Howdy folks, welcome to new visitors. This is the early December 2018 fortnight’s favorites selection, and, as usual, it will be very various in styles from late 1947 to 1964.
BENNIE HESS was a Country singer born February 10, 1914 at Chriesman (Texas). He formed his first band The Rhythm Wranglers in 1940 and a show on the local radio KFYO Lubbock (Texas). First hit in 1945 for the Black And White Records.
Bennie spent at the Louisiana Hayride in Shreveport (Louisiana), the Big D Jamboree in Dallas (Texas) and the Grand Ole Opry in Nashville (Tennessee). Died November 22, 1984 in Houston (Texas) Here he is with a B-side of Jet 1920 («You Can’t Catch A Fish Where Is No Water»): You Are In My Heart To Stay» is a nice uptempo ballad, with a fine rhythm section (piano and steel solos) (circa 1955), without doubt recorded in Houston.
He had an abundant stack of records on Pearl, Major, Musicode, Space and Spade during the ’50s. Maybe one day bopping.org will search about him.
He got her up to an hundred and ten
But he met Number Four comin’ around the bend
He told his fireman it’s now too late
’Cause they saved this space for the Pearly Gates
He passed Number Four with a great big sigh
The set’n on a Switch to let him by
He boogied and he boogied on down the line
With a big relief and a day to live on
Whooo whooo hear that whistle
Ding dong hear that bell
He stated down on a mighty hill
(Slim Watts vocal)
RICHARD PRINE was a band leader (and drummer) during the early ’50s in Houston. Here he has Slim Watts (several discs on 4*) as a front man for «Highball Boogie» on Ayo 111. It’s a train song : rollicking piano, whistle effects (steel?) and a very agile guitar player. The band has even a Western swing touch with a nice fiddle and a saxophone (Link Davis?).
On Dixie 1068 (1961) by GUY GARDNER & his Country Four, here’s «High Society», an uptempo ballad : jumping vocal and instrumentation (piano and steel). Madison, TN label (sublabel to Starday).
On Dixie 1002, ART BUCHANAN and «Hi Yo Silver» from January 1963. Energetic vocal, call-and-response format. He had also «Queen From Bowling Green» on Dixie 823, and under the name of Art Ontario, he had cut «It Must Be Me/Last Goodbye» in 1959 on the PD Starday sublabel Dixie from Madison, TN (# 2019) (valued at $ 300-400). Finally his rarest from 1958: «Wiggle walkin’ boogie» on Illinois 725 ($ 700-800).
Third artist in this short Dixie serie is JESSIE FLOYD in 1964, for «Hangover Blues»(# 1063). A fine vocal, and a demented piano. This record could have been cut as well in 1958.(valued at $ 350-450). Ashboro, N. Carolina label.
Something really dfferent with the swinging, bluesy Redd Stewart vocal for «Juke Box Blues» of PEE WEE KING (RCA-Victor 20-2841) from December 1947. A bluesy uptempo, a fine guitar ; indeed King’s accordion fighting with the steel, and even a fiddle solo. A great disc.
Opal Jean Amburgey (Jean Chapel aka. “Mattie” O’Neil-Holmes-Calogne) was born on March 6, 1925, the youngest of three girls, born in Letcher County, Ky. At the age of 10, Jean wanted to pick and play like her father and grandfather. Her first instrument was the mandolin. “She tuned that mandolin to make it sound like a banjo,” Minnie says, “and with your eyes closed you have thought it was a banjo.” The banjo was a favorite instrument for Jean, but money to buy one with was in short supply during the depression era. Her father made a considerable sacrifice by selling some of his carpentry tools to get money for a banjo.??In 1936, at age 11, Jean began her singing career with her two older sisters in the Sunshine Sisters Band. After two years of daily practice and countless public performances, the highly polished Sunshine Sisters were in great demand.At age 13, Jean would leave home with older sister, Minnie, 18; and sister, Martha,17; to perform daily at WLAP radio in Lexington, Kentucky. They would stay with the station for almost a year. Even at this young age, “She was the star,” says older sister, Minnie. “She sang lead on most of our songs; she had quite the personality.” At age 15, Jean had already performed at literally hundreds of shows, appeared daily on radio stations, sang on barn dances, became a member of the Coon Creek Girls, and was about to begin what she would be most remembered for–WRITING SONGS! When Jean passed away in 1995, she had written well over 400 songs with more than 170 songs recorded and released by major artists such as: George Jones, Jerry Wallace, Eddy Arnold, Hank Snow, George Morgan, Rosemary Clooney, Dean Martin, Jim Reeves, Patsy Cline, Kitty Wells, Connie Smith, Roy Rogers, and Sonny James, just to mention a few.
