Late January 2020 bopping fortnight’s favorites (10 records)

Hello everybody ! Here are ten more selections for this late January 2020 fortnight’s favorites. Very different ones, and they date from 1950 to early ’60s.

Texas Slim

TEXAS SLIM – I dare say we’ll never know who he actually was – cut in 1964 two superior sides for the Ark label (# 309) in Cincinnati. They do present a surprising and good combination of banjo and steel guitar : « Look What You Gone And Done To Me » and « When I’m Old And Gray » . This man has nothing to do with one Texas Guitar Slim (early ’60s La. blues) on Jin Records.

Chuck Manning and the Rhythm Ranch Boys

Now a late ’50’s (stylistically) Rockabilly out of Arcadia, California on the small Corby label (# 103 or 232) by CHUCK MANNING and the Rhythm Ranch Boys. « Let’s go », a train song, has a strong rhythm guitar, a cool vocal ; a good steel guitar all the track along, and a fabulous lead guitar : no less than 4 solos ! Excuse the somewhat ‘muddy’ sound, which was on original record. Value $ 200-250 for Tom Lincoln, $ 100-150 for Barry K. John.

CECIL CAMPBELL’s Tennessee Ramblers

The veteran CECIL CAMPBELL (backed by his Tennessee Ramblers), today unjustly neglected, cut his first records as vocalist, and most of all, as steel player, in 1934. Here is from December 1950 the « Spookie Boogie », as expected a ghost song. The story goes as to make rattling bones sounding, Cecil was looking for an “…unusual hollow type of rattling sound designed to send cold chills rushing down the spine.” He couldn’t find that sound on the musical instruments. But as fate would have it, one of the members of the Tennessee Ramblers had false teeth and that mysterious sound that appears on the tune “Spookie Boogie” was made by a pair of chattering false teeth. The tune has a nice steel, a loping bass and fiddle and a good piano (RCA-Victor 48-0409).

Later on, Campbell adapted well on new trends. He offered the instrumental « Go Man Go » in 1955, to be found on the Cactus comp’ « M-G-M Hillbilly » vol. 4 (not listed here, neither « Beaty Steel Boogie », issued on Super Disc 1004, reissued on YouTube). Here however I release his « Rock And Roll Fever » from 1957 issued on M-G-M 12482, a fine Rockabilly on its own.

DESSIE FAULKNER (1903-1993) cut at the tail end of the ’50s and early ’60s a nice string of Honky-tonk bopping songs, among them I chose her offering of « I Dare You Yo Love Me » on D 1159 (issued August 1960) : an assured vocal for a fast bopper with fiddle all along and a steel solo. The song was first reissued on U.K Cascade (1983) « 20 Country Great Recordings » that included George Jones and Joe Carson among others.
Second Dessie Faulkner selection is a good weeper on a stroller rhythm issued on Big 6 138 : « I Cried Again » is mid-paced and has a crying steel. Faulkner also had « You Can’t Stop A Heart From Lovin’ », a good Honky tonker from 1967 issued by Cincinnati’s Arvis (# 1) label (not selected.

The Bridge Brothers

More of late ’50s wih the BRIDGE BROTHERS and « Stick-A-By-You » on A-B-S 119 (which stands for « America’s Best Sellers ») : a good duet, nice bass chords played guitar, the whole is refreshing and ernergetic. Thanks CheeseBrew Wax Archive YouTube chain to unearth such fine songs.

Out of Shreveport, La. on the Ram label (# 101) and released in 1956, here’s CAROL WILLIAMS an her great, fast « Just For A While ». Has a fresh vocal, and a good guitar (solo).

Luke Gordon

Finally the superlative, and him also unjustly neglected (although he never did a bad record) LUKE GORDON on Blue Ridge 502. His usual style for « You May Be Someone (where You Come From) » – a great, great dobro (solo), fiddle and discreet mandolin + a good bass.

That’s all folks for this time. Research goes on many artists, such as Fairley Holden, Iry LeJeune, Johnny Foster, Bill Hutto, Jerry Irby, Cowboy Sam Nichols among others. Let’s keep plugged to bopping.org !

Sources : YouTube (Hillbilly Boogie1 for Carol Williams pic), 45cat and 78-worlds ; hillbilly-music.com for pic of Cecil Campbell and the story of the rattling bones ; an old Tom Sims’ cassette for Texas Slim Ark release (label scan from 45cat) ; my own archives.

