Howdy folks ! I sincerely wish you all a happy New Year full of good mood and bopping exciting music.
The first artist ends up the alphabet : REX ZARIO & the Country All Stars did release in 1968 for the Philly Arcade label (# 202) a very fine double-sider. « Blues Stay Away From Me » is sung in unison vocal, on a strong rhythm guitar and a discreet lead guitar (which has itus own solo). The flipside « I Saw You Cheatin’ Last Night », an uptempo is a good bopper, despite an electric bass. The lead plays its solo on the bass chords for good effect, and the vocal is relax. A good disc to begin the year.
Then the veteran well-known blind singer/songwriter (also as « Pat Patterson » on early Starday releases) LEON PAYNE for an all-time classic (even Hank W. had his version) from October 1948 on the Nashville’s Bullet label (# 670). « Lost Highway » is a very fine bopper, done as a shuffler : great steel and a fiddle solo. Singer is convincing to say the least.
Next records by RAMBLIN’ RED BAILEY on a Starday Custom from April 1957, Peach 653. Side A offers a mid-paced, very melodic « The Hardest Fall » ; good piano and vocal, a too-short guitar solo. Side B in complete contrast, is really very fast. The guitar player does a real showcase of his dexterity on « You’ve Always Got A Frown », in my mind an inferior track to side A. Bailey had also an EP on Peach, then turned out on Heap Big and Bethlehem labels between 1957 and 62 (untraced).
Cut in 1953, the already unknown LEE BELL releases « Beatin’ Out The Boogie (On The Mississipi Mud) » (RCA 20-5148). A fabulous gas ! What a romping piano ! A great boogie guitar (plus a fantastic solo) ; steel and fiddle have also their solos ! Bell also did « I Get The Biggest Thrill » (RCA 20-5024), also interesting, but less than the first side reviewed. He was also to have two issues on Imperial, 8000 serie (untraced).
« Quarter In The Juke Box » was sung on the Louisiana Hayride in 1958 by LONNIE SMITHSON. The original, a bit like Johnny Cash, was released earlier on Starday 359. The guitar player sounds consciensly like Luther Perkins !
Finally we get to Louisiana, with two latter tracks. In 1967 the BALFA BROTHERS (Dewey, lead vocal and fiddle) released on the « Earl Gibson Transport, Inc. » a good « Indian On A Stomp ». Good Cajun music (let’s get attention to the rhythm given by the ‘ti’fer’ (= small iron triangle).
And now the rollicking « Mowater Blues » (sung of course in French) by the multi-instrumentist ROBERT BERTRAND from 1971-72 on the Goldband label # 1221 (Lake Charles, La.) : “Cajun style” steel guitar, fiddle, el. bass, accordion and solid, impeccable/implacable drums + great vocal and fiddle by Bertrand .
That’s it, folks.
Sources : Gripsweat for Lee Bell second issue ; YouTube for Lonnie Smithson, Leon Payne and Rex Zario ; Starday project for Ramblin’ Red Bailey ; 45cat and 78-worlds ; my own archives
Hello folks! It’s plain Summer, so if you intend to spare some time with me, here is the early August 2019 selection (10 tracks), mostly from the mid-50s.When you hear them, please get me a comment, or even: ask for more! Here we go.
With such a name, and with regards to the rest of his career, Jay Chevalier sounds a Louisiana artist. However, this is his very first record cut for Cajun, a label out of Virginia. “Rockin’ Roll Angel” (Cajun 101B) is a furious Rockabilly from 1957 – lot of echo on the vocal, a wild steel, a bizarre percussion (is this the bass playing?) and a guitar “a la Travis”. Chevaler went later on Pel (“Bill Cannon”) and Goldband 1105 in 1960 (“Castro Rock”, with political overtones for the Cuba crisis). This record changes hands for $ 300-350.
Al Ferrier and the Bopping’ Billies, the next artist, is also a Louisiana one. Let’s hear him in his first (both sides) issue on Lake Charles’ Goldband 1031. “No No Baby” (legal reissue here, that’s how rare is the original) is a proud Rockabilly bop: fiddle solo, and driving guitar/bass from Spring 1956. The flip side, “I’ll Never Do Any Wrong” is only slowier: a bluesy screaming weeper with 2 fiddle solos ad a guitar more to the fore. The original is sold for $ 100-150.
Buddy Hawk was a Wheeling, W.Va. artist, although the Sheraton label was out of Boston, Ma. He released in late 1954 the surprisingly good (valued only at $ 25-30) double-sider “Honey Baby”/”My Heart’s A-Beatin'” (Sheraton 1003). He was part of the W.C.O.P. Hayloft Jamboree and the record is pure Hillbilly bop.
