Howdy folks, here’s the new batch of Bopping goodies early this month.
From Arkansas, a state not already known for its music. Nevertheless one can find with Internet some very nice records. I knew HERSHEL PARKER for years (through a Tom Sims’ cassette) and his « Hey-Pa » on the Fort Smith, Arkansas, Pla-an-tak (# 510-25) label. Very solid Country bop from the early ’60s. He also had on the Fort Smith UBC label (# 1023) the fine double-sided (one side uptempo, the other a great ballad) « Can’t go home tonight » (very sensitive ballad with fiddle and steel solos) backed with the upt. « I can’t forget« . I couldn’t find a picture n the net but the music only. All sides from early ’60s. UBC also issued Bob Calloway‘s fine Rocker « Wake up, little boy blue » in 1960. See arkansas45s.blogspot.com for information on Arkansas labels.
Seemingly a Tennessean, HOMER MONROE cut in Chattanooga, TN, the nice « Headin’ on down the line » on the Spann label (#1764). We find him once more – same piano to the fore, so he’s presumably playing it – on an Alabama Silvia label from Silvania for « It’s many a mile from me to you » (# 1161), Country Drifters backing him. Judging by the sound, I’d assume both records being from the late ’50s.
Homer Monroe « It’s many a mile from me to you » download
On the Linda label – there has been a few by the same name: « Country Music From Midway USA » – REBEL WRIGHT offers « I’m a long gone daddy » (not the Hank Williams’ song) (# 002B) and finally from « the heart of Dixie » on the Bama label (# 00001B) (not THE Bama label for Hardrock Gunter‘s « Birmingham Bounce » from 1951) by LEFTY PRITCHETT and the Country Kats, « Just an ole has been« . Enjoy the selections, bye! Next fortnight early January 2014. Have a Boppin’ Xmas and a happy Hillbilly New Year! Rebel Wright « I’m a long gone daddy » download
Never read such a poorly informed biography as this, taken from the back of the Hank the Drifter Crypto album. Alas, I cannot add anything to it, and the music will speak for itself.
HANK THE DRIFTER (real name Daniel Raye Andrade) was born September 2, 1929, 72 Plain Street, Taunton, Massachussetts. As a small boy he loved country and wetsern music and he was given a small guitar to learn on by his now deceased Dad. Soon he was playing and singing up a storm and people everywhere loved his true country songs and the feeling he put into every song. Songs came pouring out of Dan and he wrote songs on every inspired moment.
Many who have puchased his records say it is like Hank Williams back from the grave. In this album you will hear the songs which Daniel Andrade, « Hank the Drifter » composed, during inspired moments. Many have called Daniel Andrade, « Hank The Drifter », the greatest living song writer and country singer in the country and western field.
Dan Andrade thrilled many, with his double tribute (on New England release n° 1012), « Hank Williams is singing again » backed with « Hank, you’re gone but not forgotten », dedicated to the memory of Dan Andrade’s idol, the late great Hank Williams, considered by many to be the gteatest living song writer in the world, and the greatest living singer as well.
Hank the Drifter, « It is honky tonk music » <a ref= »http://www.bopping.org/wp-content/uploads/2013/11/A2-It-Is-Honky-Tonk-Music.mp3″ target= »_blank »>download
On January 1, 1968, Music City News, the leading trade magazine in the Country and <Western music field, did a full page story with pictures of Daniel Andrade. He resides in a lovely $ 20,000.00 home at 12606 Carlsbad, Houston, Texas.
Hank the Drifter, « I’m gonna spin my wheels » download
Hank the Drifter was chosen January 1, 1963, in « Who’s Who, Inc. » on the merits of his song writing, singing and other accomplishments. This honor is bestowed on fifteen in each ten thousand of the country’s population who come under selective standards. Country Song Roundup and « Billboard », trade magazines, have featured Hank.
Sparton and Quality Records of Toronto, Canada, have featured many of Dan Andrade’s 45’s, namely « Cheaters never win », « Don’t you lock your daddy out », « I’m crying my heart out for you », « Cold river blues » and « Painted doll », etc. all sung and written by Daniel Andrade.
