Howdy, folks ! This is the early June 2017 bopping fortnight’s selection, between 1937 and 1947, with some projections in the very early ’60s.
Here we go before WWII with BILL NETTLES & his Dixie Blue Boys for his first recording session, held in Dallas, TX on June 22nd, 1937 (nearly 80 years ago…) His story has already been written in this site, and I will focus on one track, « Oxford (Miss) Blues », described on the label as « hot string band with singing ». Really hot fiddle (Dock Massey, who’s also singing, among cheers and yells) and strong slapping bass (by Nettles’ brother Luther). They didn’t do such great tracks so often, even in the ’40s and ’50s.
ALSIE « REX » GRIFFIN (1912-1959) made most of his career during the ’30s on Decca, as a follower of Jimmie Rodgers, and a fine yodeler too. Here on the decline (one of his last records) in Cincinnati on King 584 (February 1947), I chose « I’m as free as the breeze » : nice hot guitar player (obviously inspired by the late Django Rheinhart) and a discree steel for a good mid-paced bopper.
Griffin was also responsible for three classics, « Everybody’s trying to be my baby » (one feature in this site is devoted to this song and its continuation), « Won’t you ride in my little red wagon » (the signature song of Hank Penny), and the morbid « The last letter ».
HANK STOLLINGS went on the RCA-pressed 1961 Versatile 101 « Date with the blues » (vocal Chuck Louis) with a deep-voiced country rocker ; 2 fine fiddle solos, and a good loud guitar too.
From the same or similar era (late 1959) we find also BEN JACK & Country Boys for «I’m entitled to your love», a mid-paced light country rocker with fiddle emanating from Tulsa, OK, to be found on the Cimarron label # 4048. This label was owned by Leon McAuliffe, former steel player in the Bob Wills’ Playboys.
Back to TOMMY FAILE (reviewed early May with « That’s all right » on Lawn 104, NYC label) and the flipside of this December 1960 issue, « The rest of my life ». Arthur Smith is seemingly on lead guitar (on bass chords) for this baritone-voiced, female chorus backed (unobstrusive) country rocker.
Indiana born, on a Chicago label, comes BOB PERRY for two tunes. First a famous small Rockabilly classic,« Weary blues, goodbye » on the Bandera label (# 1303, from 1959), valued at $ 150-200, it has a very strong rhythm guitar (obviously played by Perry himself) and a fantastic steel guitar solo . So tame in comparison is the second Perry issue on Cool 158, « Gone with the wind », which is a gentle Rockabilly/rocker (all the same attaining $ 75-100). Perry went later on Top Rank and BandBox.
Jimmie Dale got his start in hillbilly music with the guidance of Dave Miller, who was a famous New Jersey-Newark disc jockey.
He organized his own band and they made personal appearances in the New York night club circuit. Jimmie also appeared at Carnegie Hall, Frank Daly’s Meadowbrook and the top spot on Dave Miller’s television show. By 1953, he was being heard over radio station WAAT in Newark, New Jersey.
Dale had other boogies in the same style.
Sources : 45cat and 78rpm-worlds, YouTube (e.g. Rockin’ TomKat for Bob Perry on Cool) ; Hillbilly-Music.com (picture of Rex Griffin and Jimmie Dale) ; also Wikipedia for Rex Griffin bio. My own archives.
Howdy Folks ! This is the early May 2017 bopping fortnight’s favorites selection.
First rank for a mid-tempo Western swing bopper : « Alone by the telephone » from 1947 by RALPH REYNOLDS & his Dude Ranch Wranglers (vocal Curley Burns). From California, it has a lazy vocal, a bit, as you say, disillusioned. Long guitar solo and piano, fiddle parts. The record was first (?) issued on Red Bird 102, then appeared on Globe 127. A very good example of bopping Swing of the ’40s.
Then again in NYC on the Choice label (# 6504) [so, not the revered by Collectors Kansas City label] for a strong rocker: « You don’t love me like you used to do » from 1959. Loud drums, and a good duet between piano and guitar. Still a good side. Finally « Big train » (Choice 6508) from 1960, with a more folky approach (use of a prominent banjo in the backing). And again, a great record. Tommy Faile seemingly never failed ! He was reported as having worked with Arthur Smith too (« Bye bye black smoke choo choo » on M-G-M) and was having records as early as 1948 (Capitol, 40 000 serie) !
Back on the West coast on the Nielsen label (# 57-1-2) and WHITEY KNIGHT and « From an angel to a devil ». A very nice uptempo ballad, with steel to the fore. A touch of the Bakersfield sound.
PHIL BEASLEY on the Dayton, OH Jalyn label (# 349A) cut in as late as 1970 the fine « The restless wind » : the song is a bit folkish, and a fast ditty. Good guitar and vocal.