Lawton “Slim” Williams, “Tennessee Avenue” (1949-1960) to “Farewell Party” – from Hillbilly to commercial country

Despite a performing and recording career that spanned six decades, there’s no question that Lawton Williams is best known for writing songs, including classics like Fraulein and Farewell Party. This was true even at the height of his career as a performer and it remains true a dozen years after his death in 2007. He was reconcilied to this fact rather early on, and through he once claimed he wished he’s never recorded a single track, feeling that it had hindered his success as songwriter, he continued to perform and record into the new millenium. Any regret he felt about his recording career having restricted his opportunities as a writer was bittersweet, a double-edged sword. Writing may have been his bread and butter, but he clearly loved performing.
Williams wasn’t blessed with a particularly memorable or strong voice. It was plain, straightforward, and dynamics were not a strong suit, either. He usualy gave love ballads and good-time novelties the same earnest weight. Yet while his voice may arguably have lacked the distinction that mght have made him a star or the depth that might have attracted honky-tonk die-hards and critics, it had a certain something that continues to endear him to fans and collectors of country-music of the 1940s-60s. He also had the good sense to surround himself with fine msicians, including, for example, members of the Light Crust Doughboys – few would argue that one appeal of Williams’ recordigs are the spitrited backings.

Lawton Williams’ early recording career has been largely overlooked, and not because his early records are particularly obscure. They are fairy obscure, cut for independant labels like Fortune and Four Star or in rather low-profile setting for bigger labels like Coral. But that obscurity owes at last as much to the fact that they were issued under other names. Slim Williams in most instances, and Ed Lawton in one case. Those deeply into the country scene of the era, beyond the major and mid-level stars, will know that Lawton and Slim are the same, but the fact might be lost on the average fan, if they’ve heard of Slim Williams at all.

He was born into a musical family in Troy, Tennessee on July 24, 1922. His father was a fiddler, his mother played piano and sang. « They weren’t professionals, » he recalled, « but they sure sounded good on the hill. » While still a kid, he began secrety picking a brother’s guitar. From early on, he was listening to the Grand Ole Opry and the performers like the Carter Family and Jimmie Rodgers. As he grew, he gravitated toward the emerging singing cowbys, particularly Gene Autry and Cowboy Slim Rinehart, from whom he borrowed his early stage name and he later befriended before the latter’s untimely death in a 1948 car wreck. Williams began his professional career not Tennessee, but north in Detroit, playing in the country music clubs that sprang in and around the city before WWII in response of the large concentration of southerners who had moved there to seek work in the flourishing auto industry. Drafted n 1942, he served in Texas and sat in with local bands in Houston and elsewhere, striking up a particularly close friendship with Floyd Tillman, who was also in the service. « He really taught me the fundamentals of songwritng, » Williams recalled, « I learned a lot from him. » Soon artists like Cliff Bruner and Laura Lee Owens were recording Williams’ songs.

1930 census for Williams’ family

Slim Williams and The Sons Of The Prairie

He remained in Texas after the war, though he’d had to adapt after losing several fingers on his picking hand in a service-related injury. He worked at KEYS in Corpus Christi, and at KTHT n Houston before heading back to Detroit in the spring of 1947, where he caught on at WJR. Following Rinehart’s death in Michigan the following year, Williams went back to Texas, working for another fine songwrier, announcer Babe Frisch, at KTRH in Houston. In March 1949, he returned north, to WKMH in Dearborn. He’d recorded previously for the Sultan label in Detroit (f any discs were released, they have never surfaced), and soon after arriving back north cut a session for the rising local Fortune that featured Kentucky guitarist Jeff Durham.

Billboard Sept. 10, 1949

After a year in Michigan, Williams returned to Texas for good in the spring of 1950. He first stopped in Ft. Worth, catching at KTNC. Round this time, Hank Locklin hit with Williams’ « Paper Face » and, through Locklin, Williams signed to Four Star, cutting a session in Houston with Locklin’s band that summer, the line-up including guitarist Hamp Stephens, steel man Bill Freeman and others. He briefly relocated to Houston that autumn, but in 1951 he returned to Ft. Worth area for good and was soon established as one of the top country deejays in the area.

