Despite a long career that spanned almost 45 years, comparatively little is known about Earl Peterson. He was born in Paxton, Illinois, on February 24, 1927 and moved to Michigan when he was 18 months old. He apparently became proficient on both guitar and drums and formed his own band, the Sons of the Golden West, when he was still in high school. The group secured a regular spot on WOAP, Owosso, then moved to WMYC in Alma, Michigan, before settling at WCEN, Mount Pleasant. WCEN gave Earl and his group a regular show, Earl’s Melody Trails, and made him the talent director, staff announcer and farming news editor. Earl was to study Law after high school but he switched to a musical career instead.
Earl made his debut in the record business when he formed a record label, Nugget Records, with his mother, in January 1950.
« Take me back to Michigan«
Peterson also undertook road trips to publicise his record and, at the same time, worked guest dee-jay spots at various stations. It seems as though his mother, Pearle Lewis, was the driving force behind Peterson. Sam Phillips recalled that the pair arrived on his doorstep early in 1954 pitching « The Boogie blues ». Phillips located some country session musicians to work with Peterson and the result of the session was released in the Spring of 1954.
« Boogie blues« (Sun 197)http://www.bopping.org/wp-content/uploads/2016/01/sun-197.Earl-Peterson-Boogie-blues.mp3download
« In the dark« (Sun 197)http://www.bopping.org/wp-content/uploads/2016/01/In-the-dark.mp3download
The story becomes more convoluted from that point. In October of that year Peterson, with a healthy disregard for contracts and AFM regulations, re-recorded the same song for Columbia. The song was re-copyrighted and probably sold more than the 2500 copies that Phillips had shipped.
« Boogie blues« (Columbia 21364)http://www.bopping.org/wp-content/uploads/2016/01/21364-Boogie-Blues-Earl-Peterson.mp3download
« Believe me » (Columbia 21364)http://www.bopping.org/wp-content/uploads/2016/01/21364-Believe-Me-Earl-Peterson.mp3download
Peterson’s half-brother, Bob Lewis, recalls that Peterson was desperately unhappy with the quality of the Sun recording and that may account for his lack of reserve when Don Law approached him to re-record the tune. In any event, Peterson had a few singles released on Columbia but they were shipped into changing market conditions (released between February 1955 and July 1956) and Peterson may have tired of the constant touring necessary to support his releases. His mother ran a resort club, the Bass Lake Pavillion, and Earl formed a band that included twin steel guitars, two lead guitars, two fiddles and his half-brother on drums and he played here on a regular basis supporting all the acts that worked the area as singles. In this way, Earl and the boys backed Marty Robbins, Moon Mullican and many more. The ’53 Buick which Earl had driven all those miles was increasingly confined to short trips.
« I’m not buying, baby« (Columbia 21406)http://www.bopping.org/wp-content/uploads/2016/01/21406-Earl-Peterson-Im-Not-Buying-Baby.mp3download>
« Be careful of the heart you’re going to break » (Columbia 21406)http://www.bopping.org/wp-content/uploads/2016/01/21406-Be-Careful-Of-The-Heart-Youre-Going-To-Break-Earl-Peterson.mp3download
In 1960 Peterson and his family established radio station WPLB in Greenville, Michigan. In 1962, they switched to the FM frequency and the following year saw Earl’s retirement from the performing side of the music business. By that point there was an undeniable quotient of rock and roll in country music and, in Bob Lewis’ words, « Earl wasn’t crazy about that stuff ». In 1965 Earl learned that he had cancer but he continued to work at the station until his death in May 1971.
« I ain’t gonna fall in love » (Columbia 21467) http://www.bopping.org/wp-content/uploads/2016/01/21467-Earl-Peterson-I-Aint-Gonna-Fall-In-Love.mp3download
« I’ll live my life alone » (Columbia 21467) http://www.bopping.org/wp-content/uploads/2016/01/21467-Ill-Live-My-Life-Alone-Earl-Peterson.mp3download
Earl Peterson’s music, a survey by bopping’s editor
« You gotta be my baby« (Columbia 21540)http://www.bopping.org/wp-content/uploads/2016/01/21540-Earl-Peterson-You-Gotta-Be-My-Baby.mp3download
« World of make believe« (Columbia 21540)http://www.bopping.org/wp-content/uploads/2016/01/World-Of-Make-Believe.mp3download
Sources : « The country years » (1987) by Colin Escott ; page on Earl Peterson – also music from « Columbia 20000 » (Willem Agenant) ; scans from 78rpm-world ; « The Hillbilly researcher » for scan and music to Nugget 78rpm.