Finally in Hollywood, TOMMY SARGENT’s Range Boys do come with three tunes. First a good revamp of the old traditional « Frankie and Johnnie », a good jumping version, fiddle-led, on the Corax 1328B label from 1947-48 (vocal Gabe Hemingway). The steel guitar is played by Sargent , as noted on the next track sticker « featuring Tommy Sargent and his Steel Guitar » : « Steel guitar boogie » (# 1328A) is a quite good instrumental, a serious contender in this category. The third and final track by Sargent is also cut on Corax # 1084B (non consecutive serie, but same period!). It’s a prettily different affair : « Night train to Memphis » (vocal Gabe Hemingway) is a very fast call-and-response romper. The accordion imitates a train, we even have a solo of a seemingly welcome clarinet (or is a flute?). A fabulous Western bopper !
Howdy y’all, folks. This is the late April 2017 fortnight’s favorites selection : 7 artists in very different styles, Hillbilly bop, Bluegrass bop, Boogie woogie and Jumping Blues.
The first record is by a team, that of WALLIE & TEX ISABELL issued on the very small and rare Houston, TX Eddie’s label circa 1951-52. Primarily a R&B label (I only know of saxman Clarence Green, and the first ever record of R&B/boogie pianist Little Willie Littlefield : this man will appear at the end of this selection), it could also release Hllbilly bop like these « Sugar cain gal » [sic] b/w « The good old days » (Eddie’s 1219). The first tune is a jumping little one, where a lap-steel player – at last seemingly – is heard in Hawaïan style, and let lose himself very lovely. The backing is minimal : that steel, rhythm guitar, bass and vocal. A pretty nice track. Its flipside, a little less fast, is a fine ballad. One would like to hear more.
The second artist is not an unknown for any Hillblly bop addict. ROY COUNTS had two great sides on the California Bel Aire label in 1957 ; they are to be heard in the story of Jack Tucker (elsewhere in this site). Here we find him a bit later early ’60’s on the Jedco label (# 5009, location unknown)[1963, California, said DrunkenHobo], also issued on Commerce (# 5009, strangely)[acc. to DrunkenHobo, 2nd pressing, 1964]. « Temptation » is good uptempo in Bakersfield style. A great aggressive steel-guitar, which must be played by Ralph Mooney.
A legend now : LEON PAYNE ; this blind man was responsible for so many good records during the ’50s on many labels too, always had sincere ballads. Here on T.N.T. from San Antonio, TX, he delivers a very nice « I’ll still be around »; an atmospheric steel, the whole reminds one of Joe Carson on the ‘D’ label (« Careless words/Time lock »)[The story of Joe Carson is elsewhere in this site]. « I’ll stil be around »
On to Bluegrass bop with the duet RALPH & ROY who do a fabulous job on Wolf-Tex (a Lancaster, KY label) # 105, « Mountains in Kentucky ». It’s a very fast track, the banjo player offers a feat while the electric guitar has great Rockabilly style solo, too short. That same Wolf-Tex label also issued Harold Montgomery‘s « How much do you miss me » in 1961 (valued at 4 or 500 $), as well as « Ramblin’ » Roy Cunningham (« Waves on the bayou »).
A fast Bopper again with BUD ALDEN & his Buckaroos from California, 1959 [DrunkenHobo rectifies: a 4* custom from Seattle, WA. 1957]. Was then Buck Owens involved in any way in this recording ? (So, if this a Seattle recording, there is no chance of ole’ Buck involved). « When the ice worms nest again » [what a strange title] can be found on the Arctic label (# 701): a good guitar is embroiding the deep vocal of Leon Roach, unknown elsewhere.
From 1948, back to Eddie’s label in Houston (# 1202), and the very first double-sider by « LITTLE WILLIE » LITTLEFIELD. « My bestwishes » is a medium-paced opus, the rhythm is very heavy, and one detects in Littlefield’s voice the influence of his mentor Amos Milburn, like in the latter’s « Cinch blues ». The B-side « Little Willie’s boogie » is a furious showcase of fast piano.
Finally BUDDY CUDD & his Show Buds deliver a fine Jimmie Rodgers influenced « No hard time blues » on the United Low Country # 1006, out of Hampton, S.C. A touch of yodel, a very good guitar (lot of echo). On the same label were Buddy Livingston & his All Girls Band, previously on Savannah, a Starday custom. But this is another story, as they say..
As for the past, here are a good amount of boppers cut between 1947 and as recent as 1966.
