Late September 2016 bopping fortnight’s favorites

This is late September 2016 fortnight’s bopping favorites. As prettily usual, I selected a dozen songs which I feel interesting both for their obscurity and/or their appeal. The songs range from early-to-mid ’50s to very early ’60s. Let’s begin on the West coast with the very elusive TOM (Red) WILSON & His Country Music. He sings in the W.C. Western swing manner, added by a tight little combo of steel, piano and guitar, plus bass of course. First two selections combine both sides of his release on Crest 1007 (which was an outlet of Liberty). «Can you bop ?» (with female replica and jive-talk) tells everything. It’s a shuffler from 1955, with a strong Speedy West-styled steel, inked by Cal Veale, a name which crops from time to time on W. C. records.. The flip « Hillbilly parade » keeps the long established tradition of stringing some well-known Western songs. According to the songs cited, one can recognize T. Ernie, Webb Pierce and Ernest Tubb. Nice fiddle. There’s even a fat-bodied guitar picking solo which must be by Merle Travis himself ! Terry Fell had cut previously (1953) on Gilt-Edge 5084 his « Hillbilly impersonations« ; but 12 artists were involved then in place of the half-a-dozen by Tom Wilson.

crest 1007 tom (red) wilson - can you bop?

crest 1007 tom (red) wilson - hillbilly parade

« Can you bop? »

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« Hillbilly parade »

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Terry Fell & The Fellers (Gilt-Edge 5084, 1953) « Hillbilly impersonations »

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gilt-edge 45 5084 terryfell - hillbilly impersonations


The second release is really disappointing, both « Lonesome seagull » and « It’s me again » (Crest 1020) are weepers.

« Lonesome seagull »

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« It’s me again »

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Next artist is a bit of a mystery. BOB TUCKER & His Sky Riders (vocal chorus by Virgil Hume) don’t give any clue of origin neither date of release. Tucker (neither Hume) never had another record, at least to my knowledge. They do a bopping tune « Quit draggin’ your feet » and a quieter side on « My tears are dry » released on State 4002 B/A. Both feature a really wild and inventive steel, and the singer does a really fine job on the supercharged « Quit » side. The record may date from the 1953/54 era.

« Quit draggin’ your feet »

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« My tears are dry »

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state 4002b bob tucker - quit draggin your feetstate 4002a bob tucker - my tears are dry

 

On to a well-known name, for a not so well-known good Country bop song. DALE HAWKINS was no longer in 1961 with Chess Records, and his days of fame were over, when he cut (with Roger Miller on guitar) the nice and, apparently, autobiographical,         « Wish I hadn’t called home » for Tilt 783.

tilt 783B dale hawkins - wish I hadn't called home

 

« Wish I hadn’t called home »

Two visitors are categoric: Hawkins plays guitar while it’s Miller singing. Thanks, chaps!

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Then VIRGIL HUNT (a repost of as early as May 2012). « Can’t we try again » is a fast 1957 hillbilly bopper, with fiddle and guitar solos issued on Boot Heel 604 [did I write the label’s name right, Dean?], apparently a Tennessee label. Now you get a complete and nice label scan..

« Can’t we try again »

downloadboot heel 604 virgil hunt - can't we try again

On the small Livingston, TN. Breeze label (# 401), on to female Rockabilly with SHARIET SEXTON for « Since baby put me down ». Great hick/hip vocal !

breeze 401 scarlet sexton - since baby put me down

« Since baby put me down »

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Finally another Rockabilly, although fiddle and steel present (solos) from Louisiana in 1959 : BOB PREDDY and « Hold what’cha got » on Buddy [not the Texas label] # 2002.

 

« Hold what’cha got »

downloadbuddy 2002 bob preddy - hold whatcha got

Sources : as usual, a great percentage of YouTube ; my own researches (Google, 45rpm-cat) ; thanks to Allan Turner for Bob Tucker A-side. 

BILL MORGAN a.k.a. BILL CARROLL: Feel so good

a.

No image available of the boys neither of Bill Morgan at the moment. Maybe someone has one picture? Pease help!

This Bill Morgan has nothing to do with the Columbia songwriter and artist (1954-55), brother to George Morgan.

