DAFFAN records (1955-1958) (from Kevin Coffey’s notes to “The Daffan Records story”, Bear Family BCD 15878, 1995)
Ted Daffan
Ted Daffan was at a crossroads both in his life and his career in the fall of 1955. Read the rest of this entry »
GET WITH THE BEAT – The Mar-Vel’ Masters – A Lost Decade to American Rock and Roll (Rykodisc, ,1989) – notes by Carl Schneider
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The Perkins Brothers band (1954)
Carl Lee Perkins (1932-1998) is too well known, and information on him is easily available. Search with your engine or go direct to http://en.wikipedia.org/wiki/Carl_Perkins also Rockabilly Hall Of Fame site http://www.rockabillyhall.com/CarlPerkins.html. The Perkins Brothers (Jay B. rhythm guitar, Clayton, bass – later W.S. Holland, d) band began performing in the Covington, Tennessee, area in 1953 and quickly found success with a Hillbilly-boogie type music heavily based on Blues. When they heard in July 1954 Elvis’ Blue Moon Of Kentucky on radio, they decided to go see Sam Phillips to record. First they were cut in Country vein (Turn around, a ballad, being their first disc on Flip 501), because Phillips would not them rivalling with Elvis. With the latter’s departure in November of 1955, they were given freehand, and the result was « Gone gone gone » (Sun 224) in September 1955 : a romping Hillbilly bop, almost a Rockabilly. Three months later, Perkins cut Blue suede shoes, the rest is history…
Smokey Joe (Baugh), vocalist and piano player for the Clyde Leoppard Snearly Ranch Boys (see part 1) had one single (Sun 228, reissued as Sun 393 in the 60s) under his name taken from the 4 sessions he cut on his own between August 1955 and 1956. His style is heavily based on R&B, there is even his raucous voice which reminds one of Fats Waller. « The Signifying Monkey » is a sort of amusing recitation, and a whole lot of then hip animals like monkeys and baboons is cited. The steel-guitar (played by Stan Kesler) is very unobstrusive, and there’s even a trumpet on the B-side « Listen To Me » ! All in all a record on the border of Hillbilly and R&B, the sort of thing Phillips was still looking for, even after the departure of Presley and the crossover success of « Blue Suede Shoes ». He cut similar nature material left in the can (and later issued in Europe) with tracks like « Hula Bop » and « She’s A Woman ».
Little is known about Maggie Sue Wimberly who went to Sun in October 1954 and cut a solitary single (Sun 229) : « How Long/Daydreams Come true ». In the early part of 1954, Sam Phillips had turned down Bud Deckleman and his song (co-penned by the team Quinton Claunch/Bill Cantrell) « Daydreamin’ ». Deckleman had been to Lester Bihari of Meteor and had a huge hit with this record. Phillips tried to catch up on the success and recorded a follow-up, « Daydreams Come True » by Wimberly, which came nowhere. One of the rarest Sun records ever…A fine Hillbilly weeper though.
Charlie Feathers (1932-1998) is also well known. See his official site : http://www.charliefeathers.com/ for a very detailed biography. He arrived at Sun from Mississipi in 1955 and recorded with the duet Quinton Claunch (fiddle)/Stan Kesler (steel) one bopping fast novelty « Peepin’ Eyes » (Flip 503). He claimed later to have directed Elvis Presley’s late Sun sessions, and actually wrote and gave him I Forgot To Remember To Forget (Sun 223) ; Sam Phillips wanted Feathers as a Country singer, and he was not allowed to sing anything else than the great « I’ve Been Deceived » (Flip 503) or the beautiful Defrost Your Heart (Sun 231). Even his demos of Rockabilly songs (Bottle To The Baby, complete with hiccups, later re-cut for King in July 1956 ; or Honky Tonk Kind) were rejected by Phillips. That is why he came, through his brother-in-law, in touch with Meteor Records, and cut the classic Rockabilly « Get With It/Tongue Tied Jill » on April 1rst, 1956.
Jimmy Haggett was inspired by the phrasing of Jim Reeves, and took (without knowing it) a Luke McDaniels’ song, « No More » (from 1952), although with different lyrics. Flip was « They Call Our Love A Sin » (Sun 236). The record had sold 448 copies a year after release, and the songs are pretty tame. Shortly after, Haggett tried his hands at Rockabilly but felt uneasy and hired a front singer to replace him. But that’s another story.
Warren Smith (1932-1981) is well documented too. See : http://www.rockabillyhall.com/WarrenSmith.html. He went from Mississipi as lead singer of Clyde Leoppard Snearly Ranch Boys and was presented to Sam Phillips early in 1956 by Johnny Cash who gave him his very first song: Rock’n’Roll Ruby (Sun 239) – which George Jones claims to have written, instead of Cash. Anyhow the demo of it by Cash was published in U.K. in the 80s. But Smith was an ably Country singer – the best he heard at Sun, to quote Phillips – and his renderings are quite good flavored Rockabilly/Hillbilly Bop songs : I’d Rather Be Safe Than Sorry (Sun 239), Black Jack David (Sun 250), So Long I’m Gone (Sun 268), Tonight Will Be The Last Night (unissued at the time) or later effort Goodbye Mr. Love (Sun 314). Disappointed by a constant rivality with Jerry Lee Lewis, he moved to Hollywood and Liberty Records in 1959 as a Country singer and succeed a little.
