Late February 2018 bopping fortnight’s favorites

Howdy folks, hello to returning visitors ! This is the late February 2018 fortnight’s selection.

Let’s begin with a well-known artist, SKEETS McDONALD. At the peak of his career in March 1958, he recorded a full album of Honky Tonk for Capitol, which I chose the rollicking « You’re there » from : fine piano, guitar by Buck Owens, it’s the sort of bopping music you never get rid of. (Capitol T 1040)


Skeets McDonald, “You’re there”

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The original was made a few years earlier by SHORTY BATES and His Texas Saddle Pals (vocal Tal Rowland) on the Mel-O-Tone label # 3600. It’s a good uptempo, with fine guitar, from Fort Worth, Tx.

Shorty Bates, “You’re there

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What an elusive artist is EARNEY VANDAGRIFF. He had between 1954 and 57 records on Specialty (700 serie – see the story in this site) and Starday. This time it’s the romping Rockabilly/Rocker « Be-bop Santa Claus » on California’s Rural Rhythm label (# 511). Fine piano.

Be-bop Santa Claus

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SUNSHINE SUE teamed with Joe Maphis for “Barn dance boogie” (the latter’s earliest recorded known effort) on Astra 1215. It’s indeed a fast guitar tune over a male vocal. Astra was a Richmond, VA. label from about 1949 or 50.

 

Barn dance boogie

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Now a Starday custom : Mid-West label 561 from 1956, out of Wichita, KS. « What am I going to do » by MONROE JOHNSON is a fiddle led shuffle good primitive bopper.

What am I going to do

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From the small town of Florence, AL comes MOTT GILBERT on the Dixie Cleartone label # 175, from circa 1954. « Foot loose and fancy free » has a fiddle solo (Gilbert?), but uninventive steel solo and a short piano solo. The flipside « Loving mama blues » is a great piano led medium blues tune.

Foot loose and fancy free”

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Loving mama blues

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JIMMY HINKLE on the Fayetteville (NY State) Fireside 28836 label does « Won’t cha marry me » from 1957. Fast steel, solo fiddle, extrovert vocal, but short tune (1 mn 48).

Won’t cha marry me

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From 1948 come the next tracks by EVERETT LACKEY & the Lone Star Ramblers, from the Birmingham, AL Vulcan label # 3000A. « Longing for someone » is an uptempo – good guitar with Western swing overtones. The flipside « Sorrow and tears » a medium side with accordion.

Longing for someone

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Sorrow and tears

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Various sources as usual: Hillbilly Researcher archives; 78rpm site; 45worlds site;

Late November 2017 bopping fortnight’s favorites (late ’40s to mid-’60s)

MERLE KILGORE is not a newcomer. He met in the ’60s and ’70s a lot of success as a songwriter in Nashville : wrote « Ring of Fire » for Johnny Cash, and « Wolverton mountain » for Claude King. But I am more interested with his beginnings for Imperial records, seemingly all cut at KWKH in Shreveport, La. Here’s « Everybody needs a lttle lovin’ » that Merle released on # 8300. A Rockabilly guitar

 

imperial Kilgore lovin'

merle kilgore picture

tillman franks picture

Tillman Franks on double bass with Johnny Horton

 

(fine solo), propelled by a thudding bass (Tillman Franks?) over an urgent vocal. Later Wyatt Merle Kilgore (his actual name, being born in Chickasaw, OK. In 1934) turned frankly towards Rock’n’roll with tunes like « Please please please », cut in New Orleans in Jan. 1956 with an-all Black group, that of Dave Bartholomew, and « Ernie » . So eclectic was the man ! He was also a board member of the Hank Williams Montgomery museum, being very close to Hank’s family. He was back to his Country roots in 1959 with Country rockers on the « D » label (‘Take a trip to the moon »). Died of a lung cancer in 2005.

Everybody needs a little lovin’

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I didn’t find anything on the next artist : TROY JORDAN & His Cross-B-Boys, except to location of the label: Midland, Texas. So can only comment both sides of his disc issued on Tred-Way 100. The A-side is a good uptempo, « Who Flung that mater », with a too-discrete steel-guitar and well-sung, although nothing rxceptional. B-side is really fine bluesy a tune: guitar, steel, a piano solo, lazy vocal for « Don’t cry on my shoulder ». Jordan was a distant cousin of the Carter Sisters, so it may be they are the right way for a research on him.

