“My Inlaws Made An Outlaw Out Of Me”: the LOU(IS) MILLET story on records (1949-1956)

Warning: this feature was first published in 2013, far from complete, and was revised during Summer 2019. I encountered many problems during the revision, and did waste a consequent time and work. The result is not up to the standard of bopping.org I confess. But lack of time prevent a further revision, and I decided to publish it as per se. I hope you understand my position, and that you will find however some interest there. Thanks for your following.

Louis Millet was born the 5th (or 19th) of April 1926 in Baton Rouge, Louisiana. At the age of sixteen he bought his first guitar, but he did not get serious about playing music until he was in the Army. Meanwhile he was finishing college at Louisiana State University on a four-year football grant. After college he joined the Army. When he quit the Army he started a band, the Melody Ramblers. They played for the local radio stations WLCS in Baton Rouge, and WLBR in Lebanon, Pennsylvania.

His career as a professional musician had not started yet, although in 1949, backed by his Melody Ramblers, he cut his first two sides for the Rouge label in Baton Rouge, La. Both songs, « Yesterday’s Memories» and «I Saw Them Lay Mother Away» (duet with one Ray, besides unnamed) being insipid ballads (# 103). During this time he was also working at Standard Oil in the daytime.

Around 1950-51 Louis met Jay Miller, who was running a number of record labels. Lou did two or three recording sessions for him. From these recordings two singles were issued on the Feature label : # 1031 «I Was Only Teasing You »/ »A Broken Heart», and # 1035, the first version [later re-recorded during the ’60s for Scenic Records] of «That’s Me Without ou »/ » »Your Own Heart You Must Mend». All four songs are slowies or uptempo ballads, nothing is really interesting yet.

From these recordings two singles were issued on the Feature label: # 1031 «I Was Only Teasing You», »A Broken Heart, and # 1035, the first version [later re-recorded during the ’60s for Scenic Records] of «That’s Me Without ou »/ » »Your Own Heart You Must Mend». All four songs are slowies or uptempo ballads, nothing is really interesting yet.

Sonny James and Pee Wee King had their version too. It must be noted that the co-writer (along J. D. Miller) was “J. Wyatt”, probably Jack Wyatt, a Hillbilly singer from New Orleans, who cut records for Meladee, Lyric (in Lake Charles) and Kuntry: see late October 2018 bopping favorites selection.

In the meantime , «That’s Me Without You» had also been a hit for Webb Pierce (Decca 28351). J. D. Miller did suceed placing to Randy Wood’s Dot (Gallatin, Tennessee) # 203 one more Millet song, yet they went nowhere (lack of distribution?) : «Heart Of Stone» and «That’s Me Without You»[second version]. A snippet of a split session (set in July 1952) subsists of a time when Louis was closely associated wit Lefty Frizzell, so much so that Millet was opening Lefty’s shows at that time. I’m Honky Tonkin’ With You is a superb shuffling bopper, too long forgotten in the J. D. Miller archives. The backing of this song is even provided by the musicians involved in he Frizzell’s songs, among them a version of Lou’s «That’s Me Without You”

Aided by Lefty Frizzell, Lou (meanwhile shortening his forname) signed with Columbia on the 15th of May 1952. The contract was for one year, with an option for another year. The first session was done some days later, on May 20. Four songs were recorded at Jim Beck’s Studio in Dallas, Texas. Two months later his first Columbia record was issued, both on 78 and 45 rpm. The songs were “Just Me, My Heart, and You”, and “Weary, Worried, and Blue” (Columbia 20979). The second single was issued on October 24, 1952 (Columbia 21029), and featured “Worried, Lonesome, And In Love” and “Your Own Heart You Must Mend”[second version]. The style they were playing was honky tonk, resembling the Ernest Tubb and Vin Bruce recordings of the same period, all four tracks being slow ballads, with the exception of «Worried, Lonesome And In Love» more Honky tonking uptempo.

While Lou Millet was at Columbia, Lefty Frizzell left his manager Jack Starnes. Because Lefty’s band was still under contract with Starnes, he was left without a band. He hired Jay Miller as a manager, who formed a backup band for Lefty. During this time Lou was assigned as the band leader. From the next sessions four songs were issued on two singles: Columbia 21086, featuring “Bayou Pigeon” and “Get A Grip On Your Heart”, and Columbia 21143, with “Memories from Cheddar Chest” and “God Only Knows”. Except for “Bayou Pigeon”, a cheerful Cajun song, they were comparable to the honky tonk style of the first recordings.

