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!

 

 Blankenship Brothers - I Got Just One Heart [2:05m]: Play Now | Play in Popup | Download

 

 Earl Songer - Mother-In-Law Boogie [2:38m]: Play Now | Play in Popup | Download

 

 Tommy Jackson - Flat Top Box [2:10m]: Play Now | Play in Popup | Download

 

 Ralph Hodges - Honey Talk [2:01m]: Play Now | Play in Popup | Download

 

 Jeanie Christie - Flying High [1:34m]: Play Now | Play in Popup | Download

 

 Hender Saul - I Ain't Gonna Rock- Tonite [2:29m]: Play Now | Play in Popup | Download

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)

 

 Benny Joy - Spin The Bottle [2:37m]: Play Now | Play in Popup | Download

 

 Doug Bragg - Red Rover [2:20m]: Play Now | Play in Popup | Download

 

 Jimmie Lee - Three Little Wishes [2:17m]: Play Now | Play in Popup | Download

 

 Pat & Dee - Don't Tease Me [2:08m]: Play Now | Play in Popup | Download

 

 Derrell Felts - Playmates [1:52m]: Play Now | Play in Popup | Download

 

 Bill Carroll - Feel So Good [2:08m]: Play Now | Play in Popup | Download

 

 Eddie Skelton - Keep It Swinging [2:30m]: Play Now | Play in Popup | Download

 

 Mel Price - Little Dog Blues [2:36m]: Play Now | Play in Popup | Download

 

 Groove Joe Poovey - Ten Long Fingers [2:49m]: Play Now | Play in Popup | Download

 

 Bill Goodwin - Your Lying Ways: Play Now | Play in Popup | Download

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.