Who flung that mater

downloadTred-way Jordan matterTred-way Jordan  shoulder

Don’t cry on my shoulder

download=””>« Texas Millionaire » (Decca 30332, issued 1957) by TABBY WEST is a fast Hillbilly bopper cut in Nashville on January 8, 1956. The voice fits perfectly with the backing instruments, which take the better part of the song : all in all, their solos are beginning at 0’41 et ending at 1’20..West was born in Kingston Springs, TN. and found her way easily to Nashville for a first recording contract in 1954 on Coral Records. There she was paired with Texas Bill Strength (on Coral reords), and backed by the cream of Nashville musicians. I’d like very much to hear « Hillbilly Blues » (Decca 29822) which sounds very promising..

Texas Millionairedecca West  millionaire

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There may be more than a handful of « Atomic » labels after WWII. This one emanates from Hollywood, Ca. MEL GRIGGS & His Sons of the Saddle released « Goin’ back to Texas » (# 240) seemingly in the late ’40s – the style is easily reconizable, that of a « Cityzed » Hillbilly, with Western Swing overtones. I don’t know anything on this ensemble, and found it a gentle uptempo ; vocal is firm, and reinforced by the group in unison during the breaks. Griggs persevered with « Watchin’ the clouds roll by » (# 241).

Goin’ back to Texasatomic Griggs  Texas

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HILLBILLY HERMAN, & his Tennessee Valley Boys, despite his name, is a Blugrass artist in 1966, who offers « Today I watched my dreams come true » (Breeze 366, located in Livingston, TN), a solid uptempo, with great backing in the background The main instrument is a very nice mandolin ; alas the guitar solo is very insipid. The Breeze label had issued a very rocking version of “Wreck of the old 97” (# 381) by Jim Sebastian. A record to watch for. In the meantime, do YouTube searching! Herman had an elusive issue on Hatfield (no #)[untraced]

breeze Herman  dreamToday I watched my dream come truehatfield Herman  guess

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Maybe « Hayride boogie » rings a bell for you ? You may remember I had posted the Webb Pierce Story (1949-1950) during the past years ; For contractual reasons (Pierce was still under sontract with 4*), his product was issued under various names, whose this one : TILLMAN FRANKS. Bass player, entrepreneur, band leader, he played a pivotal role in the emergence of the rising « Louisiana Hayride » during the early ’50s. On Pacemaker 1011b, this is a boogie pattern with great guitar by Buddy Attaway [see with the « Artists » search button above for his story]. Indeed there was no place for Tex Grimsley (fiddle) neither Shot Jackson (steel). Pierce re-recorded the song as « Teenage boogie » in 1957, and Franks continued to slap his bass and entertain until the ’80s.

Hayride boogiepacemaker Franks Hayride

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Next artist in discussion will be WHITEY KNIGHT from California, or better say, recording for a Californian label, that of Nielsen. « From an angel to a devil » (# 57/1-2) has steel well to the fore, a relaxed hillbilly bop rhythm : a natural feeling. Not a great disc, but a good one ! Knight had also a rich recording career, appearing on Dot, Sage and Dart.

nielsen Knight devilFrom an angel to a devil”

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FRED NETHERTON gives us a fabulous rocker with his version of Carl Perkins’ « Matchbox » : great swooping and hammering piano, a very fine guitar solo, a terrific vocal on Rural lRhythm 540B. A must have ! “Matchbox

downloadrural rhythm Netherton  box

Sources : as usual, Internet (45cat, or Youtube) and my own archives. Decca and Imperial data do come from Michel Ruppli’s books. Pictures of Tillman Franks come drom Now Dig This (a 1995 issue).

Early July 2017 bopping and rocking fortnight’s favorites

Howdy folks. This is the first of July 2017 bopping fornight’s favorites. And this will be a special issue, focusing on Rockabilly and/or Hillbilly Rock records of high value. If you’re lucky owning them, it’s good. On the other hand, if you have only a portion, or lacking one particular item, start hunting ! Estimated values are going from Barry K. John collector guide (BJK), and Tom Lincoln/Dick Blackurn reference book « Guide to rare Rockabilly and Rock’n’roll 45rpms » (TL/DB).