« You just can’t be trusted » (’60′s)http://www.bopping.org/wp-content/uploads/2016/01/You-Just-Cant-Be-Trusted-Earl-Peterson.mp3download
Howdy folks. Excuse me, a little bit late…
First on the D label (#1034), the very Hollyish « Sady » by DOUG STANFORD. Very nice Rockabilly guitar and vocal hiccups. A medium bluesy « Separate ration blues » by BILL FREEMAN (later on All-star)(vocal « Buddy » Young): good piano, sax and fiddle.
Hillbilly boogie with AL WINKLER for « Show boat boogie » on the Winkler label # 45-88 . Boogie guitar, mandolin, and call-and-response format.
Doug Stanford, « Sady »http://www.bopping.org/wp-content/uploads/2014/01/D-1034A-Doug-Stanford-Sady-.mp3download
Bill Freeman (Bddy Young) « Separate ration blues » http://www.bopping.org/wp-content/uploads/2014/01/TEXTALENT-Bill-Freeman-separate-ration-blues.mp3download
Al Winkler, « Show boat boogie » http://www.bopping.org/wp-content/uploads/2014/01/winkler-88-Al-Winkler-The-Warren-Country-Band-Showboat-Boogie.mp3download
From Indiana, a fast blegrass, « A use to be » by BRYANT WILSON on Adair 620. A nice atmospheric (steel led) « Stoney mountain » by BOBBY BROWN on Backwater 945.
And finally CHUCK GODDARD on the famous Georgia Trepur label (# 1005) with the piano-led « The moon won’t tell« .
Bryant Wilson « A use to be » http://www.bopping.org/wp-content/uploads/2014/01/adair-620-Bryant-Wilson-and-the-Kentucky-Rambler-A-Used-To-Be-.mp3download
Bobby Brown « Stoney mountain » http://www.bopping.org/wp-content/uploads/2014/01/blackwater-945-Bobby-Brown-And-The-Country-Music-Makers-Stoney-Mountain-Where-I-Lost-My-Love.mp3download
Chuck Goddard « The moon won’t tell » http://www.bopping.org/wp-content/uploads/2014/01/TREPUR-1005-Chuck-Goddard-The-Moon-Wont-Tell-...-58-Hillbilly-Bop.mp3download
There will be next fortnight in early March only.
Forest Rye’s trail from Detroit to the ‘Grand Ole Opry’
Forrest Rye, 1930s
By craig maki
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 » http://www.bopping.org/wp-content/uploads/2013/11/Hot-Wax-1616-Ryes-Blue-Yodelers-You-had-time-to-think-it-over-nettoyé.mp3downloaddownload
Rye’s Red River Blue Yodelers, « On down the line » http://www.bopping.org/wp-content/uploads/2013/11/Hot-Wax-1616-Ryes-Blue-Yodelers-On-down-the-line-netoyé.mp3download
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.
Rye’s Red River Blue Yodelers, « Snake bite blues » http://www.bopping.org/wp-content/uploads/2013/11/Universal-1002-Ryes-Red-River-blue-yodelers-Snake-bite-blues-nettoyé.mp3download
Rye’s Red River Blue Yodelers, « Don’t come crying around me mama » http://www.bopping.org/wp-content/uploads/2013/11/Universal-1002-Ryes-Red-River-Blue-Yodelers-Dont-come-crying-around-me-mama-Conrad-Brooks-vo.mp3downloaddownload
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.
