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. »
Howdy folks. This is the first of July 2017 bopping fornight’s favorites. And this will be a special issue, focusing on Rockabilly and/or Hillbilly Rock records of high value. If you’re lucky owning them, it’s good. On the other hand, if you have only a portion, or lacking one particular item, start hunting ! Estimated values are going from Barry K. John collector guide (BJK), and Tom Lincoln/Dick Blackurn reference book « Guide to rare Rockabilly and Rock’n’roll 45rpms » (TL/DB).
Let’s begin with the Alabama Reed 400b label, « Coal miner’s blues » by GENE COLE. It’s a great mid-tempo opus, a Country rocker with good guitar and fine voice, valued $ 200-250 (BJK), or even the more confortable tag of 800-1000 (TL/DB).
Next is very short : 1 minute 37, but full of energy. JERRY PITTS & the Rhythm Makers do on the J.P.R.M. label (obviously initials of them all) the fine up-tempo « Keep ole central rolling » from Dawson, MS. Uncommon maraccas. This record go for $ 40-50 (BJK) or even 75-100 (TL/DB).
FRED NETHERTON appears on two discs. First a great version of Carl Perkins’ « Matchbox » on California label Rural Rhythm EP 540, from 1961, backed by the Wildwood Playboys: piano and guitar solos. Valued at $ 300-400 (TL/DB). Then as fronting man for the Wildwood Trio on Dixie 1 (unknown serie) from Illinois, says Barry K. John. « The wildwood rock » with a very nasal voice, a great rockabilly guitar, a really stomping thing, It’s valued between $ 300 and 400 by B.J K.., and 600-700 by TL/DB.
Next entry is the exception. SUNSHINE SUE had this Astra issue (probably Richmond, Va.) circa 1948-49. « Barn dance boogie » (# 1215) with the first ever recording of ‘Cousin’ Joe Maphis. Fast romper, an accordion solo, and that agile guitar throughout.
Finally two discs by SLIM DORTCH from Tennessee. The very great « Big boy rock » on Eugenia 1001 from 1961 : $ 600-800 (BJK). His second is very tame in comparison, « Sixteen miles » is a honest little rocker without any more appeal.
Hello Folks ! This is the late May 2017 bopping fortnite’s selection. It begins with a Starday custom disc on the Friendly label [from Milan, TN] (# 853) by RAY BELL : « Yodelin’ catfish blues » [what a title!], which is a cross, in my mind, between Rockabilly and Bopper. Dating from 1960 or even later. No guitar solo. A good song anyway which growns on one’s ears at every listening. Bell had another disc on Queen (obviously distributed by King), but a Jay Miller production: it is a suggestion of a Louisiana recording or at least a link. Same Queen label has a Miller protégé, Katie Webster. So the link may be strong. « Blues tavern » (# 24006, June 1961) is a decent uptempo hillbilly ballad. He also had two « leased » titles on the same date which went unissued at King.
Next selection is by three guys (brothers) also well-known, first as the Willis Brothers (led by the eldest of them, James « Guy » Willis) then later as OKLAHOMA WRANGLERS. They put between 1946 and 54 on line a fine string of Country rockers and hillbilly Boppers. I’ve chosen – an uneasy task – two boppers. First the fast «Hoot howl boogie » from April 1951, issued on RCA 20-4309. Piano accompanying throughout the tune (Vic Willis), nice guitar solo (Guy Willis) over a fiddle part (Skeeter Willis) + two unknowns : steel player and a thudding double-bassist. It has an irressistible beat.
Second song is a program per se : « Hillbilly rhythm » (RCA 20-4848, cut May 1952). Not as fast as the previous song, it’s excellent all the way. Fiddle part is more prominent, while the brothers sing the refrain in unison. Guy Willis even plays in a style Merle Travis had done famous several years ago. More on the Oklahoma Wranglers in a not too distant future, when I put my hands on biographical details.
MALCOLM PARKER seems to have migrated from Nashville to West coast (or was it the opposite). The first record noticed was on a California label, Mesa 101: a mid-tempo, nice rhythm-guitar and vocal led for « The tears you saved », stylistically from the early ’60s, although the label indicate « Stereo », which may indicate a 1970’s issue: a great record for this era! Then a second issue on Code, a Nashville label (# 301), early ’60s too. It’s a great rocker (piano and great guitar solo) for « Come along with me ». Perhaps different artists with the same name ? I found (but unheard) one side described by its vendor as « hillbilly » , « The panther den/We’re through » on the Bee (location unknown : label too much damaged), on the RootsVinylGuide site, which is usually very helpful. But not this time ! Anyone help us all?
ART ONTARIO is a well-known figure among Rockabilly circles. He had releases on Dixie (« It must be me », # 2019 (Madison, TN) in 1959, then as Art Buchanan, on sparse Dixie regional issues or on Flame during the early ’60s. Now a rare Starday custom, Illinois label (# 725) presents « Wiggle walkin’ boogie ». A great vocal, an insistant lead guitar (solo) over fine inventive drums. A nice record.
