The story of RUBY RECORDS (Larry Short)

I started in operating « Ruby Records » in February 1955. Before that I played the electric steel guitar for several years. Later on I met Esta Dodds, and worked as her A&R man, on « Esta records ». She was several years my senior and I felt she was satisfied moving at a slow pace. This irritated me and I became to be dissatisfied, so decided to start my own recording service, « talking letters » (Short recorded weddings, speeches and cut demos – in the same manner as did Sam Phillips in Memphis during the late 40’s).

Receiving satisfaction from this facet of recording, it prompted me into seeking my own label. I wanted to register it as « Rainbow Records », but there was a « Rainbow » label in Memphis, Tenn. Rather than be a part of an infrigement act, my wife gave written permission, without involvement to her, to use her name. The name « Ruby » was placed in a two dimensional diamond figure, with simulated glitter…with stars emitting from the glitter – which formed the logo. Then I was successful in getting it registered at the principal register in Washington. Wherein « Ruby Records » was given birth.

Since I had my own sound room and control box and access to the public library, I facilitated and accelerated my own education in sound reproduction. My first commercial recorder was an Ampex model 300 console, RCA custom division in Chicago and Indianapolis normally press our records.

We had distributors in Baltimore, Indianapolis, Cincinnati and Dallas. The « Billboard » (trade mag) reviewed all our releases, and we got some good reviews. I remember one which was not so good, I don’t believe I will ever forget it, because it was the truth ! This is why I respect this trade paper so much.

Our biggest sellers were Big Black Train / Stan Johnson, and I’m Walking Out/ Walt Scott. Scott was my first artist, he was an excellent showman and writer. He wrote Burning Bridges for Jack Scott – though they were not related, says Walt.

Our earliest releases were in the Country/Gospel vein, because I felt strongly that the stories in the material told of heritage. This was about the time (Broadcast Music Inc) started expanding their operation, and a large number of publishing houses used this format.

Believe me, it was hard going in the 60’s. We went from seventeen artists, down to three. Two or three per year and not promising of any releases, depending on the trend of the industry and various formats. I honestly our format would start moving again, I learned a lot in those lean years. I didn’t make a lot of money, but it was then I learned a small, independant label did not need a large roster to operate and be recognised.

Some of our people left the area. Jesse Kidd went to Hollywood, and became involved in making class « B » movies. Tex Fields went to Ft Worth, Texas, in some radio work. Ray Pennington was for a while in the area, as a D.J. for WNOP radio, then to Pamper music in Nashville, then to RCA. Leaving us with Stan Johnson, Cindy Dee (his wife), Chubby Wagner and Jack Daniels, with options on several others.

As for our current activities, we record regularly. Stan Johnson writes his own material, but we also use other writer’s stuff for him, should it be in his style. Chubby writes some, we have taken options on various sound tracks for him. Jack Daniels also writes, and collaborates with other writers in the Country/Pop field.

« Galactic Enterprises » embraces our entire operation, including our subsidiary label « Shomay ». The artists on this label are people with potential, that could come up to « Ruby Records » later. Over the years I think it can be determined that we have stayed with the industry in sound, and in quality of product.

Stan Johnson – Stan came into « Ruby Records » for an audition, early inFebruary 1957. Even though he wrote the material we used, it took eight hours to complete his first session. Stan started his career at a young age, with his own band, The Blue Chips. He appeared at different clubs and lounges, such as The Southern Inn for three consecutive years. He also appeared with Smoky Ward on WPFB, Middleton, Ohio.

Stan has played our local venue, at Liberty, Indiana. Also on a number of tours I have set up, in Kalamazoo, Lexington, and Richmond, Virginia.

Bobby Martin – Bobby was a member of the Tune Twisters. Charles Kanter, a representative of Annis House, a publishing firm in Chicago, Ill., had intentions of using a major studio in Cincinnati, to record the group. When they arrived at the studio, the engineer was intoxicated, so Charlie brought them to us.

It was midnight on a Saturday, when we started the session. The entire group recorded, which included the Begley Sisters, Bill Stucker and Bobby Martin.They were farm kids, managed by a TV personality by the name of Vic Bellamy. The day of the session, the kids did farm chores at their various homes, put on their regular radio show in Herrosburgh, Kentucky…did a TV show later in the morning and then journeyed to Cincinnati, to find the session there was aborted. They arrived at our « Ruby » studio in Hamilton shortly before midnight, January 2^nd 1957. We finished on Sunday morning 9 :00am..No one went to church that day.

Emery Blades – Emery is a local Hamilton boy, a brother-in-law to Joe Nuxhall, Cincinnati baseball’s ace pitcher. He’s married to Joe’s sister and they have two boys. As a family, they are active in Church attendances, engaged in singing in Church services.

Hoyt Webb – Hoyt was from Montgomery, Alabama. I don’t rate Hoyt too high as a singer, but on recitations they were few who could touch him. He moved his family and possessions in a pick-up truck, to Oxford, Indiana, where he had friends who arranged for him to have an audition at our studio.

We used our ‘staff band’, The Rhythmaires, who consisted of Wendy Hargraves (steel guitar), Clyde Marcum (lead guitar), Tommy Short (bass), George Baker (fiddle) and Dave Roark on rhythm guitar.

We cut his session on the 9th day of March 1957, in the evening. His wife Sarah coached him from the control room on Baby Won’t You Slow It Down, he needed no coaching on the flipside. Hoyt and his family moved to Liberty, Indiana, later on, the town where we held our weekly stage shows, in a leased theatre. We worked our people on our own stage, and on the road on an alternating basis.

Article revised (Nov. 2, 2011): I’ve found a label scan (+ music) to Bill Stucker‘s “I Go On Prentending” (# 420). An average, ordinary, fiddle-led hillbilly from 1957. Then I added to podcastsWinnie Parker‘s “Down Boy Boogie” (# 350). Someone had asked for it. It’s a lovely medium Hillbilly Bop/Rockabilly, with references to “Blue Jean Bop” and “Blue Suede Shoes“. Lazy vocal, and a very fine guitat throughout.

Finally, label’s first issue was by Walter Scott, the very fine Country Bop “I’m Walking Out” (# 100). Scott was backed apparently by the Corn Huskers, who do appear on his next issue (# 240), “One Life To Live” (music untraced). Just lend the post an ear!

(based on Derek Glenister’s interview of Larry Short – New Kommotion # 16, Summer 1977)

label listing from www.45rpm.com