Howdy folks!
This time a nice percentage will be made of records issued on major labels, beginning with Decca and the WILBURN BROTHERS (Ted &Doyle). They offer a nice version of the old ’30s Shelton Brothers’ standard « Deep Elem Blues« , recorded in Nashville (no doubt usual crew) in January 1956. (Decca 29887)
The second major will be Capitol and the uncommon in Bopping (because he’s too well-known) MERLE TRAVIS. Billy Liebert, an accomplished West coast session pianist, pounds the ivories for « Louisiana Boogie » from December 1952. Same evening session that produced « Bayou Baby« . (Capitol 2902). Happy hillbilly boogie!
We jump on a very smal label from Richmond, KY. Actually Burdette land had only two releases in 1960 and here it is the first by HUBERT BARNARD, « Boy She Has Gone« . Nice bopper.
Back to majors, on a subsidiary of Columbia. OKeh was maybe devoted to newcomers on the main label, although no one knows exactly why Columbia launched this short-lived serie (only 59 records issued) in 1953. In April of that year, recently signed JOE MAPHIS and his wife ROSE LEE (they were married 1952) recorded the future classic « Dim Lights, Thick Smoke (and Loud, Loud Music) » (OKeh 18013). This is what Honky tonk is all about!
TOMMY BOYLES had been cutting in 1959 « We’re Bugging Out » on the Murco label of Shreveport, La. Hear him with the « artist » button on the upper left. Here in 1960 he does another self-penned « Don’t Be Somebody Else’s Baby » on the N.J. Granite label (# 552). His story in his own words can be found on the Rockabilly Hall of Fame site.
Finally, from 1967 or 68, on the prolific Adco label (maybe a property of Hobo Jack Adkins) from Cincinnati, OH – mainly Bluegrass, Garage or Sacred tunes between 1960 and 1975, CUDDLES C. NEWSOME (rn. Corbet Newsome), born 1928, for both sides of his solitary ever 45 « So Long Baby/One Little Kiss » – nice guitar. This is Country-rock at its best.
Howdy, folks! Here we go first with a romper, the fast BILLY SCOTT « You’re Braggin, Boy » on a Tee-Vee, OP 4 Star label (#225). Great steel and piano, and call-and-response format. Then in Nashville for the Marty Robbins’ owned Robbins label (# 1005) by the typical hillbilly duet of TOMMY & JOHNNY. They do « I’ll Go On » (#1004), tinkling piano, sawing fiddle and steel -all have their solos, but nothing exceptional!
Nashville on the Bullet label. I couldn’t find any picture of the label (# 706) of « Walking Up Stairs« , by Texan PAUL BLUNT, which, according to Kevin Coffey, could well be the the forerunner of the young Eddie Cochran for « Twenty Flight Rock » six years later. Steel and piano (Blunt was at ease with both) for this fine bopper. Blunt was a renowned session player (Lefty Frizzell, Bill Boyd) since the ’40s and had records on Columbia and Imperial too. Thanks go to Michel Ruppli! Thanks to DrunkenHobo, a faithful visitor, here is the label!
Paul Blunt
Ohio based AL WINKLER on his own Winkler label (# 45-88) for this « Show Boat Boogie« , along with the Warren County Band. It’s a belter (call-and-response), two guitars, it rolls.
From California and a Tom Sims’ cassette (unable to find a label scan), for a Bluegrass wildie: The GOLDEN STATE BOYS on the Ivory label (same as Tex Holland). Powerful banjo and mandolin. Chorus, then urgent vocal on « Always Dreaming« .
Finally the and only BUFFALO JOHNSON. The name can seem not that familiar. He had a long string of releases on Mercury, Gateway (« T’ain’t Big Enough« , # 520, with Jimmie Ballard on vocal) among others in the late 40s/early 50S. Here he offers a good guitar picking bopper. I still do research on him.
Hello there!
This time is a little special one. Very recently the legendary CLAUDE KING passed away. I chose first from his Louisiana original days. First hillbilly bop , 1953, with « Take It Like A Man » (708) on the short-lived hillbilly Specialty serie (mostly cut in Shreveport), then his solitary Rockabilly on the small Dee-Jay label of Nashville (1957)(1248), « Run Baby Run« .
From I don’t know where, but « Mountain » label seems to refer to Appalachian mountains, a LEO GOSNELL on this 4 Star custom, OP 299, for two fine sides: « Juke Joint Honey » and « Woman Running Around« .
Savoy from New Jersey was indeed a big R&B concern. However it had a short lived Country 3000 serie. Here it is RAY GODFREY and his « Overall Song » (3021).
