First we have TROY JORDAN & his Cross-B-Boys from Midland, Tx. There’s a joyful uptempo with piano – steel barely audible, plus a fiddle solo : « Who Flung That Mater » on Tred-Way 100.
Now here’s JIM HAND with the Mountain Ramblers – although the disc comes from NYC. A bit crooning 1947 goodie ; discreet steel and an accordion solo for « There’s No One Home » on Crown 156. Jordan had also « Columbus Stockade Blues » on the flipside (untraced).
ARCHIE JEFFERIES and the Blue Flame Boys, probably from the West coast, are doing on a 4* Custom Blue Flame (OP-107) label, « G. I. Talking Blues », a decent bopper from 1950 with rinky-dink piano and steel. Flipside « One For The Money, Two For The Show » is a good mellow bopper.
TOMMY KIZZIAH & the West Coast Ramblers give us « Two Timing Kind », an uptempo bopper, a good guitar throughout and a lot of fiddle on another 4* custom, Pearl label (# 203).
« Red’s boogie » is done by OZARK RED (rn. Red Murrell) and his Ozark Mountain Boys : a very good instrumental, a bit Western in style – agile guitar and good piano backing. It’s to be found on Cavalier 811.
Finally SMOKEY WARD and « Dog Bite Yo’ Hide » : prominent fiddle and forceful Bluegrass vocal (chorus), a nice and fast mandolin solo, on Barrel Head Gang 1001 released June 1951.
Sources : YouTube mainly ; also photograph of Tommy Kizziah from the book « A star that winkled but never got to shine » (Sharon Kizziah-Holmes)
The Four Star custom series were, as did Starday from Beaumont or Houston, known to include many Rock’ & Roll sides played by Hillbilly bands and it was a music that most artists would easily relate to, including the older musicians who had been playing boogie and blues for years anyway. Countless bands were active and the only way they could relate to was release their records on Four Star OP (Other People) custom records.
The tapes would then be sent in and the widely advertised custom service would handle, for a fee, the manufacture of the records and distribution of a number of copies to selected radio stations. Otherwise than this, promotion and distribution was a left up to the the artist or his agent. The number going to the radio stations was probably a percentage of the total number pressed, which varied considerably. Some were produced in relatively large quantities while other artists ordered as few as 99 copies. The rarity of these records varies widely as, of course, does the quality of the music (but not in the same condition). The artist coud choose his own label name, which hopefully often also gives a location. They could also have the record issued under the company’s own logo (as in the case of « Texas » Bill Strength), perhaps at extra cost. Several record labels started as custom pressings before becoming actual independant companies later. Example : Erwin and Rural Rhythm (not represented in this selection). All are generally uptempo sides, with prominent fiddle and walking bass. It must also be noted that many artists were one-off, i.e. they had only one record issued by Four Star OP- service, and never had the chance to cut another one.
HBR did issue two volumes of Four Star OP- custom records. I deliberatly chose to issue unknown sides from 1950 to 1958, and various Western regions (Oklahoma to Oregon), not to exclude Eastern areas like even Florida. Eddie Snell (on the aptly named Promotional # 242 label) has more of a West coast sound to him, with a « Rockin’ rhythm » similar to Sammy Masters‘ early sides. Alden Holloway had also famous releases on Dixie and Starday (« Blast off » or « Swinging the rock »). Here is what he recorded in 1956 seemingly on the West coast for Northwest # 263 : « Woodpecker love ». He had previously issued on # 214 «Beaumont blues » as Shorty Holloway. Veteran Dick Bills, also later on Crest (« Rockin’ and rollin’ » in 1961 with nephew Glen Campbell on lead guiar ) had on Vicki « Beggars can’t be choosers » (# 198, 1954-55). Went also on Morgan (with vocalist Buz Burnam).
A favorite of Ray Campi, « Quit your triflin’ (on me) » (Hi-fidelity 211), from 1954-55 by Gene Snowden, is a good uptempo probably of West coast origin, while Hank Crow and his Raven River Ramblers do come surely from California: the fine « Baby, baby me » on Southwest 204 from 1954. Gene Snowden “Quit your triflin'(on me”
Hank Crow (real forname: Dorsey) apparently came from Arizona, who cut two records on the Southwest label. OP-204 coupled the very fine “Baby, baby me” and “Crazy ’bout you“, both uptempo and full of fantastic steel-guitar. From 1954 or 55. His second issue (OP-207) with Jeanne Black is untraced. Any follower to provide it to bopping.org ?
From Texas, Doc Bryant & National Jamboree Gang on his own Doc Bryant label (# 155) for « Cotton pickin’ boogie », from 1952-53. In 1958, an « old » Texas artist – he first recorded in the late ’40s for Macy’s, i.e. « Cornbread boogie » -, Art Gunn had on his own (?) Arga (# 288) label the fine relaxed « Pickin’ ‘n singing ». He had also previously cut for Revel and V & G Records. The mysterious Phantom Rider Trio does « Peekin’ thru your window » on the K-Pep label # 264 from San Angelo.
From Florida, Candy Rowell on the Du Ro #254 label with « Ain’t gonna say hello ».
Oklahoma is represented by Al Sweatt and « Fo-Mo-Co » on Keen 262, from 1956. Indeed he was to have the two rockers later « I hate myself/Let’s paint the town red » (Keen 288). Al Sweatt “Little Fo-mo-co“
Four Star OP- serie continued well over until the late ’50s with the odd Hillbilly bop issued : Sonny LeBarron and « Jack and Jill» (Mecca # 252), Paul McGhee (« You are my sunshine » Flame 305) or 267 Sonny Thibodeaux (Pacific 267), Leo Gosnell from 1959 on Mountain 298/299, (“Juke Joint Honey“) to name just a very few.
arkansas 45s