Wayland Seals & The Oil Patch Boys (!) do deliver in 1957 on the Slim Willet owned Winston label (# 1016) a fast Rockabilly. Strong vocal, a lovely guitar and a 6 (or 12?) strings-guitar throughout.”When I’m Gone” is sold for $ 150-200 bucks.
Th Whitey Knight Orchestra offer on the Wesy coast “Another, Brew, Bartender” on Sage 205 from 1955. A weird, demented fiddle over a nice vocal plus a steel solo. This is a great record, although only valued at $ 15-20.
On the New Mexico Jewel label (# 108), we finish with Wade Jackson (backed on chorus by Weldon & Wanda Rogers) and “Seven Kinds Of Love”. 1960. A ballad, with a very nice ‘modern’ steel; the fiddle is buzzing (played ‘pizzicato’: stupendous – hear it!). Jackson was also on Gallatin’ Tennessee label (“Father Time And Mother Nature”).
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.
No image available of the boys neither of Bill Morgan at the moment. Maybe someone has one picture? Pease help!
This Bill Morgan has nothing to do with the Columbia songwriter and artist (1954-55), brother to George Morgan.
By the mid-1955, Texans Bill [Morgan, rhythm guitar] and Carroll [Hunt, lead guitar] came from Beaumont, Texas, to Lake Charles’ (La.) Goldband recording studio and cut their first sides. They were issued on Goldband 1034 early 1956, comprised of two Hillbilly boppers tunes : « Love me just a little bit » has harmony vocals in the bridge, the rest
being sung by Bill Morgan ; fine backing of fiddle and steel by the Netche Valley Boys; « My blue letter » is faster and equally good. The boys try with brio to sing harmony all along the track. Again great aggressive fiddle, as on « Honest to goodness baby » (Goldband 1053) issued 1957. The B-side « Love grown cold » is a slowie ; the vocals are plaintive but the spirit (a piano is added) of the other sides remain intact.
Departing from Goldband Bill & Carroll left behind them 5 unissued songs only published in France and U.K. during the late ’80s. A first version of the future Dixie classic “Feel so good“, a perfect example of Hillbilly bop heading towards Rockabilly (great guitar and fiddle backing).The medium paced « Shadow on my heart » is reminiscent of « Love grown cold », but a little faster. Enters even an accordion player. Some mambo rhythm for « Boo hoo », then « Hold me baby » is a fast number, quasi-rockabilly (at least for the guitar playing), a bit Everly-ish. The last tune, « Bluff city rock » is pure rock’n’roll, with heavy drums and tickling piano, and again that fine guitar.
Next step was on Madison, TN, Dixie label. Both of the guys were reunited under the name « BILL CARROLL » for a second version of their previous « Feel so good » (Dixie 2010) – a sharp lead guitar, and a firm vocal. This is the best ever of their product – value $ 300-400, and one would hear their B-side « In my heart » , not available since its November 1958 issue.
From then on, it seems that both of them went separate ways, as further recordings are all assigned to « BILL MORGAN ». First in 1959 (reviewed by Billboard in August) on Pappy Daily’s « D » label (# 1092) . « Your wicked love » is a fast bopper: clear voice, nice backing of piano and an ordinary guitar, probably not by Carroll Hunt. Things are slower for the flipside « At home with mom », full of echo. Next step is on the Dart label (a sublabel to « D ») for « Red hot rhythm combo » (# 137) in 1960 : a good jumping little rocker. The guitar riff is fine and insistant, and Morgan is in good voice.
The man moved again to Texas, and had a good amount of recordings until 1972, when his trail goes cold. On Delta Records, he had late 1962 # 501 « I need your love » picked up by Chess and reissued on # 1841, a good little rocker. Then on Delta 504 in 1963, « She gave me lovin’ », once more a fine rocker. Then on Gem (1964-65) a similar instrumentation for the energetic « Tennessee moon » (# 5) or the lovely (female chorus) « Land of the midnight sun » (# 7)(not posted here). I did not hear further recordings on New World, Stoneway and Myra, so cannot comment neither podcast them.
Another Bill Morgan appeared on Rebel 249 (VA.), who had nothing apparently to do with this artist. Indefatigable visitor (and corrector) DunkenHobo points out a different version of “I need your love”(Chess) by a BOBBIE MORGAN on (Tx) Blackbird 505. It is aurally not an alternate of the Chess issue; a seemingly female vocal; no speeded up tempo I’d assume; and this time a good piano. Producer Bill Morgan, says DrunkenHobo. So maybe Bobbie was his wife? Here it is for what it’s worth:
Sources: 45rpm.com site; notes to Goldband LP 107 “Bop stop rock”; notes to BF 16408 “D & Dart”; YouTube.(53jaybop chain for the Goldband 1034 label scans)