Biff (Hiram Abiff) Collie, pioneer country (DJ), show promoter and trade paper reporter, was born on November 25, 1926 in Little Rock, Arkansas, but raised in San Antonio, Texas. He graduated from Thomas Edison High School (San Antonio, Texas) in 1944. Biff’s professional career spanned forty years working such major markets as Houston and San Antonio, Texas and Los Angeles and Long Beach California.
Biff Collie began his radio career at KMAC radio in San Antonio as a teenager. After brief stints at Browning and Alice, Texas, he moved on to KNUZ radio in Houston and later to KPRC. Biff started with KNUZ (1948) working as sports reporter, before moving into a disc jockey role. During that time, Glad Music Company had a record store on 11th Street. KNUZ had regular remote broadcasts from their store. Popular recording artists were frequent visitors to the shop. Hank Williams was one of the many artists to stop by. Biff was conducting a remote broadcast from Glad Music in 1948 when Hank Williams visited the store.
Biff was the first country disc jockey (see note below) in Houston, which remains one of the premiere markets for country music radio. While in Houston, he also promoted and booked shows, becoming one of the first to ever book Hank Williams, Sr. and Tennessee Ernie Ford. In 1957, he became manager and emcee for the Philip Morris Country Music Show, which was broadcast nationally on Mutual Broadcasting Radio and CBS Radio. Later he worked mornings on KPRC and hosted a certain up and coming singer from Memphis by the name of Presley at the Grand Prize Jamboree.
In 1960, Collie moved to Los Angeles where he remained for the decade, gaining huge popularity over KFOX Radio. He was consistently in the top ten radio personalities in Billboard and Music Reporter magazines and was also named « Best Radio Personality » by the Academy of Country Music, an organization which he served on the Board of Directors and produced the annual awards show in 1967. He moved to Nashville in 1969 and produced the first syndicated radio show, « Inside Nashville, » which ran on stations across the country for many years. He also was a morning man (Collie’s Coffee Club) on KLEE radio in Ottumwa, Iowa.
Collie made an attempt at recording, first on Macy’s records in Houston and later for Specialty. His only charted hit was as Billy Bob Bowman in 1972 on United Artists. Collie married the former wife of country legend Floyd Tillman in 1953. Biff later married Shirley Simpson, who as Shirley Collie recorded several duets with Willie Nelson. It was Biff who introduced Shirley to the up-and-coming singer/songwriter and Shirley eventually divorced Collie to marry Nelson.
Before his death, Biff earned the Ernest Tubb Humanitarian Award for his contributions. Biff is a member of the Country Music DJ Hall of Fame (1978). Collie died on February 19, 1992 in Brentwood, Tennessee.
Radio stations where Biff worked: KMAC (San Antonio, Texas, 1944-45), KWD (Browning, Texas, 1945-46), KBWI (Alice, Texas, 1946-47), KNUZ (Houston, Texas, 1948-55), KPRC (Houston, Texas, circa 1955-57), KLAC (Los Angeles, 1959), KFOX (1960-69, Long Beach, CA), KLEE (Ottumwa, Iowa, circa?), KSIX (Corpus Christie, Texas, circa 1958)
Note: Some articles claim that Texas Bill Strength (8/28/1928 — 10/1/1973) was the first country DJ in Houston, but that may not be the case. Texas Bill Strength was a sixteen year old teen in 1944 when he won an amateur contest at the Joy Theatre in Houston. A representative from KTHT radio happened to be present and decided to give Bill his first radio job as a fledgling western singer. In remembering that episode, Bill was quoted, « My Mother thought for sure I was dying and I can’t say what the old man said. » Texas Bill Strength had a modestly successful singing and recording career. He recorded for 4Star, Capitol and Coral records.
About KFOX-AM 1280: KFOX was called The Country King. It was the original country music heavy weight in Southern California. It broadcast from the International Tower in Long Beach. During the 1960s, the country music hosts consisted of Dick Haynes, Biff Collie, Charlie Williams and Clifford « Cliffie » Stone. (RJB: Country Music Historian, 9/2010).
About the recordings of Biff Collie (bopping’s editor)
The earliest were made for Macy’s in Houston, first with Collie as vocalist fronting Smitty Smith orchestra for « Broken memories » (# 109, November 1949). As you could expect from such a title, it’s a slowie, well sung, but nothing else. Superior lazy backing.
« Broken memories«
On Macy’s 126, the record is credited to Biff Collie, either a sign of greater popularity as a D.J, either of his exposure on stage. Both sides, the macho « I want a gal (that cook for me) » and the uptempo « I’ve said it before » are somewhat ruined by an organ, and partly saved by a nice steel guitar.
