Howdy y’all, folks. This is the late April 2017 fortnight’s favorites selection : 7 artists in very different styles, Hillbilly bop, Bluegrass bop, Boogie woogie and Jumping Blues.
The first record is by a team, that of WALLIE & TEX ISABELL issued on the very small and rare Houston, TX Eddie’s label circa 1951-52. Primarily a R&B label (I only know of saxman Clarence Green, and the first ever record of R&B/boogie pianist Little Willie Littlefield : this man will appear at the end of this selection), it could also release Hllbilly bop like these « Sugar cain gal » [sic] b/w « The good old days » (Eddie’s 1219). The first tune is a jumping little one, where a lap-steel player – at last seemingly – is heard in Hawaïan style, and let lose himself very lovely. The backing is minimal : that steel, rhythm guitar, bass and vocal. A pretty nice track. Its flipside, a little less fast, is a fine ballad. One would like to hear more.
The second artist is not an unknown for any Hillblly bop addict. ROY COUNTS had two great sides on the California Bel Aire label in 1957 ; they are to be heard in the story of Jack Tucker (elsewhere in this site). Here we find him a bit later early ’60’s on the Jedco label (# 5009, location unknown)[1963, California, said DrunkenHobo], also issued on Commerce (# 5009, strangely)[acc. to DrunkenHobo, 2nd pressing, 1964]. « Temptation » is good uptempo in Bakersfield style. A great aggressive steel-guitar, which must be played by Ralph Mooney.
A legend now : LEON PAYNE ; this blind man was responsible for so many good records during the ’50s on many labels too, always had sincere ballads. Here on T.N.T. from San Antonio, TX, he delivers a very nice « I’ll still be around »; an atmospheric steel, the whole reminds one of Joe Carson on the ‘D’ label (« Careless words/Time lock »)[The story of Joe Carson is elsewhere in this site]. “I’ll stil be around”
On to Bluegrass bop with the duet RALPH & ROY who do a fabulous job on Wolf-Tex (a Lancaster, KY label) # 105, « Mountains in Kentucky ». It’s a very fast track, the banjo player offers a feat while the electric guitar has great Rockabilly style solo, too short. That same Wolf-Tex label also issued Harold Montgomery‘s « How much do you miss me » in 1961 (valued at 4 or 500 $), as well as « Ramblin’ » Roy Cunningham (« Waves on the bayou »).
A fast Bopper again with BUD ALDEN & his Buckaroos from California, 1959 [DrunkenHobo rectifies: a 4* custom from Seattle, WA. 1957]. Was then Buck Owens involved in any way in this recording ? (So, if this a Seattle recording, there is no chance of ole’ Buck involved). « When the ice worms nest again » [what a strange title] can be found on the Arctic label (# 701): a good guitar is embroiding the deep vocal of Leon Roach, unknown elsewhere.
From 1948, back to Eddie’s label in Houston (# 1202), and the very first double-sider by « LITTLE WILLIE » LITTLEFIELD. « My bestwishes » is a medium-paced opus, the rhythm is very heavy, and one detects in Littlefield’s voice the influence of his mentor Amos Milburn, like in the latter’s « Cinch blues ». The B-side « Little Willie’s boogie » is a furious showcase of fast piano.
Finally BUDDY CUDD & his Show Buds deliver a fine Jimmie Rodgers influenced « No hard time blues » on the United Low Country # 1006, out of Hampton, S.C. A touch of yodel, a very good guitar (lot of echo). On the same label were Buddy Livingston & his All Girls Band, previously on Savannah, a Starday custom. But this is another story, as they say..
Not much info this time on artists or music I am afraid.
HAROLD MONTGOMERY has already been posted for his great 1969 bopper on Sun-Ray 139 “All them wives/Pardon me Jim“. This time I’m putting an equally good side with «How much do you miss me ». Wolf-Tex # 103 label, which emanates from Lancaster, KY. Solid backing by the Ray Johnson band over a hiccupy vocal. This record is sold between $ 300 and 400, maybe a lot more ! Montgomery had also “Thank you little girl” on Wolf-Tex 105, and “Gabriel doesn’t play a steel guitar” on Lemco (no #), both untraced.
The next artist was an itinerant D.J., who also carried from town to town his own record for sale. JOHNNY DAUME (Johnny Daume label # 1001) is an early ’50s double-sider with strong Western swing overtones : lazy vocal, a prominent fiddle and a discreet steel , all this reminds me of Texas bands of the mid to late ’40s. »Boogie woogie blond » and « Lookin’ fer a gal in Tennessee » are mouled in the same matrix, one slow, the other side more medium uptempo. A nice record.
