Howdy folks. Maybe you’re still on Holydays? Bopping (and the editor) didn’t take any spare day to rest, and kept busy all Summer long, and were preparing a new hot slice of Hillbilly goodies. This time it spans from 1947 to…1966. Lotta good music, for your own pleasure, all of you Cherished visitors/listeners/downloaders all over the World! Some strong numbers, one could say hard-core Rock’n'Roll influenced Rockabilly, just to make a change from the previous post devoted to the gentle, sometimes smooth music by JACK BRADSHAW. I like Jack anyway, be sure to check this post! And another tune, in particular, very near to Western swing (even a very risqué song for the time being).
Jimmy Murphy, 1950's
So, OK for embarking? We begin with JIMMY MURPHY (see elsewhere in this site with help of the search engine at upper right). His commercial days at Columbia (1955-1956) were largely over when he entered (after an unreleased Starday session – now available on Ace records) again in the Bill Lanham studio and recorded one of his best tunes ever, very sensitive and sincere, in 1962, for the Ark label, « I Long To Hear Hank Sing The Blues« . Unclassifiable music: between Hillbilly, Folk music and Bluegrass.
Let’s go on with HOMER « Zeke » CLEMONS. He hailed from Texas during the mid to late forties with his outfit, the Swingbillies. As soon as 1947, they were recording their « Operation Blues » (lyrics below), an early risqué song which actually met such enormous success on the first label, Bluebonnet, that Modern out of Los Angeles leased the tune, as « Operation Blues # 2« , next year, and re-released it even 16 years later, under the name « Hank Brown » (Royalty label)
OPERATION BLUES (Homer Clemons) Now won’t you climb up on the table, Pull up that gown Raise up that left leg, Let that right leg down Pull off them stockin’s, That silk underwear ’Cos the doctor’s got to cut you, mama, Don’t know where The doctor knows his business The doctor knows just what to do Too much of (?), One old ( ?) Two pair of step-ins That’s all I can say (save) Your ribs are all loosened, Your carburettor’s stalled I’ll duck into your hood, And clean your spark plugs all The doctor knows his business The doctor knows just what to do… Is it a car (spark plugs), or anything (-one) else that the doctor is visiting?
On to 1966. Dayton, Ohio. WIBBY LEE is a real unknown – no information has ever surfaced about him, at least to my knowledge. He cut 3 disks for the small Jalyn label, all good Boppers, Rockabilly borderline, a real anachronism for the time. Just vocal and electric guitar (Is there any bass?) on « I’m Lost Without Your Love » .
Just WHO was Ted DIXON, or Walter DIXON, or even MASON DIXON? Once in the now-long-ago defunct « Roll Street Journal » magazine, the handsome Phillip J. Tricker promised the readers the story of Mr. Dixon, which never saw the light…First, it seems the three were the same person. Second, they had numerous records on labels as small and elusive as Reed (Alabama), Erwin (Tennessee), the most approaching to a major (everything is relative) being Meteor, out of Memphis (the Los Angeles’ Modern label outfit). Here I have chosen by MASON DIXON the superlative « Don’t Worry About Nuthin‘ », complete encouragement to leave troubles behind, and take the good side of life. Swirling fiddle, great happy vocal, thudding bass: the optimal crossing between Hillbilly and Rockabilly, being cut 1955.
Ted Dixon
Then on to Texas. Ted Daffan’s label, ably named Daffan (its story is on the line). A great 1957 offering by a guy by the strange name of FIDLO. « Trifling Heart » has a solid Country-rock guitar, the singer’s voice is firm and confident; great steel-guitar throughout (solo interplay between lead and steel), all loped by a thudding bass. Finally we have a minor classic in « We’re Bugging Out » (Murco 1014) by another unknown, TOMMY BOYLES (1959). I think the tune could easily fall in the category of Country-rock. Never-the-less, a fine romper in its own right.
Tommy Boyles, late 90's
As a bonus, a great Rocking Blues in the hand of FENTON ROBINSON on the Duke label (# 191), « Crazy Crazy Loving« , from Texas, 1958. I LOVE Blues too!