The Miller Sisters (Elsie & Jo) were a local Memphis act, discovered by Phillips in 1955. Elsie Jo Miller and Mildred Wages did originate from Elvis’ hometown, Tupelo, Mississipi ; they were offered to record for Sun at 5 occasions between March 1955 and July 1957, so Sam Phillips must have been confident enough in them as a duet. First they cut a passable Hillbilly weeper on Flip 504 (Someday You Will Pay), backed by the then cream of Sun studio musicians : Stan Kesler on guitar, Quinton Claunch on steel-guitar, Bill Cantrell on fiddle, Marcus Van Story on bass ; even Charlie Feathers used spoons on this tune ! Later in 1956 they embarked on the Rockabilly bandwagon and cut a little classic, Ten Cats Down (Sun 255), with the accompaniment of members of Clyde Leoppard Snearly Ranch Boys, aptly augmented by the sax of Ace Cannon. They were also involved as vocalists on Cast King 1956/1957 session (originally unissued) which produced the beautiful « Can’t find time to pray ». They did disappear after 1957.
Slim Rhodes (Ethell Cletus ‘Slim’ Rhodes) (see part 1) had a Hillbilly boogie romper on Sun 238 with « Gonna Romp and Stomp » ; he had well adapted from the wild sounds of Hillbilly Bop instrumental « Skunk Hollow Boogie » (Gilt-Edge 5015, recorded at Sun in July 1950) to the new trends of 1956. « Romp… » is still Hillbilly Bop in essence, but the pace is Rockabilly (note the classic guitar solo), as is their next effort (Sun 256) : Take And Give/Do What I Do (vocal Dusty Rhodes). Two very fine Sun records ! Last recording of Rhodes for Phillips was in 1958, and of far lesser interest (I’ve never been so blue), hence unissued then.
Billy Riley (Pocahontas, Ark., 1933 ; dead August 2, 2009). Born to a poor sharecropping clan, Riley developed a passion for blues and learned to pick guitar watching the older black musicians his family worked alongside. Although he made some early appearances performing on local radio, Riley’s career took shape after he was discharged from the Army in the mid-’50s. Moving to Memphis, Riley soon hooked up with a crew of fledgling country musicians that included « Cowboy » Jack Clement. He and his truck driver partner, Slim Wallace, founded the tiny Fernwood label in a South Memphis garage and cut Riley’s debut recordings, « Trouble Bound » and « Think Before Your Go« (still unissued today). Clement took the tapes to Sam Phillips over at Sun Records so he could master a single. Impressed by what he heard, Phillips ended up hiring Clement to work at Sun, and signed Riley. Hence « Trouble Bound/Rock With Me Baby » (Sun 245). Riley and his group – which included drummer J.M. Van Eaton and guitarist Roland Janes — would also become the de facto house band at Sun, providing the backing on numerous hits. Another Hillbilly song recorded at a Rockabilly pace is the underrated « I Want You Baby » (Sun 260), overshadowed by the A-side which made Riley famous until today, the classic « Flyin’ Saucer Rock’n’Roll ».
Malcolm Yelvington and band, 1956
Malcolm Yelvington (see part 1) had well adapted to 1956 trends with his unique brand of Western Swing/Hillbilly Bop for a February 1956 session which produced the uptempo « Rockin’ With My Baby » (full of reference to then R&R hits) and the slower, much more interesting « It’s Me Baby » (Sun 246). Later Yelvington recorded mainly mainstream Country, always flavored of Western swing : tracks (unissued then) like « Trumpet » or « Goodbye Marie », to be found on 1990’s Bear Family compilation « Sun – The Country years » 10-LP boxset. It also included a different version of « Yakety Yak » to that Meteor Records released in 1956.
It was not before October 1956 that Sam Phillips (too busy cutting Rockabilly and Rock’n’Roll sessions) recorded more Hillbilly, this time with Ernie Chaffin. The latter went from Biloxi, MS. and had had records from 1954 on Fine and Hickory labels. « His style was as unique as Johnny Cash’s : he depended on a percussive, repeated rhythmic pattern and minimal instrumentation. Unlike Cash’s work, however, Chaffin’s songs (most often composed by his acoustic guitar player Murphy ‘Pee Wee’ Maddux) were highly melodic and his voice had considerable range. While the songs were lyrically more conventional than the stark lonesome ballads of Cash, Chaffin’s songs drew much of their power from unusual and arresting chord changes. » (Hank Davis) Between October 1956 and June 1958, Chaffin had 7 Sun sessions, resulting in 4 Sun singles, the best being the first two, and the most memorable and accomplished tracks being « Feelin’ Low » (Sun 262) and «Laughin’ And Jokin’ » (Sun 275). Both are on the border of Hillbilly Bop, and announce the future Country music of the late 50s/early 60s, when Rock’n’Roll and Rockabilly were integrated into it. All in all Ernie Chaffin recorded 15 songs for Sun, and they are all on the Bear Family boxset .
