It has proven near impossible to find any biographical data about DANNY DEDMON. He may have been born in Louisiana, since his career was often confined to this state. His professional career begun in 1946, so he must have been in his twenties then, and already an accomplished guitar player being recruited by a ‘star’, Bill Nettles, for the latter’s Dallas recording session.
The Monroe Morning Star (March 23, 1947) showed the only certain known picture of Danny Dedmon (far left).
Bill Nettles & the Dixie Blue Boys
He was associated to KSAM in Huntsville, Tx. when Bill Nettles took him to KMLB in Monroe, La. and made him join as lead guitarist his Dixie Blue Boys. He then cut his first records under the leadership of Nettles in Dallas, Tx. for Bullet, a Nashville label, on July 7th 1946. Jim Bulleit was present at the session, as he was seeking for new talents for his label.
Bullet 637 (Too Many Blues/High Falutin’ Mama) and 638 (Hungry/You’re Breaking My Broken Heart Again) were good sellers for Bill Nettles, and not long after, he was approached by Lew Chudd’s scouts and subsequently signed a contract with Imperial Records, the then rising label in Country music with its 8000 serie launched during Summer 1947.
Danny Dedmon & the Rhythm Ramblers
Dedmon went solo with a contract on his own, and had 7 singles released under his name between Summer 1947 and October 1949, backed by his Rhythm Ramblers, who actually were Nettles’ Dixie Blue Boys in disguise.
« Hula Hula Woogie » (Imperial # 8019) is a call-and-response ditty ; a fine uptempo bopper (a sort of fast bluesy tune) with a fiddle all along the song (Robert Shivers), a mandolin (Nettles), guitar, and steel (« Cowboy » Thomas) solos, all propelled by the bass of own Nettles’ daughter Loyce, while Dedmon had an assured voice, that of a man accustomed to sing.
Billboard, Jan. 23, 1948
Reverse side « Too Many Blue Eyes » is slower, although equally good.
This first Danny Dedmon recording session may well have been cut at KOGT station in Orange, Texas, whom he was associated then with, or in Beaumont, Texas, where many early Imperial sides were recorded. Anyway Billboard noticed him in its early 1948 edition.
Autumn 1947 saw Danny Dedmon back in Beaumont studio for a long 8-tracks recording session. 4 tracks do remain unissued, but it’s obvious Imperial executives had faith in him cutting an entire session. Imperial 8023 (Why Should I Want You Now/It’s Time To Say Goodbye) escaped to my researching antennas, so cannot comment ; two other tracks out of this session however were finally released surprisingly during the second half of 1950. Why Imperial issued them so late is anybody’s guess. « I Don’t Want You Anymore » (Imperial 8099) is a fine, bouncing bopper. Every instrument involved has its solo (although except the string bass). The reverse side, « Lane Budded With Roses », a mid-paced weeeper, is forgettable. This # 8099 was credited to Danny Dedman : a typing error from the labels’ printer ?
In October 1947 Imperial files reveal one more unissued session (3 tunes), and one must wait December 1947 for a 4-track session more. Two tunes went also unissued : « That Chick Was Just My Size » sounds a promising track, talking of a bopper, while Imperial 8045 has two excellent numbers, namely a bluesy, mid-tempo shuffler, call-and-response format with « Hoochie Coochie Woogie » (Pee Wee Calhoun, a newcomer in the Dedmon team, is called before his piano solo) while « Drinkin’ Beer All Night » is a fast item.
Ca. late 1947 and late 1948 Dedmon went to work with Jelly Jolly in clubs and touring, but made no records with him. February 1949 found him again in the Beaumont studio, for 4 more tracks, all released. Imperial 8058 bears two fine sides, and one can detect a Hank Williams influence from then on « You Can’t Hen Peck Me », an uptempo bopper ; « The Blues Keep On Hangin’ On » is a particularly effective fast bluesy tune with its two steel solos (by « Cowboy » Thomas) and the good fiddle of Robert Shivers. The piano takes a solo too, and was played either by Pee Wee Calhoun, either by the newcomer in the Dixie Blue Boys Pal Thibodeaux [see his study elsewhere in this site]. The remaining unheard sides included « That Lonesome Old Moon » and « That Blond Headed Gal Of Mine » and were released as Imperial 8061.
