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
Howdy folks! I am moving on June 11th. So, before my entire library/computer is set up, I may be out ’till this end of June. I’ll do my best to give you some more music in the meantime.
We begin with JAMES O’ GWYNN, Star of the Louisiana Hayride, here in 1959 (Azalea label) with the fine, amusing « Ready for Freddy ». Great hillbilly phrasing. Go ahead with Cincinnati, Ohio, KING’s recording artist BOBBY GROVE. Fine « No parking Here » (double-entendre lyrics!) with the cream of Ohio musicians backing. Then down South. You are for a treat…BADEAUX & LOUISIANA ACES, 1962 (Swallow label) and the classic « The Back Door » – even for me, French speaker, the words aren’t easy to understand. Honky tonk life…Back to Texas with GLEN REEVES and « That’ll be love » (Decca), good Hillbilly bop/Honky Tonk from 1956. 1936, Dallas, LEON SELPH and « Swing Baby Swing » (Decca)(proto-Hillbilly Bop!). A real phenomenon: ROD MORRIS. Although he had had a recording career (Capitol among other labels – he came originally from Missouri), he was a songwriter. Here he is singing a song taken from Americana tradition about trains and drivers, « The Ghost of Casey Jones », a mix-up of Rockabilly/Rock’n'Roll (Ludwig label, 1958).
Leon Selph & Blue Ridge Playboys, 1936
Amos Milburn & Chickenshakers, 1956
As a bonus, a great wildie, AMOS MIBURN pounds the 88-keys on « Amo’s Boogie » (Aladdin, September 1946) – on the West Coast. Enjoy the music, comments welcome. Bye…
Jimmy Simpson : Ramblin’ Blues (reprint of A.J. Nightingale’s article in RSJ 7, 1984)
Many people regard the state of Tennessee as the cradle of Country music and I suppose that it was only appropriate that one of the finest hillbilly singers of the Fifties, JIMMY (J.D.) SIMPSON have been born in the state, at Sullivan Hollow, Ashland City, some twenty odd miles from Nashville on 24th March, 1928. His father, it seems, owned the Simpson Construction Co. « My parents were hard-working, honest, and religious people », Jimmy recalls in his book A Vanishing Breed. « This was the Depression era and we learned early in life to cope with hard times. We didn’t have a radio, but an old wind-up Victrola that played 78 rpm records, and that’s was our entertainment. »
A big man, six feet tall, Jimmy had definite stage presence and a gift of gab that enabled him to enjoy a side-career as a disc-jockey for most of the fifties and early sixties. His records were released on an array of small labels that continue to fascinate collectors – Republic, Hidus, Jiffy, Big State, Caprock, and his own Sourdough – but included a brief run with Starday as well. Along the way he managed to get in appearances on the Grand Ole Opry, the Louisiana Hayride, and the Big ‘D’ Jamboree, with a wide array of country music characters, musicians, songwriters and disc jockeys : Jim Denny, Jack Rhodes, Harlan Howard, Slim Willet, Hank Harral, Tillman Franks, Willie Nelson, and Don Pierce, to name a few. Read the rest of this entry »
Jack Turner – Where’d he go ?
Jack Turner is probably best known amongst Rockabilly collectors for his original version of « Everybody’s Rockin’ But Me » and amongst Hillbilly fans for his many R.C.A. Victor sides, but what became of the man who won much acclaims from the Country press in the 1950s ? Read the rest of this entry »
Howdy folks! Here we go for another fortnight’s batch of favorites. 1947, Capitol studios, Hollywood, California, the MILO TWINS and the classic duet « Truck Driver’s Boogie » (78rpm). Later on I will give you everything I know of the Milo Twins, who disappeared shortly afterwards. Then on 4 Star: AL VAUGHN and his great midtempo « She’s An Oakie », from 1950-51. From Texas, 1952, we can listen to another classic (originally Harry Choates’ on Gold Star), « Cattin’ Around », Western swing style, by CHARLIE ADAMS (Columbia). His story is also can be traced on this blogsite. Texas too, and a phenomenon: BILL MACK, D.J. in Beaumont, had many sides on Starday. I’ve chosen « Play My Boogie » (fabulous piano) from 1953. Cisco, Texas, on the Rose label, from 1955; a transition between Hillbilly Bop and Rockabilly, « Have You Heard The Gossip » by CHARLIE BROWN. Finally, a much later disc on the Solar label (could be as well from 1959 to 1962!), nice Country-rock by LEE EDMOND, « When I’m Alone ». Anyone has got details? Enjoy the music, comments welcome!
Curtis Gordon – Play the music louder (from 1998 Rick Kienzle notes to Bear Family CD 16253)
At 1 :30 on Wednesday afternoon, October 22, 1952, newly signed RCA Victor recording artist Curtis Gordon began his first session at Brown Brothers in Nashville, with RCA A&R man Steve Sholes presiding. Three of his own band members joined him in the studio : fiddler Charles Mitchell, pianist Curly Gainous and bass player Slick Gillespie. Rounding up the band were three of Nashville’s early studio A-team : guitarist and Sholes protege Chet Atkins, singer and rhythm guitarist Eddie Hill and steel guitar virtuoso Jerry Byrd.
For Gordon, landing a deal with RCA, the label of Eddy Arnold and Hank Snow, was a major break. A regional performer who mainly worked south Georgia and north Florida and did occasional national tours, he fit into the honky-tonk sound in vogue at the time. It didn’t matter that he had no national home base like the Opry or Louisiana Hayride. He was a regional favorite around Georgia, Alabama and Florida, and in those days major labels didn’t shy away from signing such acts, hoping to break them nationally.
