Howdy, folks ! This is the latest batch of bopping goodies – and the penultimate 2019 selection. You will have to be comprehensive with label scans, that don’t match the usual bopping.org criteria : as a matter of fact I am experiencing the latest Photoshop version and not completely familiar with it. Anyway the music is still intact and ready for listening/downloading. So let’s go.
TED DAFFAN (1912-1996) was a bandleader and prolific songwriter (and steel guitar player) since the mid-30s. Backed by his Texans, he wrote many hits and classics: just one among others, the abundantly revised later « Born To Lose » from 1941. Here he is with « Car Hop Blues », orginally published on Okeh 6452, then reissued in June 1947 on Columbia 37438 then 20165 : a fine shuffler, indeed adorned by Daffan’s steel, plus accordion and a bluesy guiar. The vocal is done by the disillusioned Chuck Keeshan. A short note : Daffan had his own label in ’55-’58, which released fine records by Jerry Irby « Clickety Clack »), Jerry Jericho (« These Hands »), Fidlo (« Triflin’ Heart ») or William Penix « Dig That Crazy Driver » .
As vocalist for Buffalo Johnson & His Herd on Kentucky 520 (1950, Cincinnati), JIMMIE BALLARD cut the two risqué « Tappin’ Boogie » and « T’ain’t Big Enough ». Great boppers, the fastest being the A-side – great walking bass for a combination of guitar and steel over a non-sense vocal. The B-side is slowier, although equally good.
This time two years later on King, as JIMMY BALLARD, he once more had very fine records. The double-sided « I Want A Bow-Legged Woman » and « Shes Got Something » are both superior boppers, drums present – actually pre-rockabilly tunes. Nice steel and vocally fluent.(King 1118). His later amusing « The Creek’s Gone Muddy (And The Fish Won’t Bite ») (# 1143) is done in a similar style. The agile guitar player in these sides could be the great Al Myers, who adorned several days before a Bob Newman session (« Phht ! You Were Gone »).
Less and less known are both next artists. ADAM COLWELL is delivering in 1962 (Cincinnati) the fast « Open the Door » (some chorus, but great steel) on Ark 219, while TEX WHITE — is doing a medium nice uptempo on Nayco 2526 (location and date unknown – do you have any clue, Drunken Hobo?) with « You’re Wasting Your Tears ».
Finally we got fabulous piano walking basses and tremendous high-pitched notes by LITTLE WILLIE LITTLEFIELD : his first record from 1948 on Houston’s Eddie’s 1202, « Little Willie’s Boogie » is very reminiscent of Amos Milburn great Aladdin wildies like « My Baby’s boogeing » or « Amo’s Boogie » ; Littlefield’s « Jim Wilson Boogie » on Federal 12221 is done in the same style.
In 1962, Logsdon launched his own label (Jimmie Logsdon Sings) – 6 tracks EPs – and issued three of them, prominently religious songs, but also some Hank Williams classics, lesser known songs. He was backed by unknown musicians, probably Cincinnati session men : rhythm, steel, bass, and his songs are on a par with the tunes he had already cut some years before.
He recorded a rockabilly album for Jewel Records in Cincinnati in 1981, and it was released worldwide in 1983. This album “Now and Then I Think of the 50’s” (Jewel 83021) had 15 sides and featured his friend Rusty York playing guitar and harmonica in addition to producing the L.P. The album sold well in Europe and is a collectors item there even today. Alas, it suffered a lack of feeling and spontaneity, although it brought back several older songs and no doubt, those he had liked from other artists during his own career. He has been a prolific song writer during his career and has had many stars record his songs including Johnny Horton, Kenny Price, Woody Herman, Carl Perkins and others.
That's All Right Mama
by Jimmie Logsdon | Now & Then
Rocky Road Blues
by Jimmie Logsdon | Now & Then
Rainin" In My Heart
by Jimmie Logsdon | Now & Then
I'll Sail My Ship Alone
by Jimmie Logsdon | Now & Then
Sources : my own archives 45-cat and Ohio River 45s for label scans (especially “Jimmie Logsdon sings”). Special thanks to Armadillo Killer for Clark and King sides.Thanks to Pierre Monnery for copying the King sides. Biography from the Rockabilly Hall Of Fame. Information from various YouTube posts.
Howdy folks ! This is the 5th bopping fortningt’s favorites selection of the 2019 year, that of early March. Mostly made of late ’40s and very early ’50s recordings in very various styles.
Blue Ridge Playboys (Moon Mullican)
Let’s begin with a San Antonio recording from November 1936 : « Swing Baby Swing » is a Blue Ridge Playboys tune, described on the label (Vocalion 034160) as « Hot String Band And Singing » : Moon Mullican (vocal and piano) is driving the Blue Ridge Playboys with this lively tune, only a pretext for piano, fiddle (Leon Selph) and guitar solos.
Further on with two later sides by MOON MULLICAN on the King label (recorded in Cincinnati on March 6th, 1953), : « Grandpa Stole My Baby »(written by a R&B giant, Roy Brown) and « I Done It » are obvious attempts to sound R&B (a lovely saxophone and drums, played by Boyd Bennett) and predate vintage Rock’n’roll by 3 years. Lazy rhythm, haunting tracks at every listen, of course the piano is great.
Next artist is a legendary songwriter, with classic songs from the 1946-48 era like « I’m Tellin’ You », « It’s Too Late To Change Your Mind », « Tennessee Saturday Night » or « Stealin’ The Blues ». Bopping.org devoted him an article (in October 2014), and here’s a tune that escaped to the post, BILLY HUGHES’ PECOS PALS and « Out Of Town Boogie » (4* 1202 from 1947) : it’s an uptempo mid-paced, vocally halfspoken.
WALT McCOY was a West Coast artist : he was backed by his Western Wonders, and had records on Cristal and Broadway among others. Here he delivers first a « Cowboy Boogie », a solid rhythm over a boogie guitar pattern, taken over by an uninspired steel solo, and piano, issued on the rare O and W label (# 237). Then on a 4* custom OP- record (on Pacific 145), « I’m Gonna Get A Honky Tonk Angel » is a slow thing, a bit crooning and disillusioned vocal over a good steel.
Then on a major label (RCA-Victor # 21-0357 cut –), a cheerful, although on a bluesy type tempo, « Tom Cat Blues » by an unknown but prolific artist : EDDIE MARSHALL & His Trail Dusters. The steel-guitar goes throughout the song, and the vocal is yodeling at times.The dude had several other good records, namely « Mobilin’ Baby Of Mine » (also by Gene O’Quinn on Capitol 2075), « Honky Tonk Blues » (not the Hank Williams song), a version of « Coffee, Cigarettes & Tears » (also by Charlie ‘Peanuts ‘ Faircloth on Decca 46271) . Eddie Mashall really deserves a complete research and a publication.
Later on Ohio’s Acme 1230 (1950’s, it’s difficult to date this particular issue), AL BRUMLEY & The Brumley Brothers do release « You’ve Been Tellin’ Me Lies », a good uptempo with steel present (+ solo), over a vocal well suited to this rural type of song.
Finally a great fiddle and mandolin led bopper from a very unusual place : Missoula, Montana. The Snake River Outlaws do « I Won’t Go Huntin’ Jake (But I’ill Go Chasin’ Women)[vocal Orville Fochtman] with good fiddle and mandolin (solo), I’d assume a ’50s disc, but may also be a ’60s one ! On their own label, Snake River Outlaw 101.
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