Howdy folks ! This is the last post on bopping duets. As surely you did notice it, my English is far from fluent ; actually I don’t dream neither think « in English », because it is not my natural language. I really hope you can understand it, and excuse me for writing such intricate phrases yet very common. But I LOVE this bopping music, and let’s keep it first ! My aim is to figure the music posted with record labels and odds and ends on the artists.
The McCORMICK BROTHERS were a Tennessee/Kentucky family affair. Lloyd and Kelly held the guitars, younger Haskel was on banjo, Hayden Clark on bass and Charlie Nixon on dobro. They cut for Hickory in Nashville between 1954 and 58 a fine line of Bluegrass and Rockabilly boppers, among them this « Big eyes » (1958, Hickory 1080). Strong strumming boogie electric guitar and vocals in unison. They even had a full album, « Songs for home folks » on Hickory 102 (1961) and still are playing today.
Chester and Lester, the BUCHANAN BROTHERS were another duet group. They hit big in August 1946 with the pioneering « Atomic power » on RCA, and revived a similar theme in November 1947 with « (When you see) Those flying saucers ». (RCA-Victor 20-2385) « You’d better pray to the Lord when you see those flying saucers, it may be the coming of the Judgement Day ». Good vocal and guitar duet. The song was used in 2009 in the animated release of « Monsters VS. Aliens ».
PAL (or Palford) BRADY (1922-1988) was a native of Tennessee ; himself relocated too in Michigan, where he had records on Lucky 013 (Cincinnati), Clix (Troy, MI), Bragg, among others (late ’50s to mid-60s). His « More lovin ‘ » (Conteste 45-2) from 1961 has two voices for a good « city hillbilly bopper ».
Charlie & Wallace, the MERCER BROTHERS came from Metter, GA and began a professional career during the late ’30s. After the WWII they had their own radio show on WMAZ before joining in 1948 the prestigious « Louisiana Hayride ». From 1951 to 1954 they cut a dozen sides for Columbia in Dallas, with their Blue Ridge Boys (Clyde Baum on mandolin and Doyle Strickland (fiddle) + Wayne Raney (harmonica). I chose from their equally constant in quality output « No place to hang my hat » (Columbia 20927, 1952-53), very Delmore Brothers styled. After 1954 they settled in Macon, GA, and WIBB radio station before completely disappear.
JOHNNIE (Wright) and JACK (Anglin) were regulars on the ’50s charts, before Anglin was killed in a car crash in 1963. Their «Oh boy ! I love her » (RCA 47-6932) from ’57 is an enjoyable jumping little opus. Earlier on they had cut the C&W classic « Ashes of love » (revived during the ’80s by the Desert Rose Band), and « Cryin’ heart blues » in 1951, supposed to have been recorded (but lost) by Elvis Presley on Sun Records.
« Oh boy, I love her« download
On the Kentucky Dixiana label # 105 from 1954, CLIFF GROSS offer a sort of fast talking blues (with the band chanting in unison) with « Hog pen hop », probably recorded in Dallas. Gross was a mountain type fiddler, and Dixiana emanated from Bowling Green, Wayne County.
PAUL & ROY, The Tennessee River Boys, already discussed in another « Duet » feature (they had a two-sider on Nashville Pace label), have recorded for Mercury in 1953 « Spring of love » (# 6374) : it’s a fast Bluegrass influenced ditty – lead vocal & backing vocal.
Next track GOLDEN STATE BOYS‘« Always dreaming » was already posted here in April 2013. But I like very much this tune with its urgent vocal, the dobro part of Leon Poindexter, the vocal/mandolin of Herb Rice, and the energetic banjo of Don Parmley [personnel give then by a visitor]. Date : early to mid-62, Shamrock 717, Artesia, California.
A solid rocker (with drums), « Good gosh gal » on the Nashville Briar label # 111 by PHIL BEASLEY & CHARLIE BROWN. Nice guitar and steel solo, 1961.
It’s useless to present the YORK BROTHERS (their story is on this site). Here is one of their rarest issues on their own York Bros. Records # 600Y-100, from 1963, and the great « Monday morning blues ».
