It has proven near impossible to find any biographical data about DANNY DEDMON. He may have been born in Louisiana, since his career was often confined to this state. His professional career begun in 1946, so he must have been in his twenties then, and already an accomplished guitar player being recruited by a ‘star’, Bill Nettles, for the latter’s Dallas recording session.
The Monroe Morning Star (March 23, 1947) showed the only certain known picture of Danny Dedmon (far left).
Bill Nettles & the Dixie Blue Boys
He was associated to KSAM in Huntsville, Tx. when Bill Nettles took him to KMLB in Monroe, La. and made him join as lead guitarist his Dixie Blue Boys. He then cut his first records under the leadership of Nettles in Dallas, Tx. for Bullet, a Nashville label, on July 7th 1946. Jim Bulleit was present at the session, as he was seeking for new talents for his label.
Bullet 637 (Too Many Blues/High Falutin’ Mama) and 638 (Hungry/You’re Breaking My Broken Heart Again) were good sellers for Bill Nettles, and not long after, he was approached by Lew Chudd’s scouts and subsequently signed a contract with Imperial Records, the then rising label in Country music with its 8000 serie launched during Summer 1947.
Danny Dedmon & the Rhythm Ramblers
Dedmon went solo with a contract on his own, and had 7 singles released under his name between Summer 1947 and October 1949, backed by his Rhythm Ramblers, who actually were Nettles’ Dixie Blue Boys in disguise.
« Hula Hula Woogie » (Imperial # 8019) is a call-and-response ditty ; a fine uptempo bopper (a sort of fast bluesy tune) with a fiddle all along the song (Robert Shivers), a mandolin (Nettles), guitar, and steel (« Cowboy » Thomas) solos, all propelled by the bass of own Nettles’ daughter Loyce, while Dedmon had an assured voice, that of a man accustomed to sing.
Billboard, Jan. 23, 1948
Reverse side « Too Many Blue Eyes » is slower, although equally good.
This first Danny Dedmon recording session may well have been cut at KOGT station in Orange, Texas, whom he was associated then with, or in Beaumont, Texas, where many early Imperial sides were recorded. Anyway Billboard noticed him in its early 1948 edition.
Autumn 1947 saw Danny Dedmon back in Beaumont studio for a long 8-tracks recording session. 4 tracks do remain unissued, but it’s obvious Imperial executives had faith in him cutting an entire session. Imperial 8023 (Why Should I Want You Now/It’s Time To Say Goodbye) escaped to my researching antennas, so cannot comment ; two other tracks out of this session however were finally released surprisingly during the second half of 1950. Why Imperial issued them so late is anybody’s guess. « I Don’t Want You Anymore » (Imperial 8099) is a fine, bouncing bopper. Every instrument involved has its solo (although except the string bass). The reverse side, « Lane Budded With Roses », a mid-paced weeeper, is forgettable. This # 8099 was credited to Danny Dedman : a typing error from the labels’ printer ?
In October 1947 Imperial files reveal one more unissued session (3 tunes), and one must wait December 1947 for a 4-track session more. Two tunes went also unissued : « That Chick Was Just My Size » sounds a promising track, talking of a bopper, while Imperial 8045 has two excellent numbers, namely a bluesy, mid-tempo shuffler, call-and-response format with « Hoochie Coochie Woogie » (Pee Wee Calhoun, a newcomer in the Dedmon team, is called before his piano solo) while « Drinkin’ Beer All Night » is a fast item.
Ca. late 1947 and late 1948 Dedmon went to work with Jelly Jolly in clubs and touring, but made no records with him. February 1949 found him again in the Beaumont studio, for 4 more tracks, all released. Imperial 8058 bears two fine sides, and one can detect a Hank Williams influence from then on « You Can’t Hen Peck Me », an uptempo bopper ; « The Blues Keep On Hangin’ On » is a particularly effective fast bluesy tune with its two steel solos (by « Cowboy » Thomas) and the good fiddle of Robert Shivers. The piano takes a solo too, and was played either by Pee Wee Calhoun, either by the newcomer in the Dixie Blue Boys Pal Thibodeaux [see his study elsewhere in this site]. The remaining unheard sides included « That Lonesome Old Moon » and « That Blond Headed Gal Of Mine » and were released as Imperial 8061.
