There was NO early October entry: too much work on other things.
Clay & Christine The Kentcky Sweethearts: « These Tears » Sun-Ray 118. Very good mid-paced ballad (main male vocal) duet, nice steel.
B-side : « They say », same formula. A good « provincial country record » from Lexington, Ky., 1967.
Tony Douglas « Baby, When The Sun Goes Down » issued on D 1005 (Houston, Tx). Energetic bopper. Nice vocal and interplay between steel and fiddle, plus piano – really a Starday “feel” (1958), the first of a long career.
Gene Snowden on Hi-Fidelity OP-121/122 « Quit Your Triflin’ On Me » : good guitar. A favorite song for Ray Campi. B-side « Angel Darling » less fast, a good honky tonker in its style.OP- serie was a 4 Star outlet for “Other People”.
Arizona hillbilly Jimmy Spellman « Give Me Some Of Yours » released on Viv 3000 : a fast bopper with steel solo (1955). On Viv Spellman also released “It’s You, You,You” (1002) and the great rockabilly “(She Wants A) Lover Man” (# 1005) with Al Casey on lead guitar. Later he went on Dot, Vik and Redstart, all teen rockers.
Out of Knoxville, Tn. label Valley mostly known for Darrell Glenn (pop country) and Reese Shipley (« Catfish boogie » #106) or Shorty Long. (# 108, « I Got Nine Little Kisses »). Here’s the first record of the label : # 101 Joe Stuart « Shoot Again, Mr. Cupid « : a fast, average hillbilly – strong fiddle.
A short note from Ronald Keppner mnentioned a Valley 100 by Archie Campbell (unheard). Yhanks Ron!
Arlie Duff : Decca 29987 « Alligator Come Across » recorded May 15, 1956.
The best open space between hillbilly and rockabilly. Both styles present, great although short rockabilly solo (certainly Grady Martin). Duff was on the birth of Starday too (1953).
Vancie Flowers on Pike 5921 (1959) with « Six Days In Waiting » – does remind of « Six Days On The Road ».Tough guitar, weird instrumentation.
Joe Franklin (1929-2001) & the Mimosa Boys – « Hillbilly boy » b/w « Hitch-hikin’ blues » MGM 11612 (1953). North Carolina artist. Here’s the ultimate in Hillbilly piano bop (Darryl Petty). Urgent vocal, and strong, way too short fiddle too. Joe Franklin’s story is to be found in this site.
Valley Records was owned by Jack Comer and Dave Garrison and located somewhere in Knoxville, east of Tennessee.
The label lasted for a little more than twelve issues from 1953 to 1954, then several years later changed to Valley’s Meadowlark, taking the same numbering system since the start (not avoiding confusion).
Best records were done by Lonnie Smith, Reese Shipley and Shorty Long. Its biggest hit came in 1954 with Darrell Glenn and the weeper « Crying in the chapel », written by his father Artie. But even Glenn did some hillbilly too.
Lonnie Smith offers a lovely Hillbilly bop tune, « You’re my honky tonk angel » (# 103) : swirling fiddle and a good steel. Flip is nice too : « Gal’s below the Mason Dixon line » (sic). « In the valley by the mountains » (# 100) by Archie Campbell is a fast ditty with yodel vocalizing while its flipside « Blue memories » is an average medium paced one.
Born February 7, 1928. JOE STUART was the most versatile bluegrass musician ever. He was the son of Joe,Sr. and Rena Best Stuart. His musical career started out in Knoxville, TN on shows such as Cas Walker’s radio program. From there he went on to work as Bass Fiddler for Lester Flatt and Earl Scruggs and their Foggy Mountain Boys. Along the way, he worked with about all the GOOD bands and finally landed a job with Bill Monroe as a Blue Grass Boy on the Grand Ole Opry in Nashville,Tennessee.Joe played all the bluegrass instruments and due to a broken collar bone, Joe’s first job was as a fill-in Mandolin player. Later he played and recorded on all the other instruments with Bill Monroe. Joe was not only a “picker”; he was a terriffic “picker-upper.” He always had a smile and kept everybody in good spirits on the road, regardless of the situatioAlthough he never made great fame or fortune, he was nearby in the shadows of many of those gleaning the glory. Joe once tried professional stock car racing but quit after he had fairly won at Talladega, only to be disqualified by crooked officials.
