Late October 2018 bopping fortnight’s favorites

Howdy folks ! This is the late October 2018 fortnight’s favorites selection, that include 9 tunes.

Carl Dixon on Hood

Let’s start with CARL DIXON, about whom a virtually nothing is known. I suspect that Dixon came from Arkansas, because the mention « & his Ark. Five », although the Hood label was located in Louisville, Ky. Nevertheless, both sides are joyful Rockabillies/Hillbilly boppers on Hood 1031 (sole issue known on 45cat,. Both sides do feature an harmonica, are medium uptempos and have echo on both guitar and vocal.

The Meladee label

From New Orleans do come the next three tracks on the famous Meladee label. This one released also Gene Rodrigue, and most of all, the wild Jeff Daniels’ songs in 1956 («Daddy-o-rock » and « Hey Woman »). 
Let’s begin with the otherwise unknown cat C. L. ‘Curly’ HARE on Meladee 103 from 1953. « Hopeless Love » is a shuffler, with good steel (solo) and fiddle, and an insistent piano that tickles the listener’s ears. More of the same with the flipside, « Bundle Of Blues ». A very nice hillbilly bop platter.

Later on, Wyatt re-surfaced on the Kuntry label # 1000 (late ’50s or early ’60s) apparently run by J. D. Miller [publishing house Jamil], out of Crowley, La. for the fast Country rocker « I Taught Her How To Love ».

Finally I post « Poor Me » by CHANDOS McRILL & The Excellons on the Stardust label # 805, which was located in Kansas City, Missouri. Issued in October 1959, it’s a medium-paced Rockabilly. McRill has an husky voice perfect for this type of music. A good guitar solo. Indeed he had released in 1957 on the Starday custom Stardust label (# 655) the great bopper/Rockabilly double-sider « Money Lovin’ Woman »/»Little Bit Too Bashful ». You’re lucky if you can find « Poor Me » and would pay $ 300-400 for bying it ! Note that the singer’s name was hidden, perhaps as an attempt to promote his backing group.

This ends the selection. Sources : Internet ; HBR # 24 ; 45cat and 78worlds for label scans ; « Guide to Rare Rockabilly ».

The Mississipi legend LUKE McDANIEL (1952-56)

Born 3 February 1927, Ellisville, Mississippi. Died 27 June 1992, Mobile, Alabama.

luke mcdaniel pictureLuke McDaniel, like many a good singer was born in the good ole southern state of Mississippi, in Ellisville on February 3, 1927. He started in music as a mandolin player, and was influenced by hillbilly singers like The Bailes Brothers. He formed his own band and turned professional in 1945. He opened for Hank Williams in New Orleans in the late 40’s and appears to have become hooked on the lonesome sound of Hank. In 1952 he recorded “Whoa, Boy” for Trumpet Records (# 184) in Jackson, Mississippi. It’s a hillbilly boogie belter (call-and-response format) : strong steel guitar and sawing fiddle over an insistant fast rhythm. The flip side « No more » is a good uptempo hillbilly weeper, nicely done. He also cut as a tribute single, “A Tribute To Hank Williams, My Buddy“, a forgettable morbid slow weeper. The Trumpet records were all high quality hillbilly, but as with many at the time, showed him at this stage as little more than a Hank Williams clone.

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Whoa, boy!

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No more

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In 1953 he was introduced to King Records by fellow artist Jack Cardwell (The Death of Hank Williams/ Dear Joan). He joined King but failed to register any hits despite half a dozen fine singles. He cut them either in radio station KWAB in Mobile, AL ; either at KWKH in Shreveport, La.; either in Cincinnati King studio.

« The automobile song » (King 1336), a fast hillbilly bopper, is done in gaiety, “Money Bag Woman” (King 1380) was particularly strong, fusing his hillbilly with a rhumba beat.

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Billboard April 10, 1954

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The automobile song

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« I can’t go » (King 1276) is also a strong, although ordinary bopper. The mid-paced « One more heart » (King 1426) is less interesting as the slowie forgettable « Let me be a souvenir » (# 1356) and « Honey, won’t you please come home ». « Crying my heart out for you » (# 1356) renews with the « Money bag woman » rhumba beat with a welcome mandolin (maybe played by himself?). « Drive on » (# 1287) is a strong although ‘quiet’ bopper in the Hank Williams vein.

