Hello folks. This blog was launched exactly 9 years ago. Already 438 articles later, and still alive and well ! Thanks for visiting. This is the early March 2018 fortnight’s favorites.
First an almost certainly late ’40s recording done in Nashville, « Hillbilly City, Nashville Tenn. » by ERNIE BENEDICT & his Range Riders (vocal: Roy West). It’s a fast moving tune – fiddle accompaniment and handclaps item. Full of energy. Issued even in Nederland on the Continental label # 8034!
AL CLAUSER& The Oklahoma Outlaws for the next two tracks was not a newcomer. His career dates from the mid-30s. Here « Move it over Rover » (Dog House Blues) on the Bullet label # 720 from 1950 is an uptempo bopper. Half-spoken (vocal Norman Hart) upon a call-and-response format, indeed based on Hank Williams’ « Move it on over » (which was itself a revamp of an old traditional). The flipside « My sweet mama » is a medium shuffler with steel.
The remaining tracks of this fortnight are all by LLOYD WEAVER, another artist originally out of Texas (KTUL, Waco). His first record was “Virginia (of West Virginia)” on Blue Bonnet 110 from 1947: a very Western swing styled record. later on the Bullet stable, as « Cowboy Pal » Lloyd Weaver ( # 663). The recording was first issued on Dude 1600, in Dallas. « Kue-Tee-Kue » is an utempo in the Tex Williams style, on a banjo rhythm (solo) backed by a steel. The flipside « Too many tears » is a medium weeper, with an extrovert vocal – a trademark of Weaver – over a rinky-dink piano. Then on # 1607 a fine uptempo “Like the leaves (I fell for you)” backed with a romping, fast “My Honey Bee“. Note that both Dude and second Coral records were credited to ‘Loyd’ with just one ‘l’.
The second Coral offering (# 64155) has the fine bluesy medium « Woman trouble blues » with even some yodel à la Hank. Reverse side is « After my love has turned to hate », a good vocal medium fiddle led tune.
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).
Notes by Phillip J. Tricker to the Collectables CD 5335 « Long gone daddy »(1990)
The name LOU GRAHAM (rn Lewis Lyerly) is best known for his superb rocker ‘Wee Willie Brown » cut for Coral (# 61931) in late 1957, but Lou had been active in a recording studio as early as the beginning of 1951.
He was born on July 15th, 1929 in the tiny community of Woodleaf (pop. 300) in North Carolina. One of ten children, he soon showed an interest in music and after three years of wearing Navy Blue in the services he got into radio as a singer and DJ. He spent 18 months at WPWA in Chester , Pa. where he met Bill Haley and the Saddlemen : it’s quite probable that Haley helped Lou secure a contract with Gotham (hence, Gotham 416). The second batch of recordings are certainly backed by the Saddlemen. The labels of Gotham 433 were ordered on July 9th, 1952, and at this time Lou was working in TV at WDEL in Wilmington, Delaware and as a DJ with his « Roundup time » program at radio station WTNJ in Trenton, NJ. During the mid-to-late fifties he was busy on a schedule of appearances at nightclubs and hillbilly parks asnwell as TV and radio, and playing on the « Big Western Jamboree » in Camden, NJ.
Notes by Bill Millar & Rob Finnis for BF 15733 « That’ll flat git it » (Decca) (1994)
When LOU GRAHAM dipped into rock’n’roll with Willie Brown in November 1957, he was already 28 and a veteran of local radio in Chester, Pennsylvania whose most famous resident, Bill Haley, became his mentor. One of ten children Graham was born Lewis Lyerly in Woodleaf, North Carolina in 1929. After serving in the US Navy, he worked as a country vocalist and broadcaster joining WPW, Chester in 1950. It was there that he befriended with Bill Haley, then jobbing on the local bar-room circuit with the Saddlemen while holding down the post of announcer at the station.
Graham signed with Philadelphia’s Gotham label in 1951, and made his recording debut accompanied by members of Haley’s band with whom he occasionally appeared on stage. By the time of his second Gotham release, Graham had moved to WTNJ in Trenton, New Jersey leaving Haley to pursue the musical career which would soon make him an international star.
Who’s Lou Graham?
Slap that bass!
By 1956, Haley, flush with riches, had assumed the role of benefactor, granting recording favours to a number of acolytes in an ill-fated attempt to create a music publishing and recording empire. Graham was signed to Haley’s Clymax label and he cut « Wee Willie Brown » backed by the Comets. The master was assigned directly to Coral when Haley’s enterprizes ran into financial difficulties.
LOU GRAHAM, a track-by-track appreciation (notes by bopping.org editor)
« Two timin’ blues » is an uptempo shuffler. A bit of yodel vocal. A good steel. Backing by a fine piano (+ solo). « Long gone daddy » is, of course, the Hank Williams’ song, and this is a good version. Morever I have the same comments than for « Two timin’ blues ». All in all, a successful 2-sider for a first recording (Gotham 416)
Now on to the 4-tracks second session. « I’m lonesome » has an inventive steel over an uptempo shuffle pace. The piano is well to the fore and Graham adopts a somewhat harsh vocal. « Please make up your fickle mind » is a nice shuffler too (Gotham 433, from 1953). « A sweet bunch of roses », as expected, is a sentimental, although agreeable song (Gotham 429). More of the same with the medium-paced « My heart tells me (I’m still in love with you) ».
