Late October 2015 fortnight’s favorites (1947-1964)

First selection, « Afraid to love again » on the Rhythm Kings label (location unknown) # 1207 by WAYNE CROSS with Porter Fender (on guitar?) is a jumping little thing with fine guitar throughout. A short and uninspired solo – as my current notes of course ! Cross cut another very Cash-styled effort on Rhythm Kings 1208 “Put another dime in the juke box“.

Afraid to love again

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rhythm kings 1207 wayne cross afraid to love again
BOBBY HODGE second. Born 1932 in N.C. He was active during the ’50s and ’60s in Wisconsin. Here he delivers « Gonna take my guitar » on Rebel 819, it’s difficult to give a date of issue. Urgent vocal, hard lead guitar (2 soli) and a steel solo. In a very different manner, in 1964, he had on Golden Ring 3040 a new version of Jimmy C. Newman‘s « Alligator man ». Same guitar as on previous record. Add Hodge re-cut “..guitar” as “Carolina bound” on Nashville 5014 (1960), perhaps in a next fortnight.
Gonna take my guitar

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Alligator man

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rebel 819A Bobby Hodge Gonna take my guitar

golden ring 3040 bobby hodge - alligator man

bobby hodge promo small

 

 

 

 

« I can’t (take the easy way out) » is a fine uptempo with good although too short steel solo, by JEANNE JOHNSON on the Maarc label # 1501 (Ohio origin). Sincere vocal.

From Lakeland, Florida comes LEFTY NICKS on the Nicktone label # 6019, « Always alone ». Steel and lead guitar interplay. Rite pressing from 1961.

 

I can’t (take the easy way out

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Always alone

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marc 1501A jeanne johnson - I can'tnicktone 6019 lefty nicks always alone

 

 

LAWRENCE WALKER on the La Louisiane 6019 label with the Cajun classic « Allons Rock and roll » from 1961-62, which could well have been cut 10 years earlier.

Lawrence-Walker

Allons rock and roll

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lalouisiane lawrence walker - allons rar

 

 

 

 

Finally Red (vocal, guitar) & Lige (vocal and mandolin), the TURNER BROS. Sometimes called the Kentucky Boys as their other competitors of the same name (Zeb & Zeke, on Bullet). They do here « When harvest days are over » (Radio Artist 235) and « Honky tonk mama » (243), both from 1947. Delmore Bros . Or York Bros. style. They also appeared on Imperial 8071 (« Boog-boog-boogie », from Radio Artist 234) and a half a dozen of singles on Mercury in 1949-50.

When harvest days are over

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“Honky tonk mama”

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radio artist 235 turner bros. -when harvest days are overradio artist 243 turner brps - honky-tonk mama

 

All selections taken from the net or (Turner Bros., Lawrence Walker) from my own collection.

turner brothers pic

Turner Bros.

 

 

early August 2014 fortnight’s favorites: usual hillbillies and sad news

Hello, this is early August 2014 fortnight. Some new tunes, some already published a few years ago for newcomers, and finally sad news.

 

REDD STEWART was during long years the lead vocalist for PEE WEE KING. The latter (with the Golden West Cowboys) was allegedly under exclusive contract with RCA-Victor, but not Stewart: he was signed by King records and recorded several tunes in Cincinnati (February 1950), among them the very fine « Brother, drop dead (boogie) » King 843-AA). He is indeed backed by the Golden West Cowboys, disguised under the name of « His Kentucky Colonels » ! Great Hillbilly boogie, good steel and piano.

 

king 843AA Redd stewart brother drop dead boogie

Redd Stewart “Brother, drop dead (boogie)”

redd stewart (bebopcapitol)

 

 

 

 

 

 

 

 

Another well-known artist (he has his own entry in bopping.org) from Mississipi is JIMMY SWAN, or « Colonel Jim » as he presented himself on a Baton Rouge, La. TV-station in 1952. He was signed on the Lilian McMurray Trumpet label in 1952, and recorded for her at WFOR Radio station in Hattiesburg, MS. I retain particularly, among many fine sides, « Juke joint mama » (Trumpet 176), with nice steel (a la Don Helms, Hank Williams’ steel player) and fiddle, and «Lonesome daddy blues «  (Trumpet 198). « Juke joint mama » was first cut by the veteran Denver Darling for Decca in 1946 ; Darling, active in Denver, IN, is the co-writer of, among others, « Choo choo ch’boogie », a hit for Louis Jordan as well as Bill Haley, and more recently for Clifton Chenier. « Lonesome daddy blues » is not the same track as Bill Johnson‘s on a Starday custom – which I will discuss about in another article.

 

swan

Jimmy Swan

denver darling

Denver Darling

Denver Darling “Juke joint mama

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trumpet 176-78

Jimmy Swan “Juke joint mama

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trumpet 198 450p

silon 201

 

Jimmy Swan “Lonesome daddy blues”

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Sonny Starns, “Baton Rouge, L.A.

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Let’s stay down south. The unknown SONNY STARNS delivers a romping, piano-led « Baton Rouge, L.A. » on the small Hammond, La. Silon label (# 202). 

