Howdy, folks ! Hello to returning visitors – welcome to new ones. This is the early April 2018 bopping fortnight’s selection (10 sides ranging from 1947 to 1965).
I would not call a minor artist, such one who released 4 records, and even had his own label. This is the case of TOMMY LITTLE & His Sunrise Rangers. Obviously based in Durham, N.C., he appeared on a N.Y. label Ollit (# 2001) for « Mean Mean Woman » : a 1947 country rocker (heavy drums and bass, plus a mandolin break) ; the flipside « One Time Too Often » is medium, a nice loping guitar. What a good start !
Finally he appeared on Colonial 116 (subsidiary of Hollywood’s Modern, not the N.C. Label of Johnny Dee) with « High Geared Daddy », a common macho theme of the era. Fast two guitars and vocal. Is this the same song as Webb Pierce‘s ? (see elsewhere in the site for it).
Next artist is a real unknown from 1958. Nevertheles his record is much sought after, and it attains $ 600-750 when sold. OTIS WHITE and the Hillrockers out of Vidalia, Ga. has the Rockabilly side (great guitar and slapping bass plus swooping piano) for « Shape Up » on the Gala label # 101. On Gala 102, White this time alone, delivers a very convincing Hillbilly rock (fiddle solo and heavy drums) with « A Losing Game » from 1958/59. The flipside « You been doing me wrong » escaped my researching antennas..
Way up North in Michigan on the Bart label (7G 25/26) for a two-sided Rock’n’Roll classic by LAFAYETTE YARBOROUGH No inferior side, both are of the highest standard : « Cool Cool Baby » and « Livin’ Doll » have a solid guitar and a high vocal. The Bart record is sold for $ 800 or 1000 and it deserves them well!
Finally from 1965 in Tampa, Florida : HEROLD WHITE & His Country Masters for « You’re Not Mine » : a fast wailing vocal and a great embroidering guitar are to be found on the Fuller label # 2522. “You’re Not Mine“
Howdy folks ! This is the last post on bopping duets. As surely you did notice it, my English is far from fluent ; actually I don’t dream neither think « in English », because it is not my natural language. I really hope you can understand it, and excuse me for writing such intricate phrases yet very common. But I LOVE this bopping music, and let’s keep it first ! My aim is to figure the music posted with record labels and odds and ends on the artists.
The McCORMICK BROTHERS were a Tennessee/Kentucky family affair. Lloyd and Kelly held the guitars, younger Haskel was on banjo, Hayden Clark on bass and Charlie Nixon on dobro. They cut for Hickory in Nashville between 1954 and 58 a fine line of Bluegrass and Rockabilly boppers, among them this « Big eyes » (1958, Hickory 1080). Strong strumming boogie electric guitar and vocals in unison. They even had a full album, « Songs for home folks » on Hickory 102 (1961) and still are playing today.
Chester and Lester, the BUCHANAN BROTHERS were another duet group. They hit big in August 1946 with the pioneering « Atomic power » on RCA, and revived a similar theme in November 1947 with « (When you see) Those flying saucers ». (RCA-Victor 20-2385) « You’d better pray to the Lord when you see those flying saucers, it may be the coming of the Judgement Day ». Good vocal and guitar duet. The song was used in 2009 in the animated release of « Monsters VS. Aliens ».
PAL (or Palford) BRADY (1922-1988) was a native of Tennessee ; himself relocated too in Michigan, where he had records on Lucky 013 (Cincinnati), Clix (Troy, MI), Bragg, among others (late ’50s to mid-60s). His « More lovin ‘ » (Conteste 45-2) from 1961 has two voices for a good « city hillbilly bopper ».
Charlie & Wallace, the MERCER BROTHERS came from Metter, GA and began a professional career during the late ’30s. After the WWII they had their own radio show on WMAZ before joining in 1948 the prestigious « Louisiana Hayride ». From 1951 to 1954 they cut a dozen sides for Columbia in Dallas, with their Blue Ridge Boys (Clyde Baum on mandolin and Doyle Strickland (fiddle) + Wayne Raney (harmonica). I chose from their equally constant in quality output « No place to hang my hat » (Columbia 20927, 1952-53), very Delmore Brothers styled. After 1954 they settled in Macon, GA, and WIBB radio station before completely disappear.
JOHNNIE (Wright) and JACK (Anglin) were regulars on the ’50s charts, before Anglin was killed in a car crash in 1963. Their «Oh boy ! I love her » (RCA 47-6932) from ’57 is an enjoyable jumping little opus. Earlier on they had cut the C&W classic « Ashes of love » (revived during the ’80s by the Desert Rose Band), and « Cryin’ heart blues » in 1951, supposed to have been recorded (but lost) by Elvis Presley on Sun Records.
“Oh boy, I love her”
On the Kentucky Dixiana label # 105 from 1954, CLIFF GROSS offer a sort of fast talking blues (with the band chanting in unison) with « Hog pen hop », probably recorded in Dallas. Gross was a mountain type fiddler, and Dixiana emanated from Bowling Green, Wayne County.