Slim Williams

In 1951, Williams was signed to Decca’s Coral subsidiary and cut two sessions with local music legends the Light Crust Doughboys at Cliff Herring’s studio in Ft. Worth. The Doughboys included Carol Hubbard on fiddle, Paul Blunt on steel (he also overdubbed piano on the 2nd session), Lefty Perkins on lead guitar (his wicked solos are among his best), Marvin Montgomery on rhythm guitar and Red Kidwell on bass. Everything was written or co-written by Williams. The Coral recordings didn’t sell well and, though he continued to perform and deejay, he soon sought other employment.

When he signed to Imperial in 1952, he was working for a local car dealer, using the name Ed Lawton, and the first of his releases on Imperial bore that name. »Emergency Call » was often thought not to have been issued, but it was, erroneously being labelled on release as « Have Mercy On Me ». The latter got hs own proper release a few months later. The Imperial session included steel guitarist Charlie Owens and fiddler B. D. Owens, later a well-known Ft. Worth politician. Like its predecessors, the session did not sell well enough to warrant a follow-up and Williams did not record again until 1957, when Bobby Helms had a major hit with Williams’ « Fraulein » and Hank Locklin with his « Geisha Girl ».

Lawton Williams

LAWTON WILLIAMS ON RCA

LAWTON WILLIAMS:
Lawton Williams(vo) with Thomas “Tommy” Jackson(fiddle) Floyd Cramer(p) Thomas Grady Martin(lead g) Velma E. Williams Smith(rh g) Buddy Emmons(steel g) Roy M. “Junior” Huskey Jr.(b).
(RCA Victor Studio) Nashville,October 14,1957 (19:30-22:30)

H2WB-5676 Don’t burn the bridge behind you RCA Victor 20/47-7105
H2WB-5677 Foreign love –
H2WB-5678 Blue grass skirt
H2WB-5679 Train of thought

All titles issued on Bear Family(G)BFX 15178.

LAWTON WILLIAMS:
Lawton Williams(vo) with Floyd Cramer(p) Chet Atkins(el g) James “Jimmie” Selph(rh g) Jerry Byrd(b) Murray M. “Buddy” Harman(dm).
(RCA Victor Studio) Nashville,February 10,1958 (19:00-22:00)

J2WB-0387 Rhinelander waltz
J2WB-0388 The casino on the hill RCA Victor 20/47-7188
J2WB-0389 If you’re waiting on me –
J2WB-0390 I’ll still love you

All titles issued on Bear Family(G)BFX 15178.

LAWTON WILLIAMS:
Lawton Williams(vo) with ?
(Demo session) Fort Worth,Texas,           1959

K2WB-2803 Moon Joe RCA Victor 47-7580
K2WB-2804 Lightning Jones –

Both titles also issued on Bear Family(G)BFX 15178.

LAWTON WILLIAMS:
Lawton Williams(vo) with Floyd Cramer(p) Velma E. Williams Smith,Jerry G. Kennedy(g) Henry P. Strzelecki(b) Louis Dunn(dm) & The Jordanaires (Hugh Gordon Walker,Neal Matthews Jr.,Raymond C. Walker,Hoyt H. Hawkins) (chorus).
(RCA Victor Studio) Nashville,August 7,1962 (09:30-12:30)

N2WW-0840 Carpet baggers Groove 58-0011
Bear Family(G)BFX 15178
N2WW-0841 Don’t destroy me RCA Victor 47-8142
N2WW-0842 Mama pinch a penny Groove 58-0011
Bear Family(G)BFX 15178

LAWTON WILLIAMS:
Lawton Wiliams(vo with ?
(RCA Victor Studio) Nashville,November   ,1962

N2WW-5125 In love with you RCA Victor 47-8203
N2WW-5126 Mountain of a man –
N2WW-5127 It looks like you love me RCA Victor 47-8300
N2WW-5128 Rock of GIbraltar RCA Victor 47-8142

LAWTON WILLIAMS:
Lawton Williams(vo) with Floyd Cramer(p) Charlie McCoy(hca) Jerry Glenn Kennedy, Ray Edenton(g) Henry P.Strzelecki(b) Murray M. “Buddy” Harman(dm) The Jordanaires (Hugh Gordon Stoker,Neal Matthews Jr.,Raymond C. Walker,Hoyt H. Hawkins) & Mildred Kirkham(chorus).
(RCA Victor Studio) Nashville,October 16,1963 (19:00-22:00)

PWA4-0510 Stay on the ball RCA Victor 47-8359
Bear Family(G)BFX 15178
PWA4-0511 I’m not here RCA Victor 47-8359,74-0109
PWA4-0512 Squawlein RCA Victor 47-8300
Bear Family(G)BFX 15178