The remaining tracks, and nearly the last Dedmon ever recorded, were cut in October 1949 with the same line-up of Bill Nettles’ Dixie Blue Boys. All these are rousing tunes. « Gin Drinkin’ Mama » (# 8065) is definitely one of his best songs : shouting vocal (although the voice is barely recongnizable), fast rhythm, as the reverse « Gonna Trade My Red Head For Blonde » (a mid-tempo). The long steel solo and the shiny fiddle playing make this a typical pure Honky tonk shuffler.
« Mama-In-Law Troubles » (# 8068) keeps along the same pattern as « Gin Drinkin’ Mama », when « Sweet Little Sweetie Pie » is also a romper : it’s another fabulous shuffler typical of the era.
How versatile he was is shown by 2 snippets taken in early 1949 from the Billboard. In January he had joined once more Bill Nettles at the time of the first Mercury session which gave in April “Hadacol Boogie” (but he was not present on the session); then in March 1949, he joined Cal Maddox (guitarist of the Maddox Brothers) on KTRM out of Modesto, California. Finally March 1951 found him back in the band of Jolly Jelly.
We find Danny Dedmon (this time backed by the Cain River Boys) once more on the L.A. Flair label (# 1005) released 1953. Things are very different from the previous Louisiana discs. The backing is a limited one : exit the fiddle. Accent is put on the omnipresent steel-guitar (NOT « Cowboy » Thomas, with aural evidence) and a tendency toward pop, particularly in « Sally Anne » ; « Maybe Things Will Work Out Right » has a pizzicato played lead guitar, and no rhythm at all. Both sides are written “Pee Wee (Calhoun?)-Dedmon”. Does it suggest that his band had followed him in California, or the Flair issue was simply recorded in Louisiana before its release on a near-major label (Flair had been launched in 1953 by Modern for issuing Southern artists)? This record is a question in itself.
At this point, Danny Dedmon disappears from the music scene, except one big mention. He’s credited in October 1956 as co-writer of the Rockabilly classic « Hot Dog » by Corky Jones (actually Buck Owens) on Pep 107. Had he put his hand on this gone unnoticed little gem that he should have tickled all the record collectors since then.
Born Noble F. Stover on Nov. 16, 1928 in Huntsville, TX, Smokey had his own band and was playing the honky tonks of Texas at 16. In 1949, a new radio station went on the air in Pasadena, TX where he landed his first deejaying job at KLVL-AM, an on-the-air learning experience. A year later, KRCT-AM in Baytown, TX lured him away. Over the next year, Smokey’s show became so popular, the station changed their format to country and hired two more deejays. Meanwhile late 1951, backed by his band, The Stampede Wranglers, he cut his first sides for the Kemah, TX Stampede label (# 101)[Galveston Cty, Houston vicinity] : « I’m planting a rose/It’s the natural thing », two good boppers – side A is mid-paced, side B is a fine Hank Williams inspired Honky tonker. Of course this label was that of a future promising Rockabilly & Country performer, Glen Barber. Imperial picked the Stampede masters up and reissued them (Imperial 8141) in December 1951. According to Michel Ruppli, the fiddler was Sleepy Short.
In 1954, he moved on to KBRZ-AM in Freeport, TX where he stayed for three years except for a six-month interval in 1956 when he helped launch KLOS in Albuquerque, NM.
In the meantime he was signed by producer J.D. Miller out of Crowley, La. on his Feature label, and recorded two songs, among them the better side was « Go on and leave my baby alone », a fine uptempo with great steel a la Don Helms (Drifting Cowboys’ member). Flipside is a quieter mid-paced ballad, « That’s how true my love is for you »
The initial pressing order by J. D. Miller (dated January 1954) for “Go on and leave my baby alone” was for 800 78s and 500 45s – rather more than Miller’s usual order. Fiddle and guitar are by Doug and Rusty Kershaw respectively (later cutting records on Hickory on their own right), with steel guitar by Louis Fourneret.