« God writes all my songs and being blessed with a lovely wife, Odessa Andrade ; what more could a man ask in life », says Dan. The gifted Dan Andrade has appeared on WPEP, Taunton, Massachusetts with his own show ; on WNBH radio, New Bedford, Massachusetts on the New Bedford Times weekly. He has appeared on KTRH and KNUZ radio stations, plus Big « D » Jamboree, Dallas, Texas, « Cowtown Hoedown », Fort Worth, Texas – « Gulf Coast Jamboree » Television – « Houston Hoedown », Houston, Texas and such.
« Hank The Drifter » records are in numerous libraries on radio stations in the United States, Canada and overseas. Hank says, « I’m very homely, I know, but, look for the inner beauty and we are all pretty people ». My sincere appreciation to Fred Voelker and daughter, Sonya, of Houston, Texas, two fine musicians whom without their help, this album could not have been possible.
Andrade had his first record way back in 1955, as HANK THE DRIFTER: « Hank Williams is singing again » on his own label New England; in 1956, as « Joe Lombardie and the Cats« , he cut « Let’s all rock’n’roll« , then again the same year, as Hank the Drifter, « The Bill Collector’s blues« . 1957, a further more issue, « Don’t you lock your daddy out ». Joe Lombardie & the Cats, « Let’s all rock’n’roll » download
Hank the Drifter, « The Bill Collector’s blues » <a ref= »http://www.bopping.org/wp-content/uploads/2013/11/B5-The-Bill-Collectors-Blues.mp3″ target= »_blank »>download
In 1961, after several years, he revived his label and nom de plume, and reissued masters of the ’50s era. Between March 1961 and 1964, he had this way 9 New England records.
I got a rocket in my pocketWarning: I am trying a new way of setting the podcasts up, but encountering some problems. Sorry for inconvenience!
There were several country singers who cut rock’n’roll records pseudonymously in the mid-to-late ’50s. There was George Jones who barely disguised himself as ‘Thumper’ Jones, Webb Pierce who tried it on as ‘Shady Wall’ (« The new raunchy » on Decca 30539), Buck Owens who was ‘Corky Jones’ for a while on Pep…and a few more. It was a ploy that never really worked in a commercial sense, so no one had to figure out what they would do if they actually had a hit under the new name. The one who looked likeliest to score big under a pseudonym was Jimmie Logsdon, who recorded some wholly convincing rock’n’roll as ‘Jimmie Lloyd’. His rock’n’roll records were a better class because, like Elvis and Carl Perkins, he had a natural feel for the rhythm’n’blues that underpinned the music.It was although not a new tune for him, as he sounded good, as pretty good as earlier a hillbilly singer too. The son of a preacher man, Jimmie Logsdon was born on April 1, 1922, in Panther, Carroll County, Kentucky (he would be 91 today). Music, for the first fifteen years of Jimmie’s life, was gospel music. He and his sister sang in the choir. They put on shows and entered amateur contests. Then, when the family lived in southeastern Kentucky, Jimmie heard blues singers and secular country music at ice cream socials and weinie roasts. Later, he latched onto R&B, and especially remembered Erskine Hawkins’ « After hours » as a record that made a deep impression on him. Glen Miller, Gerschwin and the popular music of the day also had an impact, but not as much as blues and country. His record collection did range « from Mahalia Jackson to Jimmy Reed to Sonny Terry and Brownie McGhee to Frank Sinatra to…whatever. »
Carroll Cty, Ky
In 1940, Jimmie graduated from high school in Ludlow, Kentucky, just south of Cincinnati, and in the fall of that year he married his first wife. He started working for Schuster & Schuster in Cincinnati installing public addresses, then selling appliances. In 1944 he went to war in the Air Corps, but never got further than technical training school in Madison, Wisconsin and an air base near San Antonio where he repaired the wiring on B-17s. Down in Texas, he heard Ernest Tubb and the other Texas honky tonk singers. Out of the service, Logsdon started a radio shop in La Grange, Kentucky, 25 miles northeast of Louisville on the Cincinnati highway. He picked up records to re-sell, and, after two years, decided tat he would take a stab