Cliff Carlisle, Blues yodeler and steel guitar wizard – some selections

Cliff Carlisle (1904-83)

A blues with a yodel : it may not sound much now, but in the 1920s a lot of careers were carved out of that curious amalgam. Jimmie Rodgers started it, and after him went Gene Autry, or Jimmie Davis, or Cliff Carlisle. The latter yodeled the longest and the best.

Raised in the countryside outside Louisville, Kentucky, Carlisle would say later : « My music is a cross between hillbilly and blues – even Hawaïan music has a sort of blues to it. » Teaming first in the early Thirties with the singer-guitarist Wilbur Ball, he went on the vaudeville tent show circuit, and afterwards he told they had actually been the first yodeling duet.

Then in 1930 he recorded in a Jimmie Rodgers vein (« Memphis yodel »), but with a distinctive touch on the Dobo resonator steel guitar. At this point he was also making a name on Louisville stations (WHAS and WLAP), billing himself and Ball as the « Lullaby Larkers ». That’s how his career took off.

In 31 or 32, he was in New York, extending his own port-folio, and recalling Jimmie Rogers singing a number about a rooster : « What makes a Shanghai crow at the break of day ? To let the Dominicker hen know the head man’s on his way.. » Ralph Peer wouldn’t let him record that, because it was kind of a risqué tune at that time, but finally he let Carlisle go. Hence « Shanghaï rooster yodel n°2 ».

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In 1932 Carlisle was working solo, but in the years that followed he was often partnered by his younger brother Bill. On one of their records they even staged a fight over who would do what. « Hold it, buddy, » says Cliff indignantly as Bill starts to yodel. « This is my « Mouse’s ear blues », and I’ll do the yodeling. » It isn’t the only unusual feature. « Moose’s ear blues » is, probably uniquely in the corpus of recorded hillbilly music, a song about defloration. « My little mama, she’s got a mouse’s ear, but she gonna lose it when I shift my gear. »

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By the mid-’30s, when he was working on WBT in Charlotte, North Carolina, and recording for Bluebird and Decca, Cliff was making a fair bid to corner the hillbilly disc market in sniggery songs about roosters and ashcans (there was an occasional double entendre loitering in this vicinity), and humorously violent tales of marital discord like « Hen pecked man », « Pay day fight » or « A wild cat woman and a tom cat man », where Cliff’s boisterous flights of fancy are powered by the twin engines of his Dobro and Bill’s inventive flat-picked guitar. By the end of the decade he had been on four record labels and made almost 200 sides. He and Bill had a cross-section of country music just prior to WWII. So it was hardly surprising that their family group, the Carlisles, with various sons and dauhters, was popular on the Grand Ole Opry and had hits in the ’50s with « Too old to cut the mustard » and « No help wanted ».

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In the mid-’50s Cliff retired to a quiet life of painting, fishing and church work. He did the occasional comeback on not very memorable albums for small labels, even reuniting with Wilbur Ball and playing for college audience or folk festivals.

(Freely adapted from the chapter devoted to Cliff Carlisle in Tony Russell’s « Country music originals – The legends and the lost »)

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Here are some selections of Carlisle’s work in very different styles.

From 1932, backed by a wild slapping-bass, for the evergreen « Goin’ down the road feelin’ bad ».

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Accompanied by two guitars (Bill Carlisle) and a string-bass for « That nasty swing » from 1936.

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In January 1947, from one of his last recording sessions, with his Buckeye Boys and for a song very close to Bill Monroe‘s « Rocky road blues » (February 1945), «A mean mama don’t worry me ».

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Recommended listening, if you can find them: Cliff Carlisle volume 1 & 2 on Old Timey 103 & 104.

Late August 2014 fortnight favorites: What a line! (another minor classic)

Howdy, folks !

First selection is a fine bopper (sincere vocal, strong rhythm and good fiddle, even pizzicato played) : « I was standing too close to a heartache » (sounds familiar?) by BILLY TIDWELL, who cut a very good version of « Folsom prison blues » on the White Deer, TX Ko Co Bo label in 1964.

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Billy Tidwell, « I was standing too close to a heartache« download

 

 

 

 

 

Second odd issue is first ever Tommy Collins‘s song, « Campus boogie », when Collins was still known as LEONARD SIPES in his native Oklahoma. The song can be found on Morgan 106, and is very Hank Williams styled.

