Early December 2017 bopping fortnight favorites (’30’s to 1956)

Howdy, y’all of you ! Here is the new early December 2017 fortnight’s favorites selection, there will be ten tunes, mostly from the ’30s, with the odd entry in the late ’20s, and the most recent being a 1956 platter.

LEO SOILEAU was a Cajun fiddler, whose intense and dramatic playing is heard in three tracks, first « Les Bleus de La Louisiane » (Decca 17009A) from 1935. When reissued, it was renamed simply « Louisiana Blues » (Decca 5116-A). The whole story is told by Wade Falcon in his super blog « Early Cajun Music », read here: « Les Blues De La Louisiane (Louisiana Blues) » – Leo Soileau. Third track by Soileau is a vocal (himself) for « Petit ou gros » (Bluebird 2197). I add as a comparison the modern and energetic version (« Petite ou la grosse ») done by AL BERARD (vocal and fiddle) with the Basin Brothers in 1996 for Rounder Records.

« Les Bleus de la Louisiane« 

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« Louisiana Blues »

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« Petit ou gros« 

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Al Berrard, « La Petite ou la grosse »

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Al Berrard

 

 

Another old-time duet is that of the DIXON BROTHERS (Howard and Dorsey), who came from poor areas of North Carolina. They were greatly inspired during the late ’20s and early ’30 by another duet, DARBY & TARLTON. It was Jimmy Tarlton on guitar who influenced the most Howard Dixon. They were picked out by Victor Records and recorded a mere 60 sides between 1936 and 1939, mostly blues, old fiddle pieces or versions of songs of the time given. I choose two numbers, first « Weave Room Blues » (Bluebird 6141), and old-time duet with fine dobro, and « Spinning Room Blues » (Montgomery Ward 7024) : more of the same style. This is a bit similar to Cliff Carlisle.

« Weave Room Blues »

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« Spinning Room Blues« 

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Next from a more recent era (circa 1953), EDDIE SHULER and his Reveliers on one of the very first TNT issues (# 103). Eddie Shuler does the leading of his group (Norris Savoie on vocal and Hector Stutes on fiddle) for a nice rendition of the classic « Grande Mamou ». He had already recorded as soon as 1946 for his own Goldband label (with his version of the evergreen « Jolie Blonde », Goldband 1012), and issued important recordings (Cajun, Hillbilly, Rockabilly and later swamp-Pop) and stuff later.

« Grande Mamou« 

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Then we jump to 1956 Rockabilly from Memphis, TN, with BILL BOWEN with the Rockets on the Meteor label. Bowen was born in 1923, and had country music shows as early as 1944 from Tennessee, to Indiana and Illinois. In 1954 he and his band were involved with Ray Harris at a radio station outside Memphis, said Harris. Bowen turned out Rockabilly in 1955-56, and Sam Phillips would demo’ him with a raw snippet of « Two timin’ baby ». He also recorded for Chess but nothing happened. It was Lester Bihari who signed him for two years at Meteor, hence the two-sided « Don’t shoot me baby » (I’m not ready to die)/ Have myself a ball » (Meteor 5033, June 1956). The lead player is Terry Thompson, a 15-years old Mississipi wonder, who had already played that role for Junior Thompson on Meteor 5029 (« Mama’s little baby/Raw deal »).

« Two-timin’ baby« (possibly not Bill Bowen)

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« Don’t shoot me baby« 

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« Have Myself A Ball« 

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Sources : AMM 136 for Bill Bowen info (with permission) ; « Early Cajun Music », the website of Wade Falcon for Leo Soileau information ; « Cajun Records 1946-1989 – a discography » by Nick Leigh for Eddie Shuler information ; 78rpm-worlds for various scans, also the invaluable Ronald Keppner (Leo Soileau, Dixon Brothers).