When Lefty went to California to perform at the Town Hall Party at KTTV, his band fell apart due to the distance. Lefty’s last recordings with Lou as a band leader were done between February 7 and March 9, 1953 (at the «California Blues» session).

When Lefty finished his four songs, Lou also recorded four songs. This was remarkable, since Lou’s contract with Columbia had ended on May 15. Two of the songs he recorded, “Since the Devil Moved In” and “That’s How I Need You”, were issued on Columbia 21225, both good boppers. The other two were never issued by Columbia.
Lefty penned several songs for Lou; a certain S. Burton wrote for him no less than 4 songs at Columbia.

After his Columbia contract Lou left for California to attempt a solo career. This apparently failed, since he went home in 1955. Here he signed with the Ace label, owned by Johnny Vincent from Jackson, Mississippi. Although based in Jackson, the Ace label was to become a key player in the New Orleans R&B scene, but before that Vincent had briefly explored the sales potential oh Hillbilly music.

To return to Lou Millet, his self penned «Just You And Me” (# 506 )(mid-1955) is a superb example of the Rock & Roll/Rockabilly sound, reminiscent in part of his later Rockabilly masterpiece «Shorty The Barber» (Republic 7131).(Value: $ 300-400) Millet continued to move towards Rock & Roll with another self-penned offering in the same vein: «My Inlaws Made An Outlaw Out Of Me» (# 510) (value $ 200-300) which, as you will detect, is much more polished than i<«Just You And Me». Whilst there is no question as to Millet’s Rockin’ credentials, he was first and foremost a Hillbilly singer, which is abundantly evident when listening to the mid tempo opus «Whisper Of Doubt»(# 506), and «Humming bird» is a strange, dramatic ballad. During this time, he also started working as a DJ for WLCS. Later on he would add a weekly TV show.

In the following year (January to March 1956) he recorded a single for the Republic label, and also one for Ekko Records. And these two records are the ones Millet is best remembered by Collectors and Rockabilly aficionados for. Shorty The Barbe» is a Rockabilly classic, as the flipside «Slip, Slip, Slippin’ In»(Republic 7131) and we all would like to know who’s the lead guitar player on both tracks. Anyway, the Republic single is attaining $ 1000-1500 when it changes of hands (to B.J.’s, the single is only worth $ 600-750). Note that an entirely different «Shorty The Barber» had been recorded in mid-1950 by Charlie Burse, a Blues artist, for Sam Phillips in Memphis, who didn’t release it then.

Lou Millet and his band, 1956

The Ekko sides, from early 1956, are more in Hillbilly bop style; the good uptempo «When I Harvest My Love» (nice guitar)(# 1024) is backed by the fine, sincere, fiddle-led «Chapel Of My Heart».(value $ 100-200, according to Lincoln & Blackburn; B.J.’s only credits it of $ 30-40)). A bizarre detail: on Republic and Ekko, the Lou Millet records do exactly follow the preceding Lloyd McCollough records (Ekko 1023 and Republic 7130). Is that only an accident?

SHORTY THE BARBER
(Millet)
LOU MILLET (Republic 7130, 1956)
Have you ever passed by Shorty’s barber shop
Hey, Shorty bops the boogie on the razor’s strop
He snaps the scissors and he blows the comb
It sounds just like a saxophone
He nods his head and he bats his eye
He shuffles his feet and twitches his thighs
Everybody gets hep to the bop
But shorty bops the boogie on the razor’s strop
Oh, a snap from the scissors, jig-a-shoo, jig-a-shoo
And a blow from his comb, olee-aye olee-aye
Sounds just like a saxophone
People passing by, never fail to stop
When Shorty bops the boogie on the razor’s strop
Well, he charges me a dollar just to cut my hair
Enjoyed all the while I’m in his chair
take it easy is all I have to do
I feel like a million when gets through
He hand in my collar, he hand in my tie
He looks at me with a gleam in his eye
He brushes me off and before he’s through
Says to me, man, what else can I do
Oh yeah, he bounced to me as he opened the door
Says, thank you sir, come back some more
That’s Shorty the barber, now he’s the top
When he bops the boogie on the razor’s strop
Oh, a snap from the scissors, jig-a-shoo, jig-a-shoo
And a blow from his comb, olee-aye olee-aye
Sounds just like a saxophone
People passing by, never fail to stop
When Shorty bops the boogie on the razor’s strop

