‘I Mean, I’m Mean’, ‘Behave, be-quiet or begone’ – Roy Duke
A Country Music Anomaly
By Shane Hughes (Rock-a-Billy Hall of Fame)
Additional content by bopping’s editor.
court. Tony Biggs’ book
Roy had the potential to find success too, especially after signing with Decca in ’56. By this stage of his career Ernest Tubb had already cut a few of his songs and he was still tight with Tubb’s nephew Douglas Glenn. However, as with the trail of Douglas Tubb’s career, Roy’s tapered radically after minimal sales of his Decca releases (although Roy Junior confessed to Colin Escott that « Honky Tonk Queen » was a moderate hit in Nashville). Roy’s ill-defined style could have been the cause. Staid hillbilly fans may have heard something too progressive in Roy’s recordings, whilst southern teens probably shied away from the melodic hillbilly vocals and languorous rhythm so evident in Roy’s music. Regardless, Roy’s music has persevered and is still very much revered. It’s time his story was finally told.(more…)
Nothing is ever as simple as it would appear, take for example the Harrington, Delaware based BLUE HEN label. Just another independant concern would be a fair description of this particular outfit, albeit with one or two above average offerings on the label from the likes of Mel Price and Lanie Walker.
BLUE HEN was owned, according to Galen Gart’s A.R.L.D., by one Sam Short, Jr ., ably assisted by A&R man Hugh Lee Stevenson. That, and the fact that the company was located on Center Street in Harrington, is the sum total of our knowledge of the label.
Over the 6 years or so that BLUE HEN was active the company ran at least three different numerical series. There was a rather obscure 3000 series, which appears to have been the earliest ; the regular 200 series, which was the « main series » ; and an odd ball 500 series (two issues). However, it is neither the 3000 or 500 series which concern us here, but the 200 « main series ».
The first release was Betty Coral‘s « Chili dippin’ baby » (# 200), backed by Raymond McCollister. He had the same number on the Raymor label, also the flipside « Texarkana waltz ». Many master numbers were prefixed RM: does it mean McCollister was involved in Blue Hen?
« Chili dippin’ baby » was very popular : it was covered by Vernon Way on the Hillbilly All Star label, and in a more Rockabilly way by Joyce Pointer on Goldenrod Records.
Betty Coral “Chili dippin’ baby”
download Donn Reynolds, who made something of a name for himself as a yodeling cowboy out on the East coast, also turned up on the label (# 207, « Don’t tell me ») before moving to London, England, to work for Radio Luxembourg ! Tommy Lloyd and his Strolling Cowboys, an outfit who certainly lived up to their name, having played virtually everywhere in the U.S.A. (#204 « Now I know why »), and local lad Tex Daniels (#206 « Give your heart a chance », among three or four more releases, note « Blue hen boogie » from late ’55) were two of the more experienced, yet lesser known artists to record for the label, both with a half dozen or so record releases to their credit before joining BLUE HEN. Local promoter/songwriter Howard Vokes was responsible for getting Hank King , Rudy Thacker (« Mountain guitar » ; also on Lucky) and “The Hardin County Boys” Jeffrey Null and Denver Duke onto the label. The latter, who had something of a hit on Blue Hen with their Hank Williams tribute “Hank Williams that Alabama boy” (#214) went on to enjoy some degree of success on Mercury and Starday. Denver Duke & Jeffrey Null “Hawk Williams that Alabama boy”
Mention should be made of course of Mel Price (who’s story is on this site) and Lanie Walker, of whom we know very little, who were arguably the best Hillbilly artists to record for BLUE HEN. Mel Price “Nothing seems to go right anymore“
Walker had 5 issues on Blue hen (and one in 1960 on Kingsport, TN Three Stars label , the stunning « Early every morning ») : both hillbilly boppers on # 209 (« Side-track daddy »), one gospel two-sider (« When you meet your Lord » # 218), a non-cover of George Jones‘ « Why baby why », very good Hillbilly bopper, in 1956 (a nice bluesy « Drop in » on flipside, # 219), then a back-to-back Rockabilly/Rocker « Ennie Meenie Miney Mo/No use knocking on my door », # 230 (Mort Marker on lead guitar), finally a 1959 rocker (# 235) « Jumpin’ the gun/Tonite I walk alone ».