Howdy folks! Thanks for visiting my site: you are never less than 35-50 people each day. This is the proof the site is of interest to you, and it gives me in turn enthusiasm and heart to go ahead, search and find more hillbilly bop gems for your own pleasure.
Robert AUTRY INMAN (as christened) from Alabama had begun his musical career as bass player for Cowboy Copas and George Morgan in the latter part of the ’40s. A first recording contract wth Bullet in Nashville occurred in 1949, I will tell more about him in a future feature, when I have gathered enough biographical information (which is actually very sparse for his early career). 1952 saw him inked by Decca records, where he enjoyed moderate success, fine boppers and ballads. In 1956 he embarked freely on the rockabilly bandwagon and cut the classic two-sider « Be-Bop Baby/It Would Be A Doggone Lie« , I’ve chosen the latter side, in my opinion the better of both.
Tommy Durden late 1990s
From Kansas City, early ’60s, a pleasant jumping country-rock tune on the ‘R‘ label, « There’ll Sure To Be Other Times » by OTHEL SULLIVAN. He had another 45 on Wonder, which I have not heard. Judging by the RCA custom pressing number, it dates from 1960.
The next artist in question, TOMMY DURDEN, born 1928 in Georgia, had a low-profile career for more than 40 years. Singer and steel-guitar player, he is best known today for being the co-writer of « Heartbreak Hotel », which gave him comfortable royalties, even if he never wrote a follow-up. Early ’50s saw him , no one knows how, cutting for Houston’s Sol Kahal’s Freedom label, backed by the Westernaires. He had a regional hit, « Crossroads » (rejected by Four Star’s Bill McCall as « too pop »); but fare more interesting was « Hula Boogie« : Durden on vocal, a deft mandolin solo by Boots Gilbert (one-time Durden’s wife, later to have the classic « Take It Or Leave It » on Fortune), and a stinging, hot steel-guitar by the young Herb Remington.
From the Ohio State comes now BOBBY RUTLEDGE. He recorded for the Akron Zipp label some Hillbilly bop sides (« Southern Fried Chicken« ); here you have the furious « Go Slow Fatso » from 1956.
BUSTER DOSS & his Arkansas Playboys recorded first for Dallas Talent label this « Graveyard Boogie » in 1949, aimed at horror/halloween followers. Fine steel, call and response format, and a romping piano. He was the uncle of Bob Doss, famed for his Starday sides of the late fifties.
Finally a boogie classic by CECIL GANT – he would die early February 1951 in Nashville, a mere 60 years ago, after a short 6 years musical run and innumerable boogies and ballads. Here I’ve chosen one of his best instrumental tunes, « Screwy Boogie« . Enjoy the selections!
Howdy folks! I am moving on June 11th. So, before my entire library/computer is set up, I may be out ’till this end of June. I’ll do my best to give you some more music in the meantime.
We begin with JAMES O’ GWYNN, Star of the Louisiana Hayride, here in 1955 (Azalea label) with the fine, amusing « Ready for Freddy ». Great hillbilly phrasing. Go ahead with Cincinnati, Ohio, KING’s recording artist BOBBY GROVE. Fine « No parking Here » (double-entendre lyrics!) with the cream of Ohio musicians backing. Then down South. You are for a treat…BADEAUX & LOUISIANA ACES, 1962 (Swallow label) and the classic « The Back Door » – even for me, French speaker, the words aren’t easy to understand. Honky tonk life…Back to Texas with GLEN REEVES and « That’ll be love » (Decca), good Hillbilly bop/Honky Tonk from 1956. 1936, Dallas, LEON SELPH and « Swing Baby Swing » (Decca)(proto-Hillbilly Bop!). A real phenomenon: ROD MORRIS. Although he had had a recording career (Capitol among other labels – he came originally from Missouri), he was a songwriter. Here he is singing a song taken from Americana tradition about trains and drivers, « The Ghost of Casey Jones », a mix-up of Rockabilly/Rock’n’Roll (Ludwig label, 1958).
Leon Selph & Blue Ridge Playboys, 1936
Amos Milburn & Chickenshakers, 1956
As a bonus, a great wildie, AMOS MIBURN pounds the 88-keys on « Amo’s Boogie » (Aladdin, September 1946) – on the West Coast. Enjoy the music, comments welcome. Bye…
Howdy folks! Back from holidays in Rocking Italy, here I am again, this time more piano to the fore. Let’s begin with the now famous CURTIS GORDON and the classic Hillbilly Boogie from 1953, « ROMPIN’ AND STOMPIN’ – fine walking basses (Floyd Cramer, really??), a relaxed vocal, call & response type, steel and bass, everything is perfect here. From a 78 rpm.
Then we go West Coast with DICK LEWIS and his uptempo « BEALE STREET BOOGIE ». Good left hand, while a nice sax takes the first row for a good solo. 1947, Imperial 8004
The HODGES BROTHERS are well known – I really don’t know if this is the same outlet as on Arhoolie (Watermelon Man). Nevertheless their « HONEY TALK » is already a classic. Rockabilly indeed. Urgent rural vocal, nice interplay during the solo between guitar and fiddle. A great one! Whispering Pines 200 label, from Indiana. They also appeared on Starday custom serie (see elsewhere in the site)
Then a mistery. Famous French collector Henri laffont (R.I.P.) told me he thought it was Red Smith (same guy who cut « Whoa Boy » on Coral) but was unsure. Anyway « RED HOT BOOGIE » is a very solid slice of Hillbilly Bop, almost Rockabilly (because the hiccups of Smith); 3 solos (fiddle, guitar, bass, again fiddle). Which was the original label? This track is one on my all-times favorites! Please take a listen and let me know how you feel it. MYSTERY SOLVED on June 22nd, 2012 (thanks to a faithful visitor, Drunkenhobo from U.K.). The artist is Scotty Stevenson & the Edmonton Eskimos, a Canadian issue on RCA 55-3309-A, from 1950. I’d never thought a Canadian outlet could sound so « Southern hillbilly bop »!
Way down South. LAWRENCE WALKER and Cajun « Allon Rock and Roll » (sung in English); Lot of cliches, a corny sound: I would have assumed the tune was recorded in late 40s, however it goes back to …1962!
Finally ROD MORRIS and « Weary Blues » (Deadwood). When a Hillbilly got the Blues…WHO the hell may be the SUPERB guitar player ? He obviously heard much Magic Sam and T. Bone Walker, and he’s very aggressive during the solo.