Born in July 27, 1928 on a farm near Moultrie, Gordon spent his boyhood drinking in music. « Ernest Tubb and Bob Wills were two of my favorites.(…) Ernest Tubb was really my idol until I got into Bob Wills. » Soon enough, Gordon was trying to sing locally, winning a talent show sponsored by a Moultrie radio station.
Read the rest of this entry »
Though highly revered within hillbilly and rockabilly circles, the name of Lattie Moore is practically unknown outside auction lists. Even there’s a tad mysterious, Eddie Bond’s « Juke Joint Johnnie », Jerry Reed’s « If The Good Lord’s Willing » and George Jones’ « Out Of Control » have been reissued on CD but they were probably more familiar than Lattie’s versions even before they were readily available. Yet, arguably, Lattie’s records are more rewarding. His experience-laced vocals have far more expression than Jerry Reed’s or the affectless Eddie Bond and the countrypolitan elements which often diluted George Jone’s 60’s music are almost entirely absent.
Lattie’s voice is absolutely perfect in a coarse, grainy, ragged sort of way and there’s the odd device like a half yodel when he sings about doleful effects of drink. Country traditionalists go for the light, twangy vocals on hillbilly songs like « Don’t Trade The Old For The New ». Rockabilly enthusiasts bid big bucks for Lattie’s very scarce records on Arc and Starday. Lattie, however, admits to singing about drink more than anything else. Read the rest of this entry »
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
Howdy folks! Back from holidays in Rocking Italy, here I am again, this time more piano to the fore. Let’s begin with the now famous CURTIS GORDON and the classic Hillbilly Boogie from 1953, « ROMPIN’ AND STOMPIN’ – fine walking basses (Floyd Cramer, really??), a relaxed vocal, call & response type, steel and bass, everything is perfect here. From a 78 rpm.
Then we go West Coast with DICK LEWIS and his uptempo « BEALE STREET BOOGIE ». Good left hand, while a nice sax takes the first row for a good solo. 1947, Imperial 8004
The HODGES BROTHERS are well known – I really don’t know if this is the same outlet as on Arhoolie (Watermelon Man). Nevertheless their « HONEY TALK » is already a classic. Rockabilly indeed. Urgent rural vocal, nice interplay during the solo between guitar and fiddle. A great one! Whispering Pines 200 label, from Indiana.
Then a mistery. Famous French collector Henri laffont (R.I.P.) told me he hought it was Red Smith (same guy who cut « Whoa Boy » on Coral) but was unsure. Anyway « RED HOT BOOGIE » is a very solid slice of Hillbilly Bop, almost Rockabilly (because the hiccups of Smith); 3 solos (fiddle, guitar, bass, again fiddle). Which was the original label? hsi track is one on my all-times favorites! Plese take a listen and let me know how you feel it.
Way down South. LAWRENCE WALKER and Cajun « Allons Rock’n'Roll » (sung in English); Lot of cliches, a corny sound: I would have assumed the tune was recorded in late 40s, however it goes back to …1962!
Finally ROD MORRIS and « Weary Blues » (Ludwig). When a Hillbilly got the Blues…WHO the hell may be the SUPERB guitar player ? He obviously heard much Magic Sam and T. Bone Walker, and he’s very aggressive during the solo.
Enjoy, and comments welcome!
You Do the Beedleleedleebop Zzztt Zzztt Zzztt…
WINK LEWIS w/ BUZ BUSBY & BAND- Zzztt, Zzztt, Zzztt (Tone 1121)
For a very brief period of time in the mid-50s, between stints as a radio DJ in Lufkin and Cameron, Wink Lewis’s voice could be heard over KSNY out of Snyder, Texas. It was from this location that Wink began his Queen record label. Many of the releases on the label were from Big Spring’s Hoyle Nix who was noted by John Ingman as a co-owner of the label.
Collectors today are aware of the Queen label because of the tune « Real Rockin’ Daddy » which was released twice by the label, with one version credited to Jay Bob Howdy with Hoyle Nix and His West Texas Cowboys and the rerelease noting the involvement of only Hoyle and his crew. Both feature the same vocal by the song’s co-writer Jay Bob Howdy who was actually Wink Lewis. Few people are aware that the song’s roots, and other co-writer « Miller », are based in east Texas and Louisiana from whence Wink came. Wink would actually release one single 45 on his own label under his own name featuring a nice honky tonk boogie titled « Low Down Blues » with backing from Buzz Busby and his Band. It’s Buzz who could probably be given credit for kick-starting the state of Maryland’s fascination with bluegrass music in the 1960s. Not sure how Buzz wound up in West Texas.
At some point in early 1956 Wink left KSNY in Snyder and headed east of I-35 to work radio in Cameron, Texas. A few short months later he again recorded with Buzz Busby’s band, this time producing one of the oddest rockabilly tunes ever- « Zzztt Zzztt Zzztt ». The rhythm is almost too much and the lyrics too hep with the result being a country boy just trying too hard and the disc received a lackluster Billboard review in August of 1956.
Allmusicguide’s Eugene Chadbourne mentions « Zzztt » being recorded in Snyder, but unless it was recorded at the same session that produced « Low Down Blues » and the master carried to Cameron I doubt this. And I doubt it was recorded at the same session. Perhaps the Queen-ette publishing is a homage to Wink’s brief stay in Snyder.
from www.lonestarstomp.blogspot.com (August 3rd, 2009)