The Country Music Association would nominate Jean’s 1973 hit “To Get To You” as one of the top five songs in the country that year. Jean held seven BMI song writing awards for her song writing abilities. However, her song writing should not be overshadow the rest of her amazing career. As music historian Robert Oermann says “her saga encompasses virtually every major development in country music’s history – string bands, radio barn dances, television, rockabilly, and the Nashville Sound.” At age 15, “Jean could play anything with strings,” remembers Minnie. The three sisters would move to WSB Radio in Atlanta to set up a barn dance program under the direction of John Lair. Here, Lair would change the Sunshine Sisters’ names to Minnie, Mattie, and Marthy. Jean would take the name “Mattie” and use this name on and off throughout her singing and song writing career. For the next 10 years, Jean would move around from WSB in Atlanta, to WLW in Cincinnati, to the Renfro Valley Barn Dance, to the Grand Ole Opry.
In 1947, Jean would marry Salty(Floyd) Holmes, an original Prairie Ramblers Band member, and a truly great entertainer of his day. The two would appear numerous times on the Grand Ole Opry as “Mattie and Salty” throughout their career.
In 1957, she sang « Ooh-ba La Baby » for the film « Untamed Youth ». A divorce, in 1956, from Salty Holmes would lead Jean to slow her recording career and begin more concentration on writing throughout the 60’s. Before long, dozens of Nashville artists were recording her works. The 1970’s would find Jean excelling as a songwriter and writing some of her biggest hits. Daughter Lana would also become a song writer with songs like, “Sweet Marilyn” recorded by Eddy Arnold; “Hemp Hill KY.” recorded by Hensen Cargill; “Kentucky Ridge Runner” cut by Lester Flatt; and “It’s For My Dad” recorded by Nancy Sinatra.Jean passed away in 1995. She had two children, Kenny Woodruff and Lana Holmes (Chapel). Her songs are still remembered by countless people, click here to see a list.
Special mention needs to be given to Floyd “Salty” Holmes, Jean’s former husband and partner on the Grand Ole Opry. Together, these two entertained thousands across television, radio, and personal concert appearances.
Individually, Salty had a long illustrious past of his own in the entertainment field. Born on March 6, 1909 in Glasgow, Kentucky, Salty was a harmonica “virtuoso” but could also play the jug and the guitar with great talent.
His band, the Kentucky Ramblers, were legendary forming back in 1930. By 1933 The band was playing over WLS Chicago under the name “The Prairie Ramblers.” They hired a new girl, Patsy Montana, to sing with them. Historian, Robert Oermann says about the band, “one of the hottest, jazziest, most accomplished string bands in the history of country music.”
At WLS in Chicago, Salty would become good friends with Gene Autry, Tex Ritter, and Red Foley. 1936 would find Salty and Gene Autry heading for Hollywood to make movies, and then a return trip in 1944. Salty would appear in several B-western movies such as: Arizona Days with Tex Ritter; Sagebrush Hero with Charles Starret; and Saddle Leather Law with Charles Starret.
From 1933-40, The Prairie Ramblers would cut over 100 sessions for Gene Autry and Patsy Montana. They appeared throughout the country with Patsy performing daily at many matinees.