We are going to the end with FRANKIE SHORT & DEE GUNTER on the Balto, MD Wango label (# 201) : again a solid version of Don Reno‘s « Country boy rock’n’roll » . Remember L.C. Smith and « Radio boogie » (2nd version) on this label.
An important Texas artist of the ’30s and ’40s, (W.A.) SLUMBER NICHOL. He first cut records and had shows with the Sons of the Pioneers, then went after WWII to S&G label for the romping « Cotton pickin’ boogie » (# 3003)(vocal Andy Hallcom). He also had the first postwar version of « Cocaine blues », credited to T.J. Arnall. I never knew if this was actually Nichols disguising himself under a nom de plume. The song was reissued on Imperial, then covered by a lot of artists i.e. Roy Hogsed on Coast, later on Capitol, had the best-selling version ; Billy Hughes had his own version on King, among others. Later on Nichols had « Booger red blues » (unheard – sounds promising) on Imperial 8047, and now his track grows cold.
From Tennessee to Louisiana in Ville Platte : ALDUS ROGER & his Lafayette Playboys. He has « Cajun special » on Swallow 110, from 1959-60. Even for me, French-speaking being, it’s hard to understand all the lyrics !
From Texas on the Towne House (Sulphur Springs) label (# 11): EUEL HALL & the Rhythm Rockers for two nice bluesy country-rock sides, « Stand in line » and « Blue feeling » . Small but very efficient backing, a prominent lead guitar.
He was an enormously successful and popular country music star, a man who recorded over 90 chart hits with a unique style that wasn’t exactly rockabilly, but certainly influenced the shape it hillbilly rockers to come. He was related to hillbilly royalty through his marriage to June Carter, not to mention that his daughter became a country music hit maker in her own right. You know who I’m talking about of course – the one and only Carl Smith. (He also wore black on occasion, but to the point…) Born in 1927, and hailing from Roy Acuff’s hometown of Maynardville, Tennessee, Carl Smith grew up like many Southern boys of the depression, idolizing singing cowboys in the movies and hillbilly musicians on the radio. Acquiring his first guitar at the age of ten, Smith took advantage of any opportunity to play music at local dances, socials and school programs. He found work as a professional musician while he was still in high school in various bands centered around Knoxville and Cas Walker’s radio show on station WROL. But his pursuit of a fulltime music career was temporarily interrupted by his stint in the U.S. Navy in 1945-46.
After returning from the service, Smith found fulltime work as a musician in the Knoxville area where WROL was becoming a triple-A farm team of sorts for the Grand Ole Opry in Nashville and a prime location for record companies to discover up-and-comers in the hillbilly scene. In 1950, with Hank Williams selling records hand over fist for MGM, every major label was looking for stars that could deliver the new, post-war, hard-edged honky tonk style. For Columbia Records, the then 23 year-old Carl Smith was just what they were looking for. Smith found himself in the fast lane to hillbilly stardom, signed to both the Grand Ole Opry and Columbia Records in less than a month. While he might not have been the tortured hillbilly poet that Hank was, Smith had many other assets including a strong, clear voice, his country boy good looks, a head full of wavy hair, and perhaps best of all, he lacked the self-destructive tendencies that were constantly derailing Williams’ career.Smith quickly proved himself a master of just about any form of hillbilly music he set his sights on — from Eddy Arnold-style crooners to Hank Williams-style honky-tonk heartbreakers, to heartfelt gospel that any mother would approve of. But the style that Smith really made his own came from Saturday nights, not Sunday mornings. It was “honky-tonk stomp.” Up-tempo slices of hillbilly bravado and swagger like “(When You Feel Like You’re in Love) Don’t Just Stand There,” “Trademark,” “Hey Joe!” , « Dog-gone It, Baby, I’m In Love » and “Back Up Buddy” where Smith really made his mark on the evolving palette of hillbilly music.
