King Records was a very important label run by Syd Nathan in Cincinnati, Oh. It had a C&W serie (500-1500), a Federal serie (10000) and a Deluxe serie (2000 or 5000).
First artist is Cowboy Jack Derrick, whose story is on the site. « Truck drivin’ man » is a very early trucker gay song.(King 633)
Cowboy Jack Derrick, « Truck drivin’ man«
Paul Howard from Arkansas (1908-1994) was leading his Cotton Pickers on a long string of releases on Columbia and King. He was a resident at WSM in Nashville. « The boogie’s fine tonight » and « Texas boogie » are two of his best sides.
Paul Howard « The boogie’s fine tonight« Clyde Moody is also well represented with a personal entry in Bopping.org. Here is presented one of his best platters, « The blues came pouring down », with very strong rhythm guitar. (# 943)
Clyde Moody « The blues came pouring down« download
First selection is a fine bopper (sincere vocal, strong rhythm and good fiddle, even pizzicato played) : « I was standing too close to a heartache » (sounds familiar?) by BILLY TIDWELL, who cut a very good version of « Folsom prison blues » on the White Deer, TX Ko Co Bo label in 1964.
Billy Tidwell, « I was standing too close to a heartache« download
Second odd issue is first ever Tommy Collins‘s song, « Campus boogie », when Collins was still known as LEONARD SIPES in his native Oklahoma. The song can be found on Morgan 106, and is very Hank Williams styled.
Then we enter in back-to-back series. JIMMIE DAVIS, also politician for Louisiana Governoship, cut a whole string of early boppers in the ’30s. Here I selected « You’ve been tom cattin’ around », issued on Bluebird in 1933.
A good 22 years later, CARL STORY had his own version, although the mandolin player is himself, on Columbia 21444 (1955). The flipside is the equally good, Rockabilly style, « What a line ». Strong boogie guitar, a fiddle solo. Really a masterpiece.
Carl Story « You’ve been tom cattin’ around » download
« What a line » derives from the original by JIMMIE WIDENER, who had this on his first King session in 1946 (# 536B) on the West coast, backed by such luminaries as Joaquin Murphy on steel or Jimmy Wyble on electric guitar. Harold Hensley is also present on fiddle, and co-wrote the song with Merle Travis. Widener had had been vocalist for Tex Williams, Spade Cooley and Bob Wills.
The song was revived first in 1953 by CLYDE MOODY on Decca. Usual style. Moody does it fast, with fiddle and guitar solo. Then in the mid-60s by GLENN THOMPSON, the most obscure artist of them all, who came from North Carolina. Guitar player is modern, but has a fine bluesy solo.
The Bullet Recording and Transcription company was formed in late 1945 by former Grand Ole Opry booking agent Jim Bulleit, in partnership with musician Wally Fowler and businessman C. V. Hitchcock. (suite…)
Although he is considered a Bluegrass artist – the end of his career, and his beginnings with Bill Monroe are enough proofs of it – Clyde Moody was a versatile artist who did success in various styles : Western swing, Old-Time, Honky Tonk, even Country pop, but always with a « Country » voice. He had his first hit with « Shenandoah Waltz » (1947, King), the first of a long waltzes serie. Hence his nickname of « Hillbilly Waltz King ». Whatever he sang, he always did it with ease and a sort of tasteful grace. (suite…)