« I want a gal« http://www.bopping.org/wp-content/uploads/2015/11/macys-126-Biff-Collie-I-Want-A-Gal-To-Cook-For-Me.mp3download
« I’ve said it before« http://www.bopping.org/wp-content/uploads/2015/11/macys-126-Biff-Collie-Ive-Said-It-Before-Ill-Say-It-Again.mp3download
November 1950 : Collie was then signed by Columbia and cut two sides with Little Marge (rn. Margarete Hartis). Let’s forget a boring weepie « Why are you blue » ; the best side is the upempo (backed by the Range Hands) « I don’t care who knows » : pretty hard piano boogie solo, and nice steel (Columbia 20776). Margarete Hartis was born 1921 in Goose creek, TX, and was D.J. in Houston, also talent scout for Hill & Range publishing company. Common friend Floyd Tillman got them in touch, and soon they were married, but the duet was shortly over. Hartis died in 2001.
« I don’t care who knows« http://www.bopping.org/wp-content/uploads/2015/11/20776-Biff-Collie-I-Dont-Care-Who-Knows1.mp3download
Next record by Biff Collie was on the short-lived Specialty Country serie. He’s here nicknamed « Bellerin’ bowlegged boy ». I didn’t put until now my hand [see note below] on « Everybody wants me but you »(Specialty 709). « Don’t talk about love (the way you do)» on the other side is a fast ditty, with a wild piano well to the fore, added by a typical (for the era) fiddle and a steel. Collie is in good vocal form.
« Don’t talk about love« http://www.bopping.org/wp-content/uploads/2015/11/specialty-709-Biff-Collie-Dont-Talk-About-Love-1952.mp3download
« Everybody wants me but you« http://www.bopping.org/wp-content/uploads/2015/11/Everybody-Wants-Me-But-You.mp3download
(Note) « Everybody wants me but you » is a good shuffler. Thanks to Steve Hathaway.
Then he was signed to Starday and cut 4 singles for them between January 1955 and July 1956. Several tunes remained unissued. The first issue « What this old worlds needs » (# 178) has the typical Starday sound and combination of fiddle, guitar and steel over an assured vocal. Nobody can say if Collie, as a D.J., was not pushing a little more his own record ! I don’t ever heard the flipside « Lonely ». In any case, he returned to the Gold Star studio in Houston for « Goodbye, farewell, so long », a nice piano led uptempo (# 203); Its flip « Look on the good side » is fast, same vein.
« What this old world needs« http://www.bopping.org/wp-content/uploads/2015/11/starday-178B-Biff-Collie-What-This-Old-World-Needs.mp3download
« Goodbye, farewell, so long« http://www.bopping.org/wp-content/uploads/2015/11/starday-203A-Biff-Collie-Goodbye-Farewell-So-Long.mp3download
« Look on the good side« http://www.bopping.org/wp-content/uploads/2015/11/starday-203B-Biff-Collie-Look-On-The-Good-Side.mp3download
As a proof of his success, he was called again in January 1956 for 4 sides (2 remain unissued).. « Doodle-doo » ( 230) is a novelty, happy side, while « Empty kisses » is a forgettable weeper.
Last session for Starday in July 1956,and it’s a completely different style : »Joy joy joy » (# 251) is an out-and-out rocker, with sax (Link Davis?), in the manner of Glen Barber. The flipside is untraced (« All of a sudden ») nor of course the unissued « Baby let’s mix », which looks promising. There is a lot of music stilll to unearth from the Starday vaults.
« Doodle- doo« http://www.bopping.org/wp-content/uploads/2015/11/starday-230B-Biff-Collie-Doodle-Doo.mp3download
« Joy, joy, joy« http://www.bopping.org/wp-content/uploads/2015/11/starday-251-biff-collie-joy-joy-joy.mp3download
One must wait 1972 for the next record of Biff Collie, cut in Nashville under the name of « Billy Bob Bowman ». « Miss Pauline » (U.A. 50597) is plain main Country music, with steel and chorus. Not disagreable music, but nothing exceptional. Another label in 1974 : Collie cut for Capitol 6 sides, 4 remain unissued, and the 45 is untraced.
« Miss Pauline« http://www.bopping.org/wp-content/uploads/2015/11/U.A.-50597-Billy-Bob-Bowman-Biff-Collie-Miss-Pauline.mp3download
Sources : biographical details from HillbillyBoogie1 Youtube chain (my sincere thanks to him, whoever he may be), with additions. Scans from 45rpmcat and 78rpmworlds. Music from Hillbilly Researcher serie (Macy’s) or Cactus (Specialty). « Starday » (scans and music) is easily found on the Net. Discography [partly inaccurate] from Praguefrank site.
[I really don’t know where I picked this biography from (a great lack of tidiness on my part in my archives), but it’s so complete and living that I decided to publish it without changing an iota. If any way the pages below are copyrighted and/or authored, I’ll gladly credit it to the right person. My thanks to him/her. Now let’s go.]
