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 important 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.
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 « 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 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.
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 !
« 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 !
Out of Trumansburg, N.Y. Seemingly in ’57 comes a pretty tame version of the Drifters’ « Money honey » by JANECE MORGANwith 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.
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.
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.
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.
SHORTY 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 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.
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.
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 the 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.
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.
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.
Nothing or nearly has surfaced on the precise whereabouts of PAL THIBODEAUX (his actual Cajun name). Here are the details I could glean from his records, or from 45rpm-cat or even from Bill Nettles’ story as it appears on the CD « Bill Nettles & his Dixie Blue Boys : « Shake it and take it » – Cattle CCD248) and « Bill Nettles – « Hadacol boogie » – on Jasmine 3548 » . I even didn’t succeed obtaining a picture of Pal Thibodeaux, also known as LITTLE PAL HARDY (on Imperial 8282).
This fortnight’s favorites feature will be separated in two sections. First we will be wandering between some artists of various importance. Second we will hook up on a familiar theme in 1954-55, that of « Daydreamin’ »…
First comes the very unknown from the early days, WALLY MOORE& His Tennesseans. He cut seemingly first for the R&B indie Acorn (a subsidiary of N.J. giant Savoy label), which had its Hillbilly serie : « A dream lives on » (# 317-B) in 1951. A sweet little jumping bopper with good voice from Moore. The steel is uninspired, but the guitar takes a fresh short solo. Earlier he had been on the big concern Savoy – again in its 3000 Hillbilly serie – for the proto-Rockabilly « Down at the picture show » (# 3025). He had also a good disc on # 3023, « Tie a little string around your finger » (announced by 7th Jan. 1950 Billboard issue); I include the reverse side, « A vision of yesterday« , a weeping ballad for a change, because of the mandolin accompaniment and the Hawaii style steel (which sounds like Jerry Byrd, according to the provider of this 78rpm, Ronald Keppner). Finally Moore had another record on Regent 170 [unheard] then he disappeared from my researching antennas.
Galen Gart’s ARLD gives the date of Savoy 3024 (wedged in between the two Wally Moore issues) as issued in January 1950, and Acorn 316 on March 1951.
Billboard Feb. 18, 1950
The name CURLEY SANDERS surely rings a bell to many. He had first waxed for Dallas’ Star Talent label (« Last on your list », # 749), then he came to Imperial in 1951, Concept later, finally on Jamboree. That’s when in 1956 he cut his most famous track « Brand new Rock’n’Roll », a fiery slice of wild Rockabilly (# 590). I’ve chosen his second issue on Jamboree (# 1833A) « Heartsick and blue », again with the Kentucky Rangers : backing of piano, a rockabilly picking guitar solo, a good steel solo and a welcome mandolin solo over a urgent vocal. Sanders story was told in this site in March 2013.
From West Monroe, La. comes the back-to-back Dos record by AL DOSS (# 944). Fine uptempo of « That’s my baby ». Quieter is the double-voiced flipside « Everytime you waltz again ». A nice little record. Doss had another good record on Dos # 945 with two boppers: « Why do dont » and « Everytime you waltz« .
Both sides have a « GS » written in wax; so a Gold Star recording location (Houston) is probable.
In 1954 on Meteor # 5014 BUD DECKLEMAN had a mammoth hit with « Daydreamin’ », the quintessential Hillbilly bop heard even in New Orleans [n° 2 in Cashbox charts], or Des Moines (Iowa), not to say Memphis [n° 1] of course. Sam Phillips had previously turned down Deckleman and was bitterly biting his fingers..Les Bihari (Meteor label’s boss), who had renamed Daydreamers the label’s house-band (for Jess Hooper, Barney Burcham and Jimmy Haggett), was very cutup when Deckleman agreed to the offer made by M-G-M, still in the hunt for another Hank Williams. Bud Deckleman waxed a dozen sides [all were released] between 1955 and 1956, and athough he had a small success with « No one dear but you » (M-G-M 11952, March 1955), his style really out of date at the time being eluded him the renewal of his contract with M-G-M. Here it is « I gotta find a way », the very last song he cut for M-G-M on October 18, 1956 (# 12419), and the penultimate issue (before # 12552, « I done fell too fer/As long as I can dream », a prophetically title !). Good, excellent bopper, very confident and driving. The story of Bud Deckleman can be found in this site, as it has been told in May 2009. Unfortunately Deckleman’s career gradually came at its end in 1957, because he was out of date and, according to Q. Claunch « You’d never be quite sure you could rely on him ». Final record in 1961 on Stompertime # 1400, « I’ll be the one/I’m sorry now », a fine swansong in the M-G-M days mould. Deckleman died in February 1998.