 

Jimmy C. Newman “Lache pas la patate”

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Sad news now. The death (on June 21rst) of a giant of Country and Cajun music, Mr. JIMMY C. NEWMAN. Born 1927, he began his career vocally fronting the band of Papa Cairo on Modern sides – I think he sings « Kooche kooche », to be found on an old U.K. Ace compilation (« Swingbillies »), in 1949-50. Then he was cutting for Jay D. Miller in Crowley, La. and his first label Feature : songs like « Wondering » – later covered by Webb Pierce on Decca. He had records on Khoury’s too, before entering in Randy Wood’s stable on Gallatin, TN Dot label. A huge hit in 1956, « A fallen star » : then he was an established star. However he never denied his Cajun ancestry and roots and, in 1973, recorded on La Louisiane label the much acclaimed « Lâche pas la patate » in French, also known as « The potato song » (written by Clifford Joseph Trahan, better known as Pee Wee Trahan, or Johnny Rebel…). The song went n°1 in Quebec on the Deram label, and had not since then disappeared from his repertoire, always in demand by Cajun speaking folks until recent times. Newman died of cancer. I will have a survey later of his entire career. Let’s get his music ! 

 Lâche pas la patate (lyrics in French)(“Don’t drop the potato”)

 

Hey! Lâche pas la patate mon neg. Hey! Lâche pas la patate? Une chose qu’est claire, j’fais mon affaire mais j’lâche pas la patate??-?J’vas au bal tous les samedis, pour escouer mes vieilles pattes? J’danse avec toutes les belles filles… Mais j’lâche pas la patate – ?J’fais tous les clubs que je peux faire ent’Lafayette et la Ville Plate? Oublie-moi pas des fois ça chauffe… Mais j’lâche pas la patate?? Refrain😕 Hey! Lâche pas la patate mon neg  Hey! Lâche pas la patate? Une chose qu’est claire, j’fais mon affaire mais j’lâche pas la patate??-?Chu pas marié, j’ai pas personne pour m’tenir le fond d’culotte? Quand j’veux partir chu “gone vieux j’ton” Mais j’lâche pas la patate ?J’vas là tout seul la moitié du temps mais quand l’idée me frappe? J’appelle Marie la chère p’tite fille mais j’lâche pas la patate?? Refrain😕 Hey! Lâche pas la patate mon neg Hey! Lâche pas la patate? Une chose qu’est claire, j’fais mon affaire Mais j’lâche pas la patate??-Un soir au bal un tout p’tit boguet et un gros a pris à s’battre ?J’voulais que le petit gagne et j’criais “Lâche pas la patate”? Le gros bougre m’a r’gardé et dit: Espère que j’te rattrape ?J’mé viré de bord… J’ai couru fort… J’ai lâché la patate??  Refrain😕 Hey! J’ai lâché la patate mon neg Hey! J’ai lâché la patate? Une chose qu’est claire, j’fais mon affaire J’ai lâché la patate??Hey! Lâche pas la patate mon neg Hey! Lâche pas la patate? Une chose qu’est claire, j’ faist mon affaire Mais j’lâche pas la patate…?  [translation in English on personal request]

jimmy C.Newman pic

Late September 2009 fortnight

Howdy folks! Back from holidays in Rocking Italy, here I am again, this time more piano to the fore. Let’s begin with the now famous CURTIS GORDON and the classic Hillbilly Boogie from 1953, “ROMPIN’ AND STOMPIN’ – fine walking basses (Floyd Cramer, really??), a relaxed vocal, call & response type, steel and bass, everything is perfect here. From a 78 rpm.

 

 

Then we go West Coast with DICK LEWIS and his uptempo “BEALE STREET BOOGIE”. Good left hand, while a nice sax takes the first row for a good solo. 1947, Imperial 8004

The HODGES BROTHERS are well known – I really don’t know if this is the same outlet as on Arhoolie (Watermelon Man). Nevertheless their “HONEY TALK” is already a classic. Rockabilly indeed. Urgent rural vocal, nice interplay during the solo between guitar and fiddle. A great one! Whispering Pines 200 label, from Indiana. They also appeared on Starday custom serie (see elsewhere in the site)

Then a mistery. Famous French collector Henri laffont (R.I.P.) told me he thought it was Red Smith (same guy who cut “Whoa Boy” on Coral) but was unsure. Anyway “RED HOT BOOGIE” is a very solid slice of Hillbilly Bop, almost Rockabilly (because the hiccups of Smith); 3 solos (fiddle, guitar, bass, again fiddle). Which was the original label? This track is one on my all-times favorites! Please take a listen and let me know how you feel it. MYSTERY SOLVED on June 22nd, 2012 (thanks to a faithful visitor, Drunkenhobo from U.K.). The artist is Scotty Stevenson & the Edmonton Eskimos, a Canadian issue on RCA 55-3309-A, from 1950. I’d never thought a Canadian outlet could sound so  “Southern hillbilly bop”!

Way down South. LAWRENCE WALKER and Cajun “Allon Rock and Roll” (sung in English); Lot of cliches, a corny sound: I would have assumed the tune was recorded in late 40s, however it goes back to …1962!

Finally ROD MORRIS and “Weary Blues” (Deadwood). When a Hillbilly got the Blues…WHO the hell may be the SUPERB guitar player ? He obviously heard much Magic Sam and T. Bone Walker, and he’s very aggressive during the solo.

Enjoy, and comments welcome!