Forrest Rye, « Crying my eyes out » http://www.bopping.org/wp-content/uploads/2013/11/Mercury-6328-Forrest-Rye-Crying-my-eyes-out-nettoyé.mp3download
Forrest Rye, « After all these tears » http://www.bopping.org/wp-content/uploads/2013/11/Mercury-6328-Forrest-Rye-After-all-these-years-nettoyé.mp3downloaddownload
Forrest Rye, « Midnight boogie blues » http://www.bopping.org/wp-content/uploads/2013/11/Mercury-6329-Forrest-Rye-Midnight-boogie-blues-nettoyé.mp3download
Forrest Rye, « Won’t you give me a little loving » http://www.bopping.org/wp-content/uploads/2013/11/Mercury-6329-Forrest-Rye-Wont-you-give-me-a-little-loving-nettoyé.mp3downloaddownload
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.
Forest Rye, « Wild cat boogie » http://www.bopping.org/wp-content/uploads/2013/11/frtune-172-A-Forest-Rye-Wildcat-boogie.mp3download
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.
Little Willie Rye, « Road of happiness« , http://www.bopping.org/wp-content/uploads/2013/11/PACE-1007.1-little-willie-Rye-road-of-happiness.mp3download
Little Willie Rye, « Make believe girl » http://www.bopping.org/wp-content/uploads/2013/11/PACE-1007.2-rye-make-believe-girl.mp3download
Reprinted from carcitycountry.com, the site of Craig Maki See http://carcitycountry.com/2013/forest-ryes-trail-from-detroit-to-the-grand-ole-opry/. Additions by Xavier (Mercury, Universal), bopping editor.
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.
I got a rocket in my pocket Warning: 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) http://www.bopping.org/wp-content/uploads/2013/09/harvest-Its-all-over1.mp3Download Hank 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. http://www.bopping.org/wp-content/uploads/2013/09/decca-28502-mamad.mp3Download Then Hank Williams died, and Jimmie decided to put his feelings into a song he wrote :mg Hank Williams sings the blues no more http://www.bopping.org/wp-content/uploads/2013/09/decca-28584-HW-blues1.mp3Download The death of Hank Williams http://www.bopping.org/wp-content/uploads/2013/09/decca-28584-death-HW.mp3Download « 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 http://www.bopping.org/wp-content/uploads/2013/09/decca-28864-river.mp3Download 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 http://www.bopping.org/wp-content/uploads/2013/09/decca-28913-pa-paya-mama.mp3Download Midnight boogie http://www.bopping.org/wp-content/uploads/2013/09/decca-29075-midnight1.mp3Download 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 http://www.bopping.org/wp-content/uploads/2013/09/dot-1274-cold-rain.mp3Download Midnight blues http://www.bopping.org/wp-content/uploads/2013/09/dot-1274-midnight-blues.mp3Download Can’t make up my mind http://www.bopping.org/wp-content/uploads/2013/09/Starday-286-can_t-make-up-my-mind.mp3Download 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) http://www.bopping.org/wp-content/uploads/2013/09/roulette-7001-rio-.mp3Download 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) http://www.bopping.org/wp-content/uploads/2013/09/King-5827B-jimmy-logsdon-Making-Believe.mp3Download Truck drivin’ daddy (King 5795) http://www.bopping.org/wp-content/uploads/2013/09/B3-Jimmy-Logsdon-Truck-Drivin-Daddy.mp3Download When God comes and gathers his jewels (JLS 1002B) http://www.bopping.org/wp-content/uploads/2013/09/jimmie-logsdon-When-God-comes1.mp3Download One way ticket to nowhere (Jewel LP) http://www.bopping.org/wp-content/uploads/2013/09/14-One-Way-Ticket-To-Nowhere1.mp3Download Trouble in mind (Clark Country 1031) http://www.bopping.org/wp-content/uploads/2013/09/clark-ctry-1031-jimmy-logsdon-trouble-in-mind.mp3Download
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.