« A few years ago an old friend gave me a wonderful gift. I was visiting him at home when, without warning, he suddenly produced a Swan 4 slice toaster box saying, « This is for you. » I insisted I didn’t need a toaster whereupon he laughingly invited me to look inside. I nervously opened the box and my eyes almost popped out of my head (actually they popped out, bounced off all four walls and popped back in again). The box was crammed full of 7 inch singles, all country, all 50s to 70s, rescued from American jukeboxes and included records by George Jones, Patsy Cline, Loretta Lynn, Ernest Tubb, Willie, Dolly, Tammy and a whole lot more.
The amazing thing was that it also contained records by artists whose names I knew but had never heard before and it was a treat to hear them at last. One record, however, intrigued me most. It contained absolutely fantastic versions of two Willie Nelson songs « I Gotta Get Drunk » and « Who’ll Buy My Memories » performed by a guy called Joe Carson. I tried books, magazines, the internet, friends, everything I could think of in an effort to find out more about him but drew a blank every single time, despite the fact that the record was on Liberty, a major label. Who was this guy? Surely with a voice like his he made more than one record? How come no one knew who he was? I didn’t even know which part of the USA he was from, or even if he WAS American. I finally admitted defeat and contented myself with the one record I had. All corrections/additions in [...]
[I already knew Joe Carson for years, via several Mercury and Capitol songs taped on the fabulous Tom Sims cassettes, and wanted other stuff from him. I bought in 1982 the French reissue of his solitary Liberty album, but was a bit disappointed: it sounded more Country than hillbilly, nevertheless well done 1960's Honky tonk. Anyway I couldn't last finding everything Carson had recorded before. Then I found the D single from 1959: wonderful Hillbilly uptempo ballads. All in all, he had published 11 singles only during his short career.] Read the rest of this entry »
Tennessean Eddie Hill (James Edward Hill) was born on July 21, 1921, in either McMinn County or Polk County. Being from a family with a rich musical tradition, Eddie already started singing and playing the guitar at very young age and he formed his first band while still in his teens. His first experience with radio work came while living in Knoxville, Tennessee, where his family had moved because of Eddie’s father’s work. Eddie first started working for local radio station WROL but in the early 1940s, he and his band moved to WNOX to work at the “Mid-Day-Merry-Go-Round” show, as “Smilin’ Eddie Hill and the Mountain Boys”. Some time later, Eddie moved to Cincinnati, Ohio where he joined WKRC, but in 1943 Johnny Wright convinced him to return to Knoxville to join the Tennessee Hillbillies, a group build around Johnny & Jack and Kitty Wells. In 1945, Eddie quit the Tennessee Hillbillies to try his luck in Hollywood’s movie business, but he soon moved back to Knoxville to return to WNOX, together with his Mountain Boys that now consisted of Leonard Dabney (guitar), Johnny Gallagher (bass), Billy Bowman (electric guitar) and Bob Sumner (fiddle). It was around this time that Eddie got married to his wife Jacqueline Adkins. Read the rest of this entry »
The Van Winkle Brothers (Arnold and Lee) were musically prolific from 1956 to 1962 . Nobody seems to have any informaion on their childhood, although U.S. 1940 Census gives for Arnold a birthdate in 1935 ; but the birthplace is in Tennessee, when they made their careers as far as Indianapolis.
Read the rest of this entry »
Eddie Zack (Edward Zackarian, from Armenian ancestry) was born on March 5, 1922 in Providence, Rhode Island. His first introduction to country music was in high school and at age 17, he organized his first hillbilly band, consisting of a banjo player, a washtub- and washboard player, and various spoon- and harmonica players. Among the band’s members was Eddie’s younger brother Richard (also known as “Richie”, “Cousin Richie” and, later, “Dick Richards”) who was born on January 16, 1925. When both brothers joined the marines during the War, their band came to an early end.
Rambling Rufus Shoffner earned his nickname from his early hobo days when he hopped a train at the age of 16 from his home in Tazewell (or Harrogate?), TN where he was born in 1916 to go wandering: he led a band called the Blue Yodel Boys in 1939 on WROL Knoxville, Tennessee. His neighbor in Tennessee was Hugh Friar, who had later in the Detroit label Clix two fine and very sought after Rockabilly/Country issues (« I can’t stay mad at you », # 805 for example) . But Shoffner’s constant urge to travel resulted in his roaming across much of the country, hustling in one moneymaking scheme after another, before finally settling down in Monroe, Michigan, reuniting with his siblings in 1950. Read the rest of this entry »
With a mellifluous, deep voice often compared to western singer Rex Allen, Ricky Riddle was an Arkansas-born, Detroit-bred vocalist who gravitated to the western side of country music. His surname was apt, as he was a restless character, always on the go and never satisfied with life in one place for very long. Born Arvin Doyle Riddle on Aug. 22, 1920, in Rector, Ark., his parents moved him, two brothers and one sister to Hamtramck, Mich., around 1933. The Riddle family eventually settled in a house on McClellan Street in Detroit.