LAWTON WILLIAMS:
Lawton Williams(vo) with Hargus “Pig” Robbins(p) Harold Ray Bradley,Ray Edenton(g) Pete Drake(steel g) Bob L. Moore(b) Murray M. “Buddy” Harman Jr.(dm) Anita Kerr,Dorothy Ann Dillard,Louis Dean Nunley, William Guifford Wright Jr. (chorus).
(RCA Victor Studio) Nashville,June 22,1964 (09:00-12:00)

RWA4-1281 Everything’s O.K. on the L.B.J. RCA Victor 47-8407
Bear Family(G)BFX 15178
RWA4-1282 Don’t look down RCA Victor 47-8407
RWA4-1283 Big Jim unissued

LAWTON WILLIAMS:
Lawton Williams(vo) with ?
(RCA Victor Studio) Nashville,December   ,1964 (Prod.Bob Ferguson)

RWA4-1651 War on poverty RCA Victor 47-8514
RWA4-1652 Big Jim unissued
RWA4-1653 The power of love RCA Victor 47-8514

LAWTON WILLIAMS:
Lawton Williams(vo) overdubbed on RWA4-1281 original playback.
(RCA Victor Studio) Nashville,January 8,1969 (10:00-13:00)

XWA4-1208 Everything’s O.K. on the L.B.J.,pt.2 RCA Victor 74-0109
Bear Family(G)BFX 15178

No longer using the nickname Slim, he signed to Locklin’s label RCA. Stints with Decca, Mercury and RCA again would follow over the next half dozen years.

Casino On The Hill (1958) (Big D Jamboree)

by Lawton Williams

Some of Williams’ major label singles were Texas recordings he produced himself. During autumn and winter of 1959-60, he had become one of the stalwarts of the Big D Jamboree , where he would remain until this show’s demise in 1988. He then cut for Pappy Daily’s D label out of Houston (it had probably under Daily’s guidance that Williams had cut one Four Star session in 1950) and Major Bill Smith’s Le Bill label. This last single was soon picked up on Dan Mechura’s All-Star label, seeing the first release of « Farewell Party », which would be a hit for Jimmy Dickens the following year, then for Gene Watson.

Billboard July 4, 1960

He had given up full-time music making to become a bailiff for Ft Worth Tarrat County, where he lived for the last few decades of his life. Despite the demands of that job, he remained active as both a performer and writer, increasing these activities following his retirement. He died aged 85 in 2007.
Kevin Coffey

Sources: mainly from Ronald Keppner 78rpm; labels from 45cat/78world; music from various sources, among them Gripsweat (some rare 78rpm); RCA recording files courtesy from Michel Ruppli, the indefatigable discographer; personal pictures from Google.
Small note: no RCA recording neither some later Decca discs were included, as not pertaining to “bopping” standards. “Farewell Party” was the sole exception, although being a commercial country record.

Early November 2019 bopping fortnight’s favorites

Hello everyone ! This is the selection for early November 2019 fortnight’s favorites. Every track will be within the 1954-57 period, except the odd item from early ’60s or even later.

Riley Crabtree

RILEY CRABTREE was born in Mount Pleasant, TX in 1921, and followed first the steps of Jimmie Rodgers on his Talent sides from 1949. Later he adopted the Hank’s pattern, and was an affiliate of the Dallas’ Big Jamboree. Here on the very small Ekko label, he’s backed by the young Cochran Brothers Eddie and Hank for the bluesy strong « Meet Me At Joe’s » (# 1019) from late 1955. Nice piano, and of course fine guitar.

In 1957, he emerges on the Dallas’ Country Picnic label (# 602) with the fast « Tattle Tattle Tale ». Great ‘bar room’ piano, a good steel, and a Scotty Moore styled solo. Crabtree was confined on a wheel chair, and died in 1984 from a fire caused by an electric blanket.

Cash Box Oct. 12, 1957

In 1970 SHORTY BACON released his version of the Billy Barton small classic « A Day Late And A Dollar Short » on the Chart label # 5104. Despite the late period, it’s a nice country-rocker : great fiddle and steel are battling.

Walter Scott

Way up North on the Ruby label (first issue, # 100 out of Hamilton, OH) then WALTER SCOTT and the really fine bopper « I’m Walking Out » : a lovely swirling fiddle and a surprisingly good banjo. Scott had also « Somebody’s Girl » on an Audio Lab EP 35 (untraced).