Late November 2017 bopping fortnight’s favorites (late ’40s to mid-’60s)

MERLE KILGORE is not a newcomer. He met in the ’60s and ’70s a lot of success as a songwriter in Nashville : wrote « Ring of Fire » for Johnny Cash, and « Wolverton mountain » for Claude King. But I am more interested with his beginnings for Imperial records, seemingly all cut at KWKH in Shreveport, La. Here’s « Everybody needs a lttle lovin’ » that Merle released on # 8300. A Rockabilly guitar

 

Tillman Franks on double bass with Johnny Horton

 

(fine solo), propelled by a thudding bass (Tillman Franks?) over an urgent vocal. Later Wyatt Merle Kilgore (his actual name, being born in Chickasaw, OK. In 1934) turned frankly towards Rock’n’roll with tunes like « Please please please », cut in New Orleans in Jan. 1956 with an-all Black group, that of Dave Bartholomew, and « Ernie » . So eclectic was the man ! He was also a board member of the Hank Williams Montgomery museum, being very close to Hank’s family. He was back to his Country roots in 1959 with Country rockers on the « D » label (‘Take a trip to the moon »). Died of a lung cancer in 2005.

« Everybody needs a little lovin’ »

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I didn’t find anything on the next artist : TROY JORDAN & His Cross-B-Boys, except to location of the label: Midland, Texas. So can only comment both sides of his disc issued on Tred-Way 100. The A-side is a good uptempo, « Who Flung that mater », with a too-discrete steel-guitar and well-sung, although nothing rxceptional. B-side is really fine bluesy a tune: guitar, steel, a piano solo, lazy vocal for « Don’t cry on my shoulder ». Jordan was a distant cousin of the Carter Sisters, so it may be they are the right way for a research on him.

« Who flung that mater »

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« Don’t cry on my shoulder »

download= » »>« Texas Millionaire » (Decca 30332, issued 1957) by TABBY WEST is a fast Hillbilly bopper cut in Nashville on January 8, 1956. The voice fits perfectly with the backing instruments, which take the better part of the song : all in all, their solos are beginning at 0’41 et ending at 1’20..West was born in Kingston Springs, TN. and found her way easily to Nashville for a first recording contract in 1954 on Coral Records. There she was paired with Texas Bill Strength (on Coral reords), and backed by the cream of Nashville musicians. I’d like very much to hear « Hillbilly Blues » (Decca 29822) which sounds very promising..

« Texas Millionaire« 

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There may be more than a handful of « Atomic » labels after WWII. This one emanates from Hollywood, Ca. MEL GRIGGS & His Sons of the Saddle released « Goin’ back to Texas » (# 240) seemingly in the late ’40s – the style is easily reconizable, that of a « Cityzed » Hillbilly, with Western Swing overtones. I don’t know anything on this ensemble, and found it a gentle uptempo ; vocal is firm, and reinforced by the group in unison during the breaks. Griggs persevered with « Watchin’ the clouds roll by » (# 241).

« Goin’ back to Texas« 

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HILLBILLY HERMAN, & his Tennessee Valley Boys, despite his name, is a Blugrass artist in 1966, who offers « Today I watched my dreams come true » (Breeze 366, located in Livingston, TN), a solid uptempo, with great backing in the background The main instrument is a very nice mandolin ; alas the guitar solo is very insipid. The Breeze label had issued a very rocking version of « Wreck of the old 97 » (# 381) by Jim Sebastian. A record to watch for. In the meantime, do YouTube searching! Herman had an elusive issue on Hatfield (no #)[untraced]

« Today I watched my dream come true« 

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Maybe « Hayride boogie » rings a bell for you ? You may remember I had posted the Webb Pierce Story (1949-1950) during the past years ; For contractual reasons (Pierce was still under sontract with 4*), his product was issued under various names, whose this one : TILLMAN FRANKS. Bass player, entrepreneur, band leader, he played a pivotal role in the emergence of the rising « Louisiana Hayride » during the early ’50s. On Pacemaker 1011b, this is a boogie pattern with great guitar by Buddy Attaway [see with the « Artists » search button above for his story]. Indeed there was no place for Tex Grimsley (fiddle) neither Shot Jackson (steel). Pierce re-recorded the song as « Teenage boogie » in 1957, and Franks continued to slap his bass and entertain until the ’80s.

