This favorites section begins with NEAL JONES. Born in the small community of Tywhop, TN, in 1922, he began his career with the Johnson Brothers on Kingsport and Chattanooga radio stations as lead guitarist as soon as 1940. He then moved to Montana, then back to Tennessee. 1953 saw him guitarist for Eddie Hill and Sonny James in Dallas, TX. That’s where he gained a contract with Columbia, and followed a long string (6) of releases with this major until mid-1955. I chose one of his earliest efforts, « Foolin’ women », (# 21292) and the double-sider nearest to Rockabilly, (# 21415) « High steppin’ baby » and « I’m playing it cool », both cut at Jim Beck’s studio in Dallas with WFAA staff musicians. Later on, Jones had his own T.V. show, and was more and more involved in a D.J. work . He finally had one record on « D ».
Next we find the former lead guitar player for the Maddox Bros. CAL MADDOX on the Flat-Git-It (# 700) label from California. I suspect the label was his own label. « Hey Bill » is a fast Hillbilly rock from 1960 : strong guitar as expected, sawing fiddle. Shortly before that, Cal and his sister Rose had cut « Gotta travel on » on the Black Jack label.
From Columbus, OH, comes the next record, « Hobo baby » by JOE & RAY SHANNON on the Shenandoah label # 246. Obviously brothers – it’s Joe singing -, they offer a strong guitar rockabilly tune, surprisingly good for 1964.
On one of the many Dixie labels that flourished everywhere in the U.S., there’s this one « I guess I’m wise » (# 833) by MALCOLM NASH (with the Putman County Play Boys). Probably issued 1960. An harmonica is the prominent instrument, over a powerful rhythm guitar, while the band (2 voices) sings in unison. This record reminds me much of the Delmore Bros. On the label however there is no clue as to where do come the artist neither the label from, except it’s a Rite pressing, so probably from the Cincinnati area.
Nothing to do with Jimmy Carter’s supposed brother ! That Bill Carter was a member of the Big Jim DeNoone’s Rhythm Busters.
His story begins on December 12, 1929, when he was born in Eagleton, Arkansas, one of ten siblings, the son of an itinerant share cropper. By the time he was nine years old, he was singing on KGHI out of Little Rock, Arkansas. In 1937 , the family moved to Broken Bow, Oklahoma. Bill’s father got a job with the Southern Pacific Railroad in Indio, California, in 1943, and the family headed west. Bill’s interest in music was encouraged, and he took voice lessons during his teens, as well as performing on radio stations KRBO (Indio) and KROX (Modesto), modelling himself on Eddy Arnold. After graduating from Coachella Valley High school, Bill gained employment with the Johnson lumber Company in Grass Valley, and confined his performings to weekends.
In 1949 he joined USAF, and whilst stationed at Lackland and subsequently Parks AFB in Calfornia, Bill formed several bands, playing with the likes of Shorty Lavender (lead guitar and fiddle), Slim Roberts (fiddle), and Bob Cooper (drums). His music was firmly strenched in C&W and performing at NCO clubs kept his hand in. Whilst still in the Air Force, he got to perform with Cal Smith’s band in San Leandro, as well as playing dates in the San Francisco area, and venturing as far afield as San Antonio, Texas radio stations to perform.(suite…)
I’ll try to give the story the best I can. My dad’s family were farmers: grandad was a dutch/german immigrant and grandma was cherokee indian. When my dad was old enough, he couldnt wait to get off the farm, so towards the end of the second world war, he joined the air force where he worked in the hospital and was involved with the u.s.o. My mom and dad met in the service; mom had just returned from being in Japan for four years as part of the occupation force. They met, fell in love and got married, mom became pregnant and I was born at Bowlings Air Force base in Washington, DC. My dad wanted to break into the music business, as he already had been doing u.s.o. shows for the troops, so it was decided to get out of the service and head to southern California: it was 1951 and the beginning of hillbilly and rockabilly, although they didnt call it rockabilly, they called it country and later as the honky tonks started poppin’ up everywhere, they began to call it honky tonk music and because many of the artists themselves came from the country and the hills, they also called it hillbilly, for the purest though I call it honky tonk music. Papa nicks, the blue room, the hitching post, jubilee ballroom, the palomino are just a few of the many honky tonks, that my dad and others like him played everynight, dad drove a truck for his day job and worked the honky tonks at night. As at two a.m. in the morning all the bars in southern california close, so its grab a bottle and everybody head over to the house for a jam session. I can tell you they all came through our house at one time or another, everyone from Little Jimmy Dickens to (Ralph) Mooney on steel to Eddie Drake, Ferlin Husky to Hank Snow. In the garage they would play until the sun came up, those were the days when they created what they call today the Bakersfield sound, working in those small recording studios like Aggie and Toppa, two of the labels my dad was on as well as M&M and Mercury and Sundown. I remember this old honky tonk piano my dad got somewhere, it had a very unique sound and they had it in the garage, so they could jam all night after the honky tonks closed. So when it was time to record « Make Room For The Blues », my dad wanted that true honky tonk sound, so they took the piano to the studio and that’s the one you hear on the song as well as on « World’s Champion Fool », I really loved that old piano and always will wonder what became of it. In 2008 Dick Miller passed away, but what he left us is something that we can all cherish, good old honky tonk music that you can still dance to today. God bless and thanx for your interest & love of this wonderful music, feel free to edit this to suit your needs at your blog, also have many more pics and have 8 tunes on my hard drive and a big cardboard box full of reel to reel tape from the old days, am working on a best of compilation of Dick Miller and his band to release on compact disc in the very near future. Please stay in touch, am always around and love to chat, Roger. (suite…)
Howdy, folks! We begin way up North, in Wisconsin, with the very first record by a singer who had to wait 11 years more before fame with « Six Days On The Road« ! Yes, DAVE DUDLEY cut numerous discs before his giant hit of 1963. Did you know the original version was recorded by a certain PAUL DAVIS on the Nashville Bulletin label in 1961? If you want to hear it, just type his name on the research button. Well, back to Dave Dudley. Here is his « Nashville Blues« , firmly founded on Hillbilly Bop.
courtesy Al Turner
On the West Coast, 1956. DERAL CLOUR (& Charley Drake) recorded the fine « Sundown (Boogie) » for the scarce HU-SE-CO label. A superior medium boogie guitar backed, and a very atmospheric echoey duet vocal, « crazy ’bout the boogie when the sun goes down…. »
In the South (Texas?). Imperial records for BILLY McGHEE and « I’m Your Henpecked Man« . This was 1953. McGhee was to have 5 more discs on the label; I don’t know what happened to him afterwards.
BOB POTTER & the Wear Family were apparently from California and cut the odd custom sides for Rural Rhythm. Here it is their good uptempo « Leavin’ And Laughin’ » from 1956.
Just another duet, among millions: the GAY BROTHERS. Harold & Carl cut in 1953 the great « You Locked Up My Heart » in Houston for Dan Mechura’s Allstar label: a fast bopper and a stunning fiddle.
ZEKE CLEMENTS was an early Grand Ole Opry star who had many records late ’40s and early ’50s. Here I’ve chosen the good uptempo « I’m Goin’ Steppin’ With You » issued on his own Janet EP label.