By the mid-1955, Texans Bill [Morgan, rhythm guitar] and Carroll [Hunt, lead guitar] came from Beaumont, Texas, to Lake Charles’ (La.) Goldband recording studio and cut their first sides. They were issued on Goldband 1034 early 1956, comprised of two Hillbilly boppers tunes : « Love me just a little bit » has harmony vocals in the bridge, the rest goldband-1034a-bill-carroll-love-me-just-a-little-bitgoldband-1034b-bill-carroll-my-blue-letter

« Love me just a little bit »

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« My blue letter »

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being sung by Bill Morgan ; fine backing of fiddle and steel by the Netche Valley Boys; « My blue letter » is faster and equally good. The boys try with brio to sing harmony all along the track. Again great aggressive fiddle, as on « Honest to goodness baby » (Goldband 1053) issued 1957. The B-side « Love grown cold » is a slowie ; the vocals are plaintive but the spirit (a piano is added) of the other sides remain intact.

goldband-1053a-bill-carroll-honest-togoodness-babygoldband-1053b-bill-carroll-love-grown-cold

« Honest to goodness baby »

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« Love grown cold »

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Departing from Goldband Bill & Carroll left behind them 5 unissued songs only published in France and U.K. during the late ’80s. A first version of the future Dixie classic « Feel so good« , a perfect example of Hillbilly bop heading towards Rockabilly (great guitar and fiddle backing).The medium paced « Shadow on my heart » is reminiscent of « Love grown cold », but a little faster. Enters even an accordion player. Some mambo rhythm for « Boo hoo », then « Hold me baby » is a fast number, quasi-rockabilly (at least for the guitar playing), a bit Everly-ish. The last tune, « Bluff city rock » is pure rock’n’roll, with heavy drums and tickling piano, and again that fine guitar.

« Feel so good« (1956 version)

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« Shadow on my heart »

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« Boo hoo« 

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« Hold me baby« 

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« Bluff city rock« 

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Next step was on Madison, TN, Dixie label. Both of the guys were reunited under the name « BILL CARROLL » for a second version of their previous « Feel so good » (Dixie 2010) – a sharp lead guitar, and a firm vocal. This is the best ever of their product – value $ 300-400, and one would hear their B-side « In my heart » , not available since its November 1958 issue.

dixie-2010-bill-varroll-feel-so-good

« Feel so good »

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d-1092-bill-morgan-your-wicked-love

courtesy Udo Frank

From then on, it seems that both of them went separate ways, as further recordings are all assigned to « BILL MORGAN ». First in 1959 (reviewed by Billboard in August) on Pappy Daily’s « D » label (# 1092) . « Your wicked love » is a fast bopper: clear voice, nice backing of piano and an ordinary guitar, probably not by Carroll Hunt. Things are slower for the flipside « At home with mom », full of echo. Next step is on the Dart label (a sublabel to « D ») for « Red hot rhythm combo » (# 137) in 1960 : a good jumping little rocker. The guitar riff is fine and insistant, and Morgan is in good voice.

« Your wicked love »

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« Red hot rhythm combo« dart-137-bill-morgan-red-hot-rhythm-combo

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The man moved again to Texas, and had a good amount of recordings until 1972, when his trail goes cold. On Delta Records, he had late 1962 # 501 « I need your love » picked up by Chess and reissued on # 1841, a good little rocker. Then on Delta 504 in 1963, « She gave me lovin’ », once more a fine rocker. Then on Gem (1964-65) a similar instrumentation for the energetic « Tennessee moon » (# 5) or the lovely (female chorus) « Land of the midnight sun » (# 7)(not posted here). I did not hear further recordings on New World, Stoneway and Myra, so cannot comment neither podcast them.

chess-1841-bill-morgan-i-need-your-lovedelta-504-bill-morgan-she-gave-me-lovin

gem-5-bill-morgan-tennessee-moon

« I need your love »

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« She gave me lovin' »

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« Tennessee moon »

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Another Bill Morgan appeared on Rebel 249 (VA.), who had nothing apparently to do with this artist. Indefatigable visitor (and corrector) DunkenHobo points out a different version of « I need your love »(Chess) by a BOBBIE MORGAN on (Tx) Blackbird 505. It is aurally not an alternate of the Chess issue; a seemingly female vocal; no speeded up tempo I’d assume; and this time a good piano. Producer Bill Morgan, says DrunkenHobo. So maybe Bobbie was his wife? Here it is for what it’s worth:blackbird-505-bobbie-morgan-i-need-your-love