On Adair 620, a tremendous Bluegrass « A Use To Be » by a BRYANT WILSON.
Finally in California, Fable 546 label, with RAMBLIN’ EVERETT and « Cincinnati Woman« . Excuse me, I was not that inspired to comment this time. Music speaks by itself. Maybe you prefer it?
Hello folks ! Hi to returners, welcome to newcomers…
This is my bi-monthly choice of stomping, shuffling hillbilly boppers, sometimes rockers, and by surprise, R&B rockers.
Let’s begin on the West Coast, but I am not sure, as the Sage label used to sweep products largely from other areas along: the gentle rocker « Seven Come Eleven » by Al Muniz (# 262). It seem date from 1958. A prominent piano, a bit jazzy guitar solo. All this transpires laziness !
Then in Ohio, (Cincinnati) by Miss Joy Whittaker. She seems to have been a good seller, as she has records as soon as 1955 on M and J, and Esta in 1957. Excellent 215 is a label owned by Mrs. Estel Scarborough as the others. Dating this record « Toe Tappin Rhythm » has proven difficult : the only other I know is # 279 (Logan Valley Boys) from May 1957. So I’d assume this one as being from late ’55/early ’56. As from the bass beginning instro, we have a a mix of hillbilly bop (fiddle has its solo) and a rock-a-billy guitar. Exciting firm voice and many breaks. Could please to Rockabilly fans.
Down to Texas with the Corpus Christi DJ Kenny Everett, who does a fine country-rocker (1958) on All Star 7173 with « What Is It ». Accompaniment is a typical Houston one : fiddle (solo), steel (2 solos), piano (solo) and drums.
Marshall Lail then from Atlanta, Georgia for two tracks. On Sunrise first (# 001) for the energic late ’50s complaint « I need You So » (More Than You Know), before a more melodic and sentimental «Countless Hours Of Heartaches », podcasted by a certain « Mr. Honky Tonk » on his channel. No indication of the label. Finally way up North, in Hammond, Indiana, for the great bluegrassstune on the Mar-Vel 355 label by the Thomas Brothers, Melvin and Elvin, « Way High , Way Low« . Great interplay between the three voices (falsetto and barytone). A classic !
Billboard 17 Nov. 58
Billboard 8 Aug. 56
March 28th, 2013. Dan Nail wrote the following line: « Marshall Lail was my Father. He recorded « I Need You So » and « Countless Hours of Heartache » in 1960 at NRCO Studios in Avondale, Georgia. He printed up 500 copies on his own label called Sunrise Records. »
Hello again ! This time I will concentrate on a Wheeling, W. Va label by the mid-50s : ADMIRAL, and two artists from its roster, ABBIE NEAL and DUSTY OWENS. Actually the Admiral label had a short life and a very few artists, among them RAY ANDERSON (remember « Stalin Kicked The Bucket » on Kentucky, and « Sputnicks And Mutnicks » on Starday?)
DUSTY OWENS was the most well-known of both, originally from Detroit, MI. By the time he had relocated in W. Va. And had had a long stint with Columbia Records. He opens the serie (# 1000), duetting with a certain Donna Darlene and backed by the Rodeo Boys. « Once More » is a fine hillbilly shuffler, later revived by the Osborne Brothers on M-G-M, and in the ’90s by Chris Hillman and his Desert Rose Band. The flispide « It’s Goodbye And So Long » is a fast fiddle led hillbilly. On # 1004 Owens revives in 1957 the Wiley Barkdull « Hey, Honey », originally issued on Hickory 1074. A good version, with a lot of slap-bass on.
ABBIE NEAL is a Rockabilly chick, backed by her Ranch Girls. « Hillbilly Beat » (# 15000, unusual in the sequence) however has nothing to do with hillbilly music : it’s a fast Rock’n'Roll opus led by a hot saxophone ; some might call it « jump ». Flipside « I’ll Take Back That Heartache » is an urgent vocal rockabilly, excellent backing. « If Again » on # 1006 has Neal duetting on a fast, jumping hillbilly – strong guitar, fiddle all along.
I know nothing more than that I wrote, except Dusty Owens, whose long career is well documented. He even had a CD a few years ago on the German Bronco Buster label gathering some of his Columbia sides. Abbie Neal has a serie of very nice video clips on YouTube.
Let’s now hear the podcasts. Enjoy and comment !
Labels from Youtube or popsike. Admiral 15000 was supplied (sound and label) by Tony Biggs. Thanks!
Welcome for a new serie of honky tonk/bopping hillbilly recordings.