Later he became a well-known Texas D.J., remembered by Eddie Noack as having played Elvis Presley’s first Sun release twenty times a day! He had a fan-club in Baytown, Texas, in 1954 and two years later had a show, “Smokey’s Big Stampede” on KRBZ, Freeport, Texas, switching to KVET Austin later in the same year
Circa May 1955, Stover entered the Starday studio in Beaumont, TX, and recorded two songs in the same pattern as the previous ones : once more a mix of slow and fast sides. The A side «You wouldn’t kid me, would you » is the good bopping one ; now the B side was a ballad, on a theme that seemed to please him, because he made another version of «It’s easier said than done » 4 years later on Ol’Podner. “You wouldn’t kid me, would you, baby“
In 1958, he moved to KCIJ-AM in Shreveport, LA to be near the Louisiana Hayride, hoping the move would push his singing career. Seven months later, the station changed owners who brought in their own deejays. With the help of a friend, Claude Gray, Smokey found a job at WDAL in Meridian, MS where he stayed until late 1959 when he received a call from his old Freeport boss, Ken Ferguson. Ken was opening KMOP in Tucson, AZ and wanted Smokey to be his sign-on man. Smokey hit the airwaves there in Jan. 1960 and remained there for eight years when he took a couple of years out to concentrate on his singing and songwriting.
In the meantime (1959), he recorded 6 sides for the small Ol’Podner label located in Lake Jackson, TX. All these sides are pretty traditional for the era (fiddle omnipresent). Stover’s voice reminds one at times of Eddie Noack, while « Ballad of Jimmy Hoffa » is a rocker sung in duet, like George Jones’ « White lightning ».”My building of dreams” is another song to watch.
Other songs during the ’60s are more and more country-pop oriented, and one can retain the better ones, like «One thing in common » (Sims 172), or the fine Indian country-rocker « On the warpath » (Toppa 1061) from 1962, and « I want the cake, not the crumbs » (Boyd 153) . His most elusive record was made for Na-R-Co (# 105) and « Remember me/This hurt inside me ». He succeed as a songwriter when George Jones in 1962 chose his « Sometimes you just can’t win » he had already cut on Toppa #1061.
On Jan. 1, 1970, Smokey went back on the air at KRZE in Farmington, NM. A year-and-a-half later, his mother’s illness forced him back to Houston, TX. He more or less retired from radio then until 1992 when a friend built a new station, KVST in Conroe/Huntsville, TX. Smokey went on the air there in early 1993 and ran a midnight ’til 6 am show for a year until it “got old” and he re-retired. In 1995, Ernie Ashworth lured him to Gallatin, TN to get the “Country Classic” station of WYXE off the ground. Smokey enjoyed romping and stomping with the Oldies for about eight months when he hung it up and returned to his native Texas where he’s retired from radio, but still pickin’ and singin’ every weekend. His latest recording is titled, « I May Be Getting Older, But I Ain’t Stopped Thinking Young ». Also Eagle in Germany issued a White rocker « Let’s have a ball » by him, but I doubt he ever cut this song. You can judge by yourself.
MERLE KILGORE is not a newcomer. He met in the ’60s and ’70s a lot of success as a songwriter in Nashville : wrote « Ring of Fire » for Johnny Cash, and « Wolverton mountain » for Claude King. But I am more interested with his beginnings for Imperial records, seemingly all cut at KWKH in Shreveport, La. Here’s « Everybody needs a lttle lovin’ » that Merle released on # 8300. A Rockabilly guitar
Tillman Franks on double bass with Johnny Horton
(fine solo), propelled by a thudding bass (Tillman Franks?) over an urgent vocal. Later Wyatt Merle Kilgore (his actual name, being born in Chickasaw, OK. In 1934) turned frankly towards Rock’n’roll with tunes like « Please please please », cut in New Orleans in Jan. 1956 with an-all Black group, that of Dave Bartholomew, and « Ernie » . So eclectic was the man ! He was also a board member of the Hank Williams Montgomery museum, being very close to Hank’s family. He was back to his Country roots in 1959 with Country rockers on the « D » label (‘Take a trip to the moon »). Died of a lung cancer in 2005.
I didn’t find anything on the next artist : TROY JORDAN & His Cross-B-Boys, except to location of the label: Midland, Texas. So can only comment both sides of his disc issued on Tred-Way 100. The A-side is a good uptempo, « Who Flung that mater », with a too-discrete steel-guitar and well-sung, although nothing rxceptional. B-side is really fine bluesy a tune: guitar, steel, a piano solo, lazy vocal for « Don’t cry on my shoulder». Jordan was a distant cousin of the Carter Sisters, so it may be they are the right way for a research on him.