« Hayride boogie« 

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Next artist in discussion will be WHITEY KNIGHT from California, or better say, recording for a Californian label, that of Nielsen. « From an angel to a devil » (# 57/1-2) has steel well to the fore, a relaxed hillbilly bop rhythm : a natural feeling. Not a great disc, but a good one ! Knight had also a rich recording career, appearing on Dot, Sage and Dart.

« From an angel to a devil »

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FRED NETHERTON gives us a fabulous rocker with his version of Carl Perkins’ « Matchbox » : great swooping and hammering piano, a very fine guitar solo, a terrific vocal on Rural lRhythm 540B. A must have ! « Matchbox« 

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Sources : as usual, Internet (45cat, or Youtube) and my own archives. Decca and Imperial data do come from Michel Ruppli’s books. Pictures of Tillman Franks come drom Now Dig This (a 1995 issue).

Early November 2017 bopping and wailing fortnight’s favorites

Howdy, folks. After being one long month away [for a thermal cure – everyone has to coddle himself, no?], finally I got back home. And I hope you are waiting for this early November bopping (and Rocking) fortnight’s favorites selection. Let’s not deceive any of you.

 

Up in Michigan, CAL DAVIS & his Tennessee Kings on the full of good music label Fortune (# 185) gives us a lovely uptempo (nimble lead guitar which has 2 soli ; good steel which has its solo too) « Partnership love affair » from 1956. I’d like to hear more by him..

« Partnership love affair« 

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« Don’t go back again » is the next song, and a shuffler from 1959 by GEORGE KENT, cut in Dallas, TX.  issued on Maverick 1001. The duet vocals are a bit poppish at times, but are backed by two solos of steel and fiddle + loud drums. Flipside « Move on » is a fine uptempo too (hear it on YouTube). Kent went later to do mainstream country on Mercury in the ’70’s.

« Don’t go back again »

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Really early (1948) let’s take care of JACK HOLDEN & the Georgia Boys on the famous Red Barn (associated to White Church for the sacred sides) label from Kansas City, which had also in its roster Jimmie Skinner (his first sides), Byron Parker and the Blackwood Bros. Holden made a serie of records containing all « Mama ». Here we hear to « Mama quit teasin’ me » (# 1151) and « Mama I’m sick » (# 1152). Fine shufflers, containing choruses in unison. The fiddle well to the fore is played by Wayne Midkiff. After that Holden also cut 6 discs for RCA (1951-52) then disappeared completely. During those years (1948-52) Holden had radio shows on WEAS (Decatur, Georgia), WATL (Atlanta, Georgia too); he was also associated to the Renfro Valley Barn Dance (in Kentucky or Ohio), and was heard on two Kansas radio stations: WIBW (Kansas Roundup) and WIBW (Topeka).

« Mama quit teasin’ me« 

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« Mama I’m sick« 

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A woman now, Mz. KITTY KAYE & the Cats from Cleveland, OH. on the Hawk label (# 72053) from 1953. « Fishtruck boogie » is a R&B belter with handclaps and a solid brass section, aided by a good piano.

« Fishtruck boogie »

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Back to bopping music with a Roswell, New Mexico Mystic label (# 5828) : RICKY McKINNEY do offer a sort of happy bluesy uptempo with « Washday blues », which reminds me other domestic affairs like « Super market day » by Jimmy Key (Hi Lite). Anyway McKinney may have some sort of connexion with Norman Petty, as his record is registered by Nor-Va-Jak music.