Ernie Chaffin 'left)
Sam Phillips made relatively few mistakes in his choices, but after the discovery of Cast King (Joseph Dudley King) tapes in the Sun vaults, it is surprising why he didn’t release ANYTHING by him, like another mystery, the now famous Jimmy Wages. Maybe too busy with Rock’n’Roll bands ! Cast King cut one convincing religious narration (« Can’t Find Time To Pray ») in 1956 with the Miller Sisters as backing vocals, but the most interesting track was to come in June or July 1957 with « When You Stop Loving me » : « It is a splendid song and must have stood a fair chance of success. Although neither the composition nor the performance are really polished, the end product is quite spectacular (…) Instrumentally it’s a gem, featuring standout steel-guitar work and some nice dobro. » (Hank Davis/Colin Escott). It’s a « Country waltz beautifully sung, which stands alongside Sun’s finest Country records and his non-appearance is a mystery. »
Mack Self
Mack Self was a real Country singer, and although he tried a variety of other styles when at Sun, he always retained a country purity in his vocals and his band was never going on rough edges. He had 5 sessions between 1955/1956 and 1959 and only had two singles (from which one on Phillips International), the other being (Sun 273) « Easy To Love/Everyday » . The solitary Sun release had very little chance of success in 1957, and actually sounded anachronic for the times being. Beautifully sung Country ballads ; and Phillips allowed Self to sing that, when he released at the same period pounding rockers by the likes of Carl Perkins, Tommy Blake, Wade & Dick, Ray Harris ! But a real treasure was unearthed in the 1990s on the aforementioned Bear Family boxset : Self had recorded a Hillbilly session in 1955/1956, complete with steel-guitar and fiddle. « Easy To Love » is plaintive, and the fiddle of Bill Cantrell well to the fore. The same session gave us a near-Rockabilly Hillbilly Bop, « Goin’ Crazy », complete with slapping bass (Jimmy Evans – is he the same guy as the one later on Rivermont and « The Joint Is Really Jumpin’ » rasping piano rocker ?).
We came to an end with the Hillbilly Bop sides cut by Elvis Presley. Actually he cut at least 8 Hillbilly sides in his own unmistakingly style, and 5 went their way as B-sides of his Sun singles. They are too well-known, but listen to them closely as Hillbilly Bop sides…Johnny Cash was also near Hillbilly, although he never used steel-guitar neither a fiddle – but his style was really his own and did in fact owe very little to Hillbilly…Do not forget The Rhythm Rockers (Sun 250) and « Fiddle Bop/Juke Box, Help me find my baby » – actually Hardrock Gunter. Phillips leased them from Emperor Records, it wasn’t his production.
Credits: all the color pictures that bear « The Country Years » do come from the Bear Family boxset BCD 15211 « Sun – The Country Years »
All label pictures do come from www.rockincountrystyle.com
Sam Phillips never had much chance with Country music. From 1950 to 1956 he cut Blues and Black R&B; from 1956 on he cut Rockabilly and Rock’n'Roll. Here below are his only attemps in the early years to record Hillbilly Bop. In the second part however, we will see names like Carl Perkins, Charlie Feathers, Malcolm Yelvington, Ernie Chaffin, Warren Smith, Mack Self doing Hillbilly Bop or Country music with much more success than Sam had had in the early days of SUN Records….
Harmonica Frank Floyd (1909 in Tacapola, Mississipi ; died 1984). A phenomenon, who spent 30 years with medicine shows all around the South. He went in 1951 to see Sam Phillips and recorded several Country Blues : Swamp Root, the traditional Step It Up And Go, Goin’ Away Walkin’ and Howlin’ Tomcat, soon sold to Chess in Chicago. He sounded black, and many Blues collectors until the seventies (his rediscovery by Steve LaVere) were wrong with him…In 1954, Sun issued two sides (Sun 205) : Rockin’ Chair Daddy and The Great Medical Menagerist. « …Daddy » from 1951 is proto-rockabilly with strong rhythm guitar, wild vocal, and mouth harmonica. He had a strong career when rediscovered in 1974 and recorded for Adelphi.
Earl Peterson (Feb. 24, 1927 in Paxton, Illinois. died 1971). made his beginnings at a radio station in Michigan. Become popular, he cut a first disc on Nuggett records, before signing at Sun in 1954. He recorded 4 titles, the best being « Boogie Blues » (Sun 197): sewing fiddles, steel-guitar, drums and bass, and a vocal very reminiscent of Jimmie Rodgers ; and the song itself derives from pre-war Country songs, like Gene Autry’s « Lowdown Blues ».
Doug Poindexter & The Starlite Wranglers. Born in Arkansas, he too went to Sun in 1954 and cut (May 25, 1954) two sides of Hillbilly weepers : Now She Cares No More For Me and My Kind Of Carrying On. Published on June 1rst, 1954 on Sun 202. Two of the Wranglers were…Bill Black (bass) and Scotty Moore (lead-guitar), soon to back up the young Elvis less than two months later. Good hillbilly sides, tending towards Rockabilly. Poindexter then left for insurance business..