During World War II, Riddle enlisted with the Navy in Chicago, Ill. He served aboard the U.S.S. Adair in the Pacific Theatre. After an honourable discharge in 1946, He returned to Detroit and found a booming country music nightclub scene waiting for him; a result of thousands of new migrants from the South who moved north to build Detroit’s “Arsenal of Democracy.” Riddle pursued the life of a singing cowboy in earnest, writing songs and performing in nightclubs and showcases, sitting in with other entertainers and headlining his own shows.
In 1949, Drake’s Record Shop, located on East Jefferson Avenue, sponsored appearances by Hank Williams, Cowboy Copas and others at the convention center on Woodward Avenue. When Riddle’s friend, singer Eddie Jackson, was hired to open for Williams, Riddle shared the stage with him. Riddle was probably living in Nashville, Tennessee, by then.
Jackson visited Riddle in Nashville during ’49, and Riddle took him to witness his new buddy Clyde Julian “Red” Foley record what became a major hit for Decca Records, “Chattanoogie Shoe Shine Boy.” Compared to the size to which it grew a decade later, the country music business in Nashville was small, thriving through the projects of independent record labels, music publishers and promoters who tapped local artists working at Nashville clubs and radio stations; particularly members of the “Grand Ole Opry” barn dance at clear-channel WSM. In January 1950, Riddle’s first commercial recording appeared as the premier issue of the Tennessee label, a record company created by three Nashville businessmen, including a jukebox serviceman. Riddle’s “Second Hand Heart” on Tennessee no. 711 (numbered for luck, no doubt) was a good seller, and a hit in Detroit. Riddle cut several more releases for Tennessee over the next two years:
Second hand heart http://www.bopping.org/wp-content/uploads/2015/05/tennessee-711A-Ricky-Riddle-second-hand-heart.mp3download
“Second Hand Heart” and the song on the record’s flip side, “Somebody’s Stealin’ My Baby’s Sugar,” were both covered by several artists, including Houston’s Benny Leaders (4-Star), Bill Johnson and the Casanova Boys (London) and, more than a decade later, Everett “Swanee” Caldwell remade “Second Hand Heart” for King.
« Somebody’s stealin’ my baby’s sugar » http://www.bopping.org/wp-content/uploads/2015/05/tennesse-711B-Ricky-Riddle-somebodys-stealing-my-babys-sugar.mp3download
By 1950, Riddle was operating a nightclub in Nashville. He befriended Arizona singer Marty Robbins, whose first appearance at the “Grand Ole Opry” occurred in early 1951. Probably in 1950, Riddle bought author rights to Robbins’ song “Ain’t You Ashamed,” (# 715) which became Riddle’s second release on Tennessee, # 713. (Detroit musician and Capitol Records distributor Bob McDonald purchased a share in the song from Riddle.) Cowboy singer Bob Atcher covered the song for Capitol. The flipside of “Are you ashamed” was a good honky-tonk, a version (later by Skeets McDonald) of “Smoke comes out my chimney just the same”.
Ain’t you ashamed http://www.bopping.org/wp-content/uploads/2015/05/tennessee-713A-Ricky-Riddle-aint-you-ashamed.mp3download
« Smoke comes out my chimney just the same« http://www.bopping.org/wp-content/uploads/2015/05/tennessee-713B-Ricky-Riddle-smoke-comes-out-my-chimney-just-the-same.mp3download
Riddle recorded Robbins’ “Heartsick” for another Tennessee release. He attempted to present Robbins with a recording contract, but the company’s artists and repertoire man passed on the deal. Robbins went on to launch a storied career with Columbia Records in May 1951.
Among other releases on Tennessee, Riddle sang a duet with Anita Kerr, leader of the Anita Kerr Singers, on a heart song called “The Price Of Love,” again attributed to Riddle and McDonald. On “Boogie woogie Tennessee”(# 717) (a take-off to “Tennessee saturday night”), Riddle had Ernie Newton, the bassman who wrote much later “Country boy’s dream” for Carl Perkins. He seems far from young on this recording, and the suave assurance of both Riddle and the backing group is almost at odds with the subject matter. Riddle made 8 records for Tennessee, one of them being “Heartsick”, the first Marty Robbins’ song he recorded commercially. After the label’s biggest hit played out in 1951-52
(Del Wood’s “Down Yonder” of 1951), the Tennessee label closed its doors.