 

 

 

 

 

 

Let’s begin with the Alabama Reed 400b label, « Coal miner’s blues » by GENE COLE. It’s a great mid-tempo opus, a Country rocker with good guitar and fine voice, valued $ 200-250 (BJK), or even the more confortable tag of 800-1000 (TL/DB).

Cole Gene "Coal miner's blues"
Coal miner’s blues”Pitts Jerry "Keep ole central rolling"

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Next is very short : 1 minute 37, but full of energy. JERRY PITTS & the Rhythm Makers do on the J.P.R.M. label (obviously initials of them all) the fine up-tempo « Keep ole central rolling » from Dawson, MS. Uncommon maraccas. This record go for $ 40-50 (BJK) or even 75-100 (TL/DB).

Keep ole central rolling

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FRED NETHERTON appears on two discs. First a great version of Carl Perkins’ « Matchbox » on California label Rural Rhythm EP 540, from 1961, backed by the Wildwood Playboys: piano and guitar solos. Valued at $ 300-400 (TL/DB). Then as fronting man for the Wildwood Trio on Dixie 1 (unknown serie) from Illinois, says Barry K. John. « The wildwood rock » with a very nasal voice, a great rockabilly guitar, a really stomping thing, It’s valued between $ 300 and 400 by B.J K.., and 600-700 by TL/DB.

Wilwood Trio, The (Fred Netherton) "The wildwood rock"

Matchbox”

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The wildwood rock

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Next entry is the exception. SUNSHINE SUE had this Astra issue (probably Richmond, Va.) circa 1948-49. « Barn dance boogie » (# 1215) with the first ever recording of ‘Cousin’ Joe Maphis. Fast romper, an accordion solo, and that agile guitar throughout.

Sue Sunshine "Barn dance boogie"

Barn dance boogie

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From Tennessee comes BROWNIE JOHNSON for the medium uptempo – good vocal, nice guitar – « The sun would never shine » on the Lynn label # 101B. Valued (TL/DB) at $ 100-125.

Johnson Brownie "The sun would never shine"

The sun would never shine

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The name BINK BURNS is not a common one, on the Oklahoma Rose label (# 127) : « Muddy river » has a slow rhythm, a threatening vocal and a fine guitar. It’s valued $ 60-75 (BJK).

Muddy riverBurns Bink "Muddy river"

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Finally two discs by SLIM DORTCH from Tennessee. The very great « Big boy rock » on Eugenia 1001 from 1961 : $ 600-800 (BJK). His second is very tame in comparison, « Sixteen miles » is a honest little rocker without any more appeal.

Dortch slim "Big boy rock"Dortch Cowboy Slim "Fifteen miles"
Big boy rock

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Sixteen miles

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JACK TUCKER, “Big Door” , “Honey Moon Trip To Mars” and “Lonely Man” (1949-1961)

advert nudies tucker

Advert for cowboy clothes L.A. Nudie

It’s hard to figure out what’s going on here. There were four versions of « Big door »…a sort-of « Green door » sequel.The first version appeared in 4 Star’s AP (Artist Promotion) and was by the writer, Gene Brown. Some say that Eddie Cochran is on guitar. That version reappeared on 4 Star (# 1717) and reappeared yet again identical on Dot, the label that had scored with « Green door ». At almost the same time, circa April 1958, that 4 Star licensed jack tucker1Brown’s master to Dot, Jack Tucker‘s version appeared. Was this the same Jack Tucker who worked hillbilly nighspots in Los Angeles for many years ? Probably. According to Si Barnes, who worked for both Jack Tucker (real name Morris Tucker) and his brother, Hubert, aka Herb [« Habit forming kisses » on Excel 107, 1955: see elsewhere in this site the Rodeo/Excel story], the Tuckers were from Haleyville, near Oklahoma City . Jack (rn Morris) was born on April 19th, 1918.