« Washday blues »

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The next two tracks were cut in 1962 and RCA custom recordings. Until that, nothing is really interesting. But wait a bit: both sides are hillbilly gospel. And another teasing detail: side A has a Columbus, OH. location, while side B is out of Delberton, W. Va. It’s the kind of details which bring more appeal to a record, moreover very nice sacred harmony vocals (spare instrumentation, only guitar). Oh yes, the artist is called LLOYD FARLEY & His Revelators, on The Revelators label, no #. « How long » is the faster of both, although the mid-paced tempo « The Lord will make a way » is equally good.

« How long »

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« The Lord will make a way« 

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From Texas (Houston area, I guess) comes PAUL WILSON who performs «The blues you gave me » on Picture 1001. This record is typical, although having been issued in ’59, of ’60s Nashville Country : good vocal (but nothing exceptional), steel as the driving force of the track, then drums and piano. Wilson had another later on the Country Town label (# 105) and «Hippie invasion ».

« The blues you gave me »

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« They turned the lights out down at Joe’s« 

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Final cut by HOUSTON [Bob] MILLS: the moving ballad « They turned the lights out down at Joe’s » from 1966 on the Tom Big Bee label # 101 (I remember this label is from Pontotoc, North of Mississipi.). It released also Robert Mills (obviously the same artist) on # 101 (reverse by Deborah Aycock – wonder if she is related to Earl, whose ground was rather Houston area, if one excepts his Dixie recordings – cut in Gallatin, TN.?). Another interesting figure on Tom Big Bee (# 102) was the Sun wild man Jimmy Wages (& Tune Masters), who does anyway very average Country music here (# Tom Big Bee 102). Lastly James Mask (Tom Big Bee 111) does a good version of Rocky Bill Ford « Beer drinking blues« .

That’s it, folks. As usual, comments, additions, corrections are welcome. Bopping.org is en route for a re-organization within the very next months : it would give more fun for you visitors to run through the 300++ articles. More on that in a near future.

Sources : Hillbilly Researcher (Red Barn and Jack Holden) + Praguefrank huge discography ; many YouTube shots, too numerous to recommend any of the generous uploaders. 45Cat was very useful. Then, many, many researches, mostly out of my own archives, to build something of interest around each artist mentioned. I hope you like the feature. In the meantime, bye-bye..

Early October 2017 various bopping fortnight’s favorites – 10 selections this time!

Howdy, folks ! All you lovers of good ole’ bopping beat and hillbilly enthusiasts, here we go with another batch of goodies for this early October 2017 fortnight’s favorites’ selection.

First a strange record , I even don’t know its location neither its date of issue : late ’50s ? early ’60s ? Can anybody shed some light on this mystery ? THE NELSON FAMILY on the Olis label (# 080). A spare instrumentation, very light (electric guitar, rhythm guitar, bass and discreet drums) for the great dramatic atmospheric «You Hurt me (and say I’m sorry)». Great harmony vocals (tenor + baritone). I just found « Hillbilly Christmas » by a certain Norma Lynn [unheard] on Olis B20, and even don’t know if this is the same label.

« You hurt me (and say you’re sorry) »

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From Flint, Michigan, on the Lucky 11 label, three tracks by CHUCK SLAUGHTER. First a minor classic from 1967 : a crisp Country rocker with « Get the best of livin’ » (# 002) – « I’m gonna get the best of livin’, before livin’ get the best of me »..Fine steel. The flipside « Woman, a pretty woman » is a decent honky-tonker, a bit spoiled by some obstrusive female chorus ; good steel anyway. Third tune is a fast rocker, « Lucky 11 Rock » (no #) : this time the vocal chorus do fit it well. A biting guitar solo. Slaughter had a further issue on Desire 113, as a J. Cash sound-a-like, « Burning in my soul » can be heard on YouTube.

