Hello, folks ! This is the first 2018 (early January) fortnight’s favorites’ selection. As usual, a mix of Hillbilly boppers, Rockabillies and Country rockers.
First come WADE JERNIGAN for « So tired », a fine Rockaballad on the Mobile, AL, Sandy label (# 1010). Good steel and extrovert vocal. Despite some research, he didn’t cut any other record.”So tired” was written par Johnny Bozeman, apparently the owner of the label, who recorded “She’s my bayou babe” on the Biloxi, MS. Fine label 1006, and also had “How many/The blues and I” (pop ballads) on Sandy.
Then four tracks by the Virginian KEN LIGHTNER and the Hay Riders. He recorded in 1961 on Dixie (a Starday custom label) # 913 his most well-known track (it even appeared on a volume of the late Cees Klop Dixie CD series), « The Corner of love ». Some would call it a teen rockabilly. It bears though a nice steel battling with a good guitar, even a short piano solo, and to be true, a light vocal. Slowier is the flipside “Am I still the one“, once more with a mellow steel. The same goes for the short (less than 2 minutes) « Mary Ann » on the Wheeling, Wva. Emperor label 220 from 1959 ; again a fine steel, and a very alluring rhythm. Finally on the Kingston # 418 label, the song « Big big love », which is a easy-going country-rocker led by steel again.
On the Kentucky label (# 575) from Cincinnati, BOB MOONEY has an amusing talking blues, « A sucker born every day », which is a tour de force for the steel guitar : it’s litterally cracking and howling. He already had cut “Aubomobile baby“[sic] on Cozy 317/318 in 1953, and “Sucker” was reissued on REM 350 in 1964.
From Louisiana now, two tracks by BUCK WHEAT (rn C.M. Wheat, from San Antonio, Tx). Backed by the Wheatbinders. A lazy Rockabilly/country rocker first with « Texaswoman » on the Goldband label (# 1093, from 1959) ; then « Twitterpated » on the Folk-Star label (# 1303, a subs. to Goldband) : a great piano led shuffle beat, a bluesy guitar solo.
We come to an end with both sides of Columbia 21031 (October 1951) by the MERCER BROTHERS, Charlie and Wallace. They originated from Metter, south of Georgia, and began to appear at the Louisiana Hayride in 1948. « It ain’t no use » and « Tell me who » have a distinguished Delmore Brothers appeal. No surprise, since Wayne Raney himself backed them on harmonica for the session.
This Knoxville bluegrass brother group was largely overshadowed by the Brewster Brothers, with whom the siblings Audie and Earl Webster performed and recorded as part of a unit that was named with a great deal of brotherly love: the Brewster Brothers and Four Brothers Quartet. The implied confusion is enough to make one’s head spin along the lines of a deep shot of the liquor brewed in the hills above Knoxville. The band name suggests the presence of three sets of brothers, four of them related, but in reality there was only the combination of the Webster Brothers and the Brewster Brothers , totalling four. This is by no means the worst mistake in math in terms of bluegrass band names. That honor would probably go to the 7 Flat Mountain Boys, which was usually a quartet. At any rate, some bluegrass fans assume the Webster Brothers were like the Brewster Brothers in that they became prolifically recorded sidemen working in the bands of bigger bluegrass and country names, such as Carl Butler or Red Allen. This premise is normally based on the existence of players such as or Otis Webster or Jackie Webster, but neither of these old-time pickers nor any other Webster was a part of the Webster Brothers unit. Audie Webster played mandolin, guitar, and sang, while his more handsome brother Earl Webster was cut out to be a frontman, learning to handle lead vocals and rhythm guitar in order to live up to expectations. In tandem with the Brewster Brothers, it was the Webster Brothers who got to wear the light-colored suits and the former brothers got the dark stripes. Whatever meaning this might have in the bluegrass hierachy is unknown, but it seems important to mention. Singer Carl Butler, also a Knoxville lad, also formed a working combination with the Webster Brothers, cutting some records with them for Columbia, but owed no strict allegiance to the family. Butler also sang with other area brother groups, such as the Bailey Brothers – who, coincidentally appeared on the Grand Old Opry with the Brewster Brothers — and the Sauceman Brothers. In a sense, the basic concept of the lead vocal in a Knoxville bluegrass “brother” band of the ’50s can be likened to an old-time mystery: one can always assume the Butler did it. One he did with the Webster Brothers was “Somebody Touched Me » a bluegrass gospel warhorse that has been cut in nearly 50 different versions.