Courtesy Rockabilly Europe http://www.rockabillyeurope.com

SLIP, SLIP, SLIPPIN’ IN
(Bob Belyeu – Charles Wright)
LOU MILLET (REPUBLIC 7130, 1956)
Well, I went out last evening
Left my little woman at home
Thought that I would have some fun
The night was all my own
I stopped a-down the road and I bopped a while
I made every spot in town
But now I gotta tip-toe through the hall
Or I’ll be trouble-bound
I slipped up to the front door
I eased it open wide
I made sure the coast was clear
And then I slipped inside
Slipping through the doorway
Quiet as I could be
When on came the light and there she stood
Staring straight at me
I’m a-slip, slip, slip, slip, slipping in
Slip, slip, slip, slip, slipping in
Slip, slip, slip, slip, slipping in
I’m a-sneaking, slipping in, sneaking in
I slipped up to the front door
I eased it open wide
I made sure the coast was clear
And then I slipped inside
Slipping through the doorway
Quiet as I could be
When on came the light and there she stood
Staring straight at me
And the moral of this story is plain as it can be
Slipping around goes a-hand in hand with woe and misery
There stand my little woman, asking where I’ve been
Slipping out is a lots of fun, but oh that slipping in
Lord, a-slip, slip, slip, slip, slipping in
Slip, slip, slip, slip, slipping in
Slip, slip, slip, slip, slipping in
I’m a-sneaking, slipping in, slipping in
Slipping in, slipping in

Cactus CD (bootleg)

Lou Millet recorded more during the ’60s as “Colonel Lou” (for Louisiana Governor Earl K. Long), “with the Swingers”, but the music was close to era’s trend.

Sources: Uncle Gil for the Cactus CD ; Jean-Guy Meunier for the Dot and Scenic sides ; Willem Agenant for a nice portion of the biography as well as Columbia sides ; Feature sides from HBR virtual CDs ; Black Cat Rockabilly Europ.nu site (blackcat@rockabilly.nl) for the Republic lyrics ; notes by Allan Turner on the Jasmine CD « Rock me » ; my own archives and researches ; hillbilly-music.com for a picture of Lou.

Rusty & Doug Kershaw, Louisiana men (1954 -1964)

ace CD kershaw

Douglas James « Doug » Kershaw was born on January 24 of 1936 on a houseboat near Tiel Ridge, Louisiana – a tiny island off the Gulf Coast of Mexico. Russell Lee « Rusty » Kershaw was born on 2 February 1938. Their childhood was difficult, and their father committed suicide when Doug was seven, soon after the family moved to Crowley. Their older brother Nelson « Pee Wee » Kershaw formed a band called the Continental Playboys, which the younger boys would later join. Rusty played rhythm guitar, while Doug began to excel on fiddle (he eventually claimed to have mastered 29 instruments). The band became popular and was appearing on KLPC-TV in 1953, alongside Jimmy Newman and Wiley Barkdull. (more…)

Jimmy (Fautheree) & (Country) Johnny (Mathis), the most enduring non-sibling Hillbilly/Rockabilly duet

jimmy & johnny pic

Fautheree (l) & Mathis (r)

The mainstay of this ensemble was Jimmy Lee Fautheree. Born (James Walton Fautheree) on April 11, 1934 in Smackover, Arkansas. When he was 12 years old, his aunt bought him a guitar and he was fortunate that his parents wanted him to be an entertainer : so Fautheree became an accomplished guitarist at the age of 16 He spent many hours and dayspracticing guitar and singing with two of his younger brothers, Lynn and Jackie, both of whom in adulthood would follow him in musical pursuits. Their father was an oilman and moved his family from town to town as jobs became available, but settled in Dallas in 1946. The family was very musical minded, so Jimmy came by it honest. Jimmy liked and was around most phases of music : blues and hillbilly were his favorites, but country and gospel also fell into place. Ernest Tubb and Jack Guthrie were big influences, but Merle Travis left a definite impression on Jimmy with his distinctive finger-picked electric guitar style.