Sources: 45rpm.com site; notes to Goldband LP 107 « Bop stop rock »; notes to BF 16408 « D & Dart »; YouTube.(53jaybop chain for the Goldband 1034 label scans)

Early September 2016 bopping fortnight’s favorites

Back from Summer holidays, we begin with the incomparable MERLE TRAVIS with a little known opus cut on December 4, merle travis1952, « Louisiana boogie » (flipside « Bayou baby »), which permits the pianist Billy Liebert (long-time musician at Capitol sessions) to shine with a boogie 12-bar pattern. This side can be found on Capitol # 2902. Two fiddles are also heard, these of        « Buddy Roy » Roy and Margie Warren, while Travis is in good form both on guitar and vocals.

« Louisiana boogie »

download   capitol 2902 travis - louisiana boogie

 

 

lou graham pic

 

 

 

 

 

 

 

 

 

LOU GRAHAM was one of the earlier rockabilly-style artists to show up on record, courtesy of Ivin Ballen’s Philadelphia-based Gotham Records. Born in rural North Carolina, and one of 10 children, his full name may have been Lou Graham Lyerly. He showed an early interest in country music, and following a hitch in the United States Navy, he entered radio as a singer and disc jockey. Vocally, he was similar to his somewhat older contemporary Hank Williams. Graham spent 18 months at WPWA in Chester, PA, he made the acquaintance of Bill Haley, leader of a locally-based country band called the Saddlemen, who helped Graham get a recording contract with Gotham. Graham cut « Two Timin’ Blues » and « Long Gone Daddy » at a 1951 session with an unknown backing band, but early the next

« Please make up your fickle mind »

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« My heart tells me »

downloadgotham 433a lou graham- please make up your fickle mindgotham 433b lou graham- my heart tells me

year, he was backed by Bill Haley‘s Saddlemen on a quartet of sides, « I’m Lonesome, » « Sweet Bunch of Roses« , « Please make up your fickle mind » and « My Heart Tell Me. » all issued on Gotham 429 and 433. Graham kept busy working as a deejay at WTNJ in Trenton, NJ, and on television as an announcer, on WDEL in Wilmington, DE. By the late 1950’s, he was also working regularly in nightclubs, parks, and western jamborees playing country and hillbilly music, playing on the same bills with Webb Pierce, Hank Thompson, and Ernest Tubb. In 1957, he made his most lasting contribution to recordings with his single « Wee Willie Brown » for the Coral Records label.

Salty Holmes and Jean Chapel

court. Imperial Anglares

 

SALTY (HOLMES) & MATTIE (O’Nell) had a long, long career, either as single artists, either in duet, like with this « Long time gone » (M-G-M # 11572, recorded July 7th, 1953). In fact, Salty only wails his harmonica, while Mattie has the vocal duty on this marvelous fast Hillbilly bopper (good picking guitar a la Merle Travis and a steel reminiscent of Hank Williams’ Don Helms). Of course Mattie O’Nell was also known (RCA, Sun) as JEAN CHAPEL.

 

 

 

« Long time gone »

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mgm 11572 dj salty & mattie - long time gone(11-7-53)

 

 

We jump in 1963 on the K-Ark label # 296 (Cincinnati, OH) with HARVEY HURT and his « Stayed away too long ». An aggressive vocal on the front of a chorus (handclaps during the solo), and a nice guitar+steel solos, make this a very agreeable record, even not listed in 45rpmrecords.com.

From Avery, Texas, Chucklin’ CHUCK SLOAN offers his « Too old to Rock’n’roll » (Cowtown # 806) cut in 1961 . A fast Rockabilly/Country-rock novelty issue : very, very fine guitar, indeed influenced by blues guitarists. The song appeared long ago on a Swedish Reb bootleg.

k-ark 296 harvey hurt - stayed away too long (63)

« Stayed away too long »

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« Too old to Rock’n’roll »

download  cowtown 806 ch. Chuck sloan - too old to R&R(61Avery Tx)

More from Fort Worth, Texas in 1958 on Majestic (# 7581). J. B. BRINKLEY (aka Jay Brinkley) gives a splendid bluesy                « Buttermilk blues »: really biting and agile guitar, backed by a solid piano, over a powerful voiced singer.