It was a style that Hank Williams had pioneered with songs like “Honky Tonkin’” and “Mind Your Own Business” and that he referred to as “sock rhythm.” But ole Hank’s “sock” was just the 2-4 backbeat that had marked the dividing line between white and black popular music for so long, and that more and more hillbilly musicians were picking up on in the late forties. Smith was a natural for this younger, hipper and hotter form of hillbilly music, but he never came across as the threatening rebel. “The Country Gentleman,” as he became known, could deliver a heartbreaking ballad that brought tears to the eyes of the bluest blue-nose and then toss off a stomper that thrilled the budding teeny-bopper crowd with his down home machismo.
While seldom acknowledged as such, Carl Smith, along with other honky-tonk stompers like Webb Pierce, Faron Young and Hawkshaw Hawkins were adding the final ingredients to the musical gumbo that would spit out rockabilly in just a few years. The young, hot shot attitude, combined with a driving beat and the good looks of many of these honky tonkers provided true swoon appeal to a generation of corn-fed gals, whose younger sisters would be screaming for the “Memphis Flash” and his fellow rockabilly cats in just a few short years. But of course you gotta have a hot band to play hot music, and that’s exactly what Smith assembled with his road band, The Tunesmiths. Featuring top session men like Junior Husky (on bass) and Buddy Harman, but most especially the master steel guitarist, Johnny Silbert (then 17 years old), the Tunesmiths developed a hot style that drew from both Western Swing and the nascent rock’n’roll beat. Other Tunesmiths’ members included drummer Farris Coursey, ex-Hank Williams’ Drifting Cowboys Sammy Pruett on lead guitar or future Jordanaires’ Gordon Stoker on piano. There’s never been any fiddle in Smith’s hillbilly boppers, another sign of him being ahead of his time.
Sammy Pruett left to Hank
A perfect example of the musical style that Carl Smith and the Tunesmiths developed is their 1955 recording of “Baby I’m Ready.” It’s a song that both swings and rocks as Smith declares his readiness to show his lady a hot time on the town. And all with a charm that probably left the young lady’s mother and father smiling and waving from the front porch as that “good boy” took their daughter out for a night of hillbilly whoopee.
Although his hottest period was in the pre-Elvis era, Smith continued to produce solid country hits through the sixties and early seventies. He even managed to hold the strings and vocal chorus of the then popular “Nashville Sound” at bay on his recordings, staying true to a more traditional honky tonk sound. He left Columbia Records in 1973 and after a short stint on Hickory Records made the rare move of voluntarily retiring from the music business in 1978.
He spent his later years enjoying the fruits of a country boy’s dream, on his 500 acre horse and cattle ranch in Williamson County, Tennessee. He was elected to the Country Music Hall of Fame in 2003. His wife Goldie, passed away in 2005 with Smith following her in January of 2010 at the age of 82.
Reflecting on his decision to retire from the music business Smith told Tim Ghianni in a 2003 interview for the Tennessean, “I just wanted to play cowboy. My philosophy is doing what I want to do.” A darn good philosophy for a country boy, but of course we can all be grateful that for a time, bringing a hot beat, a snarl and a swagger to country music was just what Carl Smith wanted to do and what he was best at.
Biography and pictures taken from the net. Scans and music mostly from private collections.
Howdy, folks! Here we go first with a romper, the fast BILLY SCOTT « You’re Braggin, Boy » on a Tee-Vee, OP 4 Star label (#225). Great steel and piano, and call-and-response format. Then in Nashville for the Marty Robbins’ owned Robbins label (# 1005) by the typical hillbilly duet of TOMMY & JOHNNY. They do « I’ll Go On » (#1004), tinkling piano, sawing fiddle and steel -all have their solos, but nothing exceptional!
Nashville on the Bullet label. I couldn’t find any picture of the label (# 706) of « Walking Up Stairs« , by Texan PAUL BLUNT, which, according to Kevin Coffey, could well be the the forerunner of the young Eddie Cochran for « Twenty Flight Rock » six years later. Steel and piano (Blunt was at ease with both) for this fine bopper. Blunt was a renowned session player (Lefty Frizzell, Bill Boyd) since the ’40s and had records on Columbia and Imperial too. Thanks go to Michel Ruppli! Thanks to DrunkenHobo, a faithful visitor, here is the label!