at the music business. After borrowing other people’s guitars for a while, he finally bought one. He learned a few basic chords, then cut some demos on an old recording machine he had in the radio shop. « I went to WLOU in Louisville in 1950,» says Jimmie, « and I asked for the leader of the country band that performed on the station. He listened to my acetates and introduced me to the announcer, and they asked me to sing with the band. » The band was led by Howard Whited, a blind guitarist, who later led Jimmie’s band. After a year of no pay but plenty of exposure on WLOU, Jimmie switched to WINN, playing the honky tonks around Louisville. With the help of Art Rhoades, a furniture store owner in La Grange, and three hundred dollars, Jimmie cut his first record at the E.T. Herzog studio in Cincinnati (where Hank Williams had cut « Lovesick blues » a couple of years earlier) and issued 5 hundred copies of the Harvest label, mostly sent to D. J.s. class= »alignleft wp-image-9721″ alt= »harvest401B jimmie logsdon it’s all over now det » src= »http://www.bopping.org/wp-content/uploads/2013/09/harvest401B-jimmie-logsdon-its-all-over-now-det.jpg » width= »256″ height= »256″ /> It’s all over (Harvest)DownloadHank Williams introduced Logsdon for an appearance at the Louisville Memorial Auditorium in 1951, and told him he’d talk to someone down in Nashville for him. It was also around this time that he hooked with songwriter Vic McAlpin, who secured him several months later a contract with Decca, which lasted a good one year and a half, from October 1952 to February 1954, and 5 sessions resulting in 17 songs, nearly all issued at the time. McAlpin became Jimmie’s agent. One must mention a point: when other people were slowing up the tempo and did ballads, Logsdon cut bluesy things, like « You ain’t nothing but the blues« , « These lonesome blues« , or later (Dot) « Midnight blues » and « Folsom prison blues » (Jimmie Logsdon Sings 1004). First Decca session featured acoustic guitar breaks, something of an anomaly on country records at that time, and probably an idea of Owen Bradley, who A&R’d Jimmie’s sessions. « I wanna be mama’d » was issued in early December 1952. Download Then Hank Williams died, and Jimmie decided to put his feelings into a song he wrote :mg Hank Williams sings the blues no more Download The death of Hank Williams Download « Hank Williams sings the blues no more », because most of all Logsdon idolized Williams and considered him the ultimate in country and a blues singer. The song was issued with a cover version of Jack Cardwell’s « The death of Hank Williams » ; Logsdon began to edge his sound a little closer to Hank’s. It was evident during the next session in August 1953, backed by the Drifting Cowboys themselves. Best songs were « Where the old Red River flows » (often sung by Williams on radio shows), an old Jimmie Davis song Paul Cohen, Decca A&R man, wanted Logsdon to record. Alas, Logsdon could not yodel like Hank. Where the old red river flows Download two pop hits tunes of the day he turned into very nice country boppers : « Papaya mama » and « In the mission of St. Augustine ». The last Decca session didn’t produce the breakthrough single and Cohen dropped Logsdon, who was still on radio and playing clubs around Louisville before getting a year later another contract on Dot. Pa-paya mama Download Midnight boogie Download Again Vic McAlpin landed the deal with a label less and less committed to country (and increasing with Pat Boone and the Hilltoppers). Jimmie brought his own band from Kentucky. « Midnight blues » (# 1274) showed he was still on his Hank Williams kick. « Cold, cold rain » had an hiccupy vocal that seemed to predate Buddy Holly. The single went nowhere. Jimmie got another one-off on Starday though, thanks to Jimmie Skinner. The songs « No longer do I cry » and « I can’t make up my mind » were recorded in April 1956 in the bedroom of Jimmie’s fiddle player Lonnie Peerce. Logsdon wanted a Johnny & Jack Latin percussive sound so Peerce filled up a baby bottle warmer with beans and shook it. Pappy Daily, whom Skinner introduced Logsdon to, issued 500 copies, which they sold off the bandstand and used to promote the band. Cold, cold rain