A certain Lyle recently asked me if I know Red Smith. Of course I know him. He was a D.J. On several stations, in New Orleans and Shreveport, then for KLLL in Lubbock, Tx, and even for WCKY in Cincinnati, Oh. He cut a very nice version of Luke McDaniels‘ « Whoa Boy » (issued on Trumpet out of Jackson, Ms) on Coral 61312 (1953). Snare drums, energetic fiddle and steel. I believe he never recorded anything else. But he wrote « All Because of You » for Rocking Martin (Starday 658). Could it be him?
Now in Indianapolis, In for the Nabor label (many rockabilly goodies, « Speed Limit » by Tommy Lam for example). Bob Hill and his Melody Boys had « This Old Train (Is Leaving My Blues Behind) » (# 105) : a fast fiddle led song, train effects done by the steel and a good guitar.
Then to Texas, and very probably out of Jim Beck’s studio in Dallas, a nice honky tonk, « Foolin’ Women » by Neal Jones. It’s shuffling, it’s solid. Columbia 21292.
From Franklin, Pa, a completely unknown Ralph Ryan and the Country Boys on the rare Process label # 132 does the very sincere ballad « Cry A Million Tears ». Intimate guitar.
1959 on the Georgia Country Jubilee label # 541, Richard Morris & the Morrisettes (!) has « Rosetta », apparently an Indian love song – strumming drums and fiddle. An haunting side.
Finally Ken Marvin on Mercury 6391(1954) has an husky voice for a good honky tonk « I’ve Got My Love » over fiddle and steel backing.
As usual, have a listen and send comments, please…
Hello folks. The link between the 8 songs this time would be either the BREWSTER Brothers, either the WEBSTER Bros, either Knoxville, TN, and would last from 1954 to 1962/63.
In Manchester, KY, circa 1957-59, there were the BREWSTER Brothers. Originally from Tennessee, the elder Willie G. (mandolin and vocal) had begun late ’40s as sideman for the Bailey Bros. He even replaced Dan Bailey when the latter was gone to service duties. In 1953, the Brewster Bros. and the Smokey Mountain Hillbillies found much success on Scottsboro, AL. WROS radio. Not so long after that, joined by younger Franklin « Bud » Brewster (guitar and banjo, plus vocal), the brothers backed in 1957/58 Carl Story for recording sessions on Mercury, Starday, or small companies like Wayne Raney’s Rimrock label. Willie estimates they cut three hundred songs with Story! Around the same time, they went to perform on a regular basis for the Cas Walker radio & T.V. show in Knoxville, TN. They backed Red Rector among others. That’s when they recorded for Acme Records 1776, out of Manchester, KY. two sacred songs in bluegrass style, among them « I’ll Be Happy In My Home« . They were joined by the FOUR BROTHERS QUARTET, which was composed of Audie (mandolin and tenor voice) and Earl (guitar and lead vocal) WEBSTER. More on them below.
The BREWSTER Brothers, as the Jaguar’s (sic), went on to record Rock’n'roll in 1959 on Janet, in Manchester, KY, too, which was simply Acme revived after being sold. Bud Brewster had the fine « I Coud If I Would (But I Ain’t) », on Janet 201, along with the vocalist Harold Harper on the average White rock (insistant guitar riff) flipside « The Big Noise ». After that I lost their trail.
The WEBSTER Brothers, Earl and Audie, started in Philadelphia, TN., playing in schools and churches. They joined WNOX in Knoxville, TN and made 6 sides for Columbia/Okeh in 1954, all great boppers. Let’s begin with the earliest « Till The End Of The World Rolls ‘Round » and « It’s All Left Up To You », issued in January 1954 on Okeh 18056. Fast, fiddle-led (a short steel solo), with Earl on guitar and lead vocal being joined by Audie on harmony duetting chorus.
In October 1954, they joined in Nashville Carl Butler for a long Columbia recording session, and that’s when they cut their best tune ever, the great « Road Of Broken Hearts » – urgent vocal, fine fiddle by Dale Potter, a barely audible Don Helms on steel (Columbia 21421). The same session saw them cut the fine flipside « Seven Year Blues ». Later on (November 1955) they joined Carl Butler (leader) for two religious sides, « Looking Through The Windows Of Heaven » and « Walkin’ In God’s Sunshine » (Columbia 21473). Very nice fast sacred hillbilly.
We found them much, much later (1962/63) on the Nashville Do-Ra-Me label for a far less interesting « My Heart Won’t Let Me Forget », almost pop-country (# 1439).