Boogie woogie Tennessee http://www.bopping.org/wp-content/uploads/2015/05/riddle-boogie-woogie-tennessee.mp3download
I got other fish to fry http://www.bopping.org/wp-content/uploads/2015/05/tennessee-732A-Ricky-Riddle-I-got-other-fish-to-fry.mp3download
The tall, easygoing Riddle persevered; he worked on the Renfro Valley Barn Dance as Wayne Turner, but was canned for habitual drunkeness. He then cut a single for Decca’s subsidiary Coral Records in 1953, the fine double-sider “What do you do” and “You belong to another” (# 64157). In early 1954, he recorded the bouncy “Steamboat Boogie” for M-G-M Records # 11741, with steel guitarist Don Helms and Chet Atkins on electric guitar. Framing the clever lyrics of the song was the refrain: Steamboat boogie / Rock, rock, rockin’ along. But for the fiddles, the song rocked like Bill “Rock Around The Clock” Haley’s earliest efforts. The flip side, “A Brand New Heart,” was written by Riddle as a follow-up to “Second Hand Heart.”
Remaining Tennessee sides of interest: “Cold icy feet” (# 758) and the fast “I’m so lonesome” (# 801).
« What do you do« http://www.bopping.org/wp-content/uploads/2015/05/coral-64157-Ricky-Riddle-what-do-you-do.mp3download
« You belong to another« http://www.bopping.org/wp-content/uploads/2015/05/coral-64175-Ricky-Riddle-you-belong-to-another.mp3download
« Steamboat boogie« http://www.bopping.org/wp-content/uploads/2015/05/MGM-11741-Steamboat-Boogie-Ricky-Riddle.mp3download
« Cold icy feet« http://www.bopping.org/wp-content/uploads/2015/05/tennessee-758A-Ricky-Riddle-cold-icy-feet.mp3download
« I’m so lonesome« http://www.bopping.org/wp-content/uploads/2015/05/tennessee-801B-Ricky-Riddle-Im-so-lonesome.mp3download
In 1956, Riddle cut two releases for Decca Records. The first featured the trucker’s “Drivin’ Down The Wrong Side Of The Road,” backed with “I’m A Whip Crackin’ Daddy.” The single sounded like it was recorded at Owen Bradley’s Quonset hut in Nashville. Riddle’s second Decca single featured the Anita Kerr Singers for a country-pop production, “The House I Used To Live In,” and a song with religious content (he had cut similar material for the Tennessee label) called “If Jesus Had To Pray (What About Me?)” During the 1950s, while living in Nashville, Riddle performed as a guest at the “Renfro Valley Barn Dance” in Kentucky, and as a guest on the “Grand Ole Opry.”
His parents moved from Michigan to Tempe, Ariz., and Riddle traveled the country, visiting friends and family while singing in nightclubs along the way.
« Driving down the wrong side of the road« http://www.bopping.org/wp-content/uploads/2015/05/decca-29813-Ricky-Riddle-Drivin-Down-The-Wrong-Side-Of-The-Road.mp3download
« I’m a whip crackin’ daddy« http://www.bopping.org/wp-content/uploads/2015/05/decca-29813-Ricky-Riddle-Im-A-Whip-Crackin-Daddy.mp3download
Around 1968 Riddle settled in Arizona for a spell. There he recorded the finest vocal performances of his career for the Rio Grande label, based in Glendale. For starters, he cut a version of the traditional cowboy song, “Streets Of Laredo,” as well as “Reata Pass,” his own western composition. Riddle reprised “Ain’t You Ashamed” and “Second hand heart” besides coming up with some swinging shuffles like “Don’t You Worry” a cheeky ode to overdoing it at the bar, and “(There’s ) Something In Your Future.” and finally “Jo Ann”. The band was top-notch, delivering punchy performances with quality production and arrangements, including a stellar steel guitarist.
« Something in your future« http://www.bopping.org/wp-content/uploads/2015/05/Ricky-Riddle-Something-In-Your-Future.mp3download
« Jo Ann »http://www.bopping.org/wp-content/uploads/2015/05/Ricky-Riddle-Jo-Ann.mp3download
an untraced 45 by Riddle
With a broad, toothy smile, Riddle had a likeable personality and visited Michigan often, to see his siblings and their families, and check up on musician friends he grew up with in Detroit. While in town, he made the rounds of local radio stations and sat with country music disk jockeys for on-air interviews. At some point during the 1970s, Riddle moved back to Michigan and took a job as a security guard in Hamtramck. Late one night, Riddle walked out the door of a Detroit bar and was mugged. When police found him, he stank of liquor and the officers mistook his condition for simply being drunk. They placed the unconscious Riddle in a jail cell for the night. When he didn’t respond to attempts to wake him in the morning, Riddle was admitted to the Veterans Administration hospital. Doctors found that Riddle had suffered a stroke resulting from a blow to his head; he was paralysed on his right side.