Billboard Jan. 1948
Western singer-songwriter Jack Guthrie first made popular the song « Oklahoma Hills« . He was born Leon Jerry Guthrie on November 13, 1915, in Olive, Oklahoma. His father, an early day blacksmith, was a younger brother of Charley Guthrie, the father of Woody Guthrie. Jack Guthrie grew up around horses and grew to love them and the cowboy image. As with others in the Guthrie family, he learned to play the fiddle, guitar, bass fiddle, and other instruments from family members. The family moved often, and since Guthrie did not enjoy the discipline of public school life, he would go in the front door of a school and straight out the back door. It is doubtful that he ever completed the sixth grade. By the mid-1930s the family had settled in California. As he believed that the names Leon and Jerry were not good cowboy image names, he became known as « Jack, » « Oklahoma, » and « Oke. »
He developed a style of singing and yodeling influenced by his idol, Jimmie Rodgers (hence his Capitol transcriptions, like Rodgers’ « Any Old Time« , or the premonitary 1946 « T. B. Blues« , taught from the 1932 Rodgers’ song, just two years before the latter’s death, and Guthrie’s own death early in 1948). In the mid-1930s Guthrie competed in rodeo as a bucking-horse rider. Later he adapted his music to fit the cowboy image. In 1937 his cousin and good friend Woody Guthrie traveled to the Los Angeles area, and they became a musical team, landing the Oke & Woody Show on KFVD radio in Hollywood. During the fall of 1937 Woody wrote « Oklahoma Hills« , which they performed during their shows. However, each cousin had different ambitions and quickly went separate ways.
Jack Guthrie also was a stage performer who entertained audiences with a whip act. His wife participated in it until their marriage became rocky and Guthrie started missing the items she held, accidentally hitting her with the whip. His friend Ruth Crissman then joined the act, and when he was injured in a fall from a bucking horse and had no other career, in 1944 she provided funds to buy him a demo recording session at Capitol Records’s studio. Capitol offered him a contract, and « Oklahoma Hills » was the first song he recorded. Released in 1945, it quickly became a number one country-western hit. When Woody Guthrie heard it on a jukebox, he called Capitol and claimed it as his song. Because Jack had recorded it and made it popular and had made a few changes to improve it, he and his cousin decided to share the copyright.
the page to Jack Guthrie, according to Tony Biggs
BIBLIOGRAPHY: Guy Logsdon, « Jack Guthrie: A Star That Almost Was, » The Journal of Country Music 15 (1993).
Here it is the presentation of Jack Guthrie (the man and his music) by the indefatigable Tony Biggs:
Jack Guthrie was in the U.S. Army and stationed in the Pacific when « Oklahoma Hills » was released. When discharged, he started playing Western-swing dances along the West Coast, making personal appearances, and writing songs such as « Oklahoma’s Calling. » He also recorded more hit songs for Capitol, including « Oakie Boogie. » (original cut by Johnny Tyler for Stanchel in mid-1946). Guthrie was diagnosed with tuberculosis, but he was determined to take full advantage of his popularity. He avoided medical treatment or hospitalization until it was too late. In July 1947 he was admitted to Livermore Veterans Tubercular Hospital near Sacramento, California, where he was told that there was no hope. He then moved in with his sister, Wava Blake. In October he recorded a few more songs, but he was so sick that he had to lie on a cot between songs. Jack Guthrie died on January 15, 1948, two months after his thirty-second birthday, and was buried in Memorial Cemetery, Sacramento, California.
Billboard March 1, 1947
201 Oklahoma Hills / I’m Brandin’ My Darlin’ Within My Heart – 06-45
246 When The Cactus Is In Bloom / I Loved You Once But I Can’ Trust You Now – 02-46
309 I’m Tellin’ You / Chained To A Memory – 10-46
341 The Clouds Rained Trouble Down / Oakie Boogie – 01-47
406 You Laughed And I Cried / It’s Too Late To Change Your Mind – 04-47
40012 I’m Building A Stairway To Heaven / This Troubled Mind Of Mine – 08-47 (released on Capitol Americana)
40032 Please, Oh Please / Oklahoma’s Calling – 10-47 (released on Capitol Americana)
40075 Next To The Soil / Ida Red – 01-48
40118 Bow Down Brother / You’re Gonna Be Sorry – 05-48
15251 In The Shadows Of My Heart / Answer To Moonlights And Skies – 09-48
15266 Oklahoma Hills / Oakie Boogie – ca. 10-48 (reissue)
57-40131 Look Out For The Crossing / No Need To Knock On My Door – 04-49
57-40222 Welcome Home Stranger / Colorado Blues – 08-49
F2128 Oklahoma Hills / Oakie Boogie – 06-52 (reissue)
6085 Oklahoma Hills / Oakie Boogie – 66 (reissue)
from Praguefrank site
A survey on Jack Guthrie’s retained recordings in podcasts:
Howdy, folks! We do embark for a new musical journey into Bluegrass, old-time Hillbilly, and border Rockabilly Hillbilly bop.