And as usual, I hope you all will appreciate the selections. I do my damn best to give you pleasure (pics and music). Bye!
first ever Work LP, Dot sides (1985)
All too often, country composers of the 1940s and 1950s who didn’t have a substantial string of hits of their own are forgotten even if their songs have not been. Jimmy Work is a classic example. The author of three bonafide Country classics – “Tennessee Border” (1948), “Making Believe” (a simultaneous hit for both he and Kitty Wells in March of 1955) and “That’s What Makes The Juke Box Play” (1955) - Work’s records have been a little more than a footnote to the fifties, a composer’s credit on someone else’s records. That fact is truly unfortunate, for in truth, Jimmy Work was among the most expressive composers of the era. Though Hank Williams and Lefty Frizzell enjoyed greater success, Work’s best songs were among the most evocative of the period: raw, unvarnished gems with an undeniable directness and beauty. Read the rest of this entry »
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 »
Roy Hall, Pumpin’ and Drinkin’!
James Faye « Roy » Hall was born on May 7, 1922, in Big Stone Gap, Virginia. An old colored man taught him to play piano, and to drink. By the time Roy turned twenty-one, he knew that he was the best drunken piano-player in Big Stone Gap, and armed with the pride and confidence that this knowledge gave him, he departed the town of his birth to seek fame. Roy made it to Bristol and farther, pumping boogie-woogie in every Virginia, Tennessee, or Alabama beer-joint that had a piano. He played those pianos fast and hard and sinful, like that colored man who had taught him back in Big Stone Gap; but he sang like the hillbilly that he was. He organized his own band, Roy Hall and His Cohutta Mountain Boys (Cohutta was part of the Appalachians, in the shadows of whose foothills he had been raised up). It was a five-piece band, with Tommy Odum on lead guitar, Bud White on rhythm guitar, Flash Griner on bass, and Frankie Brumbalough on fiddle. Roy pounded the piano and did most of the singing; but everybody else in the band sang too. Read the rest of this entry »
ARKIE SHIBLEY
Born Jesse Lee Shibley, 21 September 1914, Van Buren, Arkansas. Died 9 September 1975, Van Buren, Arkansas Read the rest of this entry »
JACK BRADSHAW
One of the most prolific and sensitive artists on the Mar-Vel’ label was Jack Bradshaw. He, like many other members of Harry Glenn’s musical family, migrated North during the 50’s. Jack was born on March 29, 1930 in a little place called Scutty near Harlan County, Kentucky.
Read the rest of this entry »
Howdy, folks! Here we go with 6 « new » Hillbilly Bop goodies from various sources, spanning nearly 20 years from 1949 to 1967. Let’s begin with Indiana’s BLANKENSHIP Brothers. They were a group doing Bluegrass and Rockabilly, as late as 1960. I’ve chosen « I Just Got One heart« , the B-side to their most famous and best tune « That’s Why I’m Blue » (Skyline 106). Way up North in the Detroit, Michigan area. Hillbilly was concentrated on Fortune Records (Jack & Devorah Brown), and the label saw many, many fine releases by Southerners who did entertain the Ford car workers. Many good Fortune sides are to be found in the excellent NL Collector serie « Boppin’ Hillbilly« ( »Detroit in the 50’s« , 3 volumes), and here we have one of the earliest sides (Fortune 141, 1949) by EARL SONGER, « Mother-In-Law Boogie« . Songer himself was from West Va. and came to Detroit in the late 30’s; being a fan of Bill Cox, he was a one-man band (vocal/guitar/harmonica), before teaming with Joyce (born in Tennessee). Together they recorded many songs on Fortune: 7 disks within 2 years. Immense success.
Next we have TOMMY JACKSON and « Flat Top Box » from Lexington, KY (Sun-Ray 131) as late as…1967. Great guitar, very modern in style, altho’ the Hillbilly spirit remains untouched. Back to Indiana with the prolific Hodges Brothers Band, fronted by RALPH HODGES for a little classic on Whispering Pines 201, « HONEY TALK » with the buzzing guitar and swirling fiddle. That’s a crossover between Hillbilly and Rock’n'Roll, what they call sometimes Hillbilly Rock. They had a good amount of albums recorded by Chris Strachwitz for Arhoolie in the 1970’s.
And then we have a woman – and God knows they were THAT uncommon in Hillbilly! JEANIE CHRISTIE on the Blue Sky label out of St. Cloud, FLA from 1958: « Flying High« . Great and firm vocal, a solid steel-guitar throughout. A nice record!