« Get the best of livin' »

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« Woman, a pretty woman« 

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« Lucky 11 Rock« 

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Next artist do come from Colorado Springs, Colorado. GENE LEWIS and his Dude Rancher’s [sic] has two good bopping sides on the Barne’s label.              « Mother Goose boogie » (# 103) is a very nice hillbilly boogie , stylistically from ca. 1953-54, while its flipside « Purple Heart of Gold » (# 104) is a slowie, full of emotion. And despite the common name, one can wonder if this is the same cat who cut in 1958 on the California label R-Dell (# 103) the great Rockabilly/Rocker « Crazy legs » [fabulous Roy Lanham solo on the electric guitar] (backed with « S’posin’ you were mine »). The question is open to anybody’s guess..but most probably no. « Mother Goose boogie« 

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« Purple Heart of Gold« 

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« Crazy Legs« 

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The seventh track of the selection is done by the well-known BILL MACK, artist and D.J. from Texas. His                      « Long, long Train » is done in his usual style ( Starday 418), with few steel and a good fiddle.

« Long, long train« 

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« La Nos’ a’ Rosalia » (Rosalitas’s Wedding) by the Cajun MARION MARCOTTE is a fine jumping hillbilly bopping side from 1953 released on Carnival 4300. Wade Falcon tells the complete story of this song, and even has French text and its translation in his great « Early Cajun Music » blogspot,
and I can’t do better than refer to the page : http://earlycajunmusic.blogspot.com/2016/01/la-nos-rosalia-marion-marcotte.html. The flipside is equally good : « Je ne viendrai pas jamais a toi » (« I’m never coming back » is a great sad shuffler. Marcotte was active later, i.e. on Arcadia, another small label (« La Vie de Campagne »), and Jin until 1967.

« La nos a’ Rosalia« 

« La Nos a’ Rosalia »(Rosalita’s Wedding)

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« Je ne viendrai pas jamais a toi« (I’m Never Coming Back)

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Last track was issued in Paris, Texas [the place was the subject of a Wim Wenders’ film a couple of decades ago] , located between Dallas and Arkansas border, on the Royalty label. CHUCK TUCKER and his Texas Caravan do offer « Hog Sloppin’ Time in the Hollow » (# 607), an uptempo shuffler from the early ’50s. Fine steel, call-and-response format. The label had also among his artists Chester Odom and Hank Locklin, and was relatively prolific.

« Hog Sloppin’ Time in the Hollow »

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And that’s it, folks. Next rendez-vous early in November.

Sources : Hillbilly Researcher (Chuck Tucker and Gene Lewis) ; 78-world ; YouTube ; « Early Cajun Music » (Marion Marcotte) ; my own archives.

La Nos A’ Rosalia » – Marion Marcotte

Late September 2017 bopping and moving fortnight’s favorites (1950-1965)

 

Howdy, friends ! This is the last selection of fortnight’s favorites for September 2017. I didn’t post a fortnight selection early this month, I was away from my Macintosch and could not but release the story of Freddie Frank, a Texan Hillbilly bopper – I hope you visiting friends and followers have just noticed the article…and liked it! I will be out once more during October, and don’t know how I will manage the blog. In the meantime here I am and well, and ready for this late September 2017 selection, which will last from the early ’50s until 1965.

Here we go with the earliest track, « Why not » on the B&C label # 500 by PAPA CAIRO (misspellt Cario on the label). Indeed he was a Louisianian. Real name Julius Lamperez. He was a steel guitar player and band leader during the early fifties (records on Feature and Colonial among others) and was long associated with the Cajun Chuck Guillory (« Grand Texas » on Modern 612). Here he delivers a decent uptempo ballad, a bit crooning, piano-led with fiddle and steel solo.

« Why not« 

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« Be my Baby »

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« Great Big Moon« 

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From Marshall, Missouri on the Jan label (# 6-58) two tracks by F. D. JOHNSON with the Missouri Valley Boys. First « Be my baby » is a well-tempered (as you would say for Bach’s harpsichord – rock on, J.-S. !) rockabilly with vocal hiccups and a nice guitar solo. The flipsde is « Great big moon », and a good hillbilly weeper : vocal, fiddle solo. One little record to watch, and one wonders if he did something else.