Salty Holmes (with Joe Maphis) “Cannon Ball Special”
Salty and Jean Chapel were married in 1947 until 1956. His career in radio carried him from Chicago, to New York, to Davenport, to Cincinnati, to the Grand Old Opry. In the 50’s, Salty appeared in Las Vegas at the Showboat and the Sahara club in Reno, Nevada.
Floyd passed away in 1971 at Elwood, Indiana.
(biography from Don Chapel, All Music). Additions by bopping’s editor.
Sources: 78rpm-worlds (Ronald Keppner, as usual – many thanks to him), also “45stalker”; Notes and music from Cattle CD 289
Nothing is known about this important, although quite obscure artist of the 1940’s and ’50’s. Even not any statistic of birth or death, although he was certainly livng in the Dallas, TX area, and was born there during the ’20s. Nothing more is known about his childhood and beginnings in music, so we are forced to deal only with the records he appeared on.
From 1939 until 1952 he was closely associated with another Texan, AL DEXTER and worked with him either as washboard player (in the ’30s), sometimes harmonicist, and in some cases held the vocal duties into the Dexter’s band, « The Troopers », not forgetting he was also songwriter : he was co-writer (with Tex Ritter) of the all-time Hank Williams‘ classic, « Dear John ». But more about that later.
In 1939, he was a member of the Al Dexter’s Troopers, as said before, and offered the group a good selling disc : « Wine, women and song » – recorded in December 1939 and issued on Vocalion 5572, it was covered by Texas Jim Lewis in September 1940 (Decca 05875), and by the Prairie Ramblers (Decca 05878) – the song must’ve looked to Decca’s executives a lucrative seller). When re-recorded by Dexter on Columbia 37062 in April 1945, he was a second time covered (a reissue) by Jim Lewis (Decca 46021). It attracted two more versions in 1946 by Frankie Marvin (San Antonio 107) and Dick James (Coast 234).
Gass gave Al Dexter (or co-wrote with him) two more songs in 1941/42 : « The Money You Spent Was Mine » (Okeh 6206) and « Honky Tonk Chinese Dime »(OKeh 6604). He played the harmonica on « Diddy, Wah, Diddy With A Blah !Blah ! » (Vocalion 6255) – which Dexter re-recorded later on King as « Diddy Wah Boogie » (# 885). Gass also held the vocal duty for « Sunshine » (Vocalion 04988, reissued in 1946 on Columbia 20240), both coming out of a long 8-track June 13th 1939 session.
As far at it concerns records, Aubrey Gass disappeared from the music scene between 1941 and 1946. Was he drafted in U.S. Army during W.W. II such a long time is improbable. Anyway, his first record under his real name was issued mid to late 1946 in Houston by Gold Star (# 1318) and coupled a then-famous for veterans couplet, « Kilroy’s Been Here » and « Delivery Man Blues ». Backed by the Easterners (guitar, bass, fiddle, steel and piano), Gass on alert vocal and harmonica delivers a joyful A-side, although the bluesy B-side is equally at home. Indeed both sides were written by Gass, who saw the following year a reissue of his Gold Star disc on the new DeLuxe (#6001) label, a proof of the popularity of the record.
It must also be noted that a song « Kilroy Was Here » was recorded and released by Paul Page on Enterprise; reviewed by Billboard on August 31, 1946, no one can say who came first for sure.
« Dear John » […] was his biggest song ; in fact, it was the only hit he ever wrote. The first version was by Jim Boyd, younger brother of Dallas-based western swing artist Bill Boyd. Gass apparently knew Jim Boyd, offered him « Dear John », and Boyd recorded it on March 11, 1949. Soon after, Tex Ritter got his finger in the pie. Ritter probably promised to get the song cut by a big name, like himself, or to get Gass a contract with his label, Capitol, if he could get a piece of the song. The fact that Gass recorded « Dear John » for Capitol (# 40239, or # 1427) some five months after Boyd suggests that Ritter lived up to his half of their convenant. Hank Williams later picked (early 1951) up the song, this time co-written « Ritter-Gass ». Note : Jim Boyd’s version is already written by Gass and Ritter…
The session for Capitol took place in Dallas on August 9th, 1949 (Billboard announced both the contact signing and the recording session on Sept. 17) and supplied four more Gass-written songs. The backing of Wesley Tuttle and Group (specially come to Dallas) was made of Gass himself (vocal/harmonica), probably Tuttle (rhythm-guitar), a steel, a bass player and a drummer. First came the already discussed « Dear John » : Gass is full of energy on harmonica, has a husky voice, as on the fast « Look Me Up » and (by far the most hard-rocking tune of the lot) « K.C. Boogie ». The last song, « Gee But I’m Lonely Tonight », is a slowie and Gass doesn’t seems at ease here.