Joe fought cancer, appearing to win that battle for a while, but succomed to head tumors in September of 1987. Ironically, he passed away on Bill Monroe’s birthday. He left behind a wonderful wife, Kathy, and two lovely daughters, Jenny Lynn and Brendaline. Joe had often told us, “I want Bill Monroe to sing John Henry at my funeral; and sing all the verses.” As Joe had requested, Monroe sang 25 verses at the funeral at the Forest Lawn chapel just North of Madison, Tennessee on Dickerson. His remains are buried there. Joe’s own number, “It’s A Lonesome Road To Travel On” tell his story best. The photo of Joe was made at Bean Blossom, Indiana around 1974 by Jim Moss. Joe died September 13, 1987..(additions by Boppin’s editor on Feb. 26th, 2017)
His other sides are in the « Crying in the chapel » vein. He had later on Dot 15476 his own Rock’n’roll version of « My little red wagon ». I much prefer REESE SHIPLEY‘s sides, « Catfish boogie » and « Middle-age spread » (# 106), both very fine Boppers, the former having nothing in common with Tennessee Ernie‘s song. Both songs have a fine and clear lead boogie guitar over a nice piano, « Catfish boogie» being to me the better of both not to forget a stunning (although too short) steel solo.
ROY SNEED is also a crooner in « I’ll be so blue tomorrow » (# 111), but has a nice guitar. He was also on a Four Star custom , Scenic OP-238, with “Blue hillbilly”..[March 23,2018. I add both Scenic OP-238 tracks, average hillbillies]
Roy Sneed, “Dancing With An Ache In My Heart“(Scenic OP-23)
A native of Reading, Pennsylvania, Shorty Long was the leader and organizer of the Santa Fe’ Rangers. When he was just 14, his parents, who were musically inclined, sent him to study music at the College of Rome where he got an education in classical music. They said he graduated cum laude as a violinist. During that time it seems he had formed a hillbilly music band that shocked his ‘serious- minded’ parents and the professors. That classical musical training just added to the bands musical sounds.
Shorty Long could also play the accordion, and sang both solo and tenor lead in his combo. He was with radio station WEEU in Reading from about 1946 and by 1951, seemed to be still there. His fan mail was said to be phenomenal.
Prior to returning to his hometown of Reading, he had also appeared on the WSIL Hayloft Hoedown and also the WLS National Barn Dance during the Alka-Seltzer sponsored portions. He also played to rave reviews at New York City’s Paramount Theatre when he was featured with the Foy Willing Trio on the Andrew Sisters’ “Eight-To-The-Bar Ranch Show”.
Shorty spent his summers at his Santa Fe Ranch which was on Rt. 422 just outside of Reading. It may have been some place where entertainment was held as they mention he played host to the big names in the entertainment field. He also appeared in the movie, “Powder River Gunfire”.
He had also just signed a recording contract with RCA Victor then, too. And in his song folio of 1951, was a recent addition to the King record label. (BIOGRAPHY TAKEN FROM: hillbilly-music.com)
Shorty Long, Country Musician, Composer
By Nathan Gorenstein, Inquirer Staff Writer
POSTED: October 27, 1991
Shorty Long, 67, a country-and-western musician whose songs were played by Roy Acuff and who backed up Elvis Presley on recordings of “You Ain’t Nothin’ But a Hound Dog” and “Don’t Be Cruel,” died Friday October 25th, of complications from cancer at St. Joseph’s Hospital in Reading, where he was born.