A jumping little tune now on an Atlanta Leo’s label (# 2016) for BLUEGRASS ERVIN : « I won’t cry alone ». Lots of fiddle (at times, played pizzicato, like a mandolin; at other times, duetting with steel). Steel is great, plus a clever guitar player. A great, great light country-rocker !
Finally FREEMAN ERVIN [apparently no connection with the preceding artist] in 1962 for « Living doll » on the Newbury, OH Bryte label # 241. Banjo-led, and high-pitched vocal. Good bopping Bluegrass to finish this issue.
Sources: thanks to UncleGil Rockin’ Archives (Oklahoma Wranglers files) ; HillbillyBoogie1 Youtube chain ; RootsVinylGuide for various scans, as 78rpm-world ; BF CD for Carl Butler personal on this session ; RCS for Art Ontario.
Howdy folks ! This is the second 2017 fortnight, that of late January. It will cover very various styles, be it hillbilly boppers, country rockers or rockabillies, even one Bluegrass bopper, from 1955 to 1961.
First an uptempo atmospheric bluesy rockabilly from Bald Knob, AR, on the CKM label (# 1000) by BUDDY PHILLIPS with Rocking Ramblers, « River boat blues » from 1956 (valued at $ 100-125). I enclose for comparison the original version of the song by ALTON GUYON and his Boogie Blues Boys on the Judsonia, AR. Arkansas label (# 553), a Starday custom from 1956. This time the song is taken at a slow, lazy, bluesy pace – fine fiddle (valued at $ 150-200). Back to Buddy Phillips for the CKM flipside « Coffee baby » (written by Alton Guyon), less fast than the « River boat blues » side, but good and bluesy. Pity that Phillips disappeared afterwards.
Two issues on the Starday associated Dixie label from the late Fifties to the early Sixties. ELMER BRYANT on Dixie 906 from 1960 (value $ 75-100) delivers the cheerful bopper « Gertie’s carter broke », which has a Louisiana bouquet, with fine fiddle and steel. The medium-paced flipside « Will I be ashamed tomorrow », although very good and sincere, is more conventional country.
The other Dixie discussed is Dixie 1170 from 1961 by LITTLE CHUCK DANIELS : « I’ve got my brand on you » is a bit J. Cash-styled, an uptempo bass chords guitar opus with good effect on voice : honest Country rocker. I add by Daniels his issue on Dixie 1153, « Night shift », same style.
ROLLIE WEBBER from California was a part of the now well-known Bakersfield sound, and had issues on Pep and Virgelle among other labels. Here he offers « Painting the town » on the Tally label (#150), a fine bopper with prominent steel ( sounds like Ralph Mooney).
Some real rarities this time, several being medium-paced. The name JACK HOLDEN does ring a bell ? With his brother Fairley he had on the White Church (ca. 1946-48) label some issues. We find him in 1948 on the sister label RED BARN (# 1152), located in St. Louis, MO, whom he released three singles for. Red Barn « Mama I’m sick » is a fast, typical late ’40s sounding bopper. Call-and-response format, it includes a vocal backed only by a powerful rhythm guitar and a great fiddle (Wayne Miskiff?). Holden appeared on Cincinnati « Renfro Valley Barn Dance ». Love his style.
Then in Louisiana’s West Monroe. Jiffy was a short-lived affair, however important by the quality of its issues, and the celebrity of some names, Jimmy Pickard, Tommy Spurlin or Jimmy Simpson. Here is the least known ED RAYBORN & his Southern Hillbillies, and the good medium paced « I’ll go on hurting » (# 208). Nice fiddle/steel and sincere vocal.
Kustum appears to have been a subsidiary to Jiffy, yet had only one issue # 4000 (an ambitious numbering) by DAVID CRAIG and the medium uptempo « Just forget it » : nice vocal & steel. Craig was also on Imperial (« Replace my heart » # 8284): hear him on a future Fortnight.
ERNIE HUNTER next was a long-time fiddler for various Starday sessions. Here he’s the leader for the very first Houston Longhorn label ( 503) « At ease my friend » (1957). Uptempo medium paced, piano led with confident vocal and steel. Hunter also appeared on a Gold Star custom Rainbow issue (# 1203/1204).
On the Rose City label (unknown location, # 1004), there’s nothing particular with « At the drug store cowboy’s ball » by ROY JACKSON. With much accordion, this record surely dates from the late ’40s. Good hillbilly bop.
There were at least two SNUFFY SMITH : one on Star Talent and own Snuffy Smith label ; the other on Western. I don’t know. Or his record which is called « Johnny Acton » is actually titled « Snuffy Smith » ? Anyway it’s great fast Rockabilly, urgent vocal backed by steel and a very nice lead guitar. Oops, Kasko label # 1644.
Finally on the Covina, CA. Toppa label (# 1014), let’s get late ’50s Hillbilly. Very intricating : piano, bass figure lead guitar, steel (solo) and..claphands and screams. It’s « I’m a country boy » by WALLY BLACK. He had already cut for Fable « Rock and roll mama » and apparently knew how to rock.
Source: main is Youtube (my favorite chains), also own researches on the Net.