I can’t go

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It has been reported in a music paper circa 1954 that Luke was « spinning country records » at WLAU in Laurel, MS.

 

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Crying my heart out for you

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Drive on

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When the King contract expired, he went back to New Orleans where he recorded for the Meladee label in 1955/56 under the alias Jeff Daniels at the legendary Cosimo’s Studio with the pick of the city’s black musicians. Only one single was released, the great frantic “Daddy-O-Rock” coupled with the quieter “Hey Woman” (# 117)

Daddy-o-rock

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Hey woman

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In 54 he joined the Louisiana Hayride in Shreveport and became a part of the touring Hayride show. It was no doubt here that he saw Elvis Presley and started to move towards a more rocking sound. Around this time, McDaniel wrote “Midnight Shift” [a song about prostitution] under the pseudonym of Earl Lee, which Buddy Holly would later record on Decca.

Buddy HollyMidnight shift

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In 1956 Elvis and Carl Perkins urged McDaniels to submit a demo to Sam Phillips. Sam was impressed and signed McDaniel to a contract with Sun Records. It’s unsure whether he cut two sessions or just one at Sun (either September 56 or/and January 57). Nothing was issued though, as Sam and Luke had a financial disagreement. The unissued Sun sides have now seen the light of day thanks to reissue labels like Charly Records (Ferrero/Barbat 600 serie reissues). “Uh Babe” (Sun 620) is seminal-Sun rockabilly with Jimmy Van Eaton on fine form behind the skinned boxes. “High high high” is more a good uptempo rocker and sounds like a cross between Hayden Thompson and Gene Simmons.

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Uh babe

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High high high

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Later McDaniel went to pure rock’n’roll on Venus, Astro, Big Howdy or Big B, but never achieved the big time.

Some songs he published : “Out of a Honky Tonk” and “Six Pallbearers” – co-written with Bob Gallion; “Blue Mississippi” and “You’re Still On My Mind”; and finally, “Mister Clock”, co-written with Jimmie Rogers. Another song credited to “Earl Lee” – “Seven or Eleven”, co-written with Jimmie Rogers and someone named Ainsworth, perhaps Arlene Ainsworth.

Biography taken on « Youzeek.com » and « hillbilly-music.com ». Additions from bopping’s editor. 

Early December 2016 bopping fortnight’s favorites

Hi ! Everybody.
Ready for this new Fortnight ? From New Orleans on the Meladee label (run by Mel Mallory – I wonder if he launched other labels), here’s JACK WYATT & his Bayou Boys and the fine, uptempo « Why did you let me love you ». Fiddle and steel all long the tune. Actually Meladee issued also discs by Gene Rodrigue («   Jolie fille ») Roy Perkins (« You’re on my mind ») and Jeff Daniels (« Daddy-o rock »). Wyatt had another record on the Kuntry label (# 1000) : « I taught her how to love », a good uptempo, out of J. D. Miller studio in Crowley, La., according to « Jamil » as publishing house.

Why did you let me love you?

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I taught her how to love

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meladee wyatt-whykuntry wyatt-i-taughtWay up north in Detroit, MI and on the Hi-Q label (a sublabel to Fortune), the out-and-out rocker « It’s all your fault » by FARRIS WILDER. He didn’t cut any other disc to my knowledge.

hi-q wilder-faultit’s all your fault”

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« You promised me » is the next song by PAUL BLUNT on Bullet 674, backed by a Californian outfit, The Frontiersmen, later set-up in Dallas, TX as a house band for Jim Beck . Blunt is in good voice and plays apparently steel (he was also a capable pianist who found work with many sessions held at Beck’s, including Ray Price or Charlene Arthur). I have previously posted his very good « Walking upstairs” (Bullet 706) in the April 2013 fortnight’s favorites section.bullet  blunt promised

You promised me”

paul-blunt

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JEAN SHEPARD (born 1933; deceased September 2016) began his career in a duet with Ferlin Huskey, « A dear John letter », a huge hit in 1953 even as a crossover between Country and pop charts. Herself later pursued a solo career. Here’s « Two whoops and a holler » (Capitol 2791, April 1954): a typical Capitol honky tonker with one of the best housebands around in Los Angeles, that of Bill Woods (piano), Lewis Talley (steel), Fuzzy Owen (guitar) and Skeets McDonald on bass. In 1955 Shepard is inducted in the Grand Ole Opry in Nashville. All in all she recorded 73 singles !