HILLBILLY HERMAN, & his Tennessee Valley Boys, despite his name, is a Blugrass artist in 1966, who offers « Today I watched my dreams come true » (Breeze 366, located in Livingston, TN), a solid uptempo, with great backing in the background The main instrument is a very nice mandolin ; alas the guitar solo is very insipid. The Breeze label had issued a very rocking version of “Wreck of the old 97” (# 381) by Jim Sebastian. A record to watch for. In the meantime, do YouTube searching! Herman had an elusive issue on Hatfield (no #)[untraced]
Patrick « Buddy » Attawaywas a Cajun musician (fiddle, electric guitar) from Shreveport, Louisiana, born on 5 January 1923. As a teenager he started the Rainbow Boys with songwriter and promoter Tillman Franks (also later bass player) and singer Claude King. After Army service they all left Shreveport to KLEE, Houston, Texas.
When KWKH started the Louisiana Hayride in 1948, they all returned to Shreveport. Attaway backed Claude King on recordings and in 1950 he recorded a duet with Webb Pierce on Pacemaker Records.
Two discs followed on Imperial in 1954. He was a featured Hayride star by that time, and he sang « Big Mamou » there the day Elvis Presley made his debut. He continued as staff guitarist on the Hayride into the ’60s. He died in Shreveport on 15 June 1968.
The biography above was published in a CD devoted to Ed Camp. It seems too simple and very limited. So I will add the biograhy of early Claude King (courtesy Imperial Anglares), as Buddy Attaway and King went very close during these years.
January 1946 : Claude, Buddy Attaway, Tillman and Merle Clayton went to Dallas to audition for Hal Horton, a dee-jay at KRLD. They ended up back stage at the Sportatorium meeting Roy Acuff. Things in Dallas didn’t work out so they headed back to Shreveport.
Both friends quickly joined Harmie Smith, known as the Ozark Mountaineer, on KWKH until 1947. Claude took Webb Pierce’s place and acted as emcee when playing little country towns in North Louisiana, South Arkansas and East Texas. In that band you could find Buddy Attaway (fiddle), who took Owen Perry’s place, also acting as comedian, and Harry Todd (guitar) aged sixteen years too. Harmie and that gang including Tillman Franks (bass) played the State Fair in Shreveport in November 1946.
A first record in 1947 was issued on President, in their Southern Series, “Flying Saucers/I Want to be Loved” (HB 10) under the name of Buddy & Claude with The Kentuckians. On that tiny label was also The Stamps Quartet. The session was done at KWKH radio in July 1947 with Buddy Attaway, Claude King, Tillman Franks, Shot Jackson and The Bailes Brothers. “I Want To Be Loved” (But Only By You), a Bailes Brothers song issued on Columbia 37341, later reissued 20119, later became a hit for Johnnie and Jack. Both songs are actually duet recordings.
Soon afterwards, Buddy Attaway and Claude got sponsorship from General Mills Flour and they moved to Monroe, Louisiana, working with Sleepy Watts (bass) and Jackie Featherstone (steel) as The Kentuckians. In early 1948, for a short time, Claude and Buddy went to work in Houston (Tx) calling themselves “The Attaway Boys” on their 30-minute KLEE radio show, and working in Elmer W. Laird’s used cars lot by day. Tillman Franks moved to Houston in April 1948 to work with them for Laird. They lost their jobs and radio sponsor after that guy was stabbed to death around late July 1948.
In December 1950, at KWKH, Claude King with Tillman Franks, Buddy Attaway and Webb Pierce cut “A Million Mistakes” and “Why Should I” issued on Pacemaker HB 1010. The record label was co-owned by Webb Pierce and Horace Logan, the boss/founder of the Louisana Hayride. These sides written by Claude were reissued on Gotham 409 in 1951, and were followed by “51 Beers”/”Beer and Pinball (Gotham 411), two songs from the same session, issued in August 1951.
At the same session as Claude King’s that saw Pacemaker 1010 and Gotham 411, Webb Pierce recorded an uncredited duet with Buddy Attaway titled “Freight Train Blues” (of course the old Roy Acuff song of 1936). When issued on Pacemaker 1006-B, the song didn’t even have a singer’s name on the label, without doubt because Pierce was still contracted to 4 * and Bill McCall. The flip side sung by Buddy Attaway is “I’m Sitting on Top Of The World”, and even if credited to Buddy Attaway, that’s an old song, first recorded by The Mississippi Sheiks in 1930. The harmonica chorus is played by Rip Jackson (is there a relation with steel player Shot Jackson ? No one knows) and although Webb changed the words slightly, there is not enough to give him credit.