Howard Seratt in April 1964 (rare picture from Martin Hawkins)
Howard Seratt, from Arkansas. Country gospel. Two sides (Sun 198), alone with his guitar & harmonica for Troublesome Waters/I Must Be saved. Nice sincere vocal. 1954
Hardrock Gunter (Feb. 17, 1925 in Birmingham, Alabama). He had a long recording story behind him when he sold two songs to Sam Phillips in 1954 (Sun 201) : Gonna Dance All Night was a proto-Rock & Roll song, and a recut of a previous 1950 Bama issue. Fallen Angel is far quieter. Gunter had a long career afterwards, recording prolifically and still entertaining afficionados in Europe in 1995 !
Slim Rhodes (Pocahontas, Arkansas, 1913 ; March 10, 1966 – thanks for the death info, Alex)). Guitar player and bandleader, very popular in the Memphis area in the late 40s/early 50s. Phillips leased several of his 1950-1951 recordings to Gilt-Edge. His first Sun single (Sun 216) was sung by Brad Suggs and billed « ordinary » by Billboard in May 1955. Rhodes would afterwards cut Romp and Stomp (Sun 238), a romping Hillbilly Boogie with steel-guitar and fiddle. It must have been a good seller, as the guitar solo was taken note-for-note on Harold Shutter’s « Bunny Honey » (Goldenrod 300 from May-June 1957), then Do What I Do (Sun 256), a superb Rockabilly in 1956 (vocal Sandy Brooks). He had several issues on Gilt-Edge. For Sun 238 and 256, please see SUN Records: Hillbilly sides (part 2).
Malcolm Yelvington (1927, Covington, Tennessee) led his first band, The Star Rhythm Boys, during the late 40s, wih pianist Reece Fleming. He cut his first sides in 1954 for Sun, among them his personal Western swing treatment of Sticks McGhee’s R&B classic Drinkin’ Wine Spo-Dee-O-Dee (Sun 211). The guitar player follows Brownie McGhee’s solo, and Reece Fleming plays the Your Red Wagon theme (it was then adapted for Rock around the clock). All in all, it is a pretty proto-Rockabilly song, a fine blend of black & white styles. Later on (see part 2), Yelvington came close to Rockabilly (Sun 246) with Rockin’ With My Baby.
Clyde Leoppard & the Snearly Ranch Boys were a group firmly associated with Sam Phillips during 1955-1957. Clyde Leoppard (steel), Johnny Bernero (d), Smokey Joe Baugh (p), vocalist Bill Taylor, Buddy Holobaugh (g) backed Smokey Joe, Warren Smith, and numerous other artists during this period. They had a solitary issue on Flip 502 (Sun subsidiary label) in 1954, and they handle right the charming piece of nonsense « Split personality », a romping Hillbilly bop. Smokey Joe had his own issue on Sun 228 in 1956 with « Signifying monkey ». His vocal is crude, and, as once said, a sort of Rockabilly Fats Waller (see part 2).
See part 2 for 1956-1958 Sun Hillbilly sides elsewhere on this site!
Trumpet records – the Hillbilly/Rockabilly sides
One of the earliest record companies to set up business in Jackson, MS. was Lilian McMurry’s TRUMPET label. This company was based at her husband’s furniture cum record store on Farish Street, five blocks West from the old Capitol building in downtown Jackson. She recorded first Gospel, then discovered Aleck Miller, aka Sonny Boy Williamson, and Elmore James. She had also Willie Love, Jerry McCain and Tiny Kennedy (« Strange Kinda Feeling ») in her roster. Read the rest of this entry »
DIXIE 2000 serie (Madison, Tennessee)(1958-1960)
Benny Joy
Dixie – The very name evokes pictures of the Southern areas of the USA. Dixie records have been fascinating collectors for over 35 years now . Of course the word Dixie was used by many different labels throughout the States, anyway it is the main 2000 series that I am interested. Formed as an offshoot of Starday in late 1957, the idea seemed to be trying out new artists who, if successful, were transfered to Starday or using label as a custom one. Shelby Singleton seems to have been the man in charge at the beginning. Three of the first five discs were recorded in Daz Dood’s TRI-DEC label studio (Miami, Florida) and BENNY JOY’s « Spin The Bottle » was actually released on TRI-DEC 8667 in ’57 with « Hey High School Baby » on the flip. The Dixie release (2001) does sound slightly different, but as the vocal comments are same, it would appear that Starday re-mastered and the bass and drums sound more muffled on this hot slab of Rockabilly. Of a number of tracks recorded at this session, « Steady With Betty » was placed on flip of the Dixie issue and has some outstanding guitar in the break.
jimmie lee
The other two discs recorded at TRI-DEC were GENE WATSON’s I’ll Always Love You/Little Valley (2003), a couple of ballads of little interest, and the marvelous rockin’ JIMMIE LEE « Three Little Wishes » (2005), one of the better but lesser known items on the label. With his band « The Playboys », Jimmie lays down a fine rocking opus that has a superb break split between a hot pumping piano and a very biting guitarist, and with handclaps and vocal comments, all making for a quality item.