« Dear John » had numerous versions, among them an R&B rendition by Dinah Washington, which climbed at n°3 in the charts. It also had a follow-up in 1953 as « A Dear John Letter », first by Jean Shepard (Capitol 2502).
Next recording session Aubrey Gass collaborated for was done on May 19, 1950 by Al Dexter and his Troopers again. Gass was present, and played some harmonica on several tracks, but still being contracted to Capitol, could not sing at all. He plays (distinct style easily recognizable) on « Blow That Lonesome Whistle, Casey » (King 875)[very near in essence to “K. C. Boogie“], « Walking With The Blues » (which he co-wrote) (King 884), then both sides of King 913 : « Diddy Wah Boogie » and « You’ve Been Cheatin’ On Me ».
Al Dexter & His Troopers, “Blow That Lonesome Whistle, Casey”
At unknown dates he cut several demos at Sellers Studio in Dallas, between 1950 and late 1951. Three of them found their way on the British/Nederland Boppin’ Hillbilly compilation n° 2810. Due to legal rights, we are not allowed to offer these great sides. They are : « Columbus Stockade Blues », « Here Today And Gone Tomorrow » and « Walkin’ Out Of Town ».
But « Counting My Teardrops » and « Fisherman Boogie », cut late 1951 or early 1952, were issued under Gass’ own name by Sellers as acetates, and released just as they were under Al Dexter’s name (« Vocal by Aubrey Gass») on Decca, respectively 28345 and 28137 during the first half of 1952. Both tracks were probably recorded (given date by Michel Ruppli’s book « The Decca label » as Feb. 7, 1952) with the Al Dexter band : trumpet, rhythm-guitar, piano (particularly rolling in « Fisherman’s boogie»), steel, bass and drums and no harmonica at all. This 14 tunes session has no less than 8 unissued tracks, and could well reveal some surprises.
A recent discovery on eBay has surfaced an unissued Audiodisc dated (as handwritten on label) May 23,1956. « Garbage Man » by Gass is a strange novelty : only vocal, harmonica and rhythm guitar. The acetate was gone on December 19, 2017 for $ 118,00.
In 1962 (June) Aubrey Gass gave Tom O’Neal « Two Many Tickets » (released first on Cheatham 104, then reissued on Starday 607), a country rocker ; it’s probably Gass who played the harmonica in this song, as well as on the flipside « Sleeper Cab Blues ».
Further research has unearthed a demo of « Corn Fed Gal », cut for the « Boyd Recording Service » in Dallas. The strange thing is that this version runs at 2 mn 05, while the Helton version has a duration of 2 mn 22. So then, are they the same ? Could it be that the lucky owner of the Boyd record please stand up and say the truth about this point. I am inclined personnally towards two different versions. This demo was sold on eBay in 2010 for $ 136,00.
Last record is on the Swansee label # 1908 (mid-’60s) by Mr. G. « Pork-N-Beans » and « Sittin’n’Thinkin’ » are unheard, both written « Aubrey A. Gass », so cannot comment. Remember (see above) his actual name was Aubrey Andrew Gass.
Sources : my sincere thanks to UncleGil for Bronco Buster, the King Project, the Starday project and BACM music ; many (if not all) label scans do come from 78rpm-worlds ; thanks to ole’ Ronald Keppner for Sellers acetates ; Dave Sichak of hillbilly-music.com for Aubrey Gass only known picture ; Gripsweat site for 1956 acetate ; Colin Escott, « Hank Williams, The Biography » for the « Dear John » story. Billboard books for notifications of releases (Thanks Imperial!).
