforts. The flip side, “A Brand New Heart,” was written by Riddle as a follow-up to “Second Hand Heart.”
Remaining Tennessee sides of interest: “Cold icy feet” (# 758) and the fast “I’m so lonesome” (# 801).
“What do you do“download
In 1956, Riddle cut two releases for Decca Records. The first featured the trucker’s “Drivin’ Down The Wrong Side Of The Road,” backed with “I’m A Whip Crackin’ Daddy.” The single sounded like it was recorded at Owen Bradley’s Quonset hut in Nashville. Riddle’s second Decca single featured the Anita Kerr Singers for a country-pop production, “The House I Used To Live In,” and a song with religious content (he had cut similar material for the Tennessee label) called “If Jesus Had To Pray (What About Me?)” During the 1950s, while living in Nashville, Riddle performed as a guest at the “Renfro Valley Barn Dance” in Kentucky, and as a guest on the “Grand Ole Opry.”
His parents moved from Michigan to Tempe, Ariz., and Riddle traveled the country, visiting friends and family while singing in nightclubs along the way.
Around 1968 Riddle settled in Arizona for a spell. There he recorded the finest vocal performances of his career for the Rio Grande label, based in Glendale. For starters, he cut a version of the traditional cowboy song, “Streets Of Laredo,” as well as “Reata Pass,” his own western composition. Riddle reprised “Ain’t You Ashamed” and “Second hand heart” besides coming up with some swinging shuffles like “Don’t You Worry” a cheeky ode to overdoing it at the bar, and “(There’s ) Something In Your Future.” and finally “Jo Ann”. The band was top-notch, delivering punchy performances with quality production and arrangements, including a stellar steel guitarist.
“Something in your future“download
Howdy folks! Here is a new batch of Hilbilly Bop goodies, even the odd Rock’n’Roll!
We are beginning on the West Coast with CASEY SIMMONS and his “Juke Box Boogie” on Crystal records from 1950. Call and response format, fine saxophone and a lot of electric guitar. The whole thing romps along lovely!
Fortune records offered many a Hillbilly Bop song in its 100 serie. EDDIE JACKSON, famous for his “Rock and Roll Baby“, turns up there with “Baby Doll“, dominated by a good piano.
Sol Kahal’s Macy’s Records had many fine discs, either in Blues field, either in early Hillbilly bop, i.e. by Ramblin’ Tommy Scott or Harry Choates. ART GUNN & his Arizona Playboys cut the decent “Cornbread Boogie” in 1949. Fine harmonica throughout.
They also had on the same label “Boogie Woogie Blues” (for a future fortnight), and later, on own Gunn label Arga in 1958, the superior “Pickin’ and A-Singin’“.
Cowboy Sam Nichols
Cowboy Sam Nichols had written (and recorded for Stanchell) the classic “That Wild And Wicked Look In Your Eye“, before he got a contract with MGM records. It was early to mid-fifties and the beginning of truck drivers‘ songs (Terry Fell for example); here the shuffle “Keep Your Motor Hot” from 1954. No label scan available, as I sold the 78 rpm, having only kept the music! Nichols was backed by West coast top musicians: Porky Freeman on guitar, Jesse Ashlock on fiddle, Red Murrell on rhythm and Curley Cochran on steel.
From trucks to trains. Grady CURLEY COLE was a resident D.J. in Paducah, KY, but he cut his fine “I‘m Going To Roll” for L.A. Gilt-Edge label. Nothing more is known about him. Let’s stay in Kentucky for TOMMY HOLMES, backed by Pat Kingery & the Kentuckians. A certain Mr. Vance asked Holmes a record for his politician career ca. 1954. The tune “Jam On The Lower Shelf” is pretty average, mostly when you hear Holmes six years later in an out-and-out Rocker on the Cherry label, “Wha-Chic-Ka-Noka“. Enjoy the selections!