RHYTHM HARMONEERS on the Jamboree label (not Nashville, but Shreveport, La.) # 2800. Leader was Tom Bearden. « Women Drivers » is the Bill Carlisle song (Mercury). Harmony vocals and a fine guitar on this utptempo. The Harmoneers went also in 1953 on the Flair 1003 (subsidiary label to Modern) with « Good Old Chlororophyll ».
PAUL WILSON on another Louisiana label, Picture # 1001, released 1962 or ’63. « The Blues You Gave Me » is a steel led uptempo (plus solo) with piano, a really moving track. The record was produced by one M. F. Machart, who also produced Sleepy LaBeff « Ride on Josephine » (Picture 1937) Anothee Wilson record was « You Don’t Love Me » (Pcture 1002) – untraced.
The 3 following songs are by JOHNNY HENDERSON, a West coast artist who cut for High Time in 1956-57. Backed by The Texas Hired Hands, he released « The Girl I Love Is n Okie » (# 117), a medium uptempo bopper, lovely rhythm, although no fiddle. B-side is similar in style : « Down Beside The Rio Grande » High Time 118). « Any Old Port In A torm » (High Time 177) is easily found on compilations, not its flipside , a bluesy item with lively vocal « Rocket In My Pocket ».
On the Hi-Lite label (Alabama 1959) the team led by JOHN R. McKEARN (backed on side A by Billy Stockstill) offers « All Because Of You » (# 510) : forceful rural vocal, a mid-tempo track, great guitar. The B-side has « The Tug Boast Song » backed by Luden R. Gouedy is uptempo Rockabilly. Same good guitar and piano in the background. This disc is valued at $ 200-300 in Lincoln book.
On the (U.S.) London label # 16032 from 1950, on to HANK DALTON & the Brakemen. He was actually Alton Delmore with Ray Smith . Here they do a great train song « Hummingbird Special », same style of the Delmore Brothers.
A nice mid-tempo Rockabilly with Country overtones by the PILGRIM BROTHERS on their own Pilgrim label (# 2001) : « (Slow) Cold Rain ».
Lonnie Glosson (1908-2001)
By the dawn of the twenty-first century, country musicians who had recorded as long ago as the early 1930s were a diminishing band. The harmonica player Lonnie Glosson, then in his nineties, had first been heard on wax in 1932, though few copies of Broadway 8333, «The Fox Chase» and «Fast Train Bues», escaped onto the market. In any case, records were never as important to Glosson as radio. It’s impossible to calculate how many hours on air he logged in a career extending across seven decades. His show with fellow harmonica player Wayne Raney, which ran from about 1947 until past the mid-’50s, was sent out on transcriptions to more than 200 stations in the United States and Canada.
Sponsored by the Kratt Company, manufacturer of hamonicas, the show’s job was to sell the instrument to listeners, with a carrot of a free instruction book. Raney claimed they shifted more than 5 millions harmonicas with their friendly person-to-person approach, which they recreated, years afterward, for a Tv documentary. A great big happy howdy to you, neighbors. We’re going to be demonstrating the talking harmonica, and we want you to get a pencil and a piece of paper ready, because we’re going to tell you how that you too can have the talking harmonica just exactly like the ones your old friends Lonnie Glosson and Wayne Raney plays.(…)
Glosson was born and grew up in rural Arkansas, where he learned harmonica from his mother and hillbilly songs from the many amateur musicians around. After some teenage years rambling round the country playing for change in barbershops, he settled in St. Louis and made his radio debut, about 1925 or ’26, on KMOX. By 1930 he had moved on up to the WLS National Barn Dance in Chicago, and later put in time on the Renfro Valley Barn Dance, the Grand Ole Opry, and WCKY in Covington, Kentucky, across the Ohio river from Cincinnati.
Anyone in Cincinnati in the late ’40s was likely to hook up with King Records, the city’s premier label for country music and blues. Along with the thirteen-years-younger Raney, Glosson worked for a while with the Delmore Brothers. He also had a hand in writing Raney’s King record of «Why Don’t You Haul Off And Love Me», which vied for top spot on the country chart during 1949 with Hank Williams’s «Lovesick Bues».