Download Midnight blues Download Can’t make up my mind Download In 1956, Jimmie left WKLO for health reasons. After recovering, he was back in business, and Vic McAlpin secured him a deal with Roulette and its short-lived country serie. Logsdon had got the idea for « Rio de Rosa » when he was down in San Antonio during the War. He gave a half-share of the song to McAlpin in exchange for the Roulette deal and working up the arrangement. He told « I wrote the song in 1951 with Moon Mullican in mind ». « « Where the Rio de Rosa flows » (7001) was a big hit in several markets, including Memphis where Carl Perkins obviously heard it because he covered it on his first Columbia album a few months later. Jimmie was brought down to appear on Wink Martindale’s TV show. « We went in, and Wink was on the air. He looked at me and turned white. He put a record on, shut down the microphone, and he said, ‘I thought you were black. I’ve got you a room at the black hotel here.‘ Broke me up. » Another promotional foray took Logsdon and McAlpin to the Louisiana Hayride. On the way back, they wrote « I got a rocket in my pocket » (Roulette 4068) . « It was just a nonsense thing », he says. It was a joint decision of Jimmie and McAlpin to issue the Roulette records under the pseudonym ‘Jimmie Lloyd’, because of the loyalty of country fans, and the way Jimmy sang so differently. Where the Rio da Rosa flows (Roulette 7001) Download Roulette dropped Jimmie after the second single. He realized that, at 35, he was too old to rock’n’roll. It took another five years before he went back into the recording studio, for King Records (one album, « Howdy neighbors » LP 843, and some singles). He was dee-jaying from 1962 to 1964 on 50,000 watt WCKY in Cincinnati, then for the next decade, as he had always done, moving from one to another station. He launched his own record label Jimmie Logsdon Sings in 1962, cutting no less than 23 songs, some religious, on 6-tracks EPs. In 1963 he went to Rem Records, for an EP of Hank Williams’ songs. Finally he cut a Jewel album (83021) in 1981 with old compere Rusty York (« Now and then, I think of the 50s ») comprising standards of his or others. Particularly good are his renditions of his unissued-in-the-’50s-Decca-recording of « One way ticket to nowhere » (really bluesy), Slim Harpo’s « Rainin’ in my heart« , and the traditional « Midnight special« . Less interesting were his versions of Bill Monroe’s « Rocky road blues » or the traditional « Match box blues« . Nevertheless a nicely backed (piano, harmonica) album. Already a collector’s item in Europe. Making believe (King 5827) Download Truck drivin’ daddy (King 5795) Download When God comes and gathers his jewels (JLS 1002B) Download One way ticket to nowhere (Jewel LP) Download Trouble in mind (Clark Country 1031) Download
note « JimmY » on King
« Logsdon died Sunday October 7, 2001 at his daughter’s home in Louisville, Ky. », reports the Louisville Courier-Journal. He was 79. The cause of his death was not given. From the notes of Colin Escott to Bear Family CD « I got a rocket in my pocket » (1993). Label scans mostly from Anthony Biggs. Thanks Tony! Also Pierre Monnery for the loan of Rem sides scan.
They were two very different singers who teamed for a brief two years to make some of he most interesting duet recordings of the 1950s. Normally vocal duos were kinfolks who had sung together since the cradle but George McCormick from Tennessee and Earl Aycock from Mississipi did not meet until they were in their early twenties.
George McCormick was born on June 16 1933 and spent his early life near Carthage, the hilly area north of Nashville. The life was tough in rural Tennesseee ; George took an interest in music and formed a string band with two friends, the Thomas Brothers, playing in the local area. They left to Nashville, hoping they could find work with Carl Tipton – what they did, in 1947, but he wouldn’t geting much work and they couldn’t make no money. So the partnership ceased. Next step was a meeting with Big Bess (Jeff), and it paid $ 45 a week. The Thomasses worked four, five or six different shows every morning between 5:30 and 8:30 with any WLAC artist from Bob Jennings to Andy Wilson or Mac O’Dell.