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Billboard May 5, 1954

jean-shepard-pic-53Two whoops and a holler”capitol-ep-jean-shepard-anglarescapitol shepard-whoops

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Then the veteran EDDIE DEAN (1907-1999) was more known for his crooning things than boppers. We can however remind of 2 great sides on the Sage label, « Impatient blues » being a fine shuffler (#188), and « Rock & Roll cowboy » (# 226), a rare example of Western swing flavoured Rocker (or the opposite).eddie-dean-pic-grande

Rock’n’roll cowboysage dean-cowboy

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On a New Jersey label (Red Hed # 1001) we’re going to listen to LES MITCHEM and « How big a vool » (sic), a fast bopper with good steel.from 1959

How big a foolred-hed -mitchem-vool

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From Cincinnati, OH, I’ve found SYLBIL GIANI in 1958 for « Within these four walls »(Esta 284) : the Lady is in good voice and the band romps along very lovely.

esta giani-wallsWithin these four walls

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I had a dream of you

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Finally from 1969 (yes!) on the Laurel Leaf label (# 24172), JAMES TUSSEY delivers a strong and solid bopper (drums present) with « I had a dream of you ».

Sources : Kevin Coffey in the « A shot in the dark » boxset ; Praguefrank for several discographical details ; Hillblly-music.com to complete bios ; Youtube.Thanks Dominique ‘Imperial’ Anglares for the rare Jean Shepard EP.
Sorry, I was not able to give more precise info. this time. Will do better next Fortnight !

Early January 2016 fortnight’s favorites: more seasonal gifts (15 selections)!

Howdy folks, a happy and bopping New Year to everyone. As a seasonal gift, I will post no less than 15 selections, as on the Xmas fortnight.

First a mystery with GEORGE BOWE & the Travelers. It has proved impossible to find any detail on him neither even the location of the label, Eagle – a common label name during the ’50s/60s. A very small clue is to be detected in the deadwax, « Rimrock » – which leads one to Arkansas Wayne Raney‘s label of the ’60s. Anyway Bowe delivers a Rockabilly styled opus with « Big man » (Eagle 110A) – the whole thing is quiet and lazy. B-side (« Do you remember ») is a melodic ballad, a bit sentimental, over sympathetic backing.

Big man

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Do you remember

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Note: Alexander Petrauskas did advise me that the Eagle label was definitely associated with Rimrock, the latter pressing the Eagle products.

 

 

DON WHITNEY (incomplete bio statistics – he died in 1985) was a D.J. associated with Arkansas radio stations KLCN in Blytheville, then KOSE in Osceola (1957) ; he’s been too on WELO in Tupelo (MS), and cut a whole string of boppers for 4*. Where he cut them ? Probably Nashville. I chose from 1950 « Red hot boogie » (# 1471), call-and-response format (girl chorus). Steel and piano are barely audible, while the guitar player does a too short but wild solo. « Move on blues » (# 1588) from 1951 is a fine bluesy tune over a boogie guitar. Discreet steel and piano.

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Red hot boogie

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Move on blues

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On Adco records (# 781), cut in Cincinnati, OH, next comes GLEN CANYON and a rocker from 1965, « I won’t be able to make it » : a shrilling guitar thoughout, and the disk is valued $ 50 to 100. I couldn’t locate the flipside « Still in love with you », reputedly a bopper. Canyon appeared also on Acorn and Boone (Kentucky).

I won’t be able to make it

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The Sandy label out of Mobile,AL. is interesting for many records issued between 1957 and 1962 and highly revered by Rockabilly/Rock’n’roll buffs : do Ronny Keenan, Happy Wainwright, Jackie Morningstar (« Rockin’ in the graveyard »), Ray Sawyer (« Rockin’ satellite ») or Darryl Vincent (« Wild wild party ») ring each a bell to you ? Well, the label also had its hillbilly boppers, like Johnny Foster (more on him next fortnight, late January 2016) or WADE JERNIGAN. Both his sides (# 1010) are high quality boppers penned by label bossman Johnny Bozeman in 1958. « Road of love », medium paced, has a very « hillbilly » type vocal (high pitched at moments), over a prominent fiddle and good steel, while its flip « So tired » uses the same format, just a little bit slower. A good record for Hillbilly lovers.