The remaining tracks, and nearly the last Dedmon ever recorded, were cut in October 1949 with the same line-up of Bill Nettles’ Dixie Blue Boys. All these are rousing tunes. « Gin Drinkin’ Mama » (# 8065) is definitely one of his best songs : shouting vocal (although the voice is barely recongnizable), fast rhythm, as the reverse « Gonna Trade My Red Head For Blonde » (a mid-tempo). The long steel solo and the shiny fiddle playing make this a typical pure Honky tonk shuffler.
« Mama-In-Law Troubles » (# 8068) keeps along the same pattern as « Gin Drinkin’ Mama », when « Sweet Little Sweetie Pie » is also a romper : it’s another fabulous shuffler typical of the era.
How versatile he was is shown by 2 snippets taken in early 1949 from the Billboard. In January he had joined once more Bill Nettles at the time of the first Mercury session which gave in April “Hadacol Boogie” (but he was not present on the session); then in March 1949, he joined Cal Maddox (guitarist of the Maddox Brothers) on KTRM out of Modesto, California. Finally March 1951 found him back in the band of Jolly Jelly.
We find Danny Dedmon (this time backed by the Cain River Boys) once more on the L.A. Flair label (# 1005) released 1953. Things are very different from the previous Louisiana discs. The backing is a limited one : exit the fiddle. Accent is put on the omnipresent steel-guitar (NOT « Cowboy » Thomas, with aural evidence) and a tendency toward pop, particularly in « Sally Anne » ; « Maybe Things Will Work Out Right » has a pizzicato played lead guitar, and no rhythm at all. Both sides are written “Pee Wee (Calhoun?)-Dedmon”. Does it suggest that his band had followed him in California, or the Flair issue was simply recorded in Louisiana before its release on a near-major label (Flair had been launched in 1953 by Modern for issuing Southern artists)? This record is a question in itself.
At this point, Danny Dedmon disappears from the music scene, except one big mention. He’s credited in October 1956 as co-writer of the Rockabilly classic « Hot Dog » by Corky Jones (actually Buck Owens) on Pep 107. Had he put his hand on this gone unnoticed little gem that he should have tickled all the record collectors since then.
Nothing or nearly has surfaced on the precise whereabouts of PAL THIBODEAUX (his actual Cajun name). Here are the details I could glean from his records, or from 45rpm-cat or even from Bill Nettles’ story as it appears on the CD « Bill Nettles & his Dixie Blue Boys : « Shake it and take it » – Cattle CCD248) and « Bill Nettles – « Hadacol boogie » – on Jasmine 3548 » . I even didn’t succeed obtaining a picture of Pal Thibodeaux, also known as LITTLE PAL HARDY (on Imperial 8282).
The little historical town of Natchitoches lies on the banks of the beautiful Cane River (Louisiana), and it was there that Bill Nettles was born on 13 March 1903 (another source mention 1907)
Natchitoches town (red button) in Louisiana
Bill was a member of U.S. marine and he took a part in World War I. Then he got a job as brakeman on the Pacific railroad line and around this time he met his future bride, Emma Lou Rich from Arcadia, Louisiana: on 19 December of 1922 in Shreveport they were married. He and his wife had four children, the eldest of whom, Bill Jr. (1926), enlisted in the Marines in 1943, reported missing at Okinawa albeit surviving and returning home in 1945. He was the inspiration for Bill writing « God bless my darling he’s somewhere ».
Emma Lou Rich was Bill’s dream maid, tireless manager and director of his Fan Clubs, she wrote the paper “Nettle ’em” which would significantly support his success.
Bill’s interest in music was initially satisfied by purchasing records of his favourite singer Jimmie Rodgers, as well as buying platters by Jimmie Davis, Gene Autry and Cliff Carlisle.
Then in 1934 Bill teamed up with his brother Norman to form the Nettle Brothers, with Norman on guitar and himself on mandolin. Unlike many popular duos of the time (Shelton Bros, Monroe Bros, Callahan Bros or Blue Sky Boys, etc.) Bill and Norman refrained from duetting on vocals, which made them stand out from the run of the mills outfits trying to imitate the well known names. Thus it was not long before an offer came their way to appear on radio in Shreveport on KWKH, at that time starring a favourite artist of Bill’s, Jimmie Davis. It was he who got their recording contract with Vocalion (1937).