Fiddler TEX GRIMSLEY was a Louisiana Hayride resident, and played his part on almost – if not all – Pacemaker sides of 1949-50. This label was co-owned by Horace Logan (boss of the Hayride) and Webb Pierce, and was constantly of high standard. Grimsley & his Showboys included guitar player Buddy Attaway [his story is somewhere told in this site], Shot Jackson on steel and the inevitable Tillman Franks on bass, while the vocal duties are taken by (supposed related) Cliff Grimsley, and the tune « Shuffle on down » (Pacemaker 1005) is really a lazy, shuffling call-and-response format bopping song. Shot Jackson produces really wild effects on his steel.
« Shufflin’ on down »
»One little teardrop too late » is a crazy-paced item issued as by PLAIN SLIM & the O’Dell Family on the Davis, WVA Cozy label (# 570) from as late as 1966. Two soli each by fiddle and lead guitar over a strong rhythm guitar. One can wonder how this type of record was launched in a world of current pop music, even commercial Country. The name itself sounds like a pseudonym.
From 1951 and by a veteran, PHIL HARRIS, for the fine « Tennessee hill-billy ghost » on a RCA EP-702. He’s been before during the Forties on Ara (« That’s what I like about me », certainly not the Terry Fell’s song) or Okeh.
Another mystery comes from WVA, that of KED KILLEN, and his superb Hillbilly boppers cut between 1966 and 1969 on his own Western Ranch label. Here are both sides of WR 119. Uptempo side is « Hey pretty mama » , while « Lonesome blues » is slower. Plaintive, wailing voice over a top notch accompaniment – a welcome echo too, and a fine guitar. Both sides could easily have been cut a good 10 to 15 years before.
DICK HART on the Texan label Cowtown Hoedown (# 778) delivers a very fine uptempo bluesy « Time out for the blues ». Solid rhythm, pounding guitar and a wild steel (June 1957). Who will get interest with this important and rich label, Cowtown Hoedown ? Its name was changed a short time later to just Cowtown.
From Texas to near Oklahoma with BILLY WEBB & his Seminoles for « Burdock road » on the Stardale label # 50611 ; label was located in Morris, OK. It’s a solid Hillbilly bopper with good fiddle solo and steel/piano over a shuffle rhythm. There were 3 Stardale labels around the same time.
To get to an end, here are two 4* custom issues on the Nugget label (# 190 and 191) by DUSTY TAYLOR and his Rainbow Valley Rangers. « My shining star » and « Down grade » are very fine Hillbillies. Taylor was also in 1947 on the West coast label Westernair (# 107B) with the great « Ranger boogie » : typical romping ’40s music, accordion to the fore, fiddle is well present. The record is billed « instrumental’ but Taylor has a great, swinging vocal in it. A very pleasant record !
I just found « Boogie blues« , apparently issued on Westernair (untraced label), and on a French compilation, « Country Boogie ». And it’s a romper too!
First two selections for this late February 2017 fortnight do come from Florida. Absolutely nothing is known from the vocalist/bandleader JOE ASHER. Apparently unknown on the Net, and not associated to another of the same name, he was a one-off record man. His record was first issued at Rockin’ # 515 in 1953, then reissued by DeLuxe ( # 2001) for a perfect Bopper, « Photograph of you », a fast, fantastic tune : very assured vocal, great solos – fiddle, guitar and steel. The flipside, « Daddy dear », a mid-paced opus, is just as good (steel is prominent). I wonder why this guy never recorded more, at least under his name.
Then to early ’60s in Birmingham, AL. with OTHELL SULLIVAN& the Southern All-Stars (are they the house band of the label?) on Reed 1053. The song is written by Leon Bowman, a prolific songster and singer in is own right. « There’s sure to be goodbyes » is a jumping tune, sympathetic backing (steel and discreet drums) over a good vocal : a nice tune for 1961. Sullivan had had already « Call me, baby » on Wonder (unheard) in 1958 ; later he joined the Longhorn stable (# 513).
JIMMIE STONE (acc. by Coy McDaniel guitarist) had on the New Jersey Cross Country label 45-22 a great Country rocker, « Found » in April ’56. Strong lead guitar and good backing over an assured vocal (lot of echo). The disc must have had a certain impact under chart-angle, because the big N.Y. concern Gone reissued it next year as it was on Gone # 5001. The flipside « Mine » is an insipid slowie, largely forgettable.
From Indiana on a rather devoted to Blues/R&B label, Falcon, here’s to be found the Hillbilly bopper/Rockabilly of CURLEY SHELTON (# 609) « with Doug Oldham & his Dixie 6 ». « Have you seen my baby » is a medium bluesy tune, assured vocal and an embroidering very good guitar.
Finally a song, « Hillbilly wolf », wrongly attributed to Dave Dudley on a low-bdget album cover, is actually sung and played by LINK WRAY. A medium uptempo, good vocal but rather uninspired guitar. This tune may come from the late ’50s or even the early ’60s.