Mr. Long, whose real name was Emidio Vagnoni, lived in Exeter Township and for many years ran the Santa Fe Ranch, a 20-acre family entertainment park. He played country and gospel, and staged family comedies with his wife, the former Gladys Ulrich, whose stage name was Dolly Dimples.
Although Mr. Long never officially changed his name, most of his fans only knew him as Shorty Long, a stage name he adopted 50 years ago.
Mr. Long’s original music training was in the classical tradition, and included a stint at the Conservatory of Rome, where his parents enrolled him for violin studies when he was 16.
Despite that – and playing violin with the Reading Symphony Orchestra for a period – he decided to pursue “hillbilly and western music,” as country music was called in the 1940s.
Only 5-foot-6, Mr. Long told interviewers how he’d gotten his name.
In the 1940s, at the start of his career, a fan approached him for an autograph. Because friends had already given him Shorty as a nickname, he signed “Shorty” – only to have the fan complain that the autograph was inadequate without a second name.
“So I wrote Long,” he recalled in a 1956 interview. “That happened to be the name of a girl I was going with at the time.”
Mr. Long opened the Sante Fe Ranch in 1948, emphasizing country music. In 1967, he and his wife purchased a 67-acre tract in New Tripoli, Lehigh County, and opened Ontelaunee Park, where top-name country music entertainers performed.
He sold the second park in 1982.
Mr. Long played steel guitar, wrote songs and recorded for a number of major labels. He also played violin, piano, bass, organ and banjo in recording sessions for a number of artists, including Presley.
His songs were recorded by Roy Acuff, Marty Robbins, Hank Snow, Jimmy Dickens, Pee Wee King, Jim Reeves and Hawkshaw Hawkins.
In 1955 he was cast as the lead in a Frank Loessner musical, The Most Happy Fella, and was declared a “showstopper” by columnist Walter Winchell.
Long stayed with the Broadway production for about four months, but later said homesickness for his wife and his country-and-western group, “The Santa Fe Rangers,” brought him back to Berks County.
It was during his stay in New York that he played piano and other instruments on such Presley songs as “Hound Dog” and “Don’t Be Cruel.”
In 1984 Mr. Long was presented the Outstanding Italian American Citizenship Award of Berks County by the Spartaco Society.
In a 1982 interview, Mr. Long said, “I wanted to be remembered as someone who always wanted to be with my family, the thousands of people who let me entertain them.”
It has not been very easy to assemble a story of Shorty Long. Indeed the biography and the obit above did help a bit. But what more ? Virtually all I know about him came from his records, and luckily they are quite a lot, in very different styles. Let’s try at one go a classification and an appreciation of Long’s music.
His first Signatures/Hi-Tone sides from 1947 (with Riley Shepard) are exuberant: lot of accordion (Long?), lot of reels (« Sheppard’s Scottische ») or traditionals (« Boil them cabbage down »). I really would like to listen to their treatment of the blues standard « Sweet Corinna blues » (untraced – someone can help?). Anyway nice songs are also present, typical ’40s hillbilly : « Airmail special on the fly » or « After all these years », which remind me a lot of the music that another Pennsylvanian cut at the same time : Bill Haley & His Four Aces of Western swing, early in his career (1949-50) on Keystone, or Cowboy label.