Sandwiched between these Florida recordings are the first Texas recordings, both by DOUG BRAGG and probably recorded at Seller’s Recording Studio in Dallas. Issue 2002 couples « Red Rover/Lovin’ On My Mind », both tracks being slowish pounders of which the latter is the better of the breaks which combines piano and guitar, although to be fair the vocal is tougher on « Red Rover ». It is the second Bragg release that is the better of the two with « Pretty Little Thing » (2004) being an excellent fast rocker that has a very good break from the guitar and piano. There is a chorus in this that fits in well and the guitarist solo’s on to the end of the record. Doug recorded for quite a few Texas labels such as D during the 50’s and 60’s.
Doug Bragg
The next three releases on Dixie are all by Texas artists. DEE (Mullinax) & PATTY (Timmons) have a nice duet Bopper with « Don’t Tease Me » (2006) on which the band are very solid behind their relaxed vocalising. They were also on D and Mercury. ORVILLE COUCH, a Country singer from the Dallas/Fort Worth area had discs on boty Starday and Dixie in 1958 and his « Easy Does It » (2007) can best be described as a Rock ballad with obstrusive chorus, but he has a good voice and the guitarist is excellent on this one, although he always sounds more at home on Hillbilly material he cut for Starday and I assume that the Dixie release, probably arranged by local producer/manager Jim Shell, was a deliberate attempt to sell to the teenage market.
The very next release is one of the all-time Rockabilly greats with DERRELL FELTS & The Confederates : « Playmates/The Weepers » (2008). A crashing guitar intro and Derrell’s urgent vocal supported by driving bass and frantic drummer all combine to make « Playmates » so damn good with a superb guitar break. Texan Derrell Felts slows it down for the flipside « The Weepers » but it’s still top quality Rockabilly with lead and rhythm guitars combining for a really fine break. KEN HAMMOCK (also on Starday) offers an instrumental « Blue Guitar Jump» (2009).
The next disc is one of the least known, and arguably one of the best on the label with BILL CARROLL’s brilliant « Feel So Good » (2010) which came out at the end of 1958. I am very intrigued by the songwriting credit of Shuler/Hunter (Eddie Shuler of Goldband, and Pete Hunter, a Southern D.J. ?). The sound on this one is very similar to many of the classic rockabilly platters on the Goldband label. A real ‘lived in’ vocal on this an dit is a very catchy song with a piercing guitar break as Bill tells his tale helped by a couple of backup voices.
EDDIE SKELTON had three Dixie records as well as at least two on Starday itself. Strangely they being issued at the same time too. Eddie who was from the Virginia’s had formed a band with his brother called the Rhythmtones and their first one on Dixie « Keep It Swinging » (2011) is a much sought after rocking gem that has a hot guitar behind a good vocalist and a cat who jumps all over the piano in the second break. Great one.
Yet another elusive disc has been DEE JOHNSON’s « Just Look Don’t Touch » (2012) which has been described to as a solid Country rocker. There is no (2013) : unlucky number ?
Following the gap comes « Your Lying Ways » (2014) by BILL GOODWIN & His Western Ramblers. This is not as strong as his « Teenage Blues » (Starday) but is none the less a solid Country rocker with fine steel guitar, an dis a lot better than the later 60’s releases he had on Bandbox in Denver, Colo.
EDDIE SKELTON returns for an instrumental work out on « Rebel’s Retreat » that rocks along showcasing guitar/piano/sax and has a slow rocker « Love You Too Much » (2015) that has a nice brooding sound to it with some excellent bluesy piano and guitar.
Mel Price
The disc by MEL PRICE that comes next « Little Dog Blues » (2016) is the best rocking record I’ve heard by him. The first important ingredient is that the song has something going for it. Mel’s voice suits this self penned song and the backin, was the Santa Fe Rangers, is of high standard with brilliant guitar. I wonder why two of the tracks cut at this session were issued in Dixie 800 series. Mel had a number of releases on Starday, Blue Hen and Regan, and despite the name of his band, appears to have been active along the North Eastern seaboard of the USA.
CATHY KELLEY’s « Blues Hanging Around » (2017) is a Country rocker that sounds very Nashville and lives up to its title, and came out in mid-59.
Right from the opening notes of GROOVE JOE POOVEY’s famous « Ten long Fingers » (2018) with C.B. Oliver’s piano pumpng behind Joe’s assured vocal and a growling sax player who gets a good and dirty sound from his horn. An absolute classic whose rarity pales when one considers how rare his « Move Around » (Dixie 733) just a year before.
Use of the word rare, very overused with records brings us nicely to ART ONTARIO and his « It Must Be Me » (2019) which is a very fine bluesy rocker with an unusually toned guitar that has two excellent breaks. Mind this one is certainly not as rare as this son of Ohio’s « Queen From Bowling Green » issued under the name of ART BUCHANAN (Dixie 823).
For a chunk of good old Rock’n’Roll you’ll have to go a long way to beat « Blast Off » (2020) by the unknown ALDEN HOLLOWAY. Set at a fast jive pace, this one has some blisering guitar work and a good old honking sax before the guitar returns. The other side is an instrumental « Swinging The Rock » featuring both the above ; I wonder is his « Loving Is My Business » (Starday 714) was cut at the same session.
I have been unable to throw any light on HUGHEY BUNCH & The Bradley Farm Hands and their « South Wind » on Dixie 2021. It is not the same « South Wind » that was cut by the late Billy Wallace on REPUBLIC, but is a nice Hillbilly Rock side that has a very prominent banjo on this side and also on the flipside « Cry Tomorrow » which just gets the edge with me as the guitar work is better.