On all these Pacemaker songs recorded at KWKH by night, Webb is backed by Tillman Franks (bass), Buddy Attaway (guitar), Tex Grimsley (fiddle) and Shot Jackson (steel guitar). On all those songs, Buddy Attaway plays great guitar licks in a Jerry Byrd style, and we can only regret his passing at 45 years old on 27th May 1968. His guitar work on “Hayride Boogie” (a song he co-wrote with Webb) was replicated on the version recorded in 1956 for Decca under the title of “Teenage Boogie”. He is also responsible for the great boogie guitar on Pierce’s « California blues » or the Tune Wranglers‘ song « Drifting Texas sand ». These 3 songs were credited to Tillman Franks.
Buddy Attaway also recorded for Imperial in January 1954 a cover of Claude King’s “Why Should I”, issued with “Rock-A-My Baby On The Bayou” (8258) both fine waltz uptempos. « Why did I leave Cloutchville » is a fast opus, very much in the Cajun tradition, while »Doubtful heart » is a quieter tune (8238). All in all, Attaway had between 1947 and ’54 a consistent high level production, be he soloist or lead player for anyone else.
After the Imperial sides, he never recorded again, concentrating apparently on his work for the Louisiana Hayride, where he was a regular until mid-1957.
March 30th, 1956 leaflet
The scheduled issue of a 20-CD on Bear Family in 2017 of Louisiana Hayride tapes should bring some surprises, in this aspect. Attaway will have “Y’all come” (1956) and “In the jailhouse now” (1958) issued.
Warm thanks go to Dominique ‘Imperial’ Anglares and the generous loan of a Claude King early biography : this formed the nucleus of the Buddy Attaway’s one – as both were intimately tied from the beginning. ‘Imperial’ furnished also a good amount of personal pictures..Ole’ Ronald out of Germany as usual furnished rare label scans and music.
It’s hard to figure out what’s going on here. There were four versions of « Big door »…a sort-of « Green door » sequel.The first version appeared in 4 Star’s AP (Artist Promotion) and was by the writer, Gene Brown. Some say that Eddie Cochran is on guitar. That version reappeared on 4 Star (# 1717) and reappeared yet again identical on Dot, the label that had scored with « Green door ». At almost the same time, circa April 1958, that 4 Star licensed Brown’s master to Dot, Jack Tucker‘s version appeared. Was this the same Jack Tucker who worked hillbilly nighspots in Los Angeles for many years ? Probably. According to Si Barnes, who worked for both Jack Tucker (real name Morris Tucker) and his brother, Hubert, aka Herb [« Habit forming kisses » on Excel 107, 1955: see elsewhere in this site the Rodeo/Excel story], the Tuckers were from Haleyville, near Oklahoma City . Jack (rn Morris) was born on April 19th, 1918.
Both brothers led bands in Los Angeles, playing spots like the Hitching Post, Harmony Park Ballroom, and so on. Jack had a Saturday night television show on Channel 11. Tommy Allsup graduated from Herb Tucker’s band, and according to Barnes, Herb led the more musically sophisticated outfit. Jack Tucker, said Barnes was « pretty much stuck on himself. A very basic guitar player and vocalist. He was really limited in musical talent. I’m surprised he let the band record [Bob Wills‘] « Big beaver » [at the same session as « Big door»]. He didn’t understand the Wills beat or anything about that style. Jack was a two-chord guy. Both Herb and Jack faded out in the early 1960s when the ballrooms closed or switched over to rock ».
Nevertheless, Tucker’s recording career was quite extensive. There was a demo session for Modern in 1949 and his first 4 Star record was a reissue of a 1953 disc for the 4* custom Debut label. Other records, usually with the Oklahoma Playboys, appeared on Starday (1954), RCA’s « X » imprint (1955), Downbeat, with Bob Stanley (1956), Audie Andrews on Debut, himself on Bel Aire and Nielsen (1957). Guitarist Danny Michaels remembered that Tucker was playing at the Pioneer Room on Pioneer Blvd, when they did the 4 Star session. According to Michaels, he played lead and Al Petty played steel guitar, but he couldn’t remember the others. Following Tucker’s brief tenure with 4 Star, he recorded for Ozark Records in South Gate, California. One of their singles (with Don Evans on lead guitar), « Lonely man » was acquired by Imperial. Another, « Honey moon trip to Mars », may have been revived by Larry Bryant (Santa Fe 100, or Bakersfield 100).