Riley Shepard & Shorty Long “After all these years”
On the Cowboy label, precisely, Shorty Long and the Santa Fe’ Rangers (at this point, not to be confused with Virginian Melvin Price‘s band, who cut on the Regal label as well as Blue Hen, among others, although later in the ’50s) recruited an already 30 to 32 years old singer (born 1918), Jack Day, or the alreay unknown Pee Wee Miller (although Day was present in the writers’ credit) for several sides. Fine uptempo sides with main instrument being accordion well to the fore (a fact which may wonder if Shorty Long was not playing it himself), good and firm singing by Day on « I round up the stars » and « I’ll go on loving you », or Miller in « You’ve got my heart in trouble ». Later on, Jack Day woud pursue a long career, although not very prolific recording-wise, on Coral ( his « Mule boogie [is this the Roy Hall tune on Bullet?]/Coyote blues » sounds promising..), Mercury (a cover of Bob Newman‘s « Lonesome truck driver’s blues »), and finally in late 1959 on Arcade 155: the fine « Rattle bone boogie » (flipside I’d like to hear is an instrumental, « Rappin’ the bass », well before the rap craze, of course).[March 24, 2018. You name it, I find it. Here’s “Rappin’ the Bass”, indeed an instrumental, rather average]
Shorty Long and Santa Fe’ Rangers [Jack Day, vocal] “I round up the stars”
Get back to Shorty Long – as he aimed to be called then by fans. We find him next on Decca in 1948 for very slow sentimental songs. Long has a fine voice, mellow and easy, but…no uptempo : he’s crooning. Best song to emerge is the standard « I love you so much it hurts ». In 1949-50, he went to RCA-Victor, and all the songs I’ve heard are similar in style and I can think in confidence that Long pursued on slow ballads on the label.
We find him next on King Records, out of Cincinnati. It’s still now unclear where he recorded, either in Cincinnati or Nashville, TN. But he must have used studio musicians : on the labels, « The Santa Fe’ Rangers » have disappeared. All in all, he had better moments then, and went straight on the hillbilly bop bandwagon. My favorites are « Calm, cool and collected » (# 889) and the two-sided # 953. « Just like two drops of water » is a good uptempo ballad, well in the style of the King label circa 1950-52. The best side is however the powerful train song « Good night Cincinnati, good morning Tennessee » (my first exposure to Shorty Long’s music in 1978). Nice steel, infectious rhythm, a little classic !
I’d like to hear also « Hillbilly wedding » (# 949), which escaped to my research until now ; it must have had some success, since this tune was reissued on # 1076 in 1952.[It’s here, without scan: a gentle hillbilly jiver]
Shorty Long’s band must have been in demand, as they are backing Scotty Evans on one of the first Arcade issues (# 115), “Three times seven/What’s become of me“, both reasonable boppers.
1953, down in Tennessee ; first for the Gallatin Dot label ; « Pretend » and « Crying steel guitar waltz » (# 1153) are highly forgettable, slow sentimental ballads. “Crying” was covered by Pee Wee King with a reasonable dose of success in May 1953.
Second session is a lot more interesting for the Knoxville small Valley label. From then on, I guess it’s a turn in Shorty Long’s career. « I got nine little kisses » is a jivey little rocker, a la Bill Haley (Essex period – actually the song reminds me « Crazy, man, crazy »). Chorus, string-bass, lead guitar and a happy vocal by Long. Its flipside « Who said I said that » is an equally good jiver.
The Davis Sisters covered “Just like me” (RCA 47-5843) in 1955, and the pair offered Martha Carson “I just found God” (RCA EPA 674) in 1956.
Back to the big RCA-Victor label, this time I think in NYC in 1954, until 1957. Long went more and more pop, after 1956; anyway he had still fine sides, like the train song « Standing in the station » (with a male/female chorus doing train effects – Boudleaux Bryant had already given Long the song “Who said I said that” on Valley) or the mambo-beat « Make with me de love » or on the X label in 1955 ; Long teamed with Bob Newman as « The Dalton Boys » for the great two-sider « Roll, Rattler, roll » b/w « Just like me » (X 0045).
The Davis Sisters covered “Just like me” in 1955 on RCA 47-5843, while the pair offered “I just found God” to Martha Carson (RCA EPA 674) in 1956.
Late January 1956 as pianist he backed Elvis Presley during the mammoth session with saw « Blue suede shoes », « Shake rattle and roll », etc. cut He maintained to have played on « Hound dog », although Gordon Stokes of the Jordanaires held the piano stool for this August 1956 session.