 

campus boogie

 

Leonard Sipes « Campus boogie« download

 

 

 

 

Then we enter in back-to-back series. JIMMIE DAVIS, also politician for Louisiana Governoship, cut a whole string of early boppers in the ’30s. Here I selected « You’ve been tom cattin’ around », issued on Bluebird in 1933.

A good 22 years later, CARL STORY had his own version, although the mandolin player is himself, on Columbia 21444 (1955). The flipside is the equally good, Rockabilly style, « What a line ». Strong boogie guitar, a fiddle solo. Really a masterpiece.

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columbia 21444 tom
Jimmie Davis « You’ve been tom cattin’ around »

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Carl Story « You’ve been tom cattin’ around »
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« What a line » derives from the original by JIMMIE WIDENER, who had this on his first King session in 1946 (# 536B) on the West coast, backed by such luminaries as Joaquin Murphy on steel or Jimmy Wyble on electric guitar. Harold Hensley is also present on fiddle, and co-wrote the song with Merle Travis. Widener had had been vocalist for Tex Williams, Spade Cooley and Bob Wills.

Jimmie Widener « What a line! » download

king 536-B widener

 

 Clyde Moody « Whatta line« download

 

Carl Story « What a line« download

 

 

The song was revived first in 1953 by CLYDE MOODY on Decca. Usual style. Moody does it fast, with fiddle and guitar solo. Then in the mid-60s by GLENN THOMPSON, the most obscure artist of them all, who came from North Carolina. Guitar player is modern, but has a fine bluesy solo.

 

Glenn Thompson, « What a line »download

 

 

Main source for this issue: Internet.

tornado 101

decca 28785

columbia 21444 line

HAPPY FATS (Leroy LeBlanc) & his Rayne-Bo Ramblers: (1935-1952) and Oran « Doc » Guidry, Louisiana extraordinaires

It has proved difficult to find something on Happy Fats Leroy LeBlanc, although he has been a very popular figure in Louisiana during an half-century. Below is a biography published on the net by All Music (Jason Ankeny).happy fats pic Little did Gilbert and Carrie LeBlanc know, when their baby boy was born on January 30, 1915, that their cheerfully named child would become one of Louisiana’s most recognized Cajun musicians. The music of Happy Fats remains instrumental in both of the preservation and celebration of his native Cajun culture, despite the damage inflicted by a series of race-baiting protest records cut at the peak of the civil rights movement. Born Leroy LeBlanc in Rayne, Acadia Parish, LA, on January 30, 1915, Fats was a self-taught musician who began his professional career at 17 when he began playing accordion in Cajun hillbilly bands led by Amédé Breaux and Joe Falcon. In 1935, he formed his own group, the Rayne-Bo Ramblers, which starred the talents of Eric Arceneaux among others. And regularly headlined the local OST Club. Fats signed to RCA Victor in doc guidry & happy fats1936. In 1937, he played alongside Doc Guidry, and Uncle Ambrose Thibodeaux. Other associates were Luderin Darbonne, Pee Wee Broussard, Doc Guidry, « Papa Cairo » Lamperez, Rex Champagne, and Crawford J. Vincent. He was invited and spoke on many radio stations including: KANE, KEUN, KUOH, KROF, and others. In 1940 he scored his first significant hit, « La Veuve de la Coulee » which featured then-unknown fiddler Harry Choates. The Rayne-Bo Ramblers also served as a springboard for Cajun accordion legend Nathan Abshire in 1935 (« La valse de Riceville« ). Other popular Fats recordings include the traditional « Allons dance Colinda, » « La Vieux de Accordion, » and « Mon Bon Vieux Mari. » Few of his efforts earned national attention, but within south Louisiana he was a superstar, and in the early ’50s even hosted a weekday morning radio show on Lafayette station KVOL. In 1966, however, Fats was the subject of national controversy when he signed to producer Jay D. Miller’s segregationist Reb Rebel label to record the underground smash « Dear Mr. President, » a spoken word condemnation of Lyndon Johnson’s civil rights policies that sold over 200,000 copies despite its appalling racism. « We didn’t have any problems with that, not at all, » Fats maintained in an interview. « There wasn’t anything violent about it — it was just a joke. I had a car of black people run me down on the highway one time coming in Lafayette, and they said, ‘Are you the fellow that made  » Dear Mr. President »?’ I said I was, and they said, ‘We’d like to buy some records.’ They bought about 15 records. There was a big van full of black people and they loved it . . . Either side at that time, they didn’t want integration very much. They wanted to go each their own way. » The commercial success of « Dear Mr. President » launched a series of similarly poisonous Fats efforts including « Birthday Thank You (Tommy from Viet Nam), » « A Victim of the Big Mess (Called the Great Society), » « The Story of the Po’ Folks and the New Dealers, » and « Vote Wallace » in ’72. » After a long battle with diabetes, Fats died on February 23, 1988.   (suite…)