PAUL & ROY, The Tennessee River Boys, already discussed in another « Duet » feature (they had a two-sider on Nashville Pace label), have recorded for Mercury in 1953 « Spring of love » (# 6374) : it’s a fast Bluegrass influenced ditty – lead vocal & backing vocal.
Next track GOLDEN STATE BOYS‘« Always dreaming » was already posted here in April 2013. But I like very much this tune with its urgent vocal, the dobro part of Leon Poindexter, the vocal/mandolin of Herb Rice, and the energetic banjo of Don Parmley [personnel given by a visitor]. Date : early to mid-62, Shamrock 717, Artesia, California.
A solid rocker (with drums), « Good gosh gal » on the Nashville Briar label # 111 by PHIL BEASLEY & CHARLIE BROWN. Nice guitar and steel solo, 1961.
It’s useless to present the YORK BROTHERS (their story is on this site). Here is one of their rarest issues on their own York Bros. Records # 600Y-100, from 1963, and the great « Monday morning blues ».
We are going to the end with FRANKIE SHORT & DEE GUNTER on the Balto, MD Wango label (# 201) : again a solid version of Don Reno‘s « Country boy rock’n’roll » . Remember L.C. Smith and « Radio boogie » (2nd version) on this label.
First version of the song was cut by JIMMIE DAVIS in February 1937, backed by Milton Brown (actually deceased a year before) Musical Brownies. Out of them Lefty Perkins takes two solos on the steel, Papa Calhoun is at the piano and the fiddle duties are taken by Buck Buchanan. It’s a medium paced blues ditty typical of Davis’ work. It was issued on Decca 5349. Jimmie Davis, “High geared daddy”
In August 1949 WEBB PIERCE, after having obviously heard Davis’ tune, revived it (taking the credit to him). Nice honky-tonker (Buddy Attaway on steel?)[Shot Jackson is on steel; Buddy Attaway played the lead guitar – note from March 23, 2018]. The lyrics were a bit different from Davis’. Here they are Pierce’s ones:
Come on here girls and hear my song
I’ll tell you my troubles as I step along
I’m a high geared daddy and there’s nothing I won’t do
I’m a two time papa when you leave me at home
I’ll call another momma on the telephone
I’m a high geared daddy that’s never been made blue
If you leave me at home well that’s allright
I’ll take a new momma with me tonight
[continued this style] this perfect example of honky tonk machism was issued on 4 Star 1413, and many times reissued (e.g. 4* 1601), then was the model for other versions.
TOMMY LITTLE & the Sunrise Rangers, from Durham, N.C. recorded the song, although actually it’s a completely different one same time as Pierce’s and Davis’, because it is an old warhorse of the Thirties, frequently known as « Sweet mama put him in low », first recorded by KARL & HARTY (Karl Davis/Hartford Taylor) in Chicago, January 1941 (Okeh 06066). Not surprisingly the song was credited to “Davis”! Fairley Holden had his own version on King 771 in 1947. Tommy Little’s version, first issued on Tommy’s personal label, Tommy’s, was picked up by Colonial, a sub-label to Hollywood giant Modern diskery. Little gives the song a superbly energetic treatment with the mandolin giving it a wonderful old-time flavour.
Returning to Webb Pierce’s « HIGH GEARED DADDY‘, the song found a new life in the hands of JIMMY WALKER on the West coast Intro label # 6025 in July 1951. He was backed on this occasion by Joe Maphis and Noel Boggs, augmented by George « Crazy » Tracy on harmonica and did offer an fine, relaxed although energetic version. Finally in a novelty style it was revived as a RCA LP track in 1956 by HOMER & JETHRO. Jimmy Walker “High geared daddy”
From Phillips J. Tricker’s article in « Roll Street Journal » # 19 (Spring 1987)
Ramblin’ Jimmie Dolan – the very name evokes to me pictures of a man of travel, a man of the West. His name turns up frequently on record lists and he had sole thirty four releases issued on at least three different labels, and the majority on the major CAPITOL. Those thirty plus discs were put out over the comparatively short period of 7 years and much of his material has been overlooked by many collectors as a few of his later less inspiring releases are those that surface most frequently and I believe a some what false picture has emerged, musically, on an artist who contributed much to our kind of record collecting [hillbilly bop/hillbilly boogie].
As often happens, the early years of the singers we investigate are shrouded in mystery. Jimmie is no exception. In fact by our comencing at the start with his birth on the 29th October 1924, we meet our initial problem. I have seen two versions in print. The first said rural part of Missouri while in a radio interview in 1952 Jimmie’s reply was « Wyoming ». As his first reported radio work was at KWK in St. Louis, Missouri ; and as a boy he was a great fan of Western movies, I tend to place a little more credence on the former location. This thought is supported by these two points. During his earliest days in the music business, he did not use that tag – Ramblin’ – but by the time of 1952 interview, not only he was using that word in his name, but was often billed as « America’s Cowboy Troubadour ». In that case, maybe it was considered a better ploy to give impression of coming from a state synonymous with cowboys – Wyoming. A third version comes from www.hillbilly-music.com. Dolan would have been born largely earlier, same day and month in 1916 and…California, which would be his musical base during the ’40s and ’50s. Who knows ?