By now, the latter months of 1959 signs of pop rock begin to show up as on DEE JOHNSON’s « Back To School » (2022), which was probably cut at an earlier session. A basic line up of guitar and rhythm section aided by handclaps, a chorus and tinkling piano ; it is quite pleasant.
I was impressed by JAY GALLEGHER and his « Crazy Legs » (2023). A fast tempo’d rocker opened by a heavy drummer, a rocking guitar and a really pumping piano. There is a chorus on this but it suits the song and the guitarist cuts loose a great break amidst the handclapping. The flip is a bit of a shock too : « Steady Flame » is not so fast but I almost prefer this side with it’s clever guitar break that is followed by the pianist who is really enjoying himself. Dixie 2024 (Larry Streeter) unheard.
EDDIE SKELTON goes instrumental once more with « Curly » (2025). Mid paced guitar/piano/sax that is pleasing rather than exciting as it takes too long to get into its stride. And so we come to the end of the DIXIE 2000 series with BOBBY MACK and his « Who Put The Blues In Your Heart » (2025) which is a nice piece of Nashville Country.
(reprint from Phillip J. Tricker’s article in Roll Street Journal # v8, Summer 1984)
Recommended listening: Collector CD 4411 and the Dixie Collector series (2222 to 4444)
The SPEED Label (Nashville, 1951-1955) (from Roll Street Journal # 17, 1986)
The label and the men behind it. (notes by Martin Hawkins)
The Speed Record Company was a small independant label operating from 1951 and about 1955 from Nashville, Tennessee. This was a period when the music business there was just beginning to thrive and diversify. Larger local labels like Bullet and Tennessee had seen some degree of success and all the major labels were taking an interest in the city.
Speed was run by three men – Frank Innocenti, John Dunn and James Gann – who were all separately involved in aspects of the record business. They all saw Speed as a sideline, and consequently it operated on evenings and at weekends. They used makeshift studios, either the Brown Brothers studio downtown or the WMAK or WLAC radio stations studios. Frank Innocenti did most of the recording, with the others taking care of manufacture and business generally. A guitarist named Chuck Gregory, then president of the Painters Union, was used as a session guitarist and seems to have run a record label called Gold which was near enough a sister label to Speed.
Speed Records had limited distribution. You won’t find any Speed Records adverts in the trade press of that period and you won’t see too many reviews of Speed issues. In fact, you won’t see too many Speed discs.
Despite the limited budget of the label, and although most Speed issues were a well-kept secret, the label nevertheless gathered together some talented artists and writers. Lattie Moore was one of the very best Honky Tonk singers. Bobby Helms was a classy country singer, and songwriter Jack Toombs provided the label with many fine songs.
John Dunn was born in Humphreys County, Tenn. in 1920 and had been involved in music since 1946 when he joined the Hermitage Music Co. This company had been involved in Nashville’s first local label, Bullet. When Heritage and Bullet moved into the pressing business with Southern Plastics, Dunn took charge of this part of the operation. In 1971 he started his own United Record Pressing Inc. His part in the Speed label was largely that of organising record manufacture and production. He now recalls the Speed days with some pleasure but has no regrets at the selling of the label because of the work involved in running it as a spare time activity.
Most of the ‘producing’ of Speed recordings was carried out by Frank Innocenti. Working also in the Memphis area, Innocenti had been a field salesman for Buster Williams’ Plastic Company and was experienced in selling both hillbilly and blues music.
Speed was basically a hillbilly label – with a 100 serie that went to at least 117. There was also a 300 R&B series, of which only one issue is known. The label was really out of business before the Rock and Roll came in, although Innocenti rues the day he failed to meet Carl Perkins who was considering leaving the Sun label in the middle of 1955 ; « I could have had « Blue Suede Shoes » – really. I met Carl Perkins up at Humboldt, Tennessee, and I had an appointment set to talk to him some more. But it happened I had a hard day and I was wore out. I just couldn’t go there again for the meeting. Well, that was that, Sun kept Carl and we sold out the label. »
Innocenti and Dunn both recall that the label was sold to A.C. Reed, a hotel proprietor from Bordeaux, just over the river from Nashville. Dunn feels that Reed kept the label going but this is not at all clear.
Frank Innocenti’s recollections about Speed days are as follows : « I came to Nashville in 1942 as a U.S. Air Force sergeant. I was born in a small coalmining town, Snoden, Penn. in 1916, just five years after my parents had come from Italy. (…) During the time I had Speed Records, I worked on the road with Williams’ Distributing Co. out of Memphis. I called on jukebox operators and record shops, selling. I was very busy. It seemed we carried all the independant lines going – MGM, CHESS, APOLLO, PEACOCK, SUN, etc. We had all the ‘Screamin’ labels in those days. I’d travel Tennessee and all down to Arkansas and Mississipi.
« I knew everyone in those days ; I knew Sam Phillips real well – he had the knack for it. If anyone was a record man, it was Sam for sure. I knew the great Hank Williams, we were close friends. We did a lot of fishing in this area (Nashville). Hank was the top selling artist on all the labels back then.