Road of love

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So tired

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Now on to Louisiana. The Khoury’s label began activities in 1951 to cease them in 1955 (last known is # 647, « Lu Lu boogie » by Nathan Abshire, which I owned moons ago before selling it – I am biting my fingers now..). We find here on # 700B (not in numerical order, this one is from 1954) a fabulous Cajun wildie « Louisiana stomp » by LEBLANC’S FRENCH BAND (an unidentified singer yells and encourages by his yells the whole fiddle led orchestra). Reverse is by Eddie Shuler, the founder of Goldband. Second La. selection : by GENE RODRIGUE, who had other releases on Folk-Star, Houma and Rod (the Cajun Rockabilly « Little cajun girl” from 1959). Here is his « Jole fille » (Meladee 101, cut in New Orleans), full of energy and « joie de vivre », Cajun style. Nice fiddle, steel and piano. This comes from the late ’50s apparently.

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Louisiana stomp

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Jole fille

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More from Louisiana with PAL THIBODEAUX (also known as Little Pal Hardy on Imperial) and « Port Arthur boogie » (Sky Line OP-154). Call-and-response, sung in French and English. Fiddle solo, sympathetic backing, two good guitar solos encouraged by the singer a la Bob Wills.
Port Arthur boogie

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sky line thibodeaux Arthur

 

You ask for yodeling ? Here it’s ROBERT LUNN (billed as « The Talking Blues Boy ») in late 1947. He cut I don’t know where (I suspect North of the States) the marvelous « Yodeling blues », slow’n’easy – fiddle, ‘blues’ lyrics, guitars, and spoken vocals, a dream…On Mercury 6104.

robert Lunn pic2

Robert Lunn

mercury t lunn yodelingYodeling blues

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GEORGE GREEN & The Missouri Ranch Boys comes next with a good 2-sider on Zeylon . The medium paced « I don’t love you anymore » is backed by a welcome accordion, and sounds its late ’40s recording, although its prefix (J80W, an RCA pressing, dates from..1958). The flip « Be a little angel » is a jumping little thing, which grows on you at each playing. Good fiddle.

I don’t love you anymore

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Be a little angel

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« Just because «  is a classic Sun side, only issued on RCA, by ELVIS PRESLEY. We conclude this fortnight with his version (RCA 47-6640, early 1956) and the original by the SHELTON BROTHERS (in the ’30s). Great lyrics. Elvis does a very fine job on it.

 

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Shelton BrothersJust because

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Elvis PresleyJust because

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Sources : Somelocaluser blogspot (George Bowe, Wade Jernigan, George Green), Youtube for several tunes (Don Whitney – scans from 78rpmworld) ; Robert Lunn on a 3-CD compilation of country music on Mercury, picture from “hillbilly-music.com”. Hope you enjoy this selection. Comments welcome. ‘Till then, bye.

 

Note: important addition on Khoury records by Louisiana tireless researcher and faithful friend Wade Falcon (Feb. 5th, 2016):

I read your latest article on Leblanc on Khoury.  The musician is Floyd Leblanc.  Fiddle player that originated with Bennie Hess and Virgil Bozman and the Oklahoma Tornadoes.   Floyd had recorded the song Louisiana Stomp first with Virgil’s label O.T. Recording Company (#104-B)
After Virgil folded the label, Khoury who helped finance it, picked it up along with his artists and started Khoury and Lyric.   Khoury re-released the song on his label.  (700-B)
I actually know Floyd’s daugher.  Very nice person.
Also, Khoury’s 600 series label ended with #652 in 1955.  He started his 700 series again (which we’ll refer to as the “second 700 series”).  There, you have the 700-B side you mention in your blog with Shuler on one side and Leblanc on the other.  That lasted till about 1962.   His last Cajun in the series was #720 Pee Wee Broussard.
Thanks, Wade!
OT eblanc stomp

Excel & Rodeo: “The friendly record”. Hillbilly bop and Rockabilly in Los Angeles (1954-1960)

 

Founded at 1354, Wright Street, LA, California, in 1954. It is believed by Hillbilly Researcher Al Turner that the label was possibly owned by George Wilson, who wrote or co-wrote most of the material used by both Excel and Rodeo. He would have made a small fortune in royalties from writing « Hot Rod Race » for Arkie Shibley in 1951 (see elsewhere in the site for his story), certainly enough to put into a small record company. (more…)