Following a successful appearance on the Big « D » Jamboree, Jimmy Fautheree was soon a regular feature of the Dallas Country music scene. ‘Country’ Johnny Mathis, not to be confused with the pop crooner of the same name, hailed from Maud TX, where he was born in 1935. Mathis is arguably the most notable of the many individuals that made up the other half of the Jimmy & Johnny guise. Mathis had already garnered some experience in the recording field, having waxed a handful of sides for the JB [an extra-Bullet outfit of Jim Bulleit] in 1951 and Talent (Dallas, Texas) (1949) labels. Jim Bulleit acted also as manager for Jimmy Fauthereee (see below Billboard snippet).

j-b mathis metalent  mathis why

In 1951, the boys were invited on to the Louisiana Hayride and very quickly became part of the house band which was then run by bassist Tillman Franks (more on him in the article devoted elsewhere in this site to the early days of Webb Pierce in Shreveport). Recently unearthed tapes of the Hayride concerts stand testament to their talent. Shortly after joining the prestigious show, Fautheree was signed to a recording contract with Capitol records. His first Capitol session took place at the Louisiana Hayride in 1951 in Shreveport, Louisiana. Four songs were recorded – “Go Ahead and Go” (a Jimmy Lee original), the fine uptempo “I’m Diggin’ A Hole To Bury My Heart” (# 2153) and here, Fautheree was also renamed “Jimmy Lee“. He went on to be a great star in the hillbilly field. One of his Capitol records is interesting,”Blowin’ And Goin’” as it includes a muted trumpet, an unusual instrument in early ’50s Country, but in Lee Bond‘s Republic sides, e.g. “How About A Date“, cut at the same time as Jimmy Lee (see elsewhere for this label’s story)

52 jimmy lee

Billboard 1952 snippet

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In 1953, the pair Fautheree-Mathis recorded « If You Don’t, Somebody Else Will » for Feature (a Crowley, La. Jay D. Miller label), but it wasn’t until the following year, when they re-recorded the song for Chess, that it made the n°3 spot and became their only hit record. Jimmy Lee continued working and recording under the name of Jimmy & Johnny (Decca), albeit now with his brother Lynn. The new duet cut superb Rockabillies : the furious « Sweet Love On My Mind » (written by Wayne Walker, and shortly thereafter recorded by Johnny Burnette and the Rock’n’Roll Trio on Coral)(# 30061), the lazy uptempo Hillbilly bop bordering Rockabilly  « Sweet Singing Daddy » (# 29772), the equally good « What ‘Cha Doin’ To Me » (# 30410), while the latter’s flipside, « I’ll Do It Everytime » was titled « Skiffle-Billy Beat » ! They were featured on Faron Young‘s band – Faron Young & The Deputies, on to the Grand Ole Opry in Nashville, performing there many times on the famous stage. Jimmy was featured in many shows of Elvis Presley’s early years, with Elvis being Jimmy’s opening act several times. Wow, how many can say that has happened for them ? Fautheree also did teaming up on Chess with Wayne Walker for the major 1955 Rockabilly classic « Love Me » with its furious steel-guitar and Fautheree’s own raucous, gutbucket bluesy guitar. In addition, he made later some solo recordings : in 1958, he cut the out-and-out rocker « Teen-Age Wedding » for the Vin label in New Orleans under the name Johnny Angel.


feature lee&mathis don't chess jimmy&johnny don't chess lee&mathis fun KWKH was a radio studio, also the only recording studio in Shreveport. Its studio was built as a room within a room : about two ft. away from the outside walls of the building, another wall was constructed stuffed with fiberglass. The only windows faced the annoncer’s booth and an area in front of the studio where the coffee machine and several chairs and tables were situated. The dimensions of the studio were approximately 25×30 ft. with a 12-foot ceiling, which was similar to the Dallas’ Jim Beck’s studio facility. Nevertheless, engineer Bob Sully excelled in being able to make the most out of what was available. For instance, he discovered that an echo effect was possible through feeding the output back into the board. Which he did, with Jimmy Lee & Wayne Walker « Love Me ».

JIMmy&OHNny-SHEET don't

chess lee&walker LoveMathis teamed early in 1955 with a Dallas club owner, Les Chambers, who put on several singles on Starday by himself. The pair issued two nice fast Hillbilly boppers : « Everybody Else Does (Why Can’t I ») (Starday 181), as an answer to « If You Don’t, Somebody Else Will », and « Give Me A Little More » (Starday 206).starday chambers&mathis does

Chambers soon disappeared, recording-wise, while Johnny Mathis switched naturally under the protection of Starday, when this label and Mercury went to a common venture early in 1957. There he had «One Life » (# 71273), as several tracks on various artists albums, e.g. « Hillbilly Hit Parade ». He even cut uncredited for the

low-budget Dixie label a nice version of the, I believe he was

dixie Mathis name

Jimmy&Johnny 1958

Minneapolis, 1958

mercury mathis life

starday chambers&mathis givethe originator, Porter Wagoner song « I Thought I Heard You Call My Name » (# 526). Later in 1958, he recorded Rockabilly on ‘D’ as Les Cole and the Echoes (« Bee Boppin’ Daddy /Rock-A-Bye-Baby», # 1010). He and Fautheree were reunited in the late fifties for a couple of releases on ‘D’, (“My Little Baby” , # 1089 ) and one for the Los Angeles Republic label (« Knock On Wood », # 2014), in 1961 before finally dissolving the act, and once again each one going their own way.