When rock’n’roll began to crowd the airwaves in the later ’50s, Glosson and Raney went different ways, Raney to found his Rimrock label and build a recording studio in Concord, Arkansas, Glosson to a seemingly endless itinerary of personal appearances, mostly in schools. As well as his harmonica specialties of fox chases, train impressions, and “I Want My Mama» where he imitates a child crying «I want my mama…I want some water…», he would sing country and gospel songs with guitar. «I still play the tunes I learned when I was growing up in Arkansas», he said in a 1981 interview.
This is the less comprehensive story of Lonnie Glosson’s life, as written by Tony Russell and published in his book: «Country Music Originals – The Legends And The Lost»( 2010).
For more detailed information, here’s a link to a U.S. site devoted to Glosson: http://homepages.rootsweb.com/~young/glossonl/lonnie2.htm
The first Lonnie Glosson recordings were cut in October 1936 in Chicago and are well in the « mountain music » tradition, although a rare Paramount issue did precede it from 1931. «Arkansas Hard Luck Blues” is indeed a medium-paced talking blues, while «Lonnie’s Fox Chase» is quasi-instrumental, or, should one say : harmonica (& guitar) instrumental with yells or interjections. The latter is a theme Glosson will re-record a few times during his career. And that Wayne Raney released (Nov. 1947, King 676) as «Fox Chase».
Glosson cut two sessions during 1947 for Mercury, probably in Chicago. The first one saw him record 4 tracks, backed by « his Railroad Playboys” among them I retain «Lost John» (Mercury 6057), a fast ditty (only detected accompaniment : vocal and harmonica, plus 2 guitars giving the rhythm) , which Wayne Raney chose next year as «Lost John Boogie» (King 719, Spring 1948), also taking the credit. Second song is «It’ll Make A Change In Business» (Mercury 6197, published in 1949). is more conventional honky tonk (bass and steel added + vocal and harmonica of course).
In November 1947, without doubt in expectation of the Petrillo ban (the call for strike of the recording personnel for the whole year of 1948), Glosson was called for a long, eight tunes session. One can retain «What Is A Mother’s Love», a shuffling weeper (steel) (# 6057) ; «West Bound Rocket» (# 6109), a train song, «You’ll Miss Your Dear Old Daddy» is a fine shuffler (# 6197), while «That Naggin’ Wife Of Mine» (# 6345, published 1950) is a fast ditty. «The Fox Chase Boogie» (# 6142) is very fast, not unlike the 1936 version.
In 1949, Glosson started an association with the Delmore Brothers by the time he was signed by Decca Records. They were playing guitar on some of his records, as himself played harmonica on theirs. They even had their own versions of his songs re-cut.
First coupling gave the lovely shuffling «I’ve Got The Jitters Over You» (Decca 46190) coupled with the more bluesier «Down At The Burying Ground». The cooperation between both Glosson and the Demore went as far as songs were cowritten; actually, Glosson sounds as he were a third Delmore. The target is hit with the following coupling;: «Pan American Boogie» and «Trouble Ain’t Nothin’ But The Blues» (# 46215) was cut by Glosson and by the Delmore Brothers (backed by Wayne Raney) (King 823, December 1949), and both top versions are nearly identical, except for guitar solos in the Delmores’ one. The flipside is taken in the same mood; one can only recognize the Delmores’ harmony vocals.
In the meantime, several months earlier, Lonnie Glosson had contributed to the mammoth Delmore Brothers’ « Blues Stay Away From Me » (King 803, August 1949) and co-written « Why Don’t You Haul Off And Love Me » with his good friend Wayne Raney equally big hit (King 791)(which competed in 1949 with Hank’s « Lovesick Blues » for the best selling Country hit of the year).
Following year (1951) saw Glosson release in the same-format as before «I’ll Love You Till The Cows Come Home» and «I Want you To Know That I Love You» (# 46361), both written and backed by the Delmore Brothers: that’s when their partnership came to an end. Glosson also issued a rather weird instrumental, “Del Rio Blues” named after the radio station location where he worked as a D.J.