Gene BrownBig door4star Tucker Door"Brown Gene "Big Door"

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Jack Tucker “Big door

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 Both brothers led bands in Los Angeles, playing spots like the Hitching Post, Harmony Park Ballroom, and so on. Jack had a Saturday night television show on Channel 11. Tommy Allsup graduated from Herb Tucker’s band, and according to Barnes, Herb led the more musically sophisticated outfit. Jack Tucker, said Barnes was  « pretty much stuck on himself. A very basic guitar player and vocalist. He was really limited in musical talent. I’m surprised he let the band record [Bob Wills‘] « Big beaver » [at the same session as « Big door »]. He didn’t understand the Wills beat or anything about that style. Jack was a two-chord guy. Both Herb and Jack faded out in the early 1960s when the ballrooms closed or switched over to rock ».

4star Tucker Beaver

okeh Wills Beaver

1940 issue

“Big beaver”

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Nevertheless, Tucker’s recording career was quite extensive. There was a demo session for Modern in 1949 and jack tucker3his first 4 Star record was a reissue of a 1953 disc for the 4* custom Debut label. Other records, usually with the Oklahoma Playboys, appeared on Starday (1954), RCA’s « X » imprint (1955), Downbeat, with Bob Stanley (1956), Audie Andrews on Debut, himself on Bel Aire and Nielsen (1957). Guitarist Danny Michaels remembered that Tucker was playing at the Pioneer Room on Pioneer Blvd, when they did the 4 Star session. According to Michaels, he played lead and Al Petty played steel guitar, but he couldn’t remember the others. Following Tucker’s brief tenure with 4 Star, he recorded for Ozark Records in South Gate, California. One of their singles (with Don Evans on lead guitar),    « Lonely man » was acquired by Imperial. Another, « Honey moon trip to Mars », may have been revived by Larry Bryant (Santa Fe 100, or Bakersfield 100).

Lonely manozark Tucker Marsozark TuckerMan

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Honey moon trip to Mars

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Larry BryantHoney moon trip to Mars

downloadsantafe Bryant  Mars

Tucker appears to have bowed out with a clutch of records for Toppa in 1961-1962, and later for Public! and Young Country. He had backed Lina Lynne (later on Toppa 1008) on Jimmy O’Neal‘s Rural Rhythm label, and Bill Bradley on Fabor Robinson‘s Fabor label in 1957-58.

Lina LynnePlease be mine

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Bill BradleyDrunkard’s diary

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rural Lynne  Please fabor Bradley diary

Tucker died on September 26, 1996, but no one has an idea what he was doing between the mid-60s and his death.

Notes by Colin Escott to « That’ll flat git it vol. 26 » (Four Star). Additions by Bopping’s editor.


 

 

The music of Jack Tucker (by Bopping’s editor)Tucker Jack4

To follow Barnes’ assertion about limitations both on guitar and vocal of Jack Tucker, one must although admit his discs were good enough to have him a comfortable discography over the years 1953-1965. I cannot at all judge his talent but I’d assume his music is generally pretty good hillbilly bop or rockabilly.

First tracks I discuss are his « X » sides (# 0093) from 1954 : the fast « Stark, staring madly in love» has a tinkling piano and a loping rhythm, a fine side, and the equally good « First on your list » (much later re-recorded on Public!). Both are billed X songs by Allan Turner.

Stark, staring madly in love

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“First on your list

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X Tucker Stark

X Tucker ListThis is without forgetting two 1949 demo tracks for Modern : apparently Dusty Rhodes is on lead guitar for the instrumental « Dusty road boogie », and Jack Tucker is vocalist for a version of Hank Williams’ « Mind your own business ».

Later on, we had Tucker on Starday 136 : « Itchin’ for a hitchin ‘ » and « I was only fooling me », typical hillbillies on the Beaumont, TX label – probably recorded on the West coast, as later did Jack Morris [see the latter’s story elsewhere in this site].

billboard starday tucker

Billboard April 14, 1954

I was only fooling me

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More earlier on the 4 Star OP (« Other People ») custom Debut label (# 1001), later reissued on the regular 4 Star X-81, Tucker had cut in 1954 « Too blue to cry », a good song with band chorus, and had backed a fellow Oklahomian Audie Andrews on the same Debut label (One side written by NY entrepreneur Buck Ram).

debut Tucker Crystar Tucker  Cry
Too blue to crydebut Andrews Christmas

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In 1956 Bob Stanley [not to be confused with the pop orchestra leader] on Downbeat 204 had « Your triflin’ ways/Heartaches and tears », backed by Tucker and his Oklahoma Playboys : two very nice Hillbilly boppers: Stanley adopts the famous growl-in-his-voice, a speciality of T. Texas Tyler. Both of them had also a disc on Downbeat 203 (still untraced). Jack Tucker backed also in 1957 Lina Lynne on the fine bopper « Pease be mine » (Rural Rhythm 513 [see above].