The first session, held in Dallas in June 1937, yelded their first single, « Shake it and take it (like the doctor said – on later issues) »/ »My cross-eyed Jane » which saw Bill vocalising as well as playing mandolin. Augmented by brothers Norman on guitar and Luther on bass with Doc Massey on fiddle, Bill produced a lively performance, reflected in the sales of the record.
The group recorded another session in San Antonio as well as another in Dallas, and all in all eleven singles (a total of 22 sides) were recorded between 1937 and 1938. While their record sales did not set the world alight, their popularity on the radio continued to increase with appearances on KRMD and KXBS (both out of Shreveport, La.), KALB (Alexandria, la.) and KVDL (Lafayette, La.)
Gradually the membership of the band increased to the stage where it became known as the Nettles Brothers String Band, and early in 1941 they were signed to the Bluebird label, cutting their first session on June 3rd. Once again the venue for recordings was Dallas with Lonnie Hall (violin), Reggie Ward (string bass) and Jim King (steel guitar) making up the five pieces band. By the time of the second session in October, the line-up had changed to the extent that the steel was gone, Hershell Woodall was on bass instead of Reggie Ward. A lead guitarist and a banjo player were also featured.
Bill had started writing songs as early as 1924 when trying to appease his wife after a domestic tiff and writing « My sweet pot of gold ». His pen gained more prominence as his group’s name spread, and other artists started recording his songs. Among the first were Red Foley and Wilf Carter who, as Montana Slim, cut « Too many blues » on Victor (20-2364). Bill’s original version came on Bullet 637 in 1946. Despite being a prolific writer, Bill had failed to copyright any before « Just before we said goodbye ». Too many blues (Bullet 637):
It is worth noting that whilst the first records to appear on Vocalion in 1937 were credited to « Bill Nettles & his Dixie Blue Boys », the Bluebird recordings were credited to « the Nettles Brothers ». Bill had in fact played mandolin on a Vocalion session as early as 1935, backing Jimmie Davis and Buddy Jones. Also the Jimmie King who played steel guitar on the first Bluebird session was the father to Claude King, the C&W singer/songwriter of « Wolverton mountain » fame.
Nettles’s beautiful “Have I Waited Too Long?” was introduced at KWKH in 1943 by Radio Dot and Smoky, and later became Faron Young‘s theme song. Along with Harmie Smith, Bob Shelton, Dick Hart, young Webb Pierce, and host Hal Burns, Nettles & His Dixie Blue Boys helped to launch a twice-weekly Louisiana Hayride program on KWKH in the summer of 1945 that predated the more famous auditorium show by almost three years.
Faron Young: Have I waited too long (Gotham 415-A)
After the Bluebird sessions Norman retired from the band, which late in 1945 was signed to RCA-Victor, reverting his name to « Bill Nettles & his Dixie Blue Boys » with brother Luther back on bass. However the rest of musicians were local Dallas sidesmen from the musicians’ union. « They were long haired usicians and did not fit in with Bill’s style. He hated these Victor records », wrote his widow Emma Lou. RCA’s and Bill’s personal conceptions differed completely, in fact recordings were by then “mainstream pop ». So greatly was he disillusioned with RCA that Bill broke his contract and went to Bullet Records.
It’s not clear whether this experience with RCA persuaded Bill to reform his own band, but he went to Bullet with a radically new line-up. Danny Dedmon joined as lead guitarist and became a mainstay of the Dixie Blue Boys along with fiddle player Robert Shivers. In between changing of recording labels, Bill moved the family from Shreveport to Monroe, La., where with the exception of short breaks he woud live for the rest of his life. He also started appearing at the local radio station KMLB, where he was to record sometimes. By this stage Bill and his wife had four children. The eldest, Bill Jr. never got deeply involved in his father’s musical career. However one of the remaining children, Loyce (born 1929), became a featured singer in her dad’s band, billed a « The Little Dixie sweetheart ». She became a permanent along with her piano playing husband, Pal Thibodeaux, when the Dixie Blue Boys recorded for Imperial.