I started Speed in 1951. I got the name when the change came from 78 to 45 to 33rpm. The question of speed was on everyone’s lips and in record buyer’s mind. It proved to be a good name. Most all the Speed records were cut on 78rpm speed. In the summer of 1952 I met Lattie Moore as I came out of the Ernest Tubb Record Shop on Lower Broadway. Lattie wanted to make a record and he sung it right there on the busy sidewalk for me to listen. The song was called « Juke Joint Johnny ». I thought it so good I gave him a song contract and a recording contract and cut that very afternoon. In a hurried moment, I quickly contacted Noel Ball, a disc jockey who did some engineering and three musicians, piano, drums and bass. Lattie played guitar and had another guitarist (steel). We went to a make-shift studio above Buckley Record Shop. No one knew the song except Lattie and his steel payer, so to fill out the sound I told the engineer to bring up the drums as loud as possible to fill the sound of the piano. The song hit the jukeboxes fast and good. I think this was about the first Rock and Roll record out of Nashville, and in those early days we didn’t know it !
Then in 1953 came a beautiful writer by the name of Jack Toombs. He had this great song « You’re The Only Good Thing That Happened To Me ». I quickly signed the song and hurried a copyright, for Jack had the habit of selling songs and I didn’t want it to get away. (…)(The song appeared on Excello mid-1954)
Two young men contacted me, and I recorded them. One was Bun Wilson, from Paris, Tennessee. He was a comedian in Ernest Tubb’s band. He also played with Bobby Helms for me. The other was indeed Bobby Helms from Bloomington, Indiana. His « Freedom Lovin’ Guy » was a particularly good song and Bobby went to be a good top class artist.
After a while I had to take in two partners, my life long friends John Dunn and James Gann. We all tried, but went to the point where we just couldn’t go on. We sold the label to a A .C. Reed who wanted a label to promote a child star he had going. Not being a record man, he had no pedigree in the business and the label died.
I was really relieved to part with the label. I was unable to set up the distribution. We covered lightly, mainly Memphis, Cincinnati and St. Louis. But, I must say, the Speed name in its short life cut a wide path in the early days of recording in Nashville. To be in the class of recording one country standard, and to receive awards as Jack Toombs and I did for his song « You’re the only Good Thing » is an achievement indeed, I think.
The singers and their recordings. (Philip J. Tricker comments)
Georgia Slim : « Flying Saucer Baby »/ « Jig Saw Puzzle Heart » (100) and « Fryin’ Pan Boogie »/ « Three Angels » (102)
The label got of to a none too suspicious start as I find the vocals on the two sides of Speed 100 very bland and quite a bit on the ‘straight’ side. Mind you both sides are excellent and instrumentation is typical early 50’s with fine steel, and a pleasant piano to be found with « Flyin’ Saucer Baby » being the most uptempo. Speed 102 escaped my research.
Lattie Moore
Lattie Moore : It’s Good Enough For You/Juke Joint Johnny (Speed 101) and Baby I’ll Soon Be Gone/My First Love (Speed 105)
One of the two most sought after artists on the label and for all the good reasons too ! Considered by many lovers of Hillbilly to be one of the GREATS of that genre, Lattie, a son of Kentucky, had one of those truly superb rural Hillbilly vocals and on these early sides he was really superb. (…) It’s Good Enough For You is set to a shuffle tempo and the band may not have known his material before the session and you’d never have guessed it. And on the classic Juke Joint Johnny they were into their full stride with some wonderful interplay between the steel player and the pianist who both have breaks and come over powerfully. Baby I’ll Soon Be Gone is a strong number with boogie guitar runs and again fine piano and here the steel may not be in prominence but blends in beautifully. My First Love makes up a fine quartet of songs. Syd Nathan of King purchased Moore’s contract and Lattie was to spend a number of years at King before also recording amongst others for Starday and Arc.
Joedy Lea : The Devil Paid Me (With A Mother-in-law)/Sweet Little Baby (Speed 104)
Chunky guitar patterns open « The Devil… », an above average tale of woe about Joedy’s Ma-in-law & the trials and tribulations she puts him through. As on all Speed discs the backings are superb and I suppose that being located in Nashville the label was able to call on the cream of early session men (and women) in town. Ably assisted by a steel, piano and a fine fiddle player this is a fine disc with Joedy delivering the song in a fast ‘talking blues’ style and the flip slows things down as is a strange amalgam with some bluesy guitar licks and yet the piano has almost a cocktail lounge sound to it. Strange record.
Tennessee Slim : It’s Your Turn To Cry/I’m An Old Wolf (Speed 106) and One Sided Love Affair/Crazy Hazy Kisses (Speed 113)
Some confusion seems to reign with Hillbilly collectors between this man – Tennessee Slim Hollingsworth – and Mississipi Slim, who were both active in Nashville at the same time. Well, the latter (real name Carbel Lee Ausborn) recorded for Tennessee and has nothing to do with Tennessee Slim, who was quite a character in Nashville in those balmy days and was a good writer too as these two couplings prove. I’m An Old Wolf is a perfect vehicle for his lazy vocal delivery with great lyrics about he’s getting a bit long in the tooth for galivanting around. Bluesy edged steel complements the vocal while an able rhythm section chugs away in background. On the flip we have a nice Hillbilly weeper set to a walking bass. Swirling fiddle instro’s Crazy Hazy Kisses with again that ‘live in’ lazy vocal tells his tale. The break is split between the fiddle and a nice tasty steel. Again the standard of a weeper is adopted for the flip.