BILL NETTLES & His Dixie Blue Boys (1935-1965): three decennies of Louisiana hillbilly, « Hadacol boogie »

The little historical town of Natchitoches lies on the banks of the beautiful Cane River (Louisiana), and it was there that Bill Nettles was born on 13 March 1903 (another source mention 1907)

louisiana

Natchitoches town (red button) in Louisiana

Bill was a member of U.S. marine and he took a part in World War I. Then he got a job as brakeman on the Pacific railroad line and around this time he met his future bride, Emma Lou Rich from Arcadia, Louisiana: on 19 December of 1922 in Shreveport they were married. He and his wife had four children, the eldest of whom, Bill Jr. (1926), enlisted in the Marines in 1943, reported missing at Okinawa albeit surviving and returning home in 1945. He was the inspiration for Bill writing « God bless my darling he’s somewhere ».

Emma Lou Rich was Bill’s dream maid, tireless manager and director of his Fan Clubs, she wrote the paper « Nettle ’em » which would significantly support his success.

nettles seul

Bill’s interest in music was initially satisfied by purchasing records of his favourite singer Jimmie Rodgers, as well as buying platters by Jimmie Davis, Gene Autry and Cliff Carlisle.

Then in 1934 Bill teamed up with his brother Norman to form the Nettle Brothers, with Norman on guitar and himself on mandolin. Unlike many popular duos of the time (Shelton Bros, Monroe Bros, Callahan Bros or Blue Sky Boys, etc.) Bill and Norman refrained from duetting on vocals, which made them stand out from the run of the mills outfits trying to imitate the well known names. Thus it was not long before an offer came their way to appear on radio in Shreveport on KWKH, at that time starring a favourite artist of Bill’s, Jimmie Davis. It was he who got their recording contract with Vocalion (1937).

 

The first session, held in Dallas in June 1937, yelded their first single, « Shake it and take it (like the doctor said – on later issues) »/ »My cross-eyed Jane » which saw Bill vocalising as well as playing mandolin. Augmented by brothers Norman on guitar and Luther on bass with Doc Massey on fiddle, Bill produced a lively performance, reflected in the sales of the record.

The group recorded another session in San Antonio as well as another in Dallas, and all in all eleven singles (a total of 22 sides) were recorded between 1937 and 1938. While their record sales did not set the world alight, their popularity on the radio continued to increase with appearances on KRMD and KXBS (both out of Shreveport, La.), KALB (Alexandria, la.) and KVDL (Lafayette, La.)

Shake it and take it (1937) download

No daddy blues (1937) download

Early morning blues (1937) download

vocalion 03634 shake it and take it

vocalion 03662 no daddy blues

 

 

Gradually the membership of the band increased to the stage where it became known as the Nettles Brothers String Band, and early in 1941 they were signed to the Bluebird label, cutting their first session on June 3rd. Once again the venue for recordings was Dallas with Lonnie Hall (violin), Reggie Ward (string bass) and Jim King (steel guitar) making up the five pieces band. By the time of the second session in October, the line-up had changed to the extent that the steel was gone, Hershell Woodall was on bass instead of Reggie Ward. A lead guitarist and a banjo player were also featured.

bluebird 8720 nettle bros fannin_ street blues
vocalion 04655 shes selling

Nettle Brothers: Fannin’ Street blues download

She’s selling what she used to give away (1938) download

Sugar baby blues (1938) download

 

 

 

Bill had started writing songs as early as 1924 when trying to appease his wife after a domestic tiff and writing « My sweet pot of gold ». His pen gained more prominence as his group’s name spread, and other artists started recording his songs. Among the first were Red Foley and Wilf Carter who, as Montana Slim, cut « Too many blues » on Victor (20-2364). Bill’s original version came on Bullet 637 in 1946. Despite being a prolific writer, Bill had failed to copyright any before « Just before we said goodbye ».
Too many blues (Bullet 637): download

It is worth noting that whilst the first records to appear on Vocalion in 1937 were credited to « Bill Nettles & his Dixie Blue Boys », the Bluebird recordings were credited to « the Nettles Brothers ». Bill had in fact played mandolin on a Vocalion session as early as 1935, backing Jimmie Davis and Buddy Jones. Also the Jimmie King who played steel guitar on the first Bluebird session was the father to Claude King, the C&W singer/songwriter of « Wolverton mountain » fame.