And that’s when the story of « Daydreamin’ » begins, thanks to its writers, Mrrs. Bill Cantrell and Quinton Claunch. (respectively guitarist and fiddler on the « Daydreamin’ » session) : led by Sam Phillips in astray, they wrote the follow-up, « Daydreams come true » for Maggie Sue Wimberly at Sun (# 229) and Buddy Bain, Kay Wayne and Merle (Red) Taylor at Meteor (# 5027). Note that both of them played on the two sessions!
In the meantime « Daydreamin’ » had been covered at least 7 times, first by Jimmy Newman (Dot), who hit to # 7 in early 1955 with it; then by Wanda Jackson, Carl McVoy, and later by Tibby Edwards (on Todd) or Warren Storm. I include the version made very early by DOUG BRAGG on Coral (# 61364) – recorded January 1955, it’s a carbon copy of Deckleman’s, which went unsuccessful. He liked the theme, as he even had also his sequels to « Daydreamin’ » on Houston, Tx. D Records 3 years later : « Daydreaming again » (# 1018)[with little yodels..] and its reverse, « If I find my dream girl » ! Of course Bragg also recorded for Dixie and Skippy. His story was told in this site in December 2012.
Sources : my own archives ; notes by Martin Hawkins to Ace CD « The complete Meteor rockabilly and hillbilly recordings » ; 45cat and 78rpm-world. Michel Ruppli’s « The M-G-M label » (session details). As usual thanks to Ronald Keppner for his precious help on Wally Moore 78rpm. Thanks DrunkenHobo for the press snippet.
Vance Morris and the Alabama Playboys monopolized Nashboro’s early hillbilly releases with accomplished, zestful tunes like « Crazy ’bout the boogie » and « Slap-happy pappy« . That Morris, born in 1919, grew up near Oklahoma City probably accounts for the heavy Western swing influence in the band’s repertoire. « I idolized this kind of music« , said Morris to Martin Hawkins. After 1942 he had a band which at one time had no less than 13 pieces in the Play Boys. They fielded offers from King and Mercury.
He went to Mississipi in 1934, then on to Huntsville, Alabama. A local promoter, Robert ‘Big Deal’ Vann, got him on Nashboro. There were two sessions, no royalties, and only a little airplay. Vance sang and played guitar and bass; Hank « Dub » Williams played bass, rhythm guitar and sang. « Lefty » Haggard also sang on one side; Ronald Glenn played lead guitar. Malcolm « Buck » Buffalo and Cliff Luna played the fiddle.
After the Nashboro disks, the band members went their separate way. Morris at one time repaired cars, before the split of his band was complete.
from notes by Martin Hawkins for « A shot in the dark » boxset. Thanks to Ronald Keppner and his invaluable help (mp3 and label scans)
Notes from Bopping editor :
« Crazy ’bout the boogie » (# 1005) is by far the best of the 6 sides cut for Nashboro. An heavy boogie guitar (solo), the piano takes a boogie solo, and steel is driving throughout the tune.
Nashboro 1009 combines again a vocal and an instrumental. « I’ll get by don’t you cry » is a shuffler, a bit sentimental, while « Slap-happy pappy » is a real showcase of the whole band. Each of the instruments (bass, piano, guitar) takes its solo, all propelled by a fine steel throughout. Add the vocal yells, and you’ve got a really fine fast Hillbilly boogie.