Jimmie Lloyd Logsdon was born on April 1, 1922 in Panther, Kentucky. His father was a self-taught man who made it through a Methodist seminary. He was a circuit rider in Kentucky during his early years as a preacher and was then posted to several towns while Jimmie was growing up.
Music for the first 15 years of Jimmie’s life was gospel, the only music he had heard around his gospel surroundings. He and his sister sang in the choir. They put on shows and entered amateur contests. When the family lived in southeastern Kentucky, he heard blues singers and secular country music at ice cream parties and other social events. Later, he was impressed by rhythm & blues and especially remembers Erskine Hawkins’ “After Hours” as a record that made a deep impression on him. Glenn Miller, Gershwin and the popular music of the day also had an impact but not as much as blues and country.
In 1940, he was graduated from high school in Ludlow, Kentucky, and in the fall he married his first wife. He started working in Cincinnati installing public address systems. In 1944 he went to the service in the Air Corps, but never got further than technical training school in Madison, Wisconsin and an air base near San Antonio where he repaired the wiring on B-17s. Down in Texas, he heard Ernest Tubb and other Texas honky tonk singers. Locked up in the stockade for a few days, he remembers singing to a fellow inmate who was facing a term in Leavenworth. “That is where it all began, “Jimmie said.”
In 1946 Jimmie and the service parted ways. He then started a record and radio shop in La Grange, Kentucky, 25 miles northeast of Louisville. He picked up records from the Jimmie Skinner Record Center in Cincinnati to re-sell in his own store, and, after two years, decided that he would get into the music business. In 1948, he borrowed a guitar from some friends for a while and finally broke down and bought one from a pawn shop for 12 dollars. He learned a few basic chords, then cut some demos on an old recording machine he had in the back of the shop.
The first record
He got together a band and went to Cincinnati and cut his first record for Harvest Records, his own label : « It’s All Over Now (Harvest 401B) is a good uptempo bopper, well in the manner of the era (fiddle prominent, steel solo over a thudding bass). The flipside « Road of regret » is a real weeper. He did the recording at Herzogs which was the same studio where Hank Williams Sr. had cut “Lovesick Blues” about two years earlier.
He eventually wound up performing on a show in Louisville where the great Hank Williams was headlining. Hank told Jimmie that he would speak to someone in Nashville about getting Jimmie a contract. Meanwhile, Jimmie, in addition to doing shows and nightclub appearances, had a daily radio show. He interviewed lots of stars including Jim Reeves, Porter Waggoner, Merle Travis, Elvis Presley, Boyd Bennett, Les Paul and Mary Ford among others.
His career received a boost in 1953, when he became the host of a live country show on WHAS-TV, which also featured his backup group, the Golden Harvest Boys. Logsdon’s work for Decca was predominantly composed of country songs, but some of them verged on rockabilly. After Decca had dropped him in late 1954, Logsdon’s career took a dive, when the aftermath of a messy divorce drove him to drugs and a six-month stay in hospital. Vic McAlpin, his agent (also a prolific songwriter), got him onto Dot Records where he cut four songs in September 1955, the best being the bluesy « Cold Cold Rain »(Dot # 1274). He then went to Starday for one release : »I Can’t Make Up My Mind » is a rockabilly in essence, because the hiccups of Logsdon and the prominent steel (# 286, released March 1957).
Thus he was then ready for the next skip: his friend in Nashville, Vic McAlpin, called and said he had a possible recording deal for Jimmie with Roulette Records. By this time Rockabilly was coming into full swing and hardly any label wanted a country singer on their roster. Jimmie had gotten an idea for a song called “Where The Rio De Rosa Flows” when he was in San Antonio during the war. In August 1957 he recorded this rockabilly song for Roulette ( # 7001 in the short-lived Roulette C&W serie) and it was a big hit in several markets including Memphis where Carl Perkins heard it and covered it on a Columbia album (« Whole Lotta Shakin’ », Columbia 1234) shortly after Jimmie’s version was released.