« Buttermilk blues »

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 majestic 7581 J.B. Brinkley - buttermilk blues(FtWrth58)

Brinkley also had previously issues on Dot (# 15371 « Crazy crazy heart/Forces of evil » – both pop rockers) in March 1955, and Algonquin 712/3 (a New York label) (« Go slow baby », a fine bluesy rocker, with a thrilling guitar) in 1957, plus some instrumentals. first on Kliff 100 (1958) , the good « Guitar smoke » which reminds one of Bill Justis‘ monster « Raunchy » ; then on Roulette 4117 (« The creep/Rock and roll rhumba »).

« Go slow baby« 

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« Guitar smoke »

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alconquin 712 go slow babyklliff 100 jay brinkley guitar smoke


Brinkley had actually begun his career as singer/guitarist fronting the Crystal Springs Ramblers in 1937 for « Tell me pretty mama », Vocalion 03707) with Link Davis on fiddle, and a full Western swing combo. More with the Light Crust Doughboys in 1941, or backing (electric guitar) Patsy Montana for her 1941 Decca sessions. He even cut at a Al Dexter session in 1941. Seems he was in great demand..He was part of recordings in the Dallas/Fort Worth area by the number of litterally hundreds during the ’50s and ’60s. Just an example : Andy Starr on his Kapp sides (« Do it right know ») from 1957. The perfect replica to Houston’s Hal Harris !
vocalion 03707 crystal spring ramblers - tell me pretty mama

 

DAYTON HARP cut records as soon as 1952: his « Foot loose and fancy free » (Gilt-Edge 5038) is a good dayton harp bopper with excellent mandolin over a really ‘hillbilly’ vocal. He hailed from Florida, and he recorded there a duet (with Dot Anderson who gives Harp the replica) in 1958 for the Star label (# 695) « Man crazy woman » : a nimble guitar and a too short steel solo. A really good record. The flipside sees Harp alone : « You’re One in a million » is a fine uptempo ballad with the same instrumentation (really good guitar!). Both these tracks were issued as Starday customs.

« Foot loose and fancy free »

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« Man crazy woman »

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« You’re one in a million »

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gilt-edge 5038 dayton harp- foot loose and fancy free(51)

 

star 695a dayton harp (dot anderson) man crazy woman(58,Fla)star 695-B dayton harp - you're one in a million (58)

 

Sources : the Capitol label discogaphy (Michel Ruppli a.o.) ; 45rpmrecords.com ; YouTube ; Terence Gordon’s Rockin’ Country Style ; 45-cat ; rocky52.net ; Tony Russell’s « Country music » (1921-1945) ; Bruce Elder’s Lou Graham biography on Allmusic.com.

Late August 2016 bopping and rocking fortnight’s favorites

Late August 2016 bopping and rocking fortnight’s favorites

Howdy folks ! Hi ! To returning visitors. This a particularly important fortnight feature, because it includes no less than 11 selections !

We begin with an already reviewed artist (December 2010) in the article devoted to the K.C. label Westport. Here is the milt dickey picimportant and prolific MILT DICKEY. Born 1920, he was D.J. on KCMO during the early ’50s and cut nice boppers for first K.C. located Sho-Me label (# 528), like « Neon love ». The record must have been a regional success, as it was reissued exactly as same on Coral 64146 in 1953. I include the B-side of his Westport 129 disc (« Television love »), the fine weeper « Bleeding heart » with piano and fiddle backing and a good steel as expected. Dickey also released « Checkbook baby » on Coral 64169.

« Neon love »

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sho-me 528A milt dickey - neon lovewestport 129 milt dickey - bleeding heart

 

« Bleeding heart »

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« I’ll walk a mile »

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Still in Kansas, but 1963 for the next artist. BOB MARRIOTT & the Continentals is an hybrid of Country-rock, Soul and Rock’n’roll with jayco 702 bob marriott - I'll walk a mile«  I’ll walk a mile » (Jayco 702). I know such an item may come upon Bopping’s visitors’ ears, but I like the drive of the tune, the harsh voice of the singer Chuck Vallent and a good guitar. You can of course disagree and leave a negative comment !