Marty Robbins had done « Mean mama blues » on Columbia in early 1956 – urgent vocal and fast rockabilly backing. Same song is revived 4 years later on Circle Dot # 1002 (Minneapolis, MN) by RONNIE RAY. This version is on a par with the original. Ray also had another issue on Demand 101 (« My heart has to make it (on it’s own) » (untraced).
LES & His Western Playboys comes next in 1961 on the B-W label (# Q-609). A prominent steel over a light country rocker. Maybe Les was named « Haven » : that’s the writer of « I don’t care anymore ». This outfit had another on the Wel Burn label (parent to B-W) # 103 with the good uptempo from 1962, “It’s rough“, cut in Wooster, OH and reviewed on May 5th, 1962 by Billboard. Nice steel throughout.
Howdy folks, Hope you’re all well and ready to visit some more boppers and rockabillies. The name JAMES MASK isn’t that familiar (he had not big hits), although he appeared on Bandera (Illinois), Arbet (Tennessee, « I miss my teen angel », a teen rocker), and later (1972) on MGM-Sound of Memphis (the country rocker « Humpin’ to please »). Here we find him on the Pontotoc, MS (where he was born in 1932 – Tupelo area) Tom Big Bee label (# ) with a fine early ’60s version of the Rocky Bill Ford‘s classic, « Beer drinkin’ blues ». Honest country rocker. He had some tunes (unissued in the ’50s) on an old White label LP 2305 “Mississipi R’n’R”. The Dutchman wrote there that Mask was backed by his two brothers Charles and Willie.[March 24,2018. I add the reissue of Bandera 1319 “Hootchie Coochie Gal“, a good rocker from 1959 – unissued at the time]
Let’s stay in Mississipi with an otherwise very well known artist, at least in Europe (he drives, latest news, a taxi at Chicago Int’l Airport), Mr. HAYDEN THOMPSON. I offer his first record, on the Booneville, MS, label, Von [which issued Lloyd McCollough and Johnny Burnette’s first records,] “Act like you love me” b/w « I feel the blues coming on“. (original in 1951 by Elton Britt, although not credited on the label) Great slow Hillbillies, whispering vocal over confident backing. Same last tune was done (but it’s a different song) by Loy Clingman on the Arizona Elko label in 1956. Penned by Lee Hazlewood, it’s a soft Country-rock effort. The third Thompson track is taken from his sessions at Sun in Memphis, and he retains the same feeling with « Blues, blues, blues » (U.K. Charly 605B) – although more echo, as usual from Sam Phillips’ manner.
Let’s get up north in Lancaster, KY, and with HAROLD MONTGOMERY. His fine sides on Sun-Ray were documented in the site (see « Sun-Ray » label). Here he comes once more with a good side, similar style, on Wolf-Tex 103, « How much do you miss me », from the ’60s. Great mumbling vocal, similar to early Elvis!
Way north a little further. Muncie, Indiana on the Poor Boy label. A small one, but important artists, the best known being its owner Wayne Raney (« We need a whole lot more of Jesus (and a lot less of Rock’n’Roll »!) ; others are the Van Brothers (« Servant of love », to name only one) and Les & Helen Tussey (already recently posted in fortnight’s favorites). Harold Montgomery, “How much do you miss me“
The artist was named DANNY BROCKMAN & the Golden Hill Boys, on Poor Boy 107. First side is Hillbilly bop, « Stick around » from 1959, when Brockman was D.J. at WTMT in Louisville, KY. Great Starday sound, a powerful rhythm guitar, great interplay between lead guitar and steel during the solo, fabulous (altho’ too short) fiddle solo. A ‘must ‘ record for Starday sound lovers. The flipside is sung in unisson duet with a certain Carl Jones. Nothing exceptional with « Don’t you know it’s true », a real Everly Bros. -alike. With fine steel and fiddle solos. Brockman also appeared on Dixie 859 (« Big big man »), more on him in a future fortnight. Danny Brockman, “Stick around“
Danny Brockman & Carl Jones, “Don’t you know it’s true”
Finally in Omaha, Nebraska (frontier to Canada). 1958, with the wild double-sider « The itch/Baby doll » by CARL CHERRY on the Tene label. « Baby doll » is a typical White doo-wop rocker, good although average. THE side is the garage Rockabilly « The itch » (Tene 1023), prettily sensual. Cherry has got the feel and itch, and the drummer and lead guitar player (RaB HOF says the guy was legally blind!) too ! Fantastic garage sound…They don’t play this way anymore, even with the wilder neo-rockabilly European bands.