Your triflin’ ways

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Heartaches and tears

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dwbeat Stanley Waysdownbeat Stanley Tears

 

Same year 1957 saw Tucker record two sides among his best on the small California Bel Aire (# 22) label, « Let me practice with you » and « Surrounded by sorrow », good mid-paced boppers (fine steel). His band, “The Okla. Playboys“, backed Roy Counts on two excellent boppers on Bel Aire 23: the medium-paced “I ain’t got the blues“, and the faster “Darling I could never live without you“, both have strong steel guitar. Tucker also had  « Hound dog » on the Nielsen 56-7 label (untraced).

Let me practice with you

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Surrounded by sorrow

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Roy Counts, “I ain’t got no blues

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Roy Counts, “Darling I could never live without you

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belaire Tucker practice belaire Tucker Sorrow

Billbard 11-11-57

Billboard, No. 11, 1957

 

 

 

 

 

1958 belaire Counts Darling belaire Counts bluessaw the issue of « Big door » already discussed earlier (plus the B-side « Crazy do » a good instrumental), as the other 4 Star record, « Big beaver /Nobody’s fool» (4 Star # 1728), both average instrumental sides.

In 1959 Tucker had three records on the Ozark label. The original of « Honey moon trip to Mars » (# 960) [later by Larry Bryant on Santa Fe/Bakersfield – otherwise, who came first?]

Honey moon trip to Mars

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Larry BryantHoney moon trip to Mars

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then « Lonely man » (# 962), which was picked by Imperial and reissued (# 5623), finally # 965 and the ballads « Don’t cry for me/Trade wind love ».

 

insert ozark

insert of an Ozark issue, found on the Net

In 1960-1961 Tucker had four Toppa records. All are fine boppers, despite a tendancy to go pop, and include Ralph Mooney on steel guitar at least on # 1030 : « Oh what a lonely one ; one is » , “When the shades are drawn”          (# 1041),  « Just in time » (# 1052) and « It’s gone too far » (# 1106).

Oh what a lonely one; one is

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“Just in time

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It’s gone too far

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I mention quickly the following issues, less and less interesting (more and more poppish) on Public! (a new version of « First on your list ») and Young country (even an LP # 103) along the ’60s.
First on your list

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public! Tucker First

toppa Tucker Fartoppa Tucker Lonely

Sources: Colin Escott notes to “That’ll flat git it vol.” (Four Star); 45cat and 78-world sites; Toppa’s best 3-CD;; Roots Vinyl Guide; YouTube; Praguefrank’s country discography (discography); my own archives and records;

Portland, OR. Country rock: JOHNNY SKILES (1958-59)

skiles assisFrom Monroe, La, JOHNNY SKILES enlisted in WWII at the age of 17. After the war, he moved from Beaumont, Texas to New Orleans, constantly writing songs and playing his guitar.

His brother-in-law (from Monroe) was Jack Hammons, who co-wrote with him and recorded « Mr. Cupid » for Starday (# 197) in 1955. Col. Tom Parker came through Monroe one day, heard Hammons sing Skiles’ original compositions, and quickly phoned Jack Starnes at Starday to arrange a session.

starday 197 jack hammons - Mr. Cupid

Jack HammonsMr. Cupid

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Johnny Skiles was signed to a songwriter’s contract by Southern-Peer in 1955, although unfortunately nothing ever resulted from it.

Skiles then moved to Oregon (he worked for the U.S. Post Office) in the mid-to-late fifties. His first record was a Starday custom 45, « The twinkle in your eyes/Ghosts of my lonely past », released on Corvette 672 circa 1958. Bob Hill and his Harmony Ranch Hands backed Skiles on these appealing boppers. He was influenced by Hank Williams and Webb Pierce, his boyhood friend from Monroe, on his C&W material.