In 1950, without doubt because of his contract with Decca, Glosson issued two records on U.S. London (ironically U.S. Decca was originally a sublabel to English London) under a collective name, that of «Hank Dalton and the Brakemen», with the Delmore Brothers and Wayne Raney in disguise. «Hummingbird Special» (London 16032) and Lefty Frizzell’s «If You’ve Got The Money, I’ve Got The Time» , again good shufflers.[according to a visitor, Alain Nicholas, London 16050 was done by Ray Smith on vocal, without Glosson, Raney or the Delmores]
Then Glosson didn’t record until 1957 on Acme Records in Ohio (2 issues). «The Old Dutchmans Prayer» is half-sung and goes back to 1937 «Arkansas Hard Luck Blues», while «Get In Line With God» is a powerful sacred song (Acme 1145). The second Acme (# 1140) is unheard: first versions of «I Want My Mama» and «Train And Cat Chase Imitation».
On his own label Gloss, he cut an EP in 1958 (Pep-213). «The Fast Train» and «Ozark Fox Chase» are new versions of tunes already played and sung, but «Poppin’ the Blues» is a very fast harmonica/guitar instrumental and the new theme «I Want My Momma» shows Glosson’ versatility. He was about to recut it at least 2 times («No Name» and Starday labels).
Later on Lonnie Glosson released several cassettes of material unavailable elsewhere and are untraced, maybe sold at his gigs.
An important visitor (you’re welcome, Alain!) does point that, as early as late December 1947 Wayne Raney had had his version of “Lost John Boogie”. So the meeting of the two men was solid and fruitful.
The same visitor thinks that the vocal on “If You’ve Got The Money, I’ve Got The Time” (London) is not at all sung by Glosson, but by Ray Smith.
Continental, Coral, National artist
This essay is, I’m afraid, far of complete. I tried hard however to set up the fullest story possible of a giant in his own time. Many a record was unavailable, although credited in the HBR tentative encyclopedia of Hillbilly (letter “G”) of Mr. Allan Turner. Several people were of great help: Alain Nicolas (and his great site “Les Delmore Brothers” [in French], alas presently out-of-the-way) for several clippings and images unavailable elsewhere. Merci Alain! The collaboration with Ronald Keppner and Karlheinz Focke, both out of Germany, was also fruitful, as usual. They opened for me their vast library of old and precious 78rm (Mercury, Decca and London soundfiles). The biography was written, as said in introduction, by Tony Russell, and extracted from his book “Country music -the legends and the lost”(2007). And probably one or two other persons who gave me some help at one time or another. This was a labor of love, and took well 2 months to be released. So I hope you will find something of interest in this rough work.
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
He had a string of releases, probably cut in Detroit, MI, or Chicago, on the London and Mercury labels between 1949 and 1951, and disappeared after this year. He was billed as a yodeler, and eventually yodeled a lot throughout his records, « Yodelin’ way up there » or « Yodelin’ polka ». He was backed by a regional outfit, Hal Fuller’s Tennessee Ho-Downers, usual guitar, bass, fiddle, and steel. Billboard cited him as a promising artist between April and October 1951, although there were no hits. He used to sing old favorites, as Jimmie Rodgers ‘s « Mule skinner blues », Roy Acuff’s « Freight train blues », a fine hillbilly shuffler, “Rambling” or old-timey songs like « St. James infirmary ». His voice is always smooth, a lead guitar is well to the fore, but the whole thing is certainly not hillbilly boogie, although nice yodeling songs. Indeed his style is similar to that of Kenny Roberts.
Any help to document this artist would be welcome!
As usual, Ronald Keppner’s help was indispensable. Thanks Ronald. Also Peter Mohr of Switzerland for the disco and support.
“Freight train blues”
Earnest Earl Walker was born in Mason County, West Virginia on December 18th, 1915, a few miles from the river town of Point Pleasant. Having been reared in his home locals and also in the Pittsburgh area, he worked as a riverboat man in the late ’30s before being drafted into the military. (more…)