Jimmie and Vic McAlpin also wrote “I’ve Got a Rocket in My Pocket.” To some, this might seem like a dirty song, but Jimmie insists that it was just a nonsense thing. It is still a standard and was used in the sound track of the movie, “the Right Stuff.” The reason Vic McAlpin and Jimmie decided to use the pseudonym “Jimmie Lloyd” when recording for Roulette Records was that Jimmie knew that country fans are loyal and maybe would not forgive him for singing rock and roll if they knew it was really him singing. Hardly any of his country fans knew that Jimmie Lloyd was in reality, Jimmie Logsdon.
He was released from his Roulette contract after the 2nd record and he realized that at this age, he might be a little old to be rocking and rolling.
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.
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.
Born Noble F. Stover on Nov. 16, 1928 in Huntsville, TX, Smokey had his own band and was playing the honky tonks of Texas at 16. In 1949, a new radio station went on the air in Pasadena, TX where he landed his first deejaying job at KLVL-AM, an on-the-air learning experience. A year later, KRCT-AM in Baytown, TX lured him away. Over the next year, Smokey’s show became so popular, the station changed their format to country and hired two more deejays. Meanwhile late 1951, backed by his band, The Stampede Wranglers, he cut his first sides for the Kemah, TX Stampede label (# 101)[Galveston Cty, Houston vicinity] : « I’m planting a rose/It’s the natural thing », two good boppers – side A is mid-paced, side B is a fine Hank Williams inspired Honky tonker. Of course this label was that of a future promising Rockabilly & Country performer, Glen Barber. Imperial picked the Stampede masters up and reissued them (Imperial 8141) in December 1951. According to Michel Ruppli, the fiddler was Sleepy Short.
In 1954, he moved on to KBRZ-AM in Freeport, TX where he stayed for three years except for a six-month interval in 1956 when he helped launch KLOS in Albuquerque, NM.
In the meantime he was signed by producer J.D. Miller out of Crowley, La. on his Feature label, and recorded two songs, among them the better side was « Go on and leave my baby alone », a fine uptempo with great steel a la Don Helms (Drifting Cowboys’ member). Flipside is a quieter mid-paced ballad, « That’s how true my love is for you »
The initial pressing order by J. D. Miller (dated January 1954) for “Go on and leave my baby alone” was for 800 78s and 500 45s – rather more than Miller’s usual order. Fiddle and guitar are by Doug and Rusty Kershaw respectively (later cutting records on Hickory on their own right), with steel guitar by Louis Fourneret.
Later he became a well-known Texas D.J., remembered by Eddie Noack as having played Elvis Presley’s first Sun release twenty times a day! He had a fan-club in Baytown, Texas, in 1954 and two years later had a show, “Smokey’s Big Stampede” on KRBZ, Freeport, Texas, switching to KVET Austin later in the same year
Circa May 1955, Stover entered the Starday studio in Beaumont, TX, and recorded two songs in the same pattern as the previous ones : once more a mix of slow and fast sides. The A side «You wouldn’t kid me, would you » is the good bopping one ; now the B side was a ballad, on a theme that seemed to please him, because he made another version of «It’s easier said than done » 4 years later on Ol’Podner. “You wouldn’t kid me, would you, baby“
In 1958, he moved to KCIJ-AM in Shreveport, LA to be near the Louisiana Hayride, hoping the move would push his singing career. Seven months later, the station changed owners who brought in their own deejays. With the help of a friend, Claude Gray, Smokey found a job at WDAL in Meridian, MS where he stayed until late 1959 when he received a call from his old Freeport boss, Ken Ferguson. Ken was opening KMOP in Tucson, AZ and wanted Smokey to be his sign-on man. Smokey hit the airwaves there in Jan. 1960 and remained there for eight years when he took a couple of years out to concentrate on his singing and songwriting.
In the meantime (1959), he recorded 6 sides for the small Ol’Podner label located in Lake Jackson, TX. All these sides are pretty traditional for the era (fiddle omnipresent). Stover’s voice reminds one at times of Eddie Noack, while « Ballad of Jimmy Hoffa » is a rocker sung in duet, like George Jones’ « White lightning ».”My building of dreams” is another song to watch.
