Dub Dickerson was one of those artists who toured constantly, mixed in the right circles of musicians and made a fair handful of recordings, but didn’t leave us much in the way of historical information. Even the performers he toured and played with don’t recall a great deal about him and, like countless other singers, he just seems to have spent his fifteen year musical career just outside of the spotlight.
Born Willis Dickerson on September 10th 1927 in Grand Saline, Van Zandt County, Texas, his first love of music came whilst growing up on the family farm, in the shape of Gene Autry and his familiar style of Cowboy tunes.
Although he enjoyed no hits on Decca and Capitol (1952-1955), he played the Opry and the Big D. Jamboree, and scored as a songwriter – he wrote « Look what thoughts will do » , a huge hit for Lefty Frizzell, and later « Stood up » for Ricky Nelson, in addition to his own recordings, like « My gal Gertie » (a number which enjoyed some currency among Hillbilly boogie and early Rockabilly fans.) He took to calling himself « The boy with the grin in his voice » and threw little catches – little ‘grins ‘ – into many performances, regardless of appropriateness. (suite…)
Billy Wallace had one of the most unique voices in rockabilly music and played a different guitar style than most of the guitarists back then would do. Both, his voice and full-bodied guitar play worked well together on his classic session with the Bama Drifters in 1956 for Mercury Records, on which he laid down four songs. But Wallace had also a long and more successful (but also unknown) career in songwriting. He never achieved the honor he should have.
Wallace was born in Oklahoma City, Oklahoma, in 1917, but his family moved soon after to Athens, Alabama. Previously, his father had worked on the oil fields in Oklahoma. He grew up on his father’s farm and learned to play the guitar at an early age. As a teenager, he began to write songs and was later influenced by the country music stars back then like the Delmore Brothers, Rex Griffin and Roy Acuff but also listened to Hank Smith, Ernest Tubb and Hal Smith.
Republic records started when Tennessee left. Bill Beasley had law troubles with Decca Records, who wanted Del Wood masters, and Decca won (but Del Wood went later to RCA). So Beasley started Republic. Billboard (March 1953) announced that “Republic company had to legally acquire the master recordings from the formerly Tennessee label”. By July 1953, there were well over 50 singles on the new label.
Significantly, Republic was launched in August 1952 with a pop singer, Snooky Lanson. This trend continued with Del Wood, Jimmy Sweeney and Pat Boone, but half the Republic catalog remained Country. Beasley transferred such Tennessee stalwarts J.T. Adams, Allen Flatt, Lee Bonds and Sonny Sims to his new label. There were a few new names on Republic like Ted West and Jimmy Simpson. Beasley also continued to record R&B and gospel: Edna Gallmon Cooke, Christine Kittrell, who had hits on their own. Bernard Hardison cut “Too Much”, a hit for Elvis in ’57. Apparently Beasley wrote most of the songs, published by a New York group, under the names of Norris/Beasley/Richards, or Rosenberg, the latter being Lee Rosenberg, Beasley’s secretary.
In June 1953, Alan Bubis connection came to an end. Bubis went to construction, coin machines and liquor stores, far more predictable thanrecord business.
In 1955, Beasley moved Republic to 714 Allison Street, and concluded with Murray Nash (ex-Acuff-Rose and Mercury staffer). Nash engineered most of the Republic sides.
The Republic name and logo was bought in 1957 by Ray Scrivener, and along with Gene Auytry, launched Californian Republic label..
After Republic folded, Dot bought Pat Boone’s contract. Other labels (Chess, Vee-Jay) bought Republic masters. (suite…)