The Webster Brothers collaboration with Carl Butler was going on for a full year, between October 1954 and November 1955 – they had already cut themselves 4 sides in March 1954 . During this term they recorded 16 sides, either on the Okeh label (a subsidiary of Columbia), or on the main label. An half was made of religious songs, well settled in Bluegrass tradition, the other included rural Boppers that had an appeal to the white market. Their best songs were : « Kisses don’t lie »/ »I wouldn’t change you if I could » (Okeh 18052)
Years later the Webster Brothers issued in 1962 on the Nashville Do-ra-me label (# 1432) a modern Bluegrass song, « My heart won’t let me forget». One more ’45 on the IHS label and that was it, they disappeared from music scene.
(Nov. 2nd, 2018). A visitor (Daniel – thanks to him) advised bopping.org of another, later 45 rpm by the Webster Bros., under the name of “Earl & Audie” on K-Ark 753, released in 1967: “Blue, Blue’s In Green” – nice ballad (good steel): downloaddownload Sources : a biography by Eugene Chadbourne on AllMusic site. Ronald Keppner and 78-world for label scans. Willem Agenant (Columbia 20000 serie) for the music.
Howdy folks ! This is the mid-summer fortnight’s selection. All the tunes were recorded between 1956 and 1961. With the last one we begin : 1961, in London, OH on the Karl label (property of Clay Eager) # 3022. LACY KIRK does a very fine job on « This is saturday night », fast tempo, nice steel and fiddle. Value $ 100-200. The flipside « What happened to our love » is a great sincere ballad.
Next from Chicago: BILLY PRAGER & his Caravans and a wild double-sider from December 1958 on the (R&B) Crystal label (# 106) . The steel guitar is particularly effective and does very strange sounds for « Do it bop », while « Everybody’s rockin’ » is a bit more conventional Rockabilly/rocker. $ 300-400. This Crystal label has nothing to do with the Memphis one of the same name : serie 500 (Jimmy Knight and « Hula bop » or Jimmy Pritchett « That’s the way I feel » – with great swooping piano by some player who sounds very, very much like Jerry Lee Lewis !/Nothing on my mind »).
ONIE WHEELER was a Great. Born in 1927 in Senath, MO. he pursued his career during nearly 50 years, just ending it on the stage of the Friday Night Opry one day of 1984. Here are two sides aimed by collectors, and for good reasons : they are among his best tunes of the ’50s, cut in Dallas in June 1956 for Columbia : « Onie’s bop » and « I wanna hold my baby » (Columbia 21523) are good examples of the commercial Rockabilly a massive major had to offer, the B-side being in my mind the better one.
CLYDE BEAVERS next, on the Georgia (Starday custom) label # 532 from Tennga, Ga. « I won’t always love you » is a bluesy tune over a drivin’ medium rhythm, in all cases a primitive bopper from 1955. Later Beavers specialized himself (’60s) in drinking or smoking songs, like Lattie Moore‘s « Here I am drunk again » or Webb Pierce‘s « Cigarettes and whiskey (and wild, wild women) ».
« Sal’s house » was declined back-to-back of another Dixie (# 121) by CARSON WILLIS from Greer, South Carolina. This « Sal’s house # 1» seems to be a real mess ! Date : 1959.”
Hello, people ! Let’s begin this new July 2017 fortnight’s favorites selection with EARL PETERSON (b. 1927, d. 1973), a well-known figure out of Michigan. Apart from an early issue on his own Nugget label in 1949, he cut two sessions for Columbia in 1955 ; one of the songs involved was « I ain’t gonna fall in love » (# 21467). Light vocal, bass guitar, piano, all these combine for a fine bopper written by Vernon Claud. Peterson’s story is to be found in this site, was published January 2016.
Next artist KENNY ROBERTS was an ubiquitous one : Ohio, Kentucky, Indiana, Pennsylvania, although he was born (1925- d. 2012) in Tennessee as George S. Kingsbury. His speciality was yodeling, and more than one of his songs showed this : « I was born to yodel », « She taught me to yodel » or « The Arizona yodeler ».