Big Jeff Bess
For several years George played guitar and bass alongside a number of up and coming musicians who passed through Big Jeff’s Playboys band, until too the lead in some shows and was even allowed to make his first recordings as a vocalist : as George Mack on one of Jeff’s Dot Records discs in 1952, he played and sang « I courted an angel » and « I don’t talk to strangers » (Dot 1096). He left in 1953 to play in Martha Carson’s band on WSM radio and the Grand Ole Opry and got a contract with M-G-M Records, for whom he cut 12 tracks within less than one year between August 1953 and July 1954. His first two singles were « Fifty-fifty honky tonkin’ » (MGM 11598) and « Hi there sweet thing » (MGM 11656). « Fifty-fifty » was a song Fred Rose had apparently written especially for Hank Williams, a tale of relationships and nightlife brimming with homespun insights.
McCormick really does sound like Hank on this, without being a ‘soundalike’ : he had the spirit and the style and a hard edge to his voice but a degree of originality too. Musicians Jerry Byrd and Tommy Jackson did their best to recreate the trademark Drifting Cowboys licks and the rhythm section of Chet Atkins, Ray Edenton and Lightning Chance takes the performance along at an appropriately jaunty pace. This first song bas backed by « Don’t add an ex to your name » a clever song written by Knoxville’s Arthur Q. Smith. The disc was a good territorial seller and it could have easily been a major hit. « Hi there sweet thing » was another catchy Hank-ish song and it also gained good reviews.
Four days after Christmas in 1953 George McCormick was back in the studio with the same band. Almost a year after Hank Williams had died the featured song was « The sundown train », with McCormick perfecting the keen edge to his voice until he sounded almost more like Hank than Hank. The flipside was « Flutter bug », a Fred Rose song that still recalled the honky tonkin’ Williams sound and rambling cowboy themes but which had some smoother edges and more crafted lyrics than many of his contemporaries.
George was called for his third six-monthly MGM session on 1 July 1954. This time the musicians took their sound from Hank’s band : in fact they were Hank’s band, the Drifting Cowboys. Sammy Pruett on guitar, Don Helms on steel, Jerry Rivers on fiddle and Cedric Rainwater on bass. The session saw issued the rollicking « Don’t fix up the dog house » (written by Don Helms), and recalling some of Hank’s earliest songs where the dog house had been the indicator of wife troubles. Perhaps the best recording was held back from release and didn’t see the light of day for three years. It was « I’ll keep your name on file ». By the summer of 1954 George had three singles on MGM and had been gone some months from the Jeff Bess show. He had started regularly with Martha Carson, when they arrived in Alabama and did take a new bass player, name Earl Aycock.
Sidney Earl Aycock was born in Meridian, Mississipi in 1930. He took an interest in hillbilly music at a young age and played guitar/bass with local bands of east Mississipi, even joining Bill Nettles’ Dixie Blues Boys and playing bass on « Hadacol Boogie ». After a stint in USAF he worked as a DJ before auditioning for Martha Carson. Towards the end of 1954 he teamed up with George McCormick to sing duets as part of the Martha Carson Show. According to the latter, « Earl liked Carl Smith. My favorite was Hank Williams. That’s one reason Earl and I sounded so good together ; our styles had a nice blend. Generally Earl sang the lead and I sang tenor harmonies. »
Before long the new duo started to think about making records. They heard Mercury’s A&R man Dee Kilpatrick was looking to sign a duet act. The deal was made in January 1955, and in next February George and Earl were in the studio for their first Mercury release. All in all, the duet recorded twelve songs ; Mercury issued them over a period of a year and a half. From the opening few seconds of the first session it was clear that the legacy of Hank Williams was not going to frame the sound of a George and Earl record. Earl had a clearer diction ; Chet Atkins, at home with raunchier stuff, had brought another lead guitarist, Joe Edwards, who had a more driving style. This was echoed by the attacking approach of fiddler Benny Martin. Rhythm section (Bob Moore and Ray Edenton) was augmented by drummer Buddy Harmon and Floyd Cramer on piano. This was an altogether ‘bigger’ sound with something of the new rockabilly styling McCormick had heard when playing with Elvis Presley on package shows.