Nettles’s beautiful « Have I Waited Too Long? » was introduced at KWKH in 1943 by Radio Dot and Smoky, and later became Faron Young‘s theme song. Along with Harmie Smith, Bob Shelton, Dick Hart, young Webb Pierce, and host Hal Burns, Nettles & His Dixie Blue Boys helped to launch a twice-weekly Louisiana Hayride program on KWKH in the summer of 1945 that predated the more famous auditorium show by almost three years.gotham 415-A faron young have I waited too long

Faron Young: Have I waited too long (Gotham 415-A) download

After the Bluebird sessions Norman retired from the band, which late in 1945 was signed to RCA-Victor, reverting his name to « Bill Nettles & his Dixie Blue Boys » with brother Luther back on bass. However the rest of musicians were local Dallas sidesmen from the musicians’ union. « They were long haired usicians and did not fit in with Bill’s style. He hated these Victor records », wrote his widow Emma Lou. RCA’s and Bill’s personal conceptions differed completely, in fact recordings were by then « mainstream pop ». So greatly was he disillusioned with RCA that Bill broke his contract and went to Bullet Records.

 

It’s not clear whether this experience with RCA persuaded Bill to reform his own band, but he went to Bullet with a radically new line-up. Danny Dedmon joined as lead guitarist and became a mainstay of the Dixie Blue Boys along with fiddle player Robert Shivers. In between changing of recording labels, Bill moved the family from Shreveport to Monroe, La., where with the exception of short breaks he woud live for the rest of his life. He also started appearing at the local radio station KMLB, where he was to record sometimes. By this stage Bill and his wife had four children. The eldest, Bill Jr. never got deeply involved in his father’s musical career. However one of the remaining children, Loyce (born 1929), became a featured singer in her dad’s band, billed a « The Little Dixie sweetheart ». She became a permanent along with her piano playing husband, Pal Thibodeaux, when the Dixie Blue Boys recorded for Imperial.

 

Nettles & His Dixie Blue Boys helped to launch a twice-weekly Louisiana Hayride program on KWKH in the summer of 1945 that predated the more famous auditorium show by almost three years.

 

Bill cut three sessions with Bullet from Nashville. The first date for Bullet was already on 7 July 1946, probably at Jim Beck’s studio in Dallas, as Beck had a tie with Jim Bulleit. « High falutin’ mama » (# 637) was a prime example of uptempo bluesy country. « Too Many Blues » was recorded by Wilf Carter, as told earlier. Other two songs of the session, « You’re breaking my broken heart again » and « Hungry » (#638) were equally good. Both later sessions held in Jackson, Ms., and in Houston, Tx. remained unissued.

bullet 637A too many bluesbullet 637B high falutin_ mamabullet 638A You_re breaking my broken heart

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

High falutin’ mama (Bullet 636) bullet 637 nettles flyer

High falutin’ mama (Bullet 637) download

Hungry (Bullet 637) download

imperial 8019 danny dedmon hula hula woogie

 

Imperial 8065 danny dedmon Gin drinkin_ mama dét
Danny Dedmon: Gin drinkin’ mama (Imperial 8065) download

Bill Nettles: « Ain’t no tellin’ a woman will do » (Imperial 8032) download

Danny Dedmon: « The blues keep hangin’ on » (Imperial 8058) download

After a fleeting stay with Red Bird, an affiliation which failed to produce any released material, Bill Nettles then signed with Imperial, as did Danny Dedmon, recording in his own right with a band credited as « The Rhythm Ramblers », actually the Dixie Blue Boys. Dedmon recorded 19 sides for Imperial, albeit only 9 were with Bill Nettles, all cut in Beaumont, Tx. On a couple of Bill Nettles’ singles, daughter Loyce was allotted the vocal duties.