Riddle’s brother, E. Marvin Riddle, arranged for him to live at the Clintonview Care Convalescent Home in Clinton Township. Relatives and friends visited regularly. Mentally, Riddle was the same person, but he was unable to sing and play guitar. To cheer him up, a niece often called a local country music station to request Riddle’s records, and they played them late at night when he enjoyed listening to his radio. Riddle passed away on Aug. 8, 1988. His ashes were interned at the top of the hill in St. John’s cemetery in Fraser, Mich.
© Craig “Bones” Maki, 2010
Thanks, as usual, to Ronald ’78rpm’ Keppner for scanning the rare Tennessee/Coral/Decca labels. Rest of the tunes do come from Internet, as: Ricky Riddle discography (Praguefrank)
TOM JAMES is completely unknown except in the Rockabilly/R&R circles for his Klix issue « Track down baby/Hey baby » from 1957. No whereabouts neither his birthday year are known. Is even still alive today ?
He already had come from Oklahoma when he got a recording contract with RCA-Victor. His only session with this major label came early 1954 in Nashville, Tennessee.
Tom James(vo,g) with Chet Atkins(el g) Louis Innis(rh g) Robert Foster(steel g) Dale Parker (bjo) Bob Moore(b).
(Thomas Radio Productions) Nashville,February 17,1954
E4VB-3624 Don’t lead me on RCA Victor 20/47-5790, Cactus 5052
E4VB-3625 Your kind of lovin’ RCA Victor 20/47-5695, Cactus RCA vol.2
E4VB-3626 Sample of your love RCA Victor 20/47-5695
E4VB-3627 I’m a pig about your lovin’ RCA Victor 20/47-5790
All four tracks are uptempos, the slowest being « Sample of your love ». They are nothing but pleasant hillbilly boppers (prominent bass) although a bit common.
« Dont lead me on« http://www.bopping.org/wp-content/uploads/2015/05/Sample-Of-Your-Love.mp3download
« Your kind of lovin’« http://www.bopping.org/wp-content/uploads/2015/05/Tom-James-Your-Kinda-Lovin.mp3download
« Sample of your love« http://www.bopping.org/wp-content/uploads/2015/05/Sample-Of-Your-Love.mp3downoad
« I‘m a pig about your lovin‘ »http://www.bopping.org/wp-content/uploads/2015/05/10-Tom-James-Im-A-Pig-About-Your-Lovin.mp3download Read the rest of this entry »
Go to a map of the U.S., search « Biloxi », and you’ll find this small city in the Harrison county, down south of Mississipi. That’s where the Fine label story begins. But before that and its debuts, we must look at its founders. Professor Marion Carpenter had a recording studio open to local facilities in Biloxi and was associated with steel guitar player Murphy Monroe « Pee Wee » Maddux (born 1923). The latter’s name had over the years several changes : from « Pee Wee » to « Pee-Wee », even « PeWee ». He was also a songwriter (Kitty Wells in 1956 ; or « Fools like me » for Jerry Lee Lewis, or more « Rocky road of love » for Curtis Gordon, even Fats Domino : « What a price »), and his earliest efforts as recording artist (at least he is credited as such on the labels) are to be found in March 1952 on M-G-M records, cut in Nashville : « My hobo heart » and « Lover’s crime ». The vocals were done by a certain Al Britt for two average boppers. Maddux penned a good percentage of the songs on Fine, among them the Ernie Chaffin ones.
« My hobo heart« http://www.bopping.org/wp-content/uploads/2015/04/mgm-11224-Peewee-Maddux-vocal-by-Al-Britt-My-Hobo-Heart.mp3download
« Lover’s crime« http://www.bopping.org/wp-content/uploads/2015/04/mgm-11281-Peewee-Maddux-And-His-Lazy-River-Boys-Lovers-Crime.mp3download
In 1954 the pair Carpenter/Maddux launched a microscopic label, Gulf Coast, which they issued a certain DAN SEAL on : « You gotta walk that line » (# 1012) is a lively little opus, but nothing particular, and it sinked into obscurity. But SEAL reemerged next year on the new comperes’ label, FINE for two ballads, « I wake at dawn (with you on my mind ) » being the best one (# 1003).
« You gotta walk that line« http://www.bopping.org/wp-content/uploads/2015/04/01-Dan-Seal-You-Gotta-Walk-That-Line.mp3download
« I wake at dawn« http://www.bopping.org/wp-content/uploads/2015/04/05-Dan-Seal-I-Wake-At-Dawn-With-You-On-My-Mind.mp3download
JIM OWEN then came with the rollicking « Sie Simon shuffle » (# 1004) : it’s a jumping hillbilly rocker with a fiddle solo and one from Pee Wee Maddux on steel well to the fore. Owen had late ’50s his own Owe Man label where he issued « The key’s in the mail box » (see below). On to JOHNNY BOZEMAN and the good « She’s my bayou babe » (# 1006). Bozeman went afterwards in 1957 on Mobile, Alabama, Sandy label, which he co-founded with Paul Bose, and saw a classic horror rocker « Rockin’ in the graveyard » by Jackie Morningstar in 1959. Bozeman himself had « Blues and I » (# Sandy 1001)(alas, unheard) and what is described in a sale list as « doo wop rockabilly », « How many ».
