Howdy, folks! Welcome to newcomers, hi! to returning ones. More features on the pipeline for your own pleasure: I’d begin to entirely rewrite the Skeets McDonald story once published but too short and not enough documented. Then, Connie Dycus, the Rodeo/Excel label, Ray Henderson, Black Jack Wayne, Bob Blum (of « Rompin’ Stompin’ Good Time » fame!), Jack Guthrie, George McCormick (of the highly acclaimed duet « George & Earl« ), Lonnie Glosson, Eddie Dean and a lot more features to come…Just pay me a visit sometimes! Monty Deane, grandson to Wally Deane (see Trumpet story) did contact me, also the granddaughter to Kay Kellum. More infos from them to come. And I bet you didn’t miss the fascinating story of Dick Miller, who his son Roger helped me a lot for. A better search engine will be put on the site to help you find a particular artist. (suite…)
Howdy, folks. Sometimes it is easy to assemble a « fortnight » feature, sometimes not. This time it has not been that easy, I don’t know why. I tried to vary tempos, origin, labels, and I am not sure I did succeed. Only your visits and interest could say I was O.K.
First in this new serie, CECIL CAMPBELL, backed by the Tennessee Ramblers. He was steel player (born 1911) in the Virginia/North Carolina region, and found moderate but constant success with his records on RCA-Victor. Here I’ve chosen his 1951 « Spookie Boogie« ; he explains in his own words what he wanted to do with this tune:
He was looking for an « …unusual hollow type of rattling sound designed to send cold chills rushing down the spine. » He couldn’t find that sound on the musical instruments. But as fate would have it, one of the members of the Tennessee Ramblers had false teeth and that mysterious sound that appears on the tune « Spooky Boogie » was made by a pair of chattering false teeth. » Later on, he was to have a minor Rockabilly classic in 1957 on M-G-M (12487) called « Rock and Roll Fever« .
From Kentucky comes now JIMMIE OSBORNE, the « Kentucky Folk Singer ». He had a string of releases on KING, with strong success, among them the amusing « Automobile baby« . Osborne played the Louisiana Hayride, as well as the Opry, until his suicide in 1957, at the early age of 35.
On to Texas. FRED CRAWFORD is a relatively well-known artist, whose 9 Starday singles were of constantly highest musical level. « Cornfed Fred », as he liked to be called, was a long-time D.J. on KERB radio station of Kermit, and considered himself more a radio man than an artist. Here below is « You Gotta Wait« , a very nice 1954 Bopper. He later went to D, and committed a pop song, « By The Mission Walls », whose main claim to fame is the backing by no one but Buddy Holly.
Then TEXAS BILL STRENGTH, who had on Coral Records « Paper Boy Boogie« . Another version does exist by Tommy Trent on Checker 761 from 1952. I don’t know which one came first. The song was even revived by Hank Williams as a demo. Strength (1928-1973) had a long carreer, beginning on radio KTHT, Houston, in 1944, and recording for 4 Star, Capitol, Sun and Nashville. He re-recorded « Paper Boy Boogie » on Bangar as late as 1965.
During the Sixties, ARK records from Cincinnati did issue many a fine disc, mainly in Bluegrass or Sacred. In a past fortnight I included a Jimmy Murphy song, which I consider one of his best, « I Long To Hear Hank Sing The Blues« . Here we have a pseudonym, and there is not any chance, I’m afraid, to discover who really was TEXAS SLIM. A very superior double-sided « When I’m old And Gray » and « Look What You Gone And Done To Me » (ARK # 309). Stunning association of banjo and steel. Hear it!
Finally a classic R&B rocker: « Flat Foot Sam » by T.V. SLIM & His Heartbreakers. Hope you enjoy the selections! Bye.
BURKHARDT, CARL Carl Burkhardt was the owner of Rite Records in Cincinnati, the parent company for Kentucky, Gateway, Big 4, Big 6, Arc, Deresco, Worthmore, and others. The operation started as a radio repair shop and record store at 3930 Spring Grove Avenue in the Knowlton’s Corner area of Cincinnati in 1940. They began pressing records there but eventually moved to the Evendale area, where their building was across Interstate 75 from the GE Plant and could be seen from the highway. In this location they added a studio, pressing plant, and printing presses, so they could do everything in house. In 1955 a custom pressing division was opened to manufacture records for anyone who wanted to record and had the money to pay for it. This continued until 1985, and in that span of time, Rite did custom pressing on approximately 21,000 different singles, most of which were country, bluegrass, or gospel. During its existence, Rite produced 78 rpms, 45 rpms, and some LPs. (suite…)
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).
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…
Though highly revered within hillbilly and rockabilly circles, the name of Lattie Moore is practically unknown outside auction lists. Even there’s a tad mysterious, Eddie Bond’s « Juke Joint Johnnie », Jerry Reed’s « If The Good Lord’s Willing » and George Jones’ « Out Of Control » have been reissued on CD but they were probably more familiar than Lattie’s versions even before they were readily available. Yet, arguably, Lattie’s records are more rewarding. His experience-laced vocals have far more expression than Jerry Reed’s or the affectless Eddie Bond and the countrypolitan elements which often diluted George Jone’s 60’s music are almost entirely absent.
Lattie’s voice is absolutely perfect in a coarse, grainy, ragged sort of way and there’s the odd device like a half yodel when he sings about doleful effects of drink. Country traditionalists go for the light, twangy vocals on hillbilly songs like « Don’t Trade The Old For The New ». Rockabilly enthusiasts bid big bucks for Lattie’s very scarce records on Arc and Starday. Lattie, however, admits to singing about drink more than anything else. (suite…)