Ohio based AL WINKLER on his own Winkler label (# 45-88) for this « Show Boat Boogie« , along with the Warren County Band. It’s a belter (call-and-response), two guitars, it rolls.
From California and a Tom Sims’ cassette (I found a label scan), for a Bluegrass wildie: The GOLDEN STATE BOYS on the Shamrock label (# 717) . Powerful banjo and mandolin. Chorus, then urgent vocal on « Always Dreaming« . The Golden State consisted of Hal Poindexter (guitar/writer), Vern & Rex Gordin, plus virtuoso young Chris Hillman on mandolin. Disc from 1962.
Finally the one and only BUFFALO JOHNSON. The name can seem not that familiar. He had a long string of releases on Mercury, Gateway (« T’ain’t Big Enough« , # 520, with Jimmie Ballard on vocal) among others in the late 40s/early 50S. Here he offers a good guitar picking bopper. I still do research on him.
A visitor, Mr. Jason Odd, gave me the following details (September 30th) on the GOLDEN STATE BOYS: » »Always Dreaming » — Herb Rice is playing mandolin and singing high harmony. Hal Poindexter is singing lead.
Although not issued until as late as August of 1962 (this date may be wrong) the Golden State Boys debut 45 single ‘Always dreaming’ b/w ‘Wicked woman’ (Shamrock 717) was recorded in early 1962.
The Golden State Boys at the time were Don Parmley (banjo), Herb Rice (mandolin, vocals), Leon Poindexter (vocals, dobro, guitar), Harry Kniss (bass, vocals), and Hal Poindexter (vocals, guitar).
Hal actually quit the band for part of 1962, but rejoined a radically different line-up later that same year. Hal and Don Parmley were the real constants in the group after that, although by late 1963 they were down to a quartet with Don, Hal and the Gosdin Brothers Rex and Vern. With a disagreement over management [Bob Flowers] Parmley and the Gosdins went out on their own as the Golden State Boys with Chris Hillman taking over on mandolin, while Vern Gosdin switched from mandolin to guitar. That group briefly worked as the Golden State Boys until Hal Poindexter and Bob Flowers took control of the name and rebuilt the group.
The Gosdin-Hillman-Parmley combo became known as the Blue Diamond Boys and as that group cut the album that was later credited to the Hillmen when released in 1969. » Thanks Jason!
Republic records started when Tennessee left. Bill Beasley had law troubles with Decca Records, who wanted Del Wood masters, and Decca won (but Del Wood went later to RCA). So Beasley started Republic. Billboard (March 1953) announced that “Republic company had to legally acquire the master recordings from the formerly Tennessee label”. By July 1953, there were well over 50 singles on the new label.
Significantly, Republic was launched in August 1952 with a pop singer, Snooky Lanson. This trend continued with Del Wood, Jimmy Sweeney and Pat Boone, but half the Republic catalog remained Country. Beasley transferred such Tennessee stalwarts J.T. Adams, Allen Flatt, Lee Bonds and Sonny Sims to his new label. There were a few new names on Republic like Ted West and Jimmy Simpson. Beasley also continued to record R&B and gospel: Edna Gallmon Cooke, Christine Kittrell, who had hits on their own. Bernard Hardison cut “Too Much”, a hit for Elvis in ’57. Apparently Beasley wrote most of the songs, published by a New York group, under the names of Norris/Beasley/Richards, or Rosenberg, the latter being Lee Rosenberg, Beasley’s secretary.
In June 1953, Alan Bubis connection came to an end. Bubis went to construction, coin machines and liquor stores, far more predictable thanrecord business.
In 1955, Beasley moved Republic to 714 Allison Street, and concluded with Murray Nash (ex-Acuff-Rose and Mercury staffer). Nash engineered most of the Republic sides.
The Republic name and logo was bought in 1957 by Ray Scrivener, and along with Gene Auytry, launched Californian Republic label..
After Republic folded, Dot bought Pat Boone’s contract. Other labels (Chess, Vee-Jay) bought Republic masters. (suite…)