Finally in Virginia for the tiny Liberty label (no connection with the California concern), HENDER SAUL, « I Ain’t Gonna Rock-Tonite« , one of my all-time faves in Hillbilly Rock. Forceful vocal, nice lyrics, great interplay between guitar and fiddle.
I really hope you will enjoy the selections, and you will comment after a listen or two. You can download everything, of course!
« Lâche pas la patate » (Don’t loosen the potatoe) to quote Cajun Jimmy C. Newman, and keep on Bopping!
Sources: various CDs. Pictures as usual from the excellent Terry Gordon’s site « Rocking Country Style ». Take a look at it!
Howdy folks! Just another batch of good ole’ Hillbillies, Honky tonks, and Hillbilly boogies (all from the 50s/early 60s). No label shots, sorry: I just re-formated my Macintosch hard drive, and lost all my sites in course! Sometimes I own the actual record, wish I had them ALL! But, you know, it’s not a matter of time neither of money to get them, they are really THAT rare…
We begin with a very rare USAF live transcription of HANK SNOW, early 50s. Hank does 3 tunes, first his signature song, “I’M MOVING ON”, then he embarks on a track that is known to me, but at the moment I cannot remember the title of the song. He finishes with the famous “HONEYMOON ON A ROCKET SHIP”. Fine, powerful rhythm guitar from Hank himself, I would assume; if the band which is backing him is the same as on recording sessions, then the great steel should be played by either Joe Talbot, or Melford Gentry.
Honky Tonk now with CARL SMITH on Columbia, with the fine 1955 “Baby I’m Ready”, lotta bird-dogging in this song, with the perfect Nashville musicians staff. On to early 60s I’d assume. I don’t know the location of the CLET label, perhaps Texas? I’ve chosen the uptempo “Honky Tonkin’ Baby” by BOB SMITH. September 1960, Cincinnati, King records studio. My own tribute to a great singer/songwriter, LATTIE MOORE, who just passed away on June 13th (he was heartsick since the 90s); here we have “Drivin’ Nails (In My Coffin)” – is it the same number popularized circa 1947 by JERRY IRBY? I have not the time to compare the songs.
Next comes from Texas or Oklahoma a minor classic by AL VAUGHN, “She’s An Oakie” (Four Star) from 1952. Good harmonica throughout, and fine steel. Then to Tennessee and on the DOT label, out of Gallatin. BIG JEFF & The Radio Playboys for the fine offering “I don’t talk to strangers”, from 1950 or 1951. Could Big Jeff be…LUKE McDANIELS, or as he was billed on MEL-A-DEE out of New Orleans (“Daddy O-Rock” from 1956), JEFF DANIELS? His actual story is yet to be written…Finally we have Danny (name forgotten!) as HANK THE DRIFTER and the great “Bill Collector Blues” – late 50s on the NEW ENGLAND label. Hope you N-joy everything! Comments welcome.
Hello folks! This is REALLY a hot summer over there in France, lot of heavy clouds but…no rain at all. Perfect time anyway to keep oneself well wet inside and stomp to that good ole’ Hillbilly beat. We begin with a very elusive artist from the Cumberland Valley/Cincinnati area. I’ve told before in this site about him, and did promise I should post everything I gathered for one year and a half. This could be later this year, so watch out for the fullest possible story on Mr. JIMMIE BALLARD. The first cut in this fortnite is Ballard’s own version of « Birthday Cake Boogie » (Kentucky 508)
of course, the same song was also recorded by, among others, BILLY HUGHES and SKEETS McDONALD, and stands out as a classic ‘risqué‘ or ‘double-entendre‘ song. Ballard was the front man then of BUFFALO JOHNSON’s Herd (who was active in the D.C. area, and a full story on him is on the line. Have you ever heard at least one of the THREE versions he did of the classic « Tapping That Thing« ?) and he keeps the vocal duties with the also ‘risqué‘ (Kentucky 520 ) « T’ain’t Big Enough« . Both songs are from 1953/1954, fine uptempo Boppers, altho’ just above average, except for lyrics.