Euell was the third of the Nettles’ off-spring. He too was born in Shreveport in 1935. Thus he was barely fourteen when he played on Bill’s first Mercury session in April 1949, giving the family a 50% share in the group personnel. Not only did he pay guitar, but Euell also doubled as chauffeur and handyman. His versatility extended to playing bass, fiddle and drums. During his three years stint in U.S. Army in Paris, France, he met his Spanish wife to be.

At the first Mercury session Bill recorded the highly promising « Hadacol boogie ». Covered by Jesse Rogers on RCA (32-0001), whose version outsold Bill’s, It had also a version by Professor Longhair (Roy Byrd), who combined it with Bill’s third Mercury session « Hadacol bounce ». 

A tune he wrote and recorded for that label, « Hadacol Boogie« , in a Monroe radio station in 1949, was a celebration of Dudley LeBlanc‘s restorative elixir. It went to # 9 on the country charts. (« Hadacol Boogie » is alleged to be the first song that Jerry Lee Lewis performed in public, in 1949. Occasionally Jerry will perform the song on stage, though he never recorded it.)

 

Presumably encouraged by this hit, Mercury had on 3 February 1950 ensured in Cincinnati, Ohio that their musicians parade horses (Jerry Byrd, Tommy Jackson and Zeb and Zeke Turner) were sent into the ring for « Push and pull boogie » (Mercury 6330). Turner’s guitar intro is similar to that of the Delmores’ « Blue stay away from me » or early Hank Williams’.

Yet another recording session could not bring more hit. Bill took his residence at radio station KLMB, Monroe on with their own group. The only new name was Sam Yeager who played the guitar. Although « Hadacol bounce » should been even better than the « Hadacol boogie » according to Mercury, it failed.

mercury 6190 hadacol boogiemercury 6275 hadacol bouncemercury 6330 push + pull boogiemercury 6209 do right daddy (Nettles)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

rca 32-0001A jesse rogers

 

starday 174 wine-o boogie

 

 

 

 

 

 

 

 

 

 

 

 

Hadacol boogie (Mercury 6190) download
Do right daddy (Mercury 6209)
http://www.bopping.org/wp-content/uploads/2013/10/mercury-6209-do-right-daddy.mp3download

Push and pull boogie (Mercury 6330) download

In 1953 Bill had one of his short spells away from Monroe when he was sponsored by the Surety Gas Co. To appear on WRBC out of Jackson, Miss. Whilst there he cut a session for the local Trumpet label. Sadly nothing was ever issued from these recordings and undoubtedly « When my kitten starts cattin’ around » sounds intriguing. Maybe it was due to the fact that Bill moved on to another radio station elsewhere that caused Trumpet to lose interest, for it was around this time that he moved to KOGT in Orange, Texas, then to KOBX inBeaumont, Texas, finally KFRO in Long View, Texas. It seems likely that this exposure around the Texas area brought Bill to the attention of Starday Records, where he cut the fine « Wine-o-boogie » and « Gumbo mumbo » (# 174). The session included an unissued re-recording of « Shake it and take it » and was probably held at Gold Star studio in Houston (1954), with regular local musicians, Hal Harris (lead guitar), Doc Lewis (piano), Red Hayes (fiddle) and Herbie Remington (steel) providing the backing.

 

 

Wine-o boogie (Starday 174) download

 

 

 

 

Whilst the advent of rock’n’roll put a brake on Bill’s recording activities, perhaps inspired by his youngest daughter Shirley (born 1936) married to Rev. Gerard Lewis (a first cousin of Jerry Lee Lewis, and a fine piano player in his own right), Bill was « saved » and

baptized in 1958, subsequently becoming a devout Christian. Around 1957/58 The Dixie Blue Boys were performing on radio as a sacred group, before Bill disbanded the group and effectively retired from business.

 

Early 60s he cut in Monroe a whole lot of tracks for an unknown label (private recordings?), all of which do remain untraced and unissued.

 

In 1965 he was talked into a comeback and appeared on his own Nettl label. His preoccupation with the Vietnam War caused him to re-do his old song as « God bless my darling he’s somewhere in Vietnam ». Sadly this revival (3 singles) was short lived : Bill Nettles died on April 5 1967.