The prime song was « Got anything good », a gloriously tight recording that fit right between uptempo honky tonk and rockabilly. The song was written by Detroit-based country singer Rufus Shoffner (« Mother-in-law boogie » on Fortune). The flipside, « Can I » was about a woman leaving her man. Again there is a good balance between country and rockabilly with a take-off guitar solo from Chet Atkins and fiddle runs setting the pace as much as the drums. « Billboard » review of April 1955 was good and before long Mercury issued the other two tracks of the session. « Sweet little miss blue eyes » is introduced by a fiddle riff and develops onto a fast-flowing love song where the singers take substantial solo parts as well as their duet sections. The song was something of a hit and has become a minor standard as recorded by Carl Smith, Bill Monroe, Ray Price, Vince Gill. The song was given to them by Don Helms and Merle ‘Red’ Taylor (the man who cut in 1955 « Don’t worry about nuthing » in Memphis on Meteor records, as Mason Dixon). In contrast, « Going steady with the blues » has a more modern stop-time sound and features Joe Edwards on guitar behind an exclusively harmony vocal.
Sometime in the summer of 1955 the hot new vocal duo was back in a Nashville studio for Mercury although the details and the musicians are not known. The instrumentation is similar to the first session ; just add Shot Jackson on steel guitar and almost certainly Del Wood on piano. « Heartaches » opens with a full-throated duet that gives way to a solo lead by Aycock and a modern-sounding take on the fiddle and the steel solo duet. It was backed on the third George and Earl single by « Don’t don’t don’t », provided by Louisiana-based record producer J. D. Mller. A fourth single coupled Autry Inman’s « Take a look at my darlin’ » with « Cry baby cry », a song written by Gene Davis (later Bo Davis on Crest) and inspired by « Why baby why ». It is kicked off in trademark style by fiddler Benny Martin and the duo sing strongly over a tinkling piano until the piano and fiddle take solos. Earl has a more ‘country’ voice, while George has moved further away from Hank’s style.
Early weeks of 1956, that was the third Mercury session. Musicians unknown, but could be largely the same again. « Remember and regret » is a plaintive love song written by Wayne Walker, one of in-house songwriters employed by Nashville publishers. This is a country-sounding record with fiddle solos and embellishments well to the fore but it retains the tinkling piano and the drum-augmented beat.
The next song was different entirely : out of nowhere comes a pop vocal leading to a cheerful and impossibly catchy lyric about « Eleven roses ». Originally a song poem and cut by a NY doo-wop group : quite how the song made its way into a hillbilly session in Nashville is a mystery.
The two last songs were in fact issued first : « Done gone » and « Better stop look and listen ». « Done gone », written by Don Helms was intended to be a hit. McCormick remembers : « It had a rocking style and Joe Edwards really played up that rockabilly guitar ». The Mercury label had equally high hopes on the other side, provided by J. D. Miller (and also recorded by Johnny Jano , although unissued at the time). It opens with a hurrying duet leading into an Elvis Presley-styled lyric from Earl and a ringing and rocky guitar solo probably by Joe Edwards. Just at the time Earl Aycock moved to Texas (the origin state of his wife, who wanted him to stop touring around) to become again a disc-jockey, so the duet ended overnight. The story of Earl Aycock will come separately.
George McCormick carried on for a while with the Martha Carson Show, but she wanted to go to New York and work up there. He said : « She had a big following including a lot of Christian people and she was a big star in country gospel music. » He told Martha Carson : « I’m not going to the city, I’m staying right here in the country ».
When he finally severed his connection with Martha Carson’s show, George needed new work and a new record label. He then worked for two years with the Louvin Brothers, whom he had backed up on the Opry show for a couple of years in 1952-1953. He played rhythm and sang (baritone) wih them, touring all around the country.
The new record label was MGM and his session took place on January 12 1957 at the RCAVictor studio in Nashville. Fiddle and steel sounds of earlier MGM sessions are long gone ; it seems to be Joe Edwards on guitar and Buddy Harman on drums. Pianist, bass player and chorus are unidentified. The session produced four songs, although George’s final single, « Doubt », was backed by « I’ll keep your name on file » from three years ago. The first single coupled the Joe Gibson’s moody « The blues moved in this morning » with the Bryants’ « After all we’ve been through ». « Blues » has a fine guitar solo but is marred by an irritating, repetitive piano figure while « After all » moves close to a pop ballad sound. Last track « Ain’t got nothing but the blues » is lost.