Back to a Wildcat out of Texas, a very long career as steel guitar player as soon as 1936, then singer and front man of his band, the XYT Boys, BILLY BRIGGS. I will have some day a complete story on him. He was (maybe he’s still alive, I dunno) to have a sound on his own, and produced very strange ditties from his steel in 1951 for his greatest success (much covered) « Chew Tobacco Rag N° 2 » . Here I’ve chosen the amusing « North Pole Boogie » (Imperial 8131, late Forties), complete with icy wind effects (on steel), and Briggs’ own barytone voice imitating a sort of ‘polar bear’ .
Back to Cincinnati and BILL BROWNING. I’ve written about him elsewhere in the site with the story of the LUCKY label. Today I listen to his composition « Dark Hollow« , which was a hit in 1958 when picked up by JIMMIE SKINNER, before the very nice version on BLUE RIDGE by LUKE GORDON (watch out for his story later in 2010), then even by The Grateful Dead in 1973, among others. I particularly like the recent version made by FRED TRAVERS (90’s) which I’ve included in the podcasts; almost falsetto urgent vocal and great dobro.
More from Cincinnati. BOBBY ROBERTS (I think there were at least 2, or 3 personas by the same name during he 50’s). Here he’s the great Hillbilly singer, who cut late 1955 4 sides for KING records. I cannot rememeber if I posted earlier his great « I’m Gonna Comb You Out Of My Hair » (what a title!). This time, I offer the second KING (4868, unverified – Ruppli’s book still stored) « I’m Pulling Stakes And Leaving You », same lyrics format. Great, great Hillbilly Bop. Later in 1956, Roberts (or one of his aliases) had « Big Sandy » or « Hop, Skip and Jump« , pure Rockabillies. I still wonder if it’s the same man; if so, he would have adapted very well and quickly (within some months) from pure Hillbilly vocal to almost Rock’n'Roll. By the way, he would not have been the first to do so: SKEETS McDONALD, GEORGE JONES, MARTY ROBBINS did very well the transition early in 1956.
Another elusive artist: guitar player/singer PETE PIKE. Recently deceased (2006) just after a CD ‘back to roots’ (Bluegrass) issued in 2005, he was active both in Virginia and D.C. areas from 1947 onwards, and associated several years with another interesting man, BUZZ BUSBY (Busbice). Pike had Hillbilly Bop records on FOUR STAR and CORAL in 1954-1955, among them I’ve chosen the superior ballad »I’m Walking Alone« . Another future entry in www.bopping.org, research is well advanced.
Finally, on the Rocking Blues side, you’re in for a treat with L.A. ‘black Jerry Lee Lewis’ (as the Englishmen call him when he visits their shores), WILLIE EGAN and « What A Shame » from 1957 (Vita label). Pounding piano, wild vocal, strong saxes, heavy drums, the whole affair rocks like mad, althoug relaxed. Enjoy, folks. Comments welcome. ‘Till then, bye-bye.
BILLY BARTON
London, Kentucky area
Billy Barton was born in London, Kentucky, on November 21rst, 1929. At the age of sixteen, after special training at school, he had secured a job as a tobacco auctioneer but, when he was twenty-one, his love of music carried the youngster to his first professional appearance on radio KXLA out of Pasadena, California. However, it seems to have been a further two years before Billy was to see his name on record. This first release for Fabor A. Robinson’s Abbott label was a duet with Johnny Horton on the flip of Johnny’s ninth Abbott issue. The next record on the label showed the same format, Horton solo on one side coupled with Horton/Barton duet on the other.
At this time, he was recording as Hillbilly Barton and would persevere with this name for a further two issues
before simplifying his name to Billy Barton for his remaining six Abbott platters. Although none of these records became mammoth sellers, the Country press was full of praise and D.J.s were giving them plenty of spins. One side of each of his last two Abbott discs were duets with Wanda Wayne, who he would go on to marry shortly afterwards, in December 1954.
Whilst on the honeymoon the couple cut at least one session for the King label of Cincinnati, but it was most probably two separate sessions in a matter of days. The penultimate of the songs is Wanda Wayne’s « Turn Your Fire Down », which is an excellent Hillbilly bopper.
It was 1957 before we know of him recording again and then it was for the obscure Stars Inc. company. After that the next two seem to have been custom pressings from the same plant, the first under the banner of a music publisher, Vidor Pub. Inc., which was subsequently issued on the Barton label, and the second for the small Fire company, which was then picked up by the Radio label. These tracks were recorded in 1957/58.
