Rambling Rufus Shoffner earned his nickname from his early hobo days when he hopped a train at the age of 16 from his home in Tazewell (or Harrogate?), TN where he was born in 1916 to go wandering: he led a band called the Blue Yodel Boys in 1939 on WROL Knoxville, Tennessee. His neighbor in Tennessee was Hugh Friar, who had later in the Detroit label Clix two fine and very sought after Rockabilly/Country issues (« I can’t stay mad at you », # 805 for example) . But Shoffner’s constant urge to travel resulted in his roaming across much of the country, hustling in one moneymaking scheme after another, before finally settling down in Monroe, Michigan, reuniting with his siblings in 1950. (suite…)
A long line of men dressed in rugged suits filed past iron gates on Manchester Street in Highland Park, Michigan, as they did every morning, into the . One by one, they flashed their Ford badges at the guard stationed in a small shack. Ford Motor Company facility Outside the gate, a 15 year-old boy stood near the shack, hands in his trouser pockets, chatting with the uniformed man inside, who interrupted the conversation every so often to check someone’s identification.
“I brought ya some apples,” the young man said with a Tennessee drawl, and handed a paper sack to the guard, who gave one apple back. After sharing a snack together, the young man asked, “Say, what are my chances today? Like I said before, I’m ready to work at anything.”
The guard tolerated his daily appearances, eventually warming up to his friendly personality and persistence. It was obvious the young man, who showed up at the morning whistle every day, intended to stay in Detroit. “Well,” said the guard while keeping his eye on workers entering the property, “There’s a small opening in the fence about sixty feet east of here. It may be wide enough for you to slip through. I reckon I can’t stop you, if I don’t see you.” He took his eyes off the shuffling plant workers long enough to look the kid in the eyes and say, “I know you won’t cause me no trouble.”
“No, sir!” The wide-eyed young man continued chewing apple.
“I just happen to know a foreman who’s looking for a welder,” said the guard. “If you get in, look up Fred Walker.” The young man thanked the guard, who nodded, too preoccupied to look up. Then he strode east to the gap in the fence, slipped through, and secured a position at Ford.
Working man, day and night
Trained on the job as a welder, Forest Rye had grown up in Erin, Tennessee, west of Nashville. Born December 19, 1910, Rye learned to play fiddle and guitar before he left home in 1924. When Rye was a small boy, champion fiddler Walter Warden, from McEwen, Tennessee, and an early influence on Fiddlin’ Arthur Smith, schooled him in music. Warden lived up the road from the Rye household, and thought so highly of Rye that he gave him a fiddle. When Rye came to Detroit, he found a room in a boarding house, and doggedly spent about a week talking his way into Ford’s Highland Park facility.
A pioneer country music bandleader in Detroit, Rye entertained at house parties through the 1930s, eventually leading groups of musicians in local cafes and bars. In 1937 he married, and moved back to Erin, where he started a grocery with his savings. He visited friends in Detroit occasionally, and after divorcing in 1939, Rye returned to Detroit’s east side, near Chrysler facilities where he worked the day shift.
The area surrounding East Jefferson Avenue near St. Jean included neighborhoods of white Southerners who had moved for work in local factories. In this environment, Rye formed Rye’s Red River Blue Yodlers, and gigged steadily at the Torch Club on East Jefferson. They may have performed on Detroit radio as well.
In early 1942, the band cut a record for the Mellow Record Company, based in the Mellow Music Shop a few blocks away from the Torch Club. “You Had Time Think It Over” backed with “On Down The Line” were pressed on the Hot Wax label (with Mellow catalog number 1616 – it was pressed on Mellow, too). Vocals on the Hot Wax label were attributed to “Conrad Brooks,” a fake name Rye used on the record – perhaps to avoid public association with the hot lyrics of “On Down The Line,” a risqué song made strictly for jukebox plays in bars. The band included Rye’s fiddle, Hawaiian (lap) steel, rhythm guitar, and bass. Side 1 (« You had time ») was uptempo while the B-side (« On down the line » was medium paced.
Rye’s Red River Blue Yodelers, « You had time to think it over »
Rye’s Red River Blue Yodelers, « On down the line » download
Rye’s stage show included humor, and as early as 1942 he was making appearances on the WSM Nashville radio’s “Grand Ole Opry” as comedian Little Willie Rye. This made him the first Detroiter to perform with the “Opry.” Many Detroit musicians would follow Rye’s path, beginning with the York Brothers after World War II. Not to mention a few musicians who moved to Detroit after first performing at the “Opry” (e.g., Fiddlin’ Arthur Smith, Okie Jones, and Chick Stripling).
Rye moved back to Tennessee in 1945 and married again. He returned to Detroit in 1947 as his family began to grow, remaining through 1955. Soon after this third move to Michigan, Rye secured a gig at WXYZ radio with his Sage Brush Ranch Boys, a band that included bassist Earl “Shorty Frog” Allen, who led his own band in Detroit several years later.
Around 1945/46 he cut with his group two sides for the Detroit based Universal company (the York Brothers also recorded for this label). Yet Rye still handles the vocals as disguised « Conrad Brooks« , and very assured. Steel guitar is wild, and Rye is even yodeling a bit. Both sides are very nice uptempos for the era. « Snake bite blues » and « Don’t come crying around me mama« , both written by Rye.