The twinkle in your eyes

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Ghosts of my lonely past

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corvette 672b johnny skiles - ghosts of my lonely pastcorvette 672a johnny skiles - the twinkle in your eyes

His next outing was Rural Rhythm 518 « Is my baby coming back/Come paddle footin’ down », cut at Portland Ace studio, and released by Jim O’Neal, the late, colorful country DJ/entrepreneur from Arcadia, California. There are distinct echoes of Johnny Cash on these Skiles Rural Rhythm sides, despite chorus. Another Rural Rhythm, EP 37 ½, had 6 tracks among them « Sundown road » [unheard] by Skiles and Bob Hill.

Then he appeared on the good bopper « Blue shadows » (Rumac OP-287).

 

 

Is my baby coming back

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Come paddle footin’ down

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Blue shadows

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rural rhythm 618a johnny skiles - is my baby comin' backrural rhythm 518B johnny skiles - come paddle footin' downrumac 287 johnny skiles - blue shadows

Rockabilly fans and collectors will be more interested in Johnny Skiles’ Rumac R&R session : « Hard luck blues/Rockin’ and rollin’ » was issued on a Four Star custom pressing as Rumac OP-301 in 1959. Johnny played rhythm guitar, accompanied by his fellow Bob Hill on his custom-made 8-string Fender. « Rockin’ and rollin’ » comes as a lovely Country-rocker – good lead guitar and a lazy rhythm. Ruby Smith owned the Rumac label, although Bill McCall, the owner of Four Star, claimed co-writing credits in his usual fashion as « W. S. Stevenson ». (He was doing that possibly inspired by the « Josea-Ling-Taub » of the Modern label’s Bihari brothers, or maybe more « D.Malone », the nom-de-plume of Duke/Peacock’s Don Robey).

rumac 301 johnny skiles - hard luck bluesrumac 301 johnny skiles - rockin' and rollin'

bb-8-6-59-skiles-rr518

billboard; June 6, 1959

Rockin’ and rollin (A two tone beat)‘”

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Hard luck blues

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Two unissued tunes, « Red headed woman » and « Rock jump boogie » were also recorded at the Ace Portland session : both are gentle Country-rockers, with Bob Hill’s inventive and agile guitar well to the fore. They sound demos. 500 copies of « Hard luck blues » were pressed, and intended also as a demo and showcase. In 1959 also, Johnny fronted vocally the group of the Echomores for « What-cha-do-in » on the Portland, OR. Rocket label # 1044). It’s a fast bopper/rocker with a very nice steel (solo), a good lead guitar and a solid rhythm throughout the song. Skiles get a girl replica near the end. A very fine record by him for the era. Thanks to CheesebrewWax Archive Youtube chain for unearthing such unknown goodies! From unknown origin/date (a Jim O’Neal recording), the White label album contained one more by Skiles,   « If your telephone rings », a fast Rockabilly type song.

Red headed woman

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Rock jump boogie

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The Echomores (Johnny Skiles, vo)”What-cha-do-in

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rocket 1044 echomores -what-cha-do-in

After that, Skiles and Bob Hill teamed with Leighton Atkins on organ and Gene Cipolloon on guitar for a serie of Country instrumentals, which were released on some EP’s by Jim O’Neal, sent to D.J.s in the manner of Starday. This way Skiles received a little money, more than from his records. These Eps were used by D.J.s to segue from one segment of commercial to the next, and were released on Rural Rhythm and, yes another O’Neal label, Honey-B. I include a solitary Honey-B 102 issue for the interesting « Comin’ home to you », a medium-paced Rockabilly, despite the girl chorus by the Tonettes.

Comin’ home to you

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If your telephone rings

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Skiles and his group kept on performing throughout the 60s and 70s on the Pacific Northwest. That’s all is known of him.

skiles & group

 

From the notes (by Cees Klop apparently) of the album White label 8967 « The original Johnny Skiles », published 1991. Additions by bopping Editor. Original labels from 45-cat. Thanks to UncleGil to have provided me the WL album.