Tucker appears to have bowed out with a clutch of records for Toppa in 1961-1962, and later for Public! and Young Country. He had backed Lina Lynne (later on Toppa 1008) on Jimmy O’Neal‘s Rural Rhythm label, and Bill Bradley on Fabor Robinson‘s Fabor label in 1957-58.
Tucker died on September 26, 1996, but no one has an idea what he was doing between the mid-60s and his death.
Notes by Colin Escott to « That’ll flat git it vol. 26 » (Four Star). Additions by Bopping’s editor.
The music of Jack Tucker (by Bopping’s editor)
To follow Barnes’ assertion about limitations both on guitar and vocal of Jack Tucker, one must although admit his discs were good enough to have him a comfortable discography over the years 1953-1965. I cannot at all judge his talent but I’d assume his music is generally pretty good hillbilly bop or rockabilly.
First tracks I discuss are his « X » sides (# 0093) from 1954 : the fast « Stark, staring madly in love» has a tinkling piano and a loping rhythm, a fine side, and the equally good « First on your list » (much later re-recorded on Public!). Both are billed X songs by Allan Turner.
This is without forgetting two 1949 demo tracks for Modern : apparently Dusty Rhodes is on lead guitar for the instrumental « Dusty road boogie », and Jack Tucker is vocalist for a version of Hank Williams’ « Mind your own business ».
Later on, we had Tucker on Starday 136 : « Itchin’ for a hitchin ‘ » and « I was only fooling me », typical hillbillies on the Beaumont, TX label – probably recorded on the West coast, as later did Jack Morris [see the latter’s story elsewhere in this site].
More earlier on the 4 Star OP (« Other People ») custom Debut label (# 1001), later reissued on the regular 4 Star X-81, Tucker had cut in 1954 « Too blue to cry », a good song with band chorus, and had backed a fellow Oklahomian Audie Andrews on the same Debut label (One side written by NY entrepreneur Buck Ram).
In 1956 Bob Stanley [not to be confused with the pop orchestra leader] on Downbeat 204 had « Your triflin’ ways/Heartaches and tears », backed by Tucker and his Oklahoma Playboys : two very nice Hillbilly boppers: Stanley adopts the famous growl-in-his-voice, a speciality of T. Texas Tyler. Both of them had also a disc on Downbeat 203 (still untraced). Jack Tucker backed also in 1957 Lina Lynne on the fine bopper « Pease be mine » (Rural Rhythm 513 [see above].
Same year 1957 saw Tucker record two sides among his best on the small California Bel Aire (# 22) label, « Let me practice with you » and « Surrounded by sorrow », good mid-paced boppers (fine steel). His band, “The Okla. Playboys“, backed Roy Counts on two excellent boppers on Bel Aire 23: the medium-paced “I ain’t got the blues“, and the faster “Darling I could never live without you“, both have strong steel guitar. Tucker also had « Hound dog » on the Nielsen 56-7 label (untraced).
1958 saw the issue of « Big door » already discussed earlier (plus the B-side « Crazy do » a good instrumental), as the other 4 Star record, « Big beaver /Nobody’s fool» (4 Star # 1728), both average instrumental sides.
In 1959 Tucker had three records on the Ozark label. The original of « Honey moon trip to Mars » (# 960) [later by Larry Bryant on Santa Fe/Bakersfield – otherwise, who came first?]
then « Lonely man » (# 962), which was picked by Imperial and reissued (# 5623), finally # 965 and the ballads « Don’t cry for me/Trade wind love ».
insert of an Ozark issue, found on the Net
In 1960-1961 Tucker had four Toppa records. All are fine boppers, despite a tendancy to go pop, and include Ralph Mooney on steel guitar at least on # 1030 : « Oh what a lonely one ; one is » , “When the shades are drawn” (# 1041), « Just in time » (# 1052) and « It’s gone too far » (# 1106).
I mention quickly the following issues, less and less interesting (more and more poppish) on Public! (a new version of « First on your list ») and Young country (even an LP # 103) along the ’60s.
“First on your list”
Sources: Colin Escott notes to “That’ll flat git it vol.” (Four Star); 45cat and 78-world sites; Toppa’s best 3-CD;; Roots Vinyl Guide; YouTube; Praguefrank’s country discography (discography); my own archives and records;