Old age pension blues (Nett 10005) download

Throughout his life he wrote over 300 songs, and had 155 published by leading publishers. It is worth looking at some of the artists who made use of Bill as composer :

Be nobody’s darling but mine – Roy Acuff

Old age pension check – Roy Acuff

Old age pension blues – Shelton Brothers

I just can’t say goodbye – Pete PyleBill+Nettles+songb3b

Louisiana moon – Gene Autry

I still believe in you – Charlie Mitchell

It’s nobody’s fault but my own – Will Johnson

Our last goodbye – Stanley Brothers

Honky tonk blues – Al Dexter

Just forgive and forget – Jimmie Davis

Nobody’s darling but mine – Jimmie Davis (huge 1941 hit) 

Answer to blue eyes – Johnnie & Jack

No time for tears – Bill Boyd

Too many blues – Montana Slim, Red Foley

Have I waited too long – Faron Young

I just don’t know why but I do – Jenx Carman.

 

Of the Dixie Blue Boys, Danny Dedmon, Pal Thibodeaux and Norman Nettles recorded in their own right.

 

Nettles loved to write « answer » songs, such as « Answer To Blue Eyes », « It’s Your Turn To Walk The Floor For Me », « I Hauled Off and Loved Her », and even answered his own songs: « (I Want To Be) Somebody’s Darling » and « Hadacol Bounce ». 

 

 

Reprinted (with written permission) from Adam Komorowski’s article in Hillbilly researcher n° 7 (1988), based on a unpublished text written by Emma Lou Nettles for the 60’s magazine « Western Coral ». Many thanks to Ronald Keppner (Germany) for the loan of rare 78 rpm.

Discography (from Praguefrank): Bill Nettles

BILL N CD 248

Ace 603 Stars of texas HT

early June 2013 fortnight favorites

Howdy folks! Ready for a new musical trip? This time, very various things. First, the famous SHAGMAR BULLNASTY in 1963 on the Trash label doing « Tapping That Thing« . It’s a risqué lyrics song they say, I don’t know why. The same song with a slightly different tempo came out as BOLIVER SHAGNASTY on Quartercash (Tennessee label). It is rumoured that these names disguise rockabilly Mack Banks, and that the original version came from J. C. Cale (Youtube carries the story to the tune). Anyhow I offer the original version cut during the 40s by YANK RACHELL on the Bluebird label.

 

Tapping That Thing

Shagmar Bullnasty

 

Well listen little kids I’m going to sing a little song

It goes like this and it won’t take long

 

I’m tapping that thing (tapping that thing)

I’m tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Well Ma and Pa was laying in the bed

Ma turned to Pa and then she said

 

Start tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

It’s a little old thing all covered with fuzz

The best damn pussy there ever was

 

Start tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Lets tap!

(solo)

 

Well I touched her up high and I touched here down low

I touched her in the middle and she didn’t let go.

 

Say tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Well I got it in the kitchen and I got it in the hall

I got it on my finger and I swing it on the wall

 

Say tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Well I took here in and I laid here on the floor

The wind from her ass blew the cat out the door

 

Said tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Let’s tap a little now

(another solo)

 

Mama’s in the kitchen and Papa’s in the jail

Sister’s on the corner hollerin’ pussy for sale

 

Sayin’ tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Well I cut it once and I cut it twice

The last time I cut it cut it deep and nice.

 

Sayin’ tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Now six times six makes thirty six

I’m only going to hit it about six more licks

 

Yeah tapping that thing (tapping that thing)

tapping that thing (tapping that thing)

Everybody’s doing it everybody’s tapping that thing

 

Yeah everybody’s doing it everybody’s tapping that thing

(thanks to Mark Freese, who transcribed the lyrics)

 

 

From Alabama too came OTHELL SULLIVAN. He cut hillbilly on the Southern label in 1952, then in 1960 this fine uptempo « There’s Sure To Be Goodbyes » on the Reed label.

Another Hillbilly turning up to Rockabilly: BILL BLEVINS. During February 1953, he cut at the Holford Studio in Houston a session for Trumpet’s owner, Lilian McMurray. She issued « A Day Late And A Dollar Short », typical Hillbilly bop of Mississipi, backed by Jimmy Swan’s band. This is the forerunner to Billy Barton’s song. Blevins resurfaced in 1957 on the very small National label for two rockabillies « Crazy Blues » and « Baby I Won’t Keep Waitin‘ », both threatening medium tempos.

Finally NORMAN SULLIVAN. He’s best known for a 1960 version of « Folsom Prison Blues » on the Roto label. Here is the flip side « She Called Me Baby ».