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.
High Falutin' Mama
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.
<b/>Hula Hula Woogie</b>
« 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.
Too Many Blue Eyes
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 ?
I Don't Want You Anymore
Hoochie Coochie Woogie
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.
Billboard, Jan. 29 1949
Drinkin' Beer All Night
You Can't Hen Peck Me
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.
Billboard, Jan. 23, 1948
Is this really Danny Dedmon? (unknown origin)
The Blues Keep On Hangin' On
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.
Maybe Things Will Work Out Right
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.
Sources : my own archives ; HBR for Imperial label scans.Ronald Keppner for some music; 78worlds for some label scans; Billboard archives.