Red Hays

‘RED’ HAYS (also sometimes named Joe ‘Red’ Hayes) was a fiddler as early as 1950 in the Jack Rhodes’ band in Mineola, TX. He offers here a nice and fast « Doggone Woman » on Starday 164 from October 1954. Good vocal for this jumping call-and-response bopper ; of course a fiddle solo, and all the way through a bass chords played guitar. The flipside « A Satisfied Mind » (a very sincere ballad) was covered first by Porter Wagoner, then had nearly 100 versions, among them Jean Shepard Capitol 3118), even Joan Baez’s or David Allan Coe’s. Hayes – according him being the same artist – went later on Capitol in 1956 for a ballad more (« I’ll Be So Good To You », # 3382 and an uptempo « Every Little Bit », # 3550).

DeLuxe was apparently a short-lived, small sublabel to the giant King, which issued some fine music. I’ve selected « Strange Feeling » by JIMMY THORPE (# 2006, from December 1953), who was seemingly more at ease with lowdown and medium-paced items (DeLuxe 2016 and 2018). Here is a solid bopper, although not a fast one. Good assured vocal and guitar, and a nice fiddle solo.

Bobby Lile

On the West coast, on the Sage label in 1956, BOBBY LILE « with music by Bob and Laverne » (who are they?) delivers « Don’t You Believe It » (# 222), a fine fast tune. The guitar player reminds me a bit at times of the great Joe Maphis – although it’s definitely not him there.

He was on the C&W serie of the big New Jersey concern Savoy, and bopping.org featured RAY GODFREY and his « Overall Song » (Savoy 3021) in the March 2013 fortnight’s favorites. Not a great singer, he had a good uptempo (« Wait Weep And Wonder ») on Peach 757, then the pop-country « If The Good Lord’s Willing » on Tollie 9030. Here he releases on the Yonah label # 2002 (March 1961) the passable « The Postman Brought The Blues » (good early 60s styled steel and fiddle).

Danny Reeves

Finally a very good double-sided country-rocker by Houstonian DANNY REEVES on ‘D’ 1206 (between July and September 1961). A nice baritone voice for the fast « I’m A Hobo » (great although too short guitar solo, very sounding 1956) and a fine guitar for « Bell Hop Blues ». This record was recently auctioned at $ 760 ! Reeves had also in 1975 his own version (untraced) of « My Bucket’s Got A Whole In It ». Before that he released in 1962 the double-sided rocker “Spunky Monkey/Love Grows” (San 1509) and, at an unknown date, the Countryish “Little Red Coat” on the obscure label L. G.Gregg 1001.

Sources : « Armadillo Killer » for Ray Godfrey ; Google images and the Starday project for Red Hays. Jimmy Thorpe from HBR # 50  Walter Scott and Shorty Bacon found on YouTube and Ohio River 45s site  Riley Crabtree from an HMC compilation; Gripsweat for Danny Reeves San issue.

Late April 2019 bopping fortnight’s favorites

Hello, folks ! Hello to past visitors ; hi ! to new ones. This is the late April 2019 fortnight’s selection.

Henry McPeak

Let’s begin with a Starday custom record issued mid-1959 by HENRY McPEAK on the HG label (# 771). McPeak was born 1929 in Snowville, Va. « I Feel Like Yelling » is a fast bopper : lots of guitar ( a great solo picking), an assured vocal (which reminds me of The Lonesome Drifter, alias Tommy Johnson). McPeak had another disc the next year on HG # 851 with « When You Kissed Me »: very different, more melodic. Again that good guitar, even a Rockabilly solo. The record goes on sale from $ 280 to 380.

Bob Burton

BOB BURTON next (aided by Rex Jennings and Shorty Ashford) delivers on Harry Glenn’s owned Mar-Vel 952 (issued 1954 in Hammond, IN) the good « Forty Acres Of My Heart » : a fast fiddle solo and a short steel solo. The three musicians join unison in the chorus. Of course, Burton had other good records on Mar-Vel as « Boogie Woogie Baby Of Mine » (Mar-Vel 951) or « Tired Of Rockin’ » (Mar-Vel 953, 1956).

Johnny Dollar

Next was issued in 1961 on the D label # 1185. Good bopper is « Crawling Back To You » by JOHNNY DOLLAR, great steel led on a fast number. Dollar (his real name), despite many a good record, never got it big, and remained a minor artist. He had several occupations : truck driver, life insurance salesman, lumber yard man among others when he could. He was also dee-jaying (thanks Merle Kilgore) on Shreveport’s KZAE, and finally cut for D, aided by Shelby Singleton.