Other songs during the ’60s are more and more country-pop oriented, and one can retain the better ones, like «One thing in common » (Sims 172), or the fine Indian country-rocker « On the warpath » (Toppa 1061) from 1962, and « I want the cake, not the crumbs » (Boyd 153) . His most elusive record was made for Na-R-Co (# 105) and « Remember me/This hurt inside me ». He succeed as a songwriter when George Jones in 1962 chose his « Sometimes you just can’t win » he had already cut on Toppa #1061.
On Jan. 1, 1970, Smokey went back on the air at KRZE in Farmington, NM. A year-and-a-half later, his mother’s illness forced him back to Houston, TX. He more or less retired from radio then until 1992 when a friend built a new station, KVST in Conroe/Huntsville, TX. Smokey went on the air there in early 1993 and ran a midnight ’til 6 am show for a year until it “got old” and he re-retired. In 1995, Ernie Ashworth lured him to Gallatin, TN to get the “Country Classic” station of WYXE off the ground. Smokey enjoyed romping and stomping with the Oldies for about eight months when he hung it up and returned to his native Texas where he’s retired from radio, but still pickin’ and singin’ every weekend. His latest recording is titled, « I May Be Getting Older, But I Ain’t Stopped Thinking Young ». Also Eagle in Germany issued a White rocker « Let’s have a ball » by him, but I doubt he ever cut this song. You can judge by yourself.
Every region of the country had their local star- that person that teetered on the brink of stardom. Radio deejay. Recording artist. Performer. Promoter. Talent scout. Music Publisher. Maybe they ran their own label. Sometimes a studio.
They ALWAYS seemed to be one step away from finally making it…. just one step away.
Our local guy was Fred Crawford.
Billboard June 2, 1956
Like many I was first ushered to Fred through the 1956 Starday release “Rock Candy Rock” (# 243), a steady little piano/guitar jiver that has unfortunately overshadowed his stronger country/hillbilly efforts. On the same disc, the B-side “Secret of my heart” is back to Crawford’s hillbilly roots: it is a solid medium paced very strong opus.
I’m not sure when Fred first began his professional career. His obituary mentioned that as an 11 year old he had “You Are My Shine“‘d his way to a talent show victory on Shreveport’s KWKH. Also mentioned in the same obituary is that by age 25 his recording career was underway. Would assume this would have included his incredibly rare 4-Star custom press, « My inky Dinky baby/Empty feeling in my heart » (Promotional OP-163, from 1953) – it may even appear this record was never issued, as no one has ever seen a copy.
Not mentioned is that Fred had a decent string of excellent releases on the infamous Starday label, all of which are WELL worth tracking down. The rockabilly of “Rock Candy Rock” stands in contrast to his other releases for the label. As does the pop effort “By The Mission Wall“, notable for being recorded in Clovis with Norman Petty producing, Buddy Holly playing guitar, and the Bowman Brothers providing back-up vocals.
Not included in the podcasts (altho’ fully downloadable) upon request) are the following Starday tunes: Time will take you off mymind (St. 124), “Empty feeling in my heart” (124)[also done six months before on the elusive Promotional label OP-163,] “I’ve learned something from you” (St 272),”You’re not the same sweet girl” (# 314) Then A- side of ‘D’ label #1158 “Im all alone”, easily available elsewhere this site. As other tracks on AOK being less interesting. Being so much a country boy, Fred Crawford has not been reissued until now (except for the odd tune on compilations), which is a shame, as his music, specially that cut for Starday, is of very high standard.
Fred was born F. Benjamin Crawford on January 24, 1928, and died on January 13, 1998. He’s buried in the veteran’s corner (because of his activities during WWII) in the Colorado City cemetery out of Mitchell County, Texas.
Largely inspired by the posts of two blogs, Lone Star Stomp and Westex, both from Texas and done in the 2007/2010 period (same Summer period).
My most sincere thanks go to Armadillo Killer for sending many a side. Without his help, the article couldn’t be done – at least this way.