First from North Wilkesboro, Western North Carolina, do come the CHURCH BROTHERS. Three brothers, Ralph, Bill and Edwin (each’s instrument unknown) and a fourth partner, Ward Eller, provided on the Jim Stanton’s Rich-R-Tone label, later on Drusilla Adams’ Blue Ridge label, a nice serie of enthusiastic tunes between 1951 and 1953, before they were disbanded by the mid-’50s. The elder Bill was playing (certainly guitar) with Roy Hall & his Blue Ridge Entertainers before the WWII, and was joined later by younger brothers. Alas, they were reluctant to travel very far, and, being modest and straightforward country boys, they were less and less involved in music – and more and more tied in their farms and families. Here you can hear the fabulous banjo-led « I Don’t Know What To Do« , which I don’t even know the original issue number of, having picked it from an old Tom Sims’ cassette. This track escaped to Rounder LP 1020, a shame because in my mind it’s by far their best track ever. Final note: the Church Brothers backed Jim Eanes on his regional hit « Missing In Action » (1952).
GRANDPA JONES (Born Louis Jones, 1913 – died 1998) was a banjo player, comedian, and long-time associate with Grand Ole Opry. He had adopted the name ‘Grandpa’ at 22,because he sounded old on the radio. He recorded with Merle Travis and the Delmore Brothers as Brown’s Ferry Four for King (religious sides). Here you can hear his hilarious and stomping « Grandpa’s Boogie » (King 822) from 1948.
CHARLIE MONROE along with famous brother Bill was at the very beginnig of Bluegrass music, but he deliver also some very good Hillbilly, as here with « Down In Caroline » from the ’40s (RCA 48-0391B ). Note the boogie guitar for a song much covered afterwards, e.g. the Church Brothers.
From Texas and a bit later. The first issue on the Gainesville Lin label (Buck Griffin…) by a rather unknown WAYNE JETTON and « A Crazy Mind Plus A Foolish Heart » (Lin 1000). A good average uptempo ballad. Then, on the San Antonio TNT label, a bordering Hillbilly bop/Rockabilly bop, « Be Bopping Baby » (TNT 9009) by RANDY KING, from 1956. Good topical lyrics, and fine backing.
Finally a belter from 1956 by a R&B lady (unusual on Bopping!), « Alabama Rock’n'Roll » by MABEL KING on the Rama (# 200) New York label. Enjoy the selections! ’till then, bye-bye!
Howdy, folks! Here we go with 6 « new » Hillbilly Bop goodies from various sources, spanning nearly 20 years from 1949 to 1967. Let’s begin with Indiana’s BLANKENSHIP Brothers. They were a group doing Bluegrass and Rockabilly, as late as 1960. I’ve chosen « I Just Got One heart« , the B-side to their most famous and best tune « That’s Why I’m Blue » (Skyline 106). Way up North in the Detroit, Michigan area. Hillbilly was concentrated on Fortune Records (Jack & Devorah Brown), and the label saw many, many fine releases by Southerners who did entertain the Ford car workers. Many good Fortune sides are to be found in the excellent NL Collector serie « Boppin’ Hillbilly« (« Detroit in the 50′s« , 3 volumes), and here we have one of the earliest sides (Fortune 141, 1949) by EARL SONGER, « Mother-In-Law Boogie« . Songer himself was from West Va. and came to Detroit in the late 30′s; being a fan of Bill Cox, he was a one-man band (vocal/guitar/harmonica), before teaming with Joyce (born in Tennessee). Together they recorded many songs on Fortune: 7 disks within 2 years. Immense success.
