Howdy, folks. Here is the early October 2019 fortnight’s favorites selection. There will be a unusual amount of records on major labels, all cut between 1955 and 57.
I'm On The Loose
by Paul Davis
He had first appeared in the late August 2016 fortnight’s selection for « Big Money » (1956) and the original of « Six Days On The Road » (1961). Here is the return of PAUL DAVIS for his second release on M-G-M (# 12209). « I’m On The Loose » is also a solid bopper, cut in July 1955.
Now on a Starday Custom (# 643, from June 1957) by BUDDY SHAW and the minor classic « Don’t Sweep That Dirt On Me ». A fast rockabilly, typical in Starday sound (guitar and piano are battling). Shaw had aslo Starday 609 (« No More ») and 618, similar style.
An intimate vocal on an uptempo rhythm, with prominent fiddle and an insistant rhythm guitar for BILL DUDLEY and « Wailing Wall » released on Capitol 2531.
On RCA-Victor 47-6147 now, BUDDY THOMPSON does offer « Don’t Kindle Up The Flame » : a mad fiddle (solo), a good steel solo, a fast bopping piano – a nice tune (June 1955). Thompson went later on Atco for Rock’n’Roll sides.
Cash Box 18 June, 1955
Two sides by STAN HARDIN from June 1957, and the surprisingly Hank Williams styled « Hungry Heart » : an uptempo shuffler with fiddle and steel. « Give Me All Your Lovin’, Baby », the flpside, is a fast bopper with energetic vocal. Decca 30302, obviousy backed by the Nashville cream of musicians.
Howdy folks ! This is early April 2019 fortnight’s favorites’ selection.
We begin with a rarity, aimed at Rockabilly circles, and sold between $ 800 and 1000. On the Nicktone label (# 6020) LEFTY NICKS delivers a great « Model A Ford Blues ». An utempo half-sung vocal over great guitars and steel throughout tune.
Then a well-known figure, this of JOHN TALLEY with two different styles. First an uptempo straight Nashville style – steel and fiddle solos, guitar to the fore – for « Hillbilly Sweetheart » on Jamboree 509 from 1954. Then a « perfect » song on Mercury 70902 : « (I’ve Changed My) Wild Mind » is a classic Rockabilly, with great guitar and a lot of echo, from mid-1956. Talley had another good tune, « « Shine, Shave And Shower (It’s Saturday Night) » on Tennessee 752 from 1954.
On Mercury too, EDDIE BOND & his Stompers and two classic sides, « Boppin’ Bonnie » and « Baby, Baby, Baby » (Mercury 70941, issued August 1956). Bond was from Memphis, TN, and delivers great tunes on a par with what Sun was doing at the time. Lot of echo, uptempo song with drums.”Bopping’ Bonnie” was written by Jerry Huffman and Jody Chastain, the two sidemen of Charlie Feathers. The B-side is a bit slowier with a touch of blues.
From Shreveport, La., the 17-years old JAMES WILSON offer in 1957 on Ram Records (unknown #) the great « Wilson Blues N° 1 ». Of course a bluesy uptempo, a good atmospheric tune with drums. The record when located change hands for $ 600-700.
Two sides now by LUKE GORDON. Originating from Kentucky, he’d cut in 1958 (May, or November) on Vienna, Va. Blue Ridge label (# 502). « Dark Hollow » is the old Bill Browning song, done here with dobro and fiddle. Gordon’s voice is well fitted to this type of material.. The flipside « You May Be Someone (Where You Come From) » is in the same style : fiddle and dobro solos.
Finally SONNY BURNS, a largely underrated Starday artist. Here he is with a July (?) 1956 Eddie Noack tune, « If You See My Baby » : it’s an uptempo with fiddle (Ernie Hunter) and steel (Herbie Remington) solos. Classic Starday backing : tinkling piano of Doc Lewis, and Hal Harris on lead guitar.
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.[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.
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.