The song I chose of him is the fine « Hillbilly fever », issued February 1950 on the Coral label (# 64032) : his puffed vocal comes to a good effect, and he yodels lovely, mentioning Hillbilly songs of the era. Main instruments are harmonica and fiddle.
Now two Rockabillies by DANIEL NIX on the Zion, IL N&R label (Starday custom) from 1959. « Compensation blues » (# 741) is a medium-paced opus ; strong vocal and guitar to the fore. The follow-up is « Unlucky man » (# 756), the fastest of both tracks.
Way up North in Indianapolis with BOB HILL & his Melody Boys on Nabor 105. « This old train (is leaving my blues behind )» is a fast Rockabilly from 1959, lot of echo and a prominent fiddle. The second issue, « Empty dreams and empty arms » (Nabor 114B) is a shuffler from 1961-62, which has a lot of nice steel, a loud bass and a prominent rhythm guitar. A good record for this era. The song was revamped by Eddie Hill, unknown label. (The muddy sound, I’m sorry, comes from an old Tom Sims cassette).
This fortnight’s favorite selection begins in a State not usually associated with Hillilly bop, that of Connecticut in the North east part of the U.S. Issued on the Starday custom Coxx label (# 588, September 1956), it hailed from Coventry and was allocated to SLIM COXX and his Cowboy Caravan. I remember the notes to Coxx 588 from the « Starday custom # 575-600 » study I had back in January 2012. « Slim’s real name was Gerard A Miclette. He played with his younger brother, Roland “Rocky” Miclette in various bands. By the time Roland came back from serving in the Navy, he joined Slim (who played fiddle like his father, George) playing bass in Slims’ Kentucky Ramblers. Eventually they came to the attention of the Down Homers, which featured Bill Haley (and Kenny Roberts) and joined them on the tidy sum of $200 a week wages. Once the Down Homers had disbanded, Slim & Rocky were playing at Lake Compounce in Slim’s new band, The Cowboy Caravan. »
»Lonely nights » is a perfect hillbilly shuffler: the vocalist has a top notch « hillbilly » voice, and steel/fiddle are both great. Rocky died on the 6th of May 2004 and Slim passed away October 13th 1999. The actual band singer was a Jimmy Stephen, who led vocals also on the other issue (either 1955, either 1957) by Coxx on the Maine Event label (# 4267), »Sitting here all alone ».
On to Dallas, Texas, and the great JOHNNY HICKS & the Country Gentlemen, recently evoked in my study of Hank Thompson’s « The Wild Side Of Life » and his sequels. Here he delivers a proto-rockabilly with « Pick up blues », great vocal and fine guitar (Columbia 21064) cut late 1952.
Talking of « The wild side of life », here is an unusual Cajun version sung in French by MARIE FALCON fronting Skuk Richard‘s band, The LA. Aces, under the title « Le cote farouche de la vic », which was issued early in 1953.
Then a completely unknown artist by the name of TIM McCLOUD on the Chesterfield label #362 on the West coast. McCloud reminds vocally one of Rex Allen for two selections, « Down Down Down » and « Mountains and mountains of lies » , both urban hillbilly style with a distinct California Western savour. Young Buck Owens had a record on that label too. The writer, Virginia Richmond, was also the owner of the label.
Back to Texas, Houston area with the singer/fiddler COTTON THOMPSON. He already had the fast Western swing-tinged « Jelly Roll Blues » in 1949 on Freedom 5010, and later went as front vocalist for Johnny Lee Wills (« Oo Oooh Daddy » on RCA 5243). Here after train effects Thompson sings with urgency a fast song – already a small classic – « How Long » (Gold Star 1381) ; flipside « Hopeless Love » is a fine shuffler : fiddle is well to the fore. Thompson is backed by an otherwise unknown to me “Deacon (Rag Mop) Anderson” and his own Village Boys.
Hillbilly BILL HALEY used to adapt race songs to his Country repertoire. Here he goes strong with the Saddlemen on Holiday 105 (July 1951) with «Rocket “88” », which has been often cited as the first Rock’n’roll record by Ike Turner‘s band (The Delta Cats) fronted by JACKIE BRENSTON on Chess 1458.