Shorty Sergeant : Night Life And Wine/You’d Better Think Again (Speed 107)
« Night Life And Wine » is a quick paced Hillbilly opus and yet another example of the good ear that Frank Innocenti had for good Hillbilly. He certainly kept in the same basic sparse support building around the steel, and in this case a very good and inventive guitar.
Chickie King : O-o-o-H/Lov-ie, Lov-ie (Speed 108)
The first of two females to have a disc out on the label. Lov-ie, Lov-ie is a superb romping piece of Hillbilly Rock which opens with a bopping piano, sharp guitar and a thundering upright bass and is set to a classic fast jive tempo.
Tex Cronas : Patches on my heart/A Diamond Ring (Speed 109)
« A Diamond Ring » is a fine slice of uptempo Hillbilly Bop with Tex in good form on the vocal and ably supported by an excellent guitarist – Chuck Gregory, the co-writer ? – while a lopping piano is featured on the break. « Patches » follows the same format and is a good song.
Betty Jo : Fairyland Of Love/You’ll Need My Help (Speed 110)
Betty Jo Ball may well have been related to the D.J. Noel Ball who engineered the early Lattie Moore session. Her « Fairyland » is an easily forgettable ballad which has one of my least favorites instruments in it – an organ. However for the flip she comes up with the goods in the form of an ‘answer’ song to Carlisles’ Mercury record « No Help Wanted », which is set to a basic structure. Once again we are treated with hot Hillbilly pianistics and even the luxury of an upright bass taking a brief solo. Betty Jo was also to record for the Athens label in Nashville during the late Fifties.
Jack Toombs : Pin Ball Fever/I Can’t Stop Loving You (Speed 111)
« Pin Ball Fever » is a fine example of Hillbilly Rock and this time the beat is emphasized by a much more upfront drummer, very driving for the time 1953/54 and shows the way seeds of a more Rockabilly approach were sown. The solid little combo has a super steel and almost inevitable piano and a sharp guitar lays an hot break before the steel/piano share the second. A real fine Country ballad on the flip. Toombs also recorded for Excello.
Bobby Helms
Bobby Helms : Yesterday’s Lovin’/Hangin’ Around (Speed 114) and Freedom Lovin’ Guy/I’ve Never Seen A Girl (Like You) (Speed 117)
Both these records are Bobby Helms’ best recordings. When he came to Speed, he was a struggling Hillbilly singer from Bloomington, Indiana. He showed here that he was a superb singer/lyricist with Hangin’ Around with its classic answer & response technique and Rockabilly guitar showing where he was at. To prove his versatility, his other contribution for the label was « Freedom lovin’ Guy » which I rate as one of the TRULY GREAT HILLBILLY ROCKERS of all time. Swinging fiddles, hot upright bass set things up and then the steel arrives. Totally sparse backing and with Bobby’s superb vocal upfront. Later went to Decca.
Bob Rogers : Little Bit Late For Lovin’/I Want To Be Babied (By A Gal Like You) (Speed 115)
Yet another mysterious figure is the rurally hick vocalist Bob Rogers who’s high pitched style is not unlike Jimmy Work’s. Both sides are top class Fifties Hillbilly with the faster paced « I want To Be Babied » just shading it for me though I know some prefer the slower « Little Bit Late For Lovin’ » for the sharp guitar work. Once more the backing is sparse and the piano outstanding.
Little Bun Wilson : I Lost My Baby/This lesson Of Love (Speed 116)
It is much more traditional sound and instrumentation abeit a sprightly one on « This Lesson Of Love ». Fine band with a super bass line behind good fiddle. Flip is a ballad.
The story of RUBY RECORDS (Larry Short)
I started in operating « Ruby Records » in February 1955. Before that I played the electric steel guitar for several years. Later on I met Esta Dodds, and worked as her A&R man, on « Esta records ». She was several years my senior and I felt she was satisfied moving at a slow pace. This irritated me and I became to be dissatisfied, so decided to start my own recording service, « talking letters » (Short recorded weddings, speeches and cut demos – in the same manner as did Sam Phillips in Memphis during the late 40’s).
Receiving satisfaction from this facet of recording, it prompted me into seeking my own label. I wanted to register it as « rainbow Records », but there was a « Rainbow » label in Memphis, Tenn. Rather than be a part of an infrigement act, my wife gave written permission, without involvement to her, to use her name. The name « Ruby » was placed in a two dimensional diamond figure, with simulated glitter…with stars emitting from the glitter – which formed the logo. Then I was successful in getting it registered at the principal register in Washington. Wherein « Ruby Records » was given birth. Read the rest of this entry »
Lucky records of Cincinnati, Ohio (1957-1960)
The Lucky label was formed by the late Elmer « El » Rader, probably in early 1957, together with Countryfied music, the publishing house on nearly all issues. The label was located at 2252, Wheeler Street, in Cincinnati, Ohio. Read the rest of this entry »