« Mop Bop Boogie »

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« Ramblin’ Blues »

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On the Black side (or the man is White??? vocally he sounds at last) with WILBUR STEINBERG on the Memphis, TN, Hut label (# 4401) for a fast side, « Mop bop boogie », a mover with sax and screams, then a bluesy uptempo « Ramblin’ blues », which goes for the same comment. Two good sides !

Then on to Del Rio, Texas on the Hacienda label. Here he comes, SKEET WILLIAMS for a pleasant ballad (with chrorus and steel), « Lonesome rain » (# 0001). He’s backed by Bob Haltern’s Swing Kings, moreover a band unknown to me. The side was released in 1965 and coupled with « Mary, Mary, Mary Jane », a fast Rockabilly belter with chorus and loud drums. Thanks bebopcapitol !The record had apparently an early release on Royal Scot 102.

« Lonesome rain« 

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« Mary, Mary, Mary Jane« 

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We are reaching the end with VON STEPHENS on the Karl label (London, OH) and « Huckleberry junction » : a decent Hillbilly bopper, steel is present, a short guitar solo. Clay Eager production : someday, I will search on the very interesting Clay Eager.

« Huckleberry Junction »

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That’s all folks. Thanks for your comments, corrections or additions. Sources: as diverse as usual.

mid-summer 2017 (end of August) bopping fortnight’s favorites (1955-1961)

Howdy folks ! This is the mid-summer fortnight’s selection. All the tunes were recorded between 1956 and 1961. With the last one we begin : 1961, in London, OH on the Karl label (property of Clay Eager) # 3022. LACY KIRK does a very fine job on « This is saturday night », fast tempo, nice steel and fiddle. Value $ 100-200. The flipside « What happened to our love » is a great sincere ballad.

« This is saturday night« 

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« What happened to our love« 

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Next from Chicago: BILLY PRAGER & his Caravans and a wild double-sider from December 1958 on the (R&B) Crystal label (# 106) . The steel guitar is particularly effective and does very strange sounds for « Do it bop », while « Everybody’s rockin’ » is a bit more conventional Rockabilly/rocker. $ 300-400. This Crystal label has nothing to do with the Memphis one of the same name : serie 500 (Jimmy Knight and « Hula bop » or Jimmy Pritchett « That’s the way I feel » – with great swooping piano by some player who sounds very, very much like Jerry Lee Lewis !/Nothing on my mind  »).

« Do it bop« 

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« Everybody’s rockin’« 

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ONIE WHEELER was a Great. Born in 1927 in Senath, MO. he pursued his career during nearly 50 years, just ending it on the stage of the Friday Night Opry one day of 1984. Here are two sides aimed by collectors, and for good reasons : they are among his best tunes of the ’50s, cut in Dallas in June 1956 for Columbia : « Onie’s bop » and « I wanna hold my baby » (Columbia 21523) are good examples of the commercial Rockabilly a massive major had to offer, the B-side being in my mind the better one.

« Onie’s bop »

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« I wanna hold my baby« 

Onie & band at KWOC radio- Poplar Bluffs, MO.

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From Pittsburgh, PA. NELSON RAY came in 1957 with the loud (drums) Rockin’ Bopper « Walkin’ shoes » on the Rebel label (# 104). A good copy turns up at $ 300 or 400.

Nelson Ray « Walkin’ shoes »

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« I won’t always love you »

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CLYDE BEAVERS next, on the Georgia (Starday custom) label # 532 from Tennga, Ga. « I won’t always love you » is a bluesy tune over a drivin’ medium rhythm, in all cases a primitive bopper from 1955. Later Beavers specialized himself (’60s) in drinking or smoking songs, like Lattie Moore‘s « Here I am drunk again » or Webb Pierce‘s « Cigarettes and whiskey (and wild, wild women) ».

« Sal’s house » was declined back-to-back of another Dixie (# 121) by CARSON WILLIS from Greer, South Carolina. This « Sal’s house # 1» seems to be a real mess ! Date : 1959. »

Sal’s house, #1 »

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