For a couple of years during the late 1940s, Mountain Red appeared with Rye’s Sage Brush Ranch Boys in Pontiac area nightclubs as a featured singer. Red also appeared with Rye on WXYZ, when he wasn’t performing his solo programs at WCAR radio Pontiac.
Sage Brush Ranch Boys, late ’40s – Rye on fiddle
Rye often let other musicians sit in with his band in Detroit nightclubs. Joyce Songer recalled performing with the Sage Bruch Ranch Boys several times, when she and husband Earl started their musical career, around 1949.
Early 1951 Rye cut four sides in Detroit, apparently, for Mercury, two uptempos « Crying my eyes out » (# 6328) and « Won’t you give me a little loving » (# 6329), coupled with the great medium-paced « Midnight boogie blues » (great steel solo!) and « After all these tears ». These 4 sides have not been reissued, except « Midnight boogie blues » on some English compilation.
Rye maintained ties to Nashville, including relationships at WSM with announcer George D. Hay and many performers. Singer Pete Pyle, a 1940s recording artist (Bluebird label) and one-time member of the Bill Monroe and Pee Wee King bands, was a fast friend, eventually moving next door to Rye’s house in Taylor, Michigan. They appeared together in local nightclubs, such as the West Fort Tavern on West Fort Street in Southwest Detroit. In 1953, Rye and Pyle cut sessions for Fortune Records. Rye’s “Wild cat Boogie” and Pyle’s “Are You Making A Fool of Me?” were combined on a single record (Fortune 172). Al Allen (el. g) and Chuck Hatfield (steel) were present on Pete Pyle’s session.
In 1955 Rye and Pyle moved their families back to Tennessee. As Little Willie Rye, Rye worked on Nashville radio as a solo comedian, and with the band of Big Jeff Bess. He wrote songs, operated a song publishing company (Geraldine), produced and made his own recordings, and issued music on his own record label (Forest – 3 known records by other artists in a 5600 serie) , besides playing music in studios and on stages. He also booked acts for WSM radio and Nashville area venues. In 1967 Rye left behind his activities in country music to become a Christian preacher. He passed away April 24, 1988.
Thanks to Ronald Keppner of Frankfurt am/Main, Germany, for the loan of his rare Forrest Rye ’78s on Hot Wax, Universal and Mercury. Without him, this article would have proved impossible to write. Thanks also to Allan Turner, out of England, for getting me the mp3/scans of the rare Pace 45.
First from the West Coast, a fine crossing between Hillbilly Bop and Rock’n’Roll (because of the drumming): DICK MILLER and « Now I’ Gone« . I’ve added a second song from him, very different, this time, 1957 on Mercury Records, « My Tears Will Seal It Closed« .
Eddie Hill and « The Hot Guitar » was combination of various guitar stylings, Merle Travis, Hank Garland, Chet Atkins.Very nice fast tune.
Rufus Shoffner is not a stranger. Here on Detroit’s HI-Q label, he delivers an energetic « It Always Happens To Me« , backed by his sister/wife (I don’t know) Joyce Shoffner.
A real mystery now. Ked Killen was cutting Hillbilly Bop as late as 1969 on WESTERN RANCH. Bopping has recently posted a track by him (Fortnight’s favorites, May 2010). Here « You’d better Take Time« , on a Starday Custom pressing, has welcome gospel overtones. The name HIRAM PHILMON isn’t that common: he cut on his own PHILMON label the fine Hillbilly « I‘m Lonesome Baby« . Just to finish with someone who, with is biting guitar sound, was very close to Rock’n’Roll, FRANKIE LEE SIMS – he cut for Specialty, here on Johnny Vincent’s VIN label, the great « She Likes To Boogie Real Low« .
DetroitBy Michael Hurtt, Metro TimesOctober 3, 2008
Hidden next to I-75 in Troy, just south of the Big Beaver Road exit, they sit, surroundedby strip malls, corporate high-rises and recently constructed apartment complexes. What we’re looking at is a smattering of old farmhouses — some still heated by oil furnaces and kerosene heaters — on a two-block stretch of dirt and gravel road accessible only through an abutting parking lot.
Standing in stark opposition to its recently overly developed surroundings, one has the eerie feeling that this rural enclave won’t be here much longer. But even after the last old homestead has been mercilessly uprooted and the final skyscraper is finished — indeed after even it meets its bitter end — one aspect of Troy’s countrified past will remain, and that is its status as the hometown of Clix Records, one of the most elusive, seamless and sought-after imprints in all of early rock ‘n’ roll. Those now-ancient abodes once housed the early Michigan label.
James Faye « Roy » Hall was born on May 7, 1922, in Big Stone Gap, Virginia. An old colored man taught him to play piano, and to drink. By the time Roy turned twenty-one, he knew that he was the best drunken piano-player in Big Stone Gap, and armed with the pride and confidence that this knowledge gave him, he departed the town of his birth to seek fame. Roy made it to Bristol and farther, pumping boogie-woogie in every Virginia, Tennessee, or Alabama beer-joint that had a piano. He played those pianos fast and hard and sinful, like that colored man who had taught him back in Big Stone Gap; but he sang like the hillbilly that he was. He organized his own band, Roy Hall and His Cohutta Mountain Boys (Cohutta was part of the Appalachians, in the shadows of whose foothills he had been raised up). It was a five-piece band, with Tommy Odum on lead guitar, Bud White on rhythm guitar, Flash Griner on bass, and Frankie Brumbalough on fiddle. Roy pounded the piano and did most of the singing; but everybody else in the band sang too. (suite…)