George’s vocals on this session are self-consciously less country than in former years and it is clear he was capable of many different vocal performances. MGM although did not exercise their option for another session, and George probably didn’t know it would be several years before he recorded again as a solo vocalist : actually Hank Williams tribute sessions in 1963 for two low-budget labels. He toured extensively in the East with Wilma Lee and Stoney Cooper until 1965, when Porter Wagoner hired him in his Wagonmasters. He appeared in many of the 686 episodes of the Porter Wagoner TV show. Then his last three singles were in 1968-69 on the Stop label : best seller being « Big Wind ». Then he went to work with Billy Grammer and along the way for controversial Alabama Governor George Wallace, before he left after an incident, and went with Grandpa Jones. He stayed with Jones twenty-two years and retired in 1996.
Porter Wagoner TV show
Article based on notes of Martin Hawkins for the BF George & Earl CD « Better stop look and listen ». Some label scans do come from John Burton, Udo Frank or Dean C. Morris : thanks to them. Music from various sources, including a Tom Sims’ cassette. Pictures from the records or from the web.
Billboard Aug. 19 1957 "Blues moved in this morning"
Very little is known about this Texas artist, except the information on labels and two comments after his solitary 1952-53 issue as published by Andrew Brown’s « wired-for-sound.blogspot » site.
« Ramblin’ Fool » is a Gold Star pressing, dating from around 1952-53. Glen Barber, whose band provides the music here, was probably still a student at Pasadena High School when he cut this. The steel guitarist is « Dusty » Carroll, and the fiddler is Charlie Frost. Musically, this is far from great, but hey, it’s a group of teen-agers. Cut them some slack. Flipside « Let me show us how » is an uptempo weeper. Young Glen Barber is invited to do his (very tame) solo.
In 1956 for a label of the same name (Premium 344), Bashful Vic Thomas (note his entire name) had « Rock and roll tonight« , a prime example of a country band thinking that they could jump on the rock and roll bandwagon by simply writing a song that had the words « rock and roll » in the lyrics — leaving the steel and fiddle intact. I suspect that teenagers at the time weren’t impressed, but the honky-tonkers probably thought they were being « hip » by dancing to it. Flipside is Hank Williams‘ « You’re gonna change (or I’m gonna leave », well done and very fast in the Thomas manner – copyrights go to Thomas. Actually « You’re gonna change » sound like an entirely new song and I wonder if Thomas only got the tune’s title from Hank.
Bashful Vic lived up to his name — I’ve never heard anyone on the Houston ’50s scene mention him at all. After re-cutting « Ramblin’ Fool » for Applause, an Omaha, Nebraska label in 1960, he disappears from the vinyl map completely except for the Memory 45. Flipside of the Applause 45 was a modern and energetic (for the times being) revamp of his 1956 « You’re gonna change« .
The Memory 45 is from 1961, and originate from Chula Vista, California, a fact which indicate Vic Thomas was a well traveled artist. It’s a Starday custom double sider of lovely but forgettable country ballads, « A fool in love » and « I wonder« . Thanks to Allan Turner to have provided the label scans as well as sound files. Vic Thomas later in his life moved to Florida and eventually was committed to an asylum for his depression. Originally from New York City, Vic was attracted to the sweet sounds of West Texas troubadors and aspired to be one himself.
It is almost certain that the Vic Thomas of « Marianne » fame, a white doo-wop song from 1963-64 on Philips, is a completely different artist.
Notes and sources: Boppin’ hillbilly Vol. 2002 and 2022 for short snippets on Vic Thomas. Comments on Premium 101 « Ramblin’ fool » on Andrew Brown’s « Wired-for-sound » bloodspot. Thanks to Allan Turner for providing rare scans and sound files. Music and scans of Applause from somelocalloser bloodspot (2013).