Of course, the Coral sides from 4 years later are a complete contrast with the Gotham sides. « Wee Willie Brown » (Coral 61931) is a solid rocker : Bill Haley’s saxman Rudy Pompilli blows his fuse, and Franny Beecher excells on lead guitar as on the Comets’ better days. « You were mean baby », although noted as recorded at the same session, is very different : big band type rocker, male chorus ; it reminds me of the Johnny Burnette Trio‘s « Shattered dreams » cut in NYC, already for Coral too.
For a reason unknown, most of podcasts won’t open. Just click on the “Download” button to hear the music, when the player fails.
Onto the first Fortnight of this Autumn 2016. SMOKEY ROGERS (1917-1993) was a personality of the West coast and bandleader for s strong number of singers (Tex Wlliams, Ferlin Huskey) and releases (Capitol, Coral, Four Star, Starday and Shasta) from 1945 to 1965. On his (apparently) own label, Western Caravan, he even cut the first ever version of the classic « Gone » (# 901) in 1952. His label lasted with a handful of issues until 1955, among them I chose the great instrumental [not often in bopping] « John’s boogie » (Western Caravan 903). A real showcase for any musician involved (including ex-Hank Penny steel player virtuoso Joaquin Murphy), and every of them takes his solo or shines a way or the other. Splendid piano, horns, guitar, and of course steel, over an irresistible shuffle beat.
Another Smokey Rogers’ record has a young vocalist FERLIN HUSKY in April 1950 for « Lose your blues » on Coral 64063 (October 1950). It’s a nice shuffler with Huskey in good voice, and again Joaquin Murphy on steel.
Billboard Aug. 5, 1950 – a proof of popularity of Red Kirk
Several months later (February 1951), RED KIRK, another singer himself modeled on Hank Williams, took at his turn «Lose your blues » for an acceptable version, quite impersonal but backed by the cream of Nashville (Zeke Turner, Louie Innis, Jerry Byrd, Tommy Jackson) , on Mercury 8257. Kirk had many other good songs, for example « Can’t understand a woman (who can’t understand her man »)(# 6288), « Knock out the lights and call the law » (# 6409), or later on Republic 7120 the double-sider « Red lipped girl/Davy Crockett blues » from 1956, , the good ballad “How still the night” on ABC-Paramount 9814, or his version of Loy Clingman‘s « It’s nothing to me » in 1957 on Ring 1503. I chose another Mercury disc, »Cold steel bues » (# 6309) from February 1951 and in the same ‘bluesy’ vein as « Lose your blues ».
From Nashville, TN to Texas and Fort Worth for an Imperial session held in September 1954. FREDDY DAWSON (vocal) backed probably by himself on steel-guitar, Billy Chamber or Buddy Brady (fiddle), Jimmy Rollins (guitar), George McCoy (bass) and Phillip Sanchez (drums) cut 4 tracks, among them the above average « Dallas boogie » (# 8274)(nice fiddle and steel). 2 tracks do remain unissued, and « Why baby why » may not be the George Jones track, an original Jones song cut in August 1955.
We stand in Fort Worth, this time in 1957 with GENE RAY on the Cowtown label # 646 and « I lost my head », a good uptempo bopper. In November he was to cut for the same label the great Rockabilly cum Rocker « Rock and roll fever » on the EP-677, which contained also the good « Love proof ». Was he the same artist as on Playboy 300, who committed on wax « Playboy boogie » ? Nevertheless as front singer of the Dusty Miller’s band, he also had the great rocker « I’m going to Hollywood » in 1960. All these tunes are to be easily found on YouTube or various compilations.
Now to the early ’60s in Orlando, Florida. WEBSTER DUNN, Jr. delivers a good country rocker on first side, « Black and white shoes » on the Dunmar (owned by DUNmar Peckam and MARy Yingst) label # 101. Echoed vocal, nice crisp guitar (+ a bridge), a welcome steel : a well-produced record. The second side has a sort of poppish vocal, although saved by the same guitar (ordinary solo) and steel : « Go go baby » is a typical Country uptempo ballad. (Record valued at $ 75-100).
Next artist seems to have possibly emananated from Dallas, Texas, as his label Amber, one out of three at the same time. It’s a 4* custom # 275 out in December 1957, and the artist is BOB GARMON, who delivers with « His Studio Combo », a neat and tight little band, one of the best Rockabillies ever, « I’m a-ready baby » (valued $ 500 to 1000). Great guitar solo, cool vocal on topical lyrics, the song has everything a Rockabilly devotee could dream of. The flipside, although bluesy, is equally good : a Rockabilly combo trying its hands at Blues for « Positively blues ». A very desirable record !