(Fred Crawford: a personal appreciation (bopping’s editor)
“You Gotta Wait” (# 170) is just an outstanding uptempo hillbilly call to action, while the flipside « I just need some lovin’ » (written by labelmate Jimmy Walton) is just equally good.
But I feel that Fred’s crowning achievement is “Can’t Live With ‘Em” (# 199) : never has a white boy had such a bad case of the blues. Note that the songwriter is Mineoloa ‘local guy’ Jack Rhodes. Classy backing : a bluesy lead-guitar, a rinky-dink piano, a strong bass.
Billboard July 2, 1954
Other notable records from this era include : the very solid and macho inspired « Never gonna get married again » (# 156), the great uptempo « First on your list » (# 145 : here’s a wild steel guitar over a Hank Williams‘ typical uttering), also cut by Jack Tucker (released on « X » 0193) – no one can say for sure who came first, and the composer of this small classic, Tom Lancaster, doesn’t give any clue.
Eddie Noack‘s written « Me and my new baby » (# 218), and « Lucky in cards » (# 272) are other winners. And there’s no filler or weak track : every B-side is of high standard too, as the fast « Each passing day » (# 156), « Just another broken heart » (# 218) and the great ‘Starday swan song‘, his last on the label : « You’re not the same sweet girl » (# 314)
There was also at least one waxing for the D label : fine 1960 honky tonkers (# 1058) « I’m all alone » and « Charlies gone ». After that Fred was strictly local, recording for Tommy Allsup/Max Gorman’s Westex/AOK stable, Spiral (which was housed in the former AOK studios), Tic-Toc, Lobo, and a label or two more. Among those efforts are a couple of records supporting his beloved Monahans High School football team and an odd little tribute to coin collecting [untraced].
Fred was a songwriter for others too : I found once a song he gave to Smilin’ Jerry Jericho in 1954, the fine uptempo «I Can’t Give You Anything But Me » (Starday 133). Surely there may have been other Fred compos for others. If a visitor finds one, please do advise me of the find with the « contact me » button!
Hello folks, welcome to new listerners, howdy to returners !
This is the late March 2018 fortnight’s favorites selection, and it will include only 3 artists.
First is TAYLOR PORTER for 4 sides. First two were issued February 1958 (60 years ago..) on Starday # 694. « No more lovin’ you » is a fluid uptempo bopper ; the steel solo is common. The overall impression however is great. The flipside « It’s over now » is more of an uptempo shuffler. Fiddle and steel solos. It bears something lazy. Now it’s not that sure this Taylor Porter was the same as in the following tunes.
The old Hank Snow (as « Hank, the Singing Ranger » who cut this song in 1944) song « Sunny side of the mountain » by (another?) TAYLOR PORTER on the Salem, IN Radio Ridge label # 85. It’s a fast bluegrass (banjo) bopper ; fiddle solo dueling with banjo, from 1956. He had another issue on the same label, « Sweetheart, you were wrong », and on Excellent 225.
Then in 1961 on the Manchester, KY Janet (which was Zeke Clements’ – the latter’s story is on the line) label (# 25-60), he has « Away out there », a fast unclassable country tune. We finally find him for a sacred 6 songs EP on Ark 312 in 1964.
Next track is an instrumental, rare in bopping (I prefer voices!). DINK EMBRY [And – strangely – The Kentucky Lads] is probably a Memphian. Is he who pounds the ivories on this « Mason Dixon boogie », issued on Dot 1039 (early 1951) ? In any case, the tune is medium lowdown danceable one with guitar, piano and steel (plus bass of course).
The next four tracks are all done by JAKE THOMAS and all issued between September 1962 and March 1965 on the Dixie label. Wonder if this is really the Starday custom famous label. All tracks were apparently recorded in Arkansas.
Both first tracks, as Jake Thomas and Bluegrass Band, issued on Dixie 987, are medium paced, and have a fine dobro backing over a great vocal, plus bass and rhythm : « What’ll I do » and « If you keep doing what you do to me » are very good examples of 60’s Hillbilly bop.