There followed at least two releases for Gulf Reef, the first as Billy Boy Barton and the second under the name of Laurel London.
The last known issue by Barton is the out and out rocker on the Sims label. After that, who knows ? Barton wrote songs for Benny Martin, Cleve Warnock, and of course Wanda Wayne ; he co-wrote « Let This Be The Last Time », « Stop Talking » and « I’d rather Take A Beatin’ Than To Write » with Rose Maddox. But his most successful composition has proved to be the early 50’s « A Dear John’ Letter ». Recently (1999), he left Nashville for Florida, and promises/threatens to release a tell-all book about the music business.
Ian D. Saddler’s view of Billy Barton’s music
I have to confess that Barton is one of my favourite artists, his records show a mastery of Hillbilly music, Hillbilly Bop, Rockabilly and Rock’n’Roll…My only regret is that he only made one Rockabilly disc in the classic slap-bass style. Of course, it is a marvelous two-sider and, although « Crazy Lover » is the recognised side, I personally prefer the flip. « Day Late And A Dollar Short » which has a great backing and the lyrics have a wonderful wry humour.
The Abbott ditties are quality Hillbilly, the duets with Johnny Horton being particularly fine boppers. The King tracks are again good Hillbilly, with « I’m Turning Over A Brand New Leaf » the stand out track for me. It is a top quality bopper, with a strong vocal. The Stars Inc. disc couples a nice Rock-a-ballad with a truck song that just does not come off. Despite the appearance of the titles, the Fire/Radio platter is not a Gospel effort, but a Country influenced Rocker.
The first of the Gulf Reef couples a Pop-rocker with a ballad, and is the poorest of Barton’s offerings. The second, again a Pop-rocker, has lyrics that will be appreciated by all R’n’R fans, and musically is a good jiver. Lastly the Sims (# 176), a fine rocker, with good guitar backing. Pop-country on the other side though.
Reprint from Roll Street Journal #5 (Autumn 1983) : Wayne Russel and Ian D. Saddler. Additional notes by Wayne Russell from « Let’s Flat Git It, Vol. 8 » (Bear Family 15936). Actual name of Billy Barton may have been « John Grimes » (or was it another pseudonym ?), according to Prague’s Frank Discography on Johnny Horton. Wanda Wayne had a duet with Johnny Grimes on King.
Stampede 5001 (2009), UK (Abbott sides)
BILLY BARTON – a list of his records.
Abbott 108 Betty Lorraine (Horton only)/Somebody’s Rockin’ My Broken heart
Abbott 109 Rhythm In My Baby’s Walk (Horton only)/Bawlin’ Baby
Hillbilly Barton
Abbott 110 Strange Affection/She’s A Good Ole gal
Abbott 111 No Interest (Nothing but a girl)/Never Satisfied
Billy Barton
Abbott 113 My Darlin’ Liza Lou/You Made Me Love You
Abbott 117 Blues In The Blue Of Night/You Will Lways Be In My Heart
Billy Barton & Wanda Wayne
Abbott 155 I Cried My Eyes Out Over You/What’s The Matter With Me (Barton only)
Abbott 166 You’re You (Barton only)/That Word Called Love
King 1440 The Song You Just Played/Why Don’t They Leave Her Aloine (Barton only)
King 1457 Pardon Me, Old Buddy/What God Has Put Together, Let No Man Tear Apart
King 1478 Do You Love Me, Do You Love Me/I’m Turning Over A Brand New Leaf
Stars Inc. 548 No Tomorrow/Ten Wheels
Vidor Pub. Inc. 1007 Crazy Lover/Day Late And A Dollar Short (also on Barton # ?)
Fire 1008 Doorway To Heaven/The Deviul, My Conscience And I (also on Radio 117)
Billy Boy Barton
Gulf Reef 1001 Blue Lover/Monkey Business
Laurel London
Gulf Reef 1007 Don’t Knock The Rock/My Conscience And I
Sims 176 Even Steven/Remebering
Sims 209 After The Boy Gets The Girl/Backstreet Affair
Sims 244 Letter To A Fool/Arms Of A Child