d cole boppin'vin angel wedding


JIMMY & johnny2 pictureDuring the 1960s, Jimmy Lee recorded for the Paula label in Shreveport : a more modern version of « Can’t Find The Door Nob » (sic, # 239) (1966) and one very tough, fine guitar-led instrumental: “Box Full Of ‘Git’”  Next year, he cut the nice, loud rocker  “Overdue ” (also on Paula 279), then on the Lodema label, more instro with “Project X-9” and the awesome country bopper “Laziest Man In The World” (Lodema # LR 101, 1983).

Jimmy produced several Gospel albums, his first in the late 1970’s. Lynn Fautheree died in 1989 from asbestosis. It would not be before 1995 lee & mathisthat Jimmy & Johnny performed again together for the first time in 35 years, when they recorded a gospel tune “It Won’t Be Much Longer“, released on the Dallas based TIMA Records in 2000. It was their last recording together. It was however their last recording as Johnny became ill in 1999. He was invited to come back for a reunion on the Louisiana Hayride show on June 27 and 28, 2003, titled “One More Ride“, at the original Municipal Auditorium, 706 Elvis Presley Ave., Shreveport, Louisiana. Jimmy opened the Friday night show by singing one of his recordings, “Unknown Legends“, written by Johnny Mathis. That song was perfect for the night, and as many of the original performers such as Kitty Wells, Johnny Wright, Bonnie, Maxine, and Jim Ed Brown, Billy Walker, just to name a few, were present to once again perform their talents, and could say, “we are home once again“.

Also last year (2003), Jimmy performed a Rockabilly Show, “The Ponderosa Stomp”, in New Orleans, Louisiana, backed by Deke Dickerson and the Ecco-Fonics Band. That performance went so well that Deke invited Jimmy Lee to his Fort Horton studios in Austin, TX., to record with the band. The result is: “I Found The Doorknob“, Jimmy Lee’s first recording in forty years! The new CD features the hit “I Found The Doorknob” (answer song to “Can’t Find The Doorknob“), and many others including “Gotta Get You Near Me Blues“, “Overdue“, “Box Full of Gits” (Jimmy’s admirous guitar picking), “I’m Diggin a Hole“, “Big Mamma Blues“, “Nine Pound Hammer“, and many more. This CD is available through the web site – dekedickerson.com, his first album for nearly 30 years.

Jimmy went to Rye, Sussex, England, and performed the Rockabilly Rave Show on March 7, 2004, doing an outstanding performance playing his guitar and singing to many a fan who never thought they would get to see their favorite artist in person. This was also the first time he ever did perform in Europe. Three months later, he lost his battle against cancer : he passed away at his home in Dallas TX, on June 29, 2004.

As a solo artist, Johnny Mathis released several singles for D, United Artists and Little Darlin’. His final charting single was “Please Talk to My Heart,” released in 1963. He also encountered significant success as a songwriter, penning songs for Johnny Paycheck, George Jones and Webb Pierce, among others.

Mathis suffered a stroke in February 1999, and was no longer able to perform. He died on September 27, 2011, one day prior to his 78th birthday

There was also a release on TNT which is by a different Jimmy & Johnny duet; a Jimmy Lee has « Look What Love Will Do » on Vin 1010, and a record on Feature is by a Jim & Johnny, once again no relation to Messers Fautheree and Mathis.

decca jimmy&johnny sweet decca jimmy&johnny namedecca jimmy&johnny  doin'


d jimmie&johnny knob

republic jimmy&johnny knock d mathis cry

hilltop Mathis My carolinaua Mathis thinking paula fautheree nob

LD C.Jmathis Sugard CJMathis town

Biography based on Dik De Heer work (www.rockabilly.nl), Walter Stettner’s own, from « Steel Guitar Forum » (published on the Rockabilly Hall of Fame site), and, most of all, from the very fine and indispensable book « Cowboys, Honky-tonks and Hepcats » written and published by my good friend Tony Biggs. Nearly all pictures were provided by Tony, too. And all the music comes from his fabulous collection…Thanks-a-lot, Tony!

JIMMY & JOHNNY AD guitars)


decca jimmy&johnny daddy