Next we have TOMMY JACKSON and « Flat Top Box » from Lexington, KY (Sun-Ray 131) as late as…1967. Great guitar, very modern in style, altho’ the Hillbilly spirit remains untouched. Back to Indiana with the prolific Hodges Brothers Band, fronted by RALPH HODGES for a little classic on Whispering Pines 201, « HONEY TALK » with the buzzing guitar and swirling fiddle. That’s a crossover between Hillbilly and Rock’n'Roll, what they call sometimes Hillbilly Rock. They had a good amount of albums recorded by Chris Strachwitz for Arhoolie in the 1970′s.
And then we have a woman – and God knows they were THAT uncommon in Hillbilly! JEANIE CHRISTIE on the Blue Sky label out of St. Cloud, FLA from 1958: « Flying High« . Great and firm vocal, a solid steel-guitar throughout. A nice record!
Finally in Virginia for the tiny Liberty label (no connection with the California concern), HENDER SAUL, « I Ain’t Gonna Rock-Tonite« , one of my all-time faves in Hillbilly Rock. Forceful vocal, nice lyrics, great interplay between guitar and fiddle.
I really hope you will enjoy the selections, and you will comment after a listen or two. You can download everything, of course!
« Lâche pas la patate » (Don’t loosen the potatoe) to quote Cajun Jimmy C. Newman, and keep on Bopping!
Sources: various CDs. Pictures as usual from the excellent Terry Gordon’s site « Rocking Country Style ». Take a look at it!
Hello folks! This is REALLY a hot summer over there in France, lot of heavy clouds but…no rain at all. Perfect time anyway to keep oneself well dry inside and stomp to that good ole’ Hillbilly beat. We begin with a very elusive artist from the Cumberland Valley/Cincinnati area. I’ve told before in this site about him, and did promise I should post everything I gathered for one year and a half. This could be later this year, so watch out for the fullest possible story on Mr. JIMMIE BALLARD. The first cut in this fortnite is Ballard’s own version of « Birthday Cake Boogie » (Kentucky 508)
of course, the same song was also recorded by, among others, BILLY HUGHES and SKEETS McDONALD, and stands out as a classic ‘risqué‘ or ‘double-entendre‘ song. Ballard was the front man then of BUFFALO JOHNSON‘s Herd (who was active in the D.C. area, and a full story on him is on the line. And he keeps the vocal duties with the also ‘risqué‘ (Kentucky 520 ) « T’ain’t Big Enough« . Both songs are from 1953/1954, fine uptempo Boppers, altho’ just above average, except for lyrics.
Back to a Wildcat out of Texas, a very long career as steel guitar player as soon as 1936, then singer and front man of his band, the XYT Boys, BILLY BRIGGS. I will have some day a complete story on him. He was (maybe he’s still alive, I dunno) to have a sound on his own, and produced very strange ditties from his steel in 1951 for his greatest success (much covered) « Chew Tobacco Rag N° 2 » . Here I’ve chosen the amusing « North Pole Boogie » (Imperial 8131, late Forties), complete with icy wind effects (on steel), and Briggs’ own barytone voice imitating a sort of ‘polar bear’ .
Back to Cincinnati and BILL BROWNING. I’ve written about him elsewhere in the site with the story of the LUCKY label. Today I listen to his composition « Dark Hollow« , which was a hit in 1958 when picked up by JIMMIE SKINNER, before the very nice version on BLUE RIDGE by LUKE GORDON (watch out for his story later in 2010), then even by The Grateful Dead in 1973, among others. I particularly like the recent version made by FRED TRAVERS (90′s) which I’ve included in the podcasts; almost falsetto urgent vocal and great dobro.
More from Cincinnati. BOBBY ROBERTS (I think there were at least 2, or 3 personas by the same name during he 50′s). Here he’s the great Hillbilly singer, who cut late 1955 4 sides for KING records. I cannot rememeber if I posted earlier his great « I’m Gonna Comb You Out Of My Hair » (what a title!). This time, I offer the second KING (4