Arlen Vaden was D.J. at WCKY out of Cincinati, OH, when he launched in 1958 his own Vaden label. The first issue (# 100) of the new label was by BOBBY BROWN & The Curios, who consisted of Brown (vocal, rhythm guitar), Shorty Stewart (lead guitar), Tommy Jones (bass) and Johnny Welker (drums). This record was cut at WCKY, and later on reissued on Vaden 107. « I Get The Blues “ is of course bluesy with a fine lead guitar (long solo).
Early 1959 saw Bobby Brown back for another issue on Vaden 109, this time cut at KLCN radio in Blytheville, Arkansas. Twin-lead guitars (J.C. Caughron & Tommy Holder), Larry Donn (bass), Johnny Welker (drums), but the most important and pulsating instrument is Teddy Redell‘s piano, who adds a brillant and pulsating flavor to « Bobby’s blues ». Thanks to Alexander Petrauskas who provided me with all the information. Do visit his great blogsite « Arkansas 45rpm records » or “Mellow’s Log Cabin“!
We go further East in North Wilkesboro, in N. Carolina, circa 1952-53, for a fine double-sider first on the Blue Ridge label (# 306) by LARRY RICHARDSON [banjo] & Happy Smith & the Blue Ridge Boys. Two songs are in discussion : « I’m Lonesome » and « Just Let Me Fall », both superior Bluegrass tunes, billed « Hillbilly » on the labels ! Thanks « 53jaybop » to have posted them two songs on Youtube. Later on, Richardson had on the MKB label, out of Virginia (no #) what it seems to be a rocking effort, »I’m Lonesome/I’ll Fall In Love With You » (alas untraced). We finally find him back on Blue Ridge 516 in 1960/62 for « The Nahville Jail », again a fast and fine Bluegrass number or « Wild Over Me » (great fast mandolin by Clinton Bullins?) on MKB 130 from 1968.
Way up North now for the Omaha, Nebraska Applause label : the TERRIFIC TABORS (with their leader Paul Tabor ? He at last holds the credit) offer a pretty weird mix of Bluegrass (unisson chorus) and garage rocker on « Rockin’ The Boat » from 1961. There’s even what sounds a steel behind the backing of guitars. The flip side, which sounds an instrumental (« Tabor Tromp ») remains untraced.
Real old Hillbilly now by CHARLIE BOWMAN& His Hill Billies on the Brunswick label. Bowman was a fiddler and a banjo player on several sides cut in New York with the Hopkins Brothers between October 1926 and May 1927 : « East Tennessee Blues » and « Riding That Mule ».
Finally a SHORTY LONG, who has apparently nothing to do with the S. Long I discussed thoroughly earlier in this site, does a romping R&B rocker (saxes), although the voice sounds white, with « Redstone John » on the K-Son label (# 7283). Location unknown.
Howdy folks ! With just an exception, only 78rpm this time.
Let’s begin with the legendary JIM EANES in one of his earliest efforts on the Blue Ridge (#301) label. It’s happy hillbilly bordering to bluegrass (sometimes difficult to distinguish, but who cares?) : « A sweeter love than yours I’ll never know ». Fine solos : banjo, mandolin over chorus vocals.
Smilin’ Jim Eanes “A sweeter love than yours I’ll never know”download
First on the D label (#1034), the very Hollyish “Sady” by DOUG STANFORD. Very nice Rockabilly guitar and vocal hiccups. A medium bluesy “Separate ration blues” by BILL FREEMAN (later on All-star)(vocal “Buddy” Young): good piano, sax and fiddle.
Hillbilly boogie with AL WINKLER for “Show boat boogie” on the Winkler label # 45-88 . Boogie guitar, mandolin, and call-and-response format.
Hello folks ! Hi to returners, welcome to newcomers…
This is my bi-monthly choice of stomping, shuffling hillbilly boppers, sometimes rockers, and by surprise, R&B rockers.
Let’s begin on the West Coast, but I am not sure, as the Sage label used to sweep products largely from other areas along: the gentle rocker « Seven Come Eleven » by Al Muniz (# 262). It seem date from 1958. A prominent piano, a bit jazzy guitar solo. All this transpires laziness !
Then in Ohio, (Cincinnati) by Miss Joy Whittaker. She seems to have been a good seller, as she has records as soon as 1955 on M and J, and Esta in 1957. Excellent 215 is a label owned by Mrs. Estel Scarborough as the others. Dating this record « Toe Tappin Rhythm » has proven difficult : the only other I know is # 279 (Logan Valley Boys) from May 1957. So I’d assume this one as being from late ’55/early ’56. As from the bass beginning instro, we have a a mix of hillbilly bop (fiddle has its solo) and a rock-a-billy guitar. Exciting firm voice and many breaks. Could please to Rockabilly fans.
Down to Texas with the Corpus Christi DJ Kenny Everett, who does a fine country-rocker (1958) on All Star 7173 with « What Is It ». Accompaniment is a typical Houston one : fiddle (solo), steel (2 solos), piano (solo) and drums.
Marshall Lail then from Atlanta, Georgia for two tracks. On Sunrise first (# 001) for the energic late ’50s complaint « I need You So » (More Than You Know), before a more melodic and sentimental «Countless Hours Of Heartaches », podcasted by a certain « Mr. Honky Tonk » on his channel. No indication of the label. Finally way up North, in Hammond, Indiana, for the great bluegrassstune on the Mar-Vel 355 label by the Thomas Brothers, Melvin and Elvin, “Way High , Way Low“. Great interplay between the three voices (falsetto and barytone). A classic !
Billboard 17 Nov. 58
Billboard 8 Aug. 56
March 28th, 2013. Dan Nail wrote the following line: “Marshall Lail was my Father. He recorded “I Need You So” and “Countless Hours of Heartache” in 1960 at NRCO Studios in Avondale, Georgia. He printed up 500 copies on his own label called Sunrise Records.”
Indiana is not the first American state you’d associate wih primitive Rockabilly, but it was there, hidden away among the steelworks and the industrial areas. Indianapolis was seething with young, spotty hopefuls, all wanting to be Elvis and looking more like the greek next door. Eddie Smalling, Tommy Lam, Van Brothers, Tex Neighbors, Dennis Puckett…All true blue Indiana boppers.
The Blankenship Brothers certainly weren’t the next « Teenage sensation ». Hell, this small but tightly packed band didn’t even pretend to cut Rockabilly. Led by Floyd and Dennis Blankenship, this small outfit cut some of the best primitive rock north of Tennessee, but to them it was more like country and bluegrass music., blended with a little rough Johnny Cash edge. They played all the local honks and jukejoints, entertaining the masses of factory workers who were looking for entertainment after a hard week of being frazzled by the burning steel mills. Hell, maybe these guys worked there too…