Jim Owen, « Sie Simon shuffle« http://www.bopping.org/wp-content/uploads/2015/04/07-Jim-Owen-Sie-Simon-Shuffle.mp3download
Johnny Bozeman, « She’s my bayou babe« http://www.bopping.org/wp-content/uploads/2015/04/12-Johnny-Bozeman-Shes-My-Bayou-Babe.mp3do<nload
November 5, 1955
Other artists on the Fine label included ANN RAYE and his fine (co-sung with Jim Owen) bopper « Our wedding band » (# 1001). Raye had also had earlier 2 singles on Starday and 1 on Decca in 1956. Incidentally she was the daughter of local promoter Frank « Yankie » Barhanovich, and through her father’s activities, went on to share in 1955 some Elvis Presley shows in Biloxi. Moreover on Fine, HANNA FAYE had the ballad « It pays to be true » (# 1008). Other men : J. W. THOMPSON and the good honky-tonker « It’s your turn » (# 1007) – later he cut « When you’re honky tonkin’ » on the Toledo label (# 1003) out of Alexandria, Louisiana. Or B. F. JOHNSON : the fine bopper « I wish I could believe you » (# 1011)(great mandolin!).
Ann Raye & Jim Owen, « Our wedding band« http://www.bopping.org/wp-content/uploads/2015/04/03-Ann-Raye-Jim-Owen-Our-Wedding-Band.mp3download
Hanna Faye « It pays to be true« http://www.bopping.org/wp-content/uploads/2015/04/17-Hanna-Faye-It-Pays-To-Be-True.mp3download
J.W. Thompson « It’s your turn« http://www.bopping.org/wp-content/uploads/2015/04/15-J.-W.-Thompson-His-Red-River-Trio-Its-Your-Turn.mp3download
J.W. Thompson« When you’re honky tonkin‘ »http://www.bopping.org/wp-content/uploads/2015/04/When-Youre-Honky-Tonkin-J-W-Thompson.mp3download
B.F. Johnson« I wish I could believe you« http://www.bopping.org/wp-content/uploads/2015/04/01-Dan-Seal-You-Gotta-Walk-That-Line.mp3download
J.W. Thompson. Nov. 12, 1955
Pee Wee Maddux on steel guitar
The most important artist however was ERNIE CHAFFIN who made his recording beginnings on Fine with « The stop look and listen song »b/w « The heart of me » (1010), before Carpenter and Maddux went with him to Nashville to meet country promoter Jim Denny and A&R man Paul Cohen. A deal with Decca never concluded but Fred Rose took Chaffin on his burgeoning Hickory label. 4 sides were issued without success, then Chaffin came to Sun, and Maddux backed him on such a classic as « Feelin’ low » (Sun 262).
« The stop look and listen song« http://www.bopping.org/wp-content/uploads/2015/04/21-Ernie-Chaffin-The-Stop-Look-Listen-Song.mp3download
« The heart of me« http://www.bopping.org/wp-content/uploads/2015/04/22-Ernie-Chaffin-The-Heart-Of-Me.mp3download
Ernie Chaffin [Hickory]« Get me on your mind« http://www.bopping.org/wp-content/uploads/2015/04/get-me-on-your-mind-1024.mp3download
Later on, Carpenter and Maddux helped a lot Jimmy Donley in his early career and got him his Decca contract in 1957.
Maddux cut « New red river valley » (instrumental) for Judd Phillips label Judd (#1010) in 1958. He died and is buried in Gulfport, MS, in 1993.
All in all, a short lived affair (Fine folded after 20 issues, in 1957), but a good starter for many an artist.
From the notes of Allan Turner on the BACM CD « A ‘Fine’ hillbilly song – Country music on the Fine label » # 392. Various researches to. Somelocalloser.blogspot for Jim Owen’s Owe Man sides.
December 25, 1954
‘One of the newest members of the King country and
western roster is eighteen year old Bobby Roberts.
Young Bobby was born in Chattanooga, Tennessee on
September 12, 1937. Bobby always dreamed of becoming a
recording artist and he started getting his experience
young. He appeared in a musical show when only nine.