Apart from a fine, very Everly-ish « I got it » (unissued at the time – I don’t know where the Youtuber found it), and a big band-ish « Luscious » (I believe this is the Roy Hall song – B-side of “Blue suede shoes“: the writer is the same, Greg Callahan) , other tracks are « Vacation rock » (curiously issued as B-side to « I got nine little kisses » on the Valley bootleg issue in 1978) which is a belter, as « Burnt toasts and black coffee » (RCA 47-6572). Last good track Long could have cut was Cliff Crofford’s « Another love has ended », alas ruined (to my ears) by over-production and noisy brassy backing. Final track of interest came in 1958 on the Birmingham, AL. K-Son label (distributed by RCA): Shorty Long delivers an honest white-rocker with lot of saxes. Nothing of an earthquake however!
Shorty long issued several albums during the ’60s and ’70s along with his wife Dolly Dimples, and was active in music nearly until his death in 1991.
This article would have proved impossible to settle down without the invaluable help of collector Ronald Keppner, out of Frankfurt am Main in Germany. Thanks Ronald for the sounds and scans.
Howdy, folks! Back from holydays on Italian Ligurian Riviera. Believe me, it’s hot over there, nice small towns beyond the sea but not bopping music at all, aaargh! A nice not-feeling-at-home anyhow, that’s the most important. Hope you all had good holydays too, and ready to embark for more work, more trouble – world do seem to go head-over-heels. Fortunately we have the music!
Let’s begin this favourites’ return with a strange item: a fair Hillbilly on a Boston, East Coast label. Al Hawkes had launched his Event label in Feb. ’56, recording first only Country, thus KEN FAIRLIE (# 4264) for “The Table’s Turned” – nice fiddle, and smooth vocal for a very short (1’42) tune. Later on, Hawkes would have on his stable Rockabillies/Rockers Curtis Johnson, Ricky Coyne, even young Dick Curless. Recently I posted the LLOYD McCOLLOUGH story, and repeat here one of his finest songs on the Nashville/Los Angeles EKKO label (which published in its short existence very important discs by the likes of Jess Willard, The Cochran Brothers or Johnny Tyler): “Until I Love Again” (# 1023). Entire output of McCollough can be found on a U.K. Stompertime CD. Next record he had was Rockabilly on the Nashville Republic label. This Ekko release is from ’55.
From Raymondville, Texas comes FLETCHER HANNA, with Joe “Red” Hainer and the Ozark Playboys, for the nice shuffling “Hepcat Boogie” – topical lyrics, references to “Heartbreak Hotel” and “Blue Suede Shoes“, and a very short slap bass solo – on the Valley 101 label (not to be confused with the Tennessee label of the same name – remember Reece Shipley or Darrell Glenn). Very good atmospheric (steel guitar) record. Must be from ’56.
From California on the Happy Hearts label (a very rich and interesting one), JIMMY HAYES with the Coney Ridge Ramblers for “Tom Cat Boogie” (# 141) from as late as 1961. Another shuffler with a good guitar player, who makes some nice licks.
Now on the legendary Dixie label. BILL WILLIS had Starday custom releases, such as “Boogie Woogie All Night” or “Goin’ Down To Sal’s House” (Dixie 502) (respectively on Ace or Collector CDs). Here, he is vocal duetted (Goldie Norris?) on a rattlesnake-drummed “Where Is My Baby“. Nothing spectacular, just an ordinary ’57 Southern record.
Finally a real R&B blaster! YOUNG JESSIE in a New York session with Mickey Baker on guitar and Sam “The Man” Taylor on tenor saxophone – added by (unknown) baritone sax, bass and drummer, for the fantastic “Hit, Git And Split” for the Modern label. Why this was not a hit is a mystery: without doubt, the barrier of racism in ’56 and the savagery of the record, which must have been banned by radio stations, even in the Alan Freed’s territory. One of the real all-time R&B rockers classics!
Hope you enjoy the selections! Comments welcome. Bye
Next fortnight early October – I will be out of town by mid-September.