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Howdy ! This is the early February 2018 fortnight’s favorites selection.Let’s begin with a Western swing Houston scene veteran : DICKIE McBRIDE, here late in his career ( October 1951). Billed with his wife Laura Lee (who is absent here), he delivers a powerful and moving « I love you boogie » on M-G-M 11056. Fine steel and piano, and a lot of yells and whistles from apparently McBride himself.
Another veteran, out of the Gospel and Bluegrass field : MAC ODELL (rn Odell McLeod), who was born in 1916 in Roanake, Alabama. His career had a large stretch between New Orleans and Michigan, before he settled down in Nashville, as « Ole Country Boy » in the late ’40s. He recorded first at Mercury, then landed at King , but had poor sales as an artist. More as a songwriter for others : « The battle of Armageddon » for Hank Williams, or « The glorybound train » for Roy Acuff. At King, he was firmly Bluegrass, backed by Don Reno and Red Smiley. Here is his fast half-talked «Penicillin » from September 1953 on King 1251. O’Dell has deceased in 2003.
Red Barn was a regional Kansas City concern, important for example for the first Jimmie Skinner sides of the late ’40s. The name ELMO LINN may be an obscure one ; he had however two interesting issues on this label. « Lorita » (Red Barn 1188A) is a medium paced shuffler with steel. Vocal reminds a bit Ernest Tubb. The flipside « Line on the highway » is a fast guitar backed tune. « Heart full of love » (Red Barn 1195) comes next, with again that shuffling rhythm. Later on Linn went to Westport (pop country).
From Lorain, Ohio, VERN TERRY on the Athena label (a Starday custom) from 1959. « Miss you » is a good slowie, the instrumentation is minimal, echo is on the vocal, and steel is to the fore. (# 804). The flipside « Someone new » is an uptempo shuffler. Good steel and fiddle.
From Nashville, RAY BATTS in 1954 for two sides on the Excello label # 2028. The marvelous bopper « Stealin’ sugar » : complete with steel and piano. It has moreover nothing to do with the Merle Lindsay tune (MGM 10795) of the same name. The flipside, « Maybe it’s you, sweetheart » is a shuffler. Batts had also on Bullet 754 the great double-sided « Bear cat daddy/Wild man boogie », reviewed in « Bullet – always a smash it », published here in May 2012.
Hello, this is a full Summer 2017 (early August) fortnight favorites’ selection, with 10 tunes. The first two are by an unknown artist on a famous label. HARRY CARROLL on the Starday label # 277 (issued December 1956). A waltz tempo for « Checkerboard lover », a mid-paced sentimental « Two-timin’ » for the flipside. Typical Starday atmosphere, but nothing exceptional. Carroll seemingly co-wrote « The trail of the lonesome pine » for Jimmy Donley (Decca 30392), and that was over. “Checkerboard lover”
GLENN & JODY, the Singing Buddies were backed by Larry Nolen & the Bandits for this fine WS flavored bopper « I’m even with you » on the San Antonio label Eagle # 3772. It’s for you, Bill S. Larry Nolen was a veteran of the S.-A. scene, having records issued on Sarg as early as 1954 (« Hillbilly love affair »), Starday in 1956-57 (« Lucky lady », « King of the ducktail cats »), then later on Eagle (apparently his own label, or one he was involved in – backed by Herby Remington on steel) or Renner in 1961.
RED MANSEL had previously cut for Starday custom # 523 (« I’ve crossed you off my list ») in July 1955, and was the first to appear on Dan Mechura’s new label, All Star # 7165, with a fine medium paced ballad, « Changing heart ». Very great vocal.
KEN GABBARD & The Hilltop Ramblers cut in 1965 on the Trenton, OH Harp label (no #) the very nice « Thing’s can’t be as they were » (sic). Uptempo ballad, and typical early ’60s hillbilly sounds.