Both his mother and father encouraged Bobby in his
chosen career. Young Bobby Roberts did part time work
to help him through high school. He was graduated in
June 1953 and began going about the task of gaining
experience in the music world. His biggest thrill was
when over three thousand persons attended one of his
personal appearances. Roberts has worked as a grocery
clerk, car hop, shined shoes, polished cars and washed
dishes, always dreaming of becoming a professional
musician‘.(as written on the DJ bio copy of King 4868)
At least some factual data can now be gleaned on
Roberts’ origins. He recorded one session for King in August
1955 and I’m assuming that it is the same Bobby
Roberts that recorded for the Memphis based Hut label
in 1958. However, I’m not entirely convinced that the
Roberts on Sky is the same person. I base this
assumption on aural evidence (the vocalists on both
records contrast distinctly) and the fact that Sky was
based in Mississippi. Having said that, from a logical
point of view it most likely is the same Roberts on
all three labels, as Joe Griffith, a high school
friend of Roberts, covered both of Roberts’ Sky
recordings and both were apparently based in Memphis
at the time. Further, considering Roberts Tennessee
origins, it possibly is the same Roberts on all four
My query here is, can anyone confirm that the Bobby
Roberts on King, Sky and Hut is the same person? Or
can anyone else shed any light at all on this? It has to
be noted Roberts wrote all his material.
Using a number of different sources, I managed to
compile the following Bobby Roberts discography,
19 August 1955. Cincinnati, Ohio
Bobby Roberts And The Ozark Drifters.
Bobby Roberts – vcl, other personnel unknown : steel, fiddle,st-bass.
K3995 ‘Her And My Best Friend’ King 4868
K3996 ‘I’m Gonna Comb You Outta My Hair’ King 4837
« Her and my best friend« http://www.bopping.org/wp-content/uploads/2015/04/Her-And-My-Best-Friend-Bobby-Roberts-King-45-4868-1956.mp3download
« I’m gonna comb you outta my hair« http://www.bopping.org/wp-content/uploads/2015/04/31-Im-Gonna-Comb-You-Outta-My-Hair-Bobby-Roberts.mp3download
billboard Nov. 5, 1955
« My undecided heart« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-And-The-Ozark-Drifters-My-Undecided-Heart-King-4837.mp3download
« I’m pulllin’ stakes and leavin’ you« http://www.bopping.org/wp-content/uploads/2015/04/08-Im-Pulling-Stakes-And-Leaving-You-Bobby-Roberts.mp3download
billboard Jan. 21, 1956
K3997 ‘My Undecided Heart’ King 4837
K3998 ‘I’m Pullin’ Stakes And Leavin’ You’ King 4868
Bobby Roberts with Highpockets Delta Rockets. Mississippi label
Bobby Roberts – vcl, other personnel unknown : ld-g, b, d .
45-S-34 ‘Big Sandy’ Sky 56-101
45-S-33 ‘She’s My Woman’ Sky 56-101
« Big Sandy« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Big-Sandy.mp3download
« She’s my woman« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Shes-My-Woman.mp3download
Bobby Roberts with Bad Habits. Memphis, TN, label.
Bobby Roberts – vcl, other personnel unknown : ld-g,b,d.
« Hop, skip and jump« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Hop-Skip-And-Jump.mp3download
« Cravin« http://www.bopping.org/wp-content/uploads/2015/04/Bobby-Roberts-Cravin.mp3download
4706 ‘Hop Skip And Jump’ Hut 881
4707 ‘Cravin » Hut 881
from the notes of Shane Hughes, « Yahoo » « rockin’ records» group.
This Roberts has obviously nothing to do with the one on U.S.A. label and the other on Cameo, who came later early ’60s, and drastically change in style.
Bobby Roberts’ music, from editor’s point of view.
It is hard to imagine such a change in so little time in style between the King session and the Sky one.
All 4 sides cut at King (« with the Ozark Drifters ») are pure dreamed hillbilly a la Hank Williams. All medium paced tracks, they feature a strong string-bass, and a weird steel-guitar, both propelled by a crisp fiddle. Vocal is a dream, Roberts has a firm voice, even some semi-yodelling vocalizing over nice lyrics.
In complete contrast, the Sky sides are out-and-out rockers. « Big Sandy » is a screamer, and the whole thing is a gas. « She’s my woman », a bit slower, fetches to Rockabilly. Note on the reissue the presence of the Jennings Brothers.
« Cravin’ » is a routinely rocker, while « Hop skip and jump » (not the Collins Kids’ number, neither the York Brothers’ on Bullet ) is an average rocker – even a sax – which Billy Riley could have cut this style. Actually it bears a little similarity with « Pearly Lee »..
The son to Bobby Roberts once posted in « bopping » that his father was the same man on King, Sky and Hut ; so I asked for some details and a picture, if available – no answer..
With thanks to Uncle Gil (King 4868 sound file) and Dave Cruse (King 4868 label scan). Internet research.
Joe Griffith « Big Sandy » (Reelfoot unissued)http://www.bopping.org/wp-content/uploads/2015/04/Joe-Griffith-Big-Sandy.mp3download
Joe Griffith « She’s my woman« (Reelfoot unissued)http://www.bopping.org/wp-content/uploads/2015/04/08-Im-Pulling-Stakes-And-Leaving-You-Bobby-Roberts.mp3download