Nettles & His Dixie Blue Boys helped to launch a twice-weekly Louisiana Hayride program on KWKH in the summer of 1945 that predated the more famous auditorium show by almost three years.
Bill cut three sessions with Bullet from Nashville. The first date for Bullet was already on 7 July 1946, probably at Jim Beck’s studio in Dallas, as Beck had a tie with Jim Bulleit. « High falutin’ mama » (# 637) was a prime example of uptempo bluesy country. “Too Many Blues” was recorded by Wilf Carter, as told earlier. Other two songs of the session, « You’re breaking my broken heart again » and « Hungry » (#638) were equally good. Both later sessions held in Jackson, Ms., and in Houston, Tx. remained unissued.
After a fleeting stay with Red Bird, an affiliation which failed to produce any released material, Bill Nettles then signed with Imperial, as did Danny Dedmon, recording in his own right with a band credited as « The Rhythm Ramblers », actually the Dixie Blue Boys. Dedmon recorded 19 sides for Imperial, albeit only 9 were with Bill Nettles, all cut in Beaumont, Tx. On a couple of Bill Nettles’ singles, daughter Loyce was allotted the vocal duties.
Euell was the third of the Nettles’ off-spring. He too was born in Shreveport in 1935. Thus he was barely fourteen when he played on Bill’s first Mercury session in April 1949, giving the family a 50% share in the group personnel. Not only did he pay guitar, but Euell also doubled as chauffeur and handyman. His versatility extended to playing bass, fiddle and drums. During his three years stint in U.S. Army in Paris, France, he met his Spanish wife to be.
At the first Mercury session Bill recorded the highly promising « Hadacol boogie ». Covered by Jesse Rogers on RCA (32-0001), whose version outsold Bill’s, It had also a version by Professor Longhair (Roy Byrd), who combined it with Bill’s third Mercury session « Hadacol bounce ».
A tune he wrote and recorded for that label, “Hadacol Boogie“, in a Monroe radio station in 1949, was a celebration of Dudley LeBlanc‘s restorative elixir. It went to # 9 on the country charts. (“Hadacol Boogie” is alleged to be the first song that Jerry Lee Lewis performed in public, in 1949. Occasionally Jerry will perform the song on stage, though he never recorded it.)
Presumably encouraged by this hit, Mercury had on 3 February 1950 ensured in Cincinnati, Ohio that their musicians parade horses (Jerry Byrd, Tommy Jackson and Zeb and Zeke Turner) were sent into the ring for « Push and pull boogie » (Mercury 6330). Turner’s guitar intro is similar to that of the Delmores’ “Blue stay away from me” or early Hank Williams’.
Yet another recording session could not bring more hit. Bill took his residence at radio station KLMB, Monroe on with their own group. The only new name was Sam Yeager who played the guitar. Although “Hadacol bounce” should been even better than the “Hadacol boogie” according to Mercury, it failed.
In 1953 Bill had one of his short spells away from Monroe when he was sponsored by the Surety Gas Co. To appear on WRBC out of Jackson, Miss. Whilst there he cut a session for the local Trumpet label. Sadly nothing was ever issued from these recordings and undoubtedly « When my kitten starts cattin’ around » sounds intriguing. Maybe it was due to the fact that Bill moved on to another radio station elsewhere that caused Trumpet to lose interest, for it was around this time that he moved to KOGT in Orange, Texas, then to KOBX inBeaumont, Texas, finally KFRO in Long View, Texas. It seems likely that this exposure around the Texas area brought Bill to the attention of Starday Records, where he cut the fine « Wine-o-boogie » and « Gumbo mumbo » (# 174). The session included an unissued re-recording of « Shake it and take it » and was probably held at Gold Star studio in Houston (1954), with regular local musicians, Hal Harris (lead guitar), Doc Lewis (piano), Red Hayes (fiddle) and Herbie Remington (steel) providing the backing.