Johnny Bond

An oldie (1950) on Columbia 20704 now : JOHNNY BOND was a constant Bopper in the early ’50s with things like this « Mean Mama Boogie », cut on the West coast. Great harmonica by Jerry Adler, a little guitar by Jerry Scoggins ; Bond is in particularly good voice.

Jim Oertling

On the Hammond label and as late as 1965, here’s JIM OERTLING & the Bayou Boys for two selections. « Old Moss Back » (# 267) has a terrific guitar intro, an urgent vocal and a fine guitar solo. « Back Forty » (# 268) is a mid-tempo with nice vocal and a Rockabilly guitar solo.

Tommy Elliott

Finally back in the early 50s with TOMMY ELLIOTT and the Line Riders. « Same Dog Bit Me » was released on Texas Time label (# 130) and is a hillbilly bopper, fast fiddle-led with a nice upright bass.

Sources : YouTube ; Notes to D Singles vol. 1 (BF) ; the autobiography of Johnny Bond (a JEMF book) ; «Ohio river » for Bob Burton details ; 78-worlds for Tommy Elliott.

A bopping New Year’s 2019! Early January fortnight’s favorites selection

My best wishes to anyone reading this blog. May this New Year 2019 bring you Happiness, good Health and the Boppinest music. I will try to give you the last gift possible all along the year.

We begin with a Texan, very probably Houstonian minor artist, JOHNNIE FORRER. To the best of my knowledge, he only had three records ever cut. First in 1958 on the D label (# 1021) : « Fool’s Paradise » and « Understand » are two uptempo Rockaballads, good steel solo (even with strange effects, when it plays like a « musical saw » on « Paradise » side). Publishing house is « Starrite », which denotes a Starday imply, in any row, in the record. His second one « My Blues/The Real Thing », issued in 1959/60 on D 1074, goes on with the same formula (not posted).
Then his third known 45 was released in 1963 on the Bow & Arrow ( 1003) label. « Long Gone » is a good shuffler, piano to the fore (nice solo) and fair vocal.

Ray Pridie

From Bellingham, Wash. came RAY PRIDIE on the Car (# 102) label who’d sing the very good « Lonesome Broken Hearted Me ». Good steel, an electric guitar played on the bass strings on an uptempo rhythm. Barytone voice of the singer.

Cook Brothers

« Juke Box Play For Me » was cut in 1958 and released on a (no #) Island EP dedicated to the COOK BROTHERS in Wheeling, W.Va. A cross between fast Hillbilly Bop and Rock’n’roll, this vocal duet is a jumping (nice guitar) and moving little tune.

Lyle Keefer

Another Dixie issue, # 877, 1959), « Hand Full Of Love » (his only known record) by LYLE KEEFER is a nice uptempo bopper: barytone voice, steel annd piano present. Whole song moves !

Johnny Rector

A renegade from Blacky Crawford’s Western Cheroekes (backing the first Starday records in 1953), JOHNNY RECTOR had already cut in 1950 for Imperial, then had a long string of releases on his own on Coral Records. His « Have You Ever Been Kissed » (# 64168) is fast steel led goodie ; each (steel, piano and lead guitar) taking its solo. Rector’s voice is smooth running and very agreeable.

Jim Dickinson

A R&B rocker for a change. The producer being a « Bill Justis », one can indeed speculate on a Memphis, TN recording issued by Soutthtown # 28006. « Shake ‘Em On Down » hold its promises : vocal belter by JIM DICKINSON, a nice harmonica, and a long, GREAT guitar solo.

Carl Tilton

In 1957 on the Morris, OK Stardale label you’re stumbling now on CARL TILTON for two issues. First is a rollicking « Bearcat mama ». Guitar and piano are doing their best here, while Tilton is aided by one Dale Davis on vocal (latter having himsef releases on Stardale)(# 500). The flipside « Little Cabin » is a great shuffler : good guitar, a steel solo and nice piano. Exuberant vocal.

Hal Smith

Finally HAL SMITH releases his record « Hard Hard Times » on the Yucca label # 116 (late ’50s). A fine Country-rocker, guitar led played on the bass chords and a very fine vocal. Smith also had (# 108), « Make My Livin’ With My Guitar ».

Sources :Sources : mainly YouTube ; some tracks from HBR serie ; 45-cat.