As usual, comments welcome. You know, these sides are thrown as the best I know today. Indeed they can be rare (they come from my collection or from the net), but it’s the quality that matters !
From the notes to Old Timey LP 126 « Classic Country Duets » and « Early Days Of Bluegrass, vol. 2 » (Rounder 1014, 1976).
Hi! to everyone visiting this blog early new year. If you are looking for bopping music, this is the site for you! Latest story (published on Christmas day!): Autry Inman. Let’s take a look and a listen. Great hillbilly/rockabilly music.
First, one of those Rockabilly acetates flourishing over the web. Never heard of the artist, HAROLD MORRISON, but his « I Gotta Have Her » has got everything to enjoy your ears.
Then on for bit pop flavoured « Baby, Baby, Baby » on RCA 47-6188 (1955) by FLOYD WILSON. Male chorus, and the whole sounds New York but still enjoyable.
Return to JAY T. STARR, recently covered in a previous fortnight. This time for a serious Hillbilly boogie: » Rattle Snake Boogie« , on Coast 9017, complete with fiddle and boogie guitar.
Also I did announce the DALTON BOYS (Shorty Long and Bob Newman). Both had begun their recording career on King (1951) with a split session. 1955 sees them reunited under a disguise for the fine train song « Roll, Rattler, Roll » on X 0045. Great boogie guitar, and harmony vocals all the way. Flip is slower « Just Like Me » (not podcasted).
From Waco, Texas, for a superb « Shorts Crazy » by MACK McCRAY on the Ford label (#1 or # 1074-A, the sequence in unclear on the label). All in all, piano, fiddle and steel do provide an almost Starday sound.
Finally from New Jersey, Jersey City on the Cevetone label (# 1866), a fine hybrid Hillbilly/Bluegrass « Mountain Boy » by VERLIN SPEEKS. Very fast, fiddle and banjo all along, and an energetic rhythm guitar. Just take a listen! In the meantime, have a nice Bopping New Year!
Howdy, folks. My selection for this fortnight will be made, as usual, of lesser known artists up, and various times, ranging from approx. 1953 to early ’60s.
SHORTY LONG in 1961 was certainly no newcomer to music, as he had been cutting records on King in 1951, sharing a session with BOB NEWMAN. The latter in 1955 was reported as having joined Long’s Santa Fe Ranchers. Here Long offers the fast « Forget Her« , an hybrid song containing a slap-bass as well as banjo, mandolin and steel on the Smiling 2675 label. Long is billed here « Kentucky », no doubt his original state. Both Shorty Long and Bob Newman paired in 1955 as Dalton Boys for a solitary « Roll, Rattler, Roll » on the X label: next fortnight.
On a Evansville, IN Eunice 1007 label, DARRELL LEE offers an average Country-rocker/Rockabilly « Really Do You Care?« .
Shorty Long
1958, TIM JOHNSON on the West Monroe label Leo (# 784) – which is actually a Starday custom issue – do come with the fine shuffler. A bit George Jones vocally, good fiddle and steel.
On Kasko 1643 (Santa Claus, IN) from 1965 RED LEWIS has a country-rocker « Yes, Indeed« (nice guitar, discreet steel) « I’ll Move along« .
The earliest track do come from Nashville in 1953. JOHNNY ROWLAND is a kind of mystery, although his voice seem very professionnal. He founds himself on Republic 7023 with the fine « Ohio Baby« .
Finally SONNY MILLER on the Boyd label, no doubt early ’60s. Good steel in « Lonesome Old Clock«
Sonny Miller
Howdy, folks. Here is the usual batch of bi-monthly hillbilly boppers. This time completely unknown artists, even (but one case) location of recording.
Jay T. Starr must have been a West coaster, since I know of a 1951 record by him on Coast (# 9017, « Rattle Snake Boogie« ). Here is his 4 Star 1708 from 1957. « Dark Clouds Ahead » has a muddy sound (transfered from YouTube), nevertheless a fine uptempo bopper, while its flipside, « Wa-Na-Chee » has a strong guitar in it. Indian bopper.
Howard Perkins hails certainly from the early ’60s, and has a possible answer to Lattie Moore‘s « Out Of Control ». Here is his « Under Control » on the Juke label, # 2012.
One Little Carolyn Sue declares « I Hate Men » on the Lar label (# 738) with a sour voice. Rasping late ’50s hillbilly, near rockabilly.
Finally Leon Collard with two tracks. « Silver Queen » on the Basic 816 label. Apparently a train song. Good anyway. Then on the Louisville, KY Spiral label (# 800) « Hello USA« . Enjoy them all.