From Nashville in a more settled Country mould here’s PAUL DAVIS. During the ’50s he had two mgm 12357 paul davis - big money(56)releases on M-G-M, the very fine « I don’t want a backseat driver » (# 12472, to be found on the Cactus « M-G-M Hillbilly, vol. 2 » compilation) and now « Big money » (# 12357, recorded June 18, 1956). « Big money » but a « single man »…Good shuffler according to Nashville standards : steel guitar throughout and good guitar over a relax vocal.

« Big money »

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Five years later Davis would record the prototype of any truck repertoire with the original of « Six days on the road » released on the small Bulletin label # 1001 (reviewed June 18 1961, well nearly two years before the Dave Dudley hit). Fabulous wailing steel guitar, a lot of echo both on vocal and backing. By far according to my tastes the best version !

« Six days on the road »

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bulletin 1001 paul davis - six days (18-6-61)

Dave Dudley « Six days on the road »

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golden wing 3020 dave dudley - six days on the road

 

 

 

« Carroll county blues » was recorded on March 11 1929 by NARMOUR & SMITH, a duet emanating from Mississipi. The lead figure is taken on fiddle by Will Narmour, who befriended bluesman Mississipi John Hurt, and sustained by Shell (Sheriff) Smith on guitar. The tune has something of hypnotic, and was said to have come from the whistling of some black farmer. It’s been the duet’s greatest hit, and was revived on the Clarion reissue as Jones & Billings. Pretty old and crude Hillbilly !

narmour & smith

« Carroll county blues »

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clarion 5129jones & billings - carroll cty blues(11-3-29)

Out of Trumansburg, N.Y. Seemingly in ’57 comes a pretty tame version of the Drifters’ « Money honey » by JANECE MORGAN with the Melody Men on the Marlee (# 101) label. An agreeable guitar and a too discrete steel over the singer, a poor man’s (woman’s!) Wanda Jackson. She had also a « First from» on Marlee 103, described as « teen rockabilly » on a ebay sale.

« Money honey »

downloadmarlee 57-101B janece morgan - money honey(NY)

 

The name DEE STONE can be a bit familiar to Bluegrass afficionados, as he had at last 3 issues in 1952-53 on the Blue Ridge (from Virginia) and Mutual (from Illinois) labels, all backed by His Virginia Mountain Boys or his Melody Hill-billys. This time we find him on Blue Ridge 304 for « Countin’ the days », a very good Bluegrass uptempo tune (banjo and fiddle) over a duet vocal. In fact, this could as well be described, minus the banjo, as Hillbilly. Later on (in 1956, according to RCA « G » prefix), the man appears on Eastern (location unknown) for two great boppers, steel to the fore, and a piano : « Sun of love » and « Drifting down this lonely road ». An artist who we wish to hear more from. Final disc in 1960: « Ocean of dreams/After the dance » also on Eastern 12460.

blue ridge 304 dee stone - countin' the days« Countin’ the days »

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« Sun of love »

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« Drifting down this lonely road »

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eastern G-725 dee stone - sun of loveeastern G-726 dee stone - drifting down this lonely road

Finally, a R&B rocker, cut in 1954 at a Clarksdale, MS radio station. Ike Turner was present at the session but didn’t play on this harsh-voiced « I’m tired of beggin’ », inspired by Junior Parker‘s « Feelin’ good » 1953 hit [Sun 187] by Eugene « THE SLY FOX ». Here he is pictured 20 years later, as Clarksdale high school principal. Of course the Spark label (# 108) was run by Leiber & Stoller out of Los Angeles, and had in its stall the Robins, Big Boy Groves and Ray Agee. Fox would cut « My four women/Alley music »(# 112) just at the time Atlantic bought this important small label late 1955.

« I’m tired of beggin‘ »

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spark 108 78 sly fox

Sources: Tony Russell book (« C&W 1921-1945 »); YouTube; 45rpm-cat and 78rpm-world; my own archives; Les Fancourt « Blues records, 1943-1970 », Michel Ruppli’s « MGM label, vol. 1 »

eugene fox

Early August 2016 bopping fortnight’s favorites

Early August 2016 bopping fortnight’s favorites

Howdy folks ! Very different things this time, and the recordings do go from 1936 until 1960.