Finally a R&B rocker by one of the greats, the albino « Blonde Bomber » (remember the Little Richard-esque « Strollie Bun » on Hull?), here under his other alias, LITTLE RED WALTER for « Aw shucks baby » on the N.Y. Le Sage (# 711) label. Walter is on guitar and harmonica (1960).
The Blonde Bomber, alias of Walter Rhodes, or Little Red Walter
Enough for this time ! Sources are 45cat for label scans, or YouTube or Roots Vinyl Guide, even Rockin’ Country Style. 78Rpm-world (mainly Ronald – thanks to him). My own researches on the Net and my archives. Praguefrank’s Country discography (Smokey Rogers, Red Kirk discos). Michel Ruppli’s « Aladdin/Imperial labels » book. Values from : Barry K. John guide or Tom Lincoln/Dick Blackburn book.
Howdy folks ! Hi ! To returning visitors. This a particularly important fortnight feature, because it includes no less than 11 selections !
We begin with an already reviewed artist (December 2010) in the article devoted to the K.C. label Westport. Here is the important and prolific MILT DICKEY. Born 1920, he was D.J. on KCMO during the early ’50s and cut nice boppers for first K.C. located Sho-Me label (# 528), like « Neon love ». The record must have been a regional success, as it was reissued exactly as same on Coral 64146 in 1953. I include the B-side of his Westport 129 disc (« Television love »), the fine weeper « Bleeding heart » with piano and fiddle backing and a good steel as expected. Dickey also released « Checkbook baby » on Coral 64169.
Still in Kansas, but 1963 for the next artist. BOB MARRIOTT & the Continentals is an hybrid of Country-rock, Soul and Rock’n’roll with « I’ll walk a mile » (Jayco 702). I know such an item may come upon Bopping’s visitors’ ears, but I like the drive of the tune, the harsh voice of the singer Chuck Vallent and a good guitar. You can of course disagree and leave a negative comment !
From Nashville in a more settled Country mould here’s PAUL DAVIS. During the ’50s he had two releases on M-G-M, the very fine « I don’t want a backseat driver » (# 12472, to be found on the Cactus « M-G-M Hillbilly, vol. 2 » compilation) and now « Big money » (# 12357, recorded June 18, 1956). « Big money » but a « single man »…Good shuffler according to Nashville standards : steel guitar throughout and good guitar over a relax vocal.
Five years later Davis would record the prototype of any truck repertoire with the original of « Six days on the road » released on the small Bulletin label # 1001 (reviewed June 18 1961, well nearly two years before the Dave Dudley hit). Fabulous wailing steel guitar, a lot of echo both on vocal and backing. By far according to my tastes the best version !
« Carroll county blues » was recorded on March 11 1929 by NARMOUR & SMITH, a duet emanating from Mississipi. The lead figure is taken on fiddle by Will Narmour, who befriended bluesman Mississipi John Hurt, and sustained by Shell (Sheriff) Smith on guitar. The tune has something of hypnotic, and was said to have come from the whistling of some black farmer. It’s been the duet’s greatest hit, and was revived on the Clarion reissue as Jones & Billings. Pretty old and crude Hillbilly !
Out of Trumansburg, N.Y. Seemingly in ’57 comes a pretty tame version of the Drifters’ « Money honey » by JANECE MORGANwith the Melody Men on the Marlee (# 101) label. An agreeable guitar and a too discrete steel over the singer, a poor man’s (woman’s!) Wanda Jackson. She had also a « First from» on Marlee 103, described as « teen rockabilly » on a ebay sale.
The name DEE STONE can be a bit familiar to Bluegrass afficionados, as he had at last 3 issues in 1952-53 on the Blue Ridge (from Virginia) and Mutual (from Illinois) labels, all backed by His Virginia Mountain Boys or his Melody Hill-billys. This time we find him on Blue Ridge 304 for « Countin’ the days », a very good Bluegrass uptempo tune (banjo and fiddle) over a duet vocal. In fact, this could as well be described, minus the banjo, as Hillbilly. Later on (in 1956, according to RCA « G » prefix), the man appears on Eastern (location unknown) for two great boppers, steel to the fore, and a piano : « Sun of love » and « Drifting down this lonely road ». An artist who we wish to hear more from. Final disc in 1960: « Ocean of dreams/After the dance » also on Eastern 12460.
Finally, a R&B rocker, cut in 1954 at a Clarksdale, MS radio station. Ike Turner was present at the session but didn’t play on this harsh-voiced « I’m tired of beggin’ », inspired by Junior Parker‘s « Feelin’ good » 1953 hit [Sun 187] by Eugene « THE SLY FOX ». Here he is pictured 20 years later, as Clarksdale high school principal. Of course the Spark label (# 108) was run by Leiber & Stoller out of Los Angeles, and had in its stall the Robins, Big Boy Groves and Ray Agee. Fox would cut « My four women/Alley music »(# 112) just at the time Atlantic bought this important small label late 1955.