Whilst the advent of rock’n’roll put a brake on Bill’s recording activities, perhaps inspired by his youngest daughter Shirley (born 1936) married to Rev. Gerard Lewis (a first cousin of Jerry Lee Lewis, and a fine piano player in his own right), Bill was « saved » and
baptized in 1958, subsequently becoming a devout Christian. Around 1957/58 The Dixie Blue Boys were performing on radio as a sacred group, before Bill disbanded the group and effectively retired from business.
Early 60s he cut in Monroe a whole lot of tracks for an unknown label (private recordings?), all of which do remain untraced and unissued.
In 1965 he was talked into a comeback and appeared on his own Nettl label. His preoccupation with the Vietnam War caused him to re-do his old song as « God bless my darling he’s somewhere in Vietnam ». Sadly this revival (3 singles) was short lived : Bill Nettles died on April 5 1967.
Throughout his life he wrote over 300 songs, and had 155 published by leading publishers. It is worth looking at some of the artists who made use of Bill as composer :
Be nobody’s darling but mine – Roy Acuff
Old age pension check – Roy Acuff
Old age pension blues – Shelton Brothers
I just can’t say goodbye – Pete Pyle
Louisiana moon – Gene Autry
I still believe in you – Charlie Mitchell
It’s nobody’s fault but my own – Will Johnson
Our last goodbye – Stanley Brothers
Honky tonk blues – Al Dexter
Just forgive and forget – Jimmie Davis
Nobody’s darling but mine – Jimmie Davis (huge 1941 hit)
Answer to blue eyes – Johnnie & Jack
No time for tears – Bill Boyd
Too many blues – Montana Slim, Red Foley
Have I waited too long – Faron Young
I just don’t know why but I do – Jenx Carman.
Of the Dixie Blue Boys, Danny Dedmon, Pal Thibodeaux and Norman Nettles recorded in their own right.
Nettles loved to write “answer” songs, such as “Answer To Blue Eyes”, “It’s Your Turn To Walk The Floor For Me”, “I Hauled Off and Loved Her”, and even answered his own songs: “(I Want To Be) Somebody’s Darling” and “Hadacol Bounce”.
Reprinted (with written permission) from Adam Komorowski’s article in Hillbilly researcher n° 7 (1988), based on a unpublished text written by Emma Lou Nettles for the 60’s magazine « Western Coral ». Many thanks to Ronald Keppner (Germany) for the loan of rare 78 rpm.
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. (more…)
Howdy folks! Here are my ‘new’ favourite tunes of early this month. As usual I try to give you oddities to illustrate the music, although lacking of inspiration and enthusiasm this time!
Red and Lige, The TURNER BROTHERS, were a duet group from Tennessee. I don’t know if they were related to the more famous brothers, Zeke and Zeb (King and Bullet labels). They offer here a strong Country-boogie with “Honky Tonk Mama” on the Radio Artist label (the one which issued Jimmie Skinner first sides). Circa 1950.
PECK TOUCHTON, a native of Texas, had a solitary release on Sarg (“You’ve Changed Your Tune“). He also recorded for Pappy Daily’s Starday label, without seeing any issue, following a mixing of label stickers during a car wreck! The whole story was told by Andrew Brown in his excellent site, Wired For Sound. See it here:
Touchton’s record, “Let Me Catch My Breath” was finally issued under the name of George Jones (Starday 160).
Out of Texas or West Louisiana, and at one time associated as a singer with Bill Nettles, DANNY DEDMON had records as early as 1947 on Imperial. Here is his “Hula Hula Woogie“, typical Texas Honky-tonk of the late Forties, with a touch of Western swing. The Rhythm Ramblers were actually Nettles’ band.
George McCormick (he had discs on M-G-M, for example, “Fifty-Fifty Honky Tonkin’ Tonight”) and Earl Aycock teamed as GEORGE & EARL in 1956, and had a string of Rockabilly releases on the Mercury label. I’ve chosen one of their most dynamic sides, “Done Gone“. Nashville musicians behind them. The duet folded shortly afterwards.
Out of Nashville came CLAY EAGER on the Republic label. Although he was a celebrity as D.J. in the St.Louis/St.Paul, MO, area, he had cut this fine “Bobbie Lou” in Nashville. We finish with the wild, rasping young ETTA JAMES on the West Coast. “Tough Lover” is backed by the ubiquitous Maxwell Davis.