 

Let’s begin with the unknown (surely a one-offer) GLENN KIRBY and his good, gentle shuffler « I love blue eyes » issued in Texas on TNT 138 in July 1956. A steel and piano solo plus throughout fiddle, although nothing exceptionnal.

« I love blue eyes »

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« Triflin’ heart »

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« More & more »

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tnt 138 glen kirby - I love blue eyes

 

 

bullet 749 short. ashburn - triflin' heartbullet 752 short. ashburn - more & moreSHORTY ASHBURN, our second artist, was equally unknown despite his 3 records issued on Nashville labels at the turn of 1950-51. Without doubt he only cut 4 songs at the same session for the Bullet label, which were issued upon # 749 « Triflin’ heart », a nice shuffler with piano and steel solos. The guitar player is rather uninspired (or too badly paid trying to shine). Ashburn went the same way with « More & more » (# 752) ; all his sides were written (or co-written) with Jimmy Rule, a mathematics teacher mostly famous for ghostwriting Hank Williams‘ booklet, « How to write folk and western music to sell ». The 3rd Ashburn record was written by Autry inman, who found himself in the position he had prophetically shown up, when he was arrested by the FBI in 1972 for bootlegging records : « You’re under arrest » was given to Ashburn and issued on the small Jamboree label (# 514).

pete_pike picturePETE PIKE is a rather well-known figure in Hillbilly and Bluegrass circles. His incomplete story was given in this site in January 2011, and many facts have been thrown to light since then. I’ve chosen the fabulous slice of Hillbilly bop from 1960, « Cold gray dawn », issued on Rebel (Maryland) # 228 : great steel and expressive vocal.

« Cold gray dawn »

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rebel 228 pike - dawn 18-7-60)

As a change, we move to March 1936 for a New Orleans session by MILTON BROWN & His Musical Brownies. The song may be vaudeville or poppish, the backing is splendid : nice fiddle by Cliff Bruner, and a fabulous lap-steel solo (40 seconds!) by the late Bob Dunn. The song is « Ida ! sweet as apple cider », originally on Decca 5325, and reissued on 46002 in 1946.

 

decca 46002B milton brown Ida!(5325,5-3-36) cider

« Ida! sweet as apple cider »

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musical brownies

Musical Brownies

 

 

 

 

 

 

 

From Metter, south of Georgia came Wallace and Charlie, the MERCER BROTHERS. They were young farmers and bought their first Sears & Roebuck guitar in 1939 with the money from picking cotton. They had soon after the WWII a show on WMAZ, then entered the Louisiana Hayride in April 1948, as The Blue Ridge Boys. Columbia signed them and recorded thecol 20978 mercer (wal & char) - what's he got (52) duet, augmented by the harmonica of Wayne Raney, in August 1951. After seemingly sufficient sales, they had a second session in May 1954, backed by Doyle Strickland on fiddle. They sounded like the Delmore Brothers. Here is their « What’s he got that I ain’t got » (Columbia # 20978), you can judge by yourself. After their departure from Columbia, they went to WIBB in Macon where they did alternate country and sacred radio shows.

« What’s he got that I ain’t got »

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The last artist was very young, only 18 and still in high school when he entered WRJW radio station in Picayune, MS. to record his double-sider for D Records in September 1958. Pappy Daily had a contact in Picayune, Fred Henley (the local Colonel Parker) who sent up for DOUG STANFORD. His record « Sady/Won’t you tell me » (D 1034) had a gifted guitar player, Billy Fred Stockstill, even younger than Stanford : « He could do that Chet Atkins stuff good as Chet », he said.

« Sady »

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« Won’t you tell me »

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Picayune_MS

d 1034A doug stanford - sadyD 1034B Doug Stanford - Won't you tell me

Sources : « A shot in the dark » boxset, notes by Martin Hawkins ; « The complete D singles…collection, volume 1 », notes by Colin Escott. « Columbia 20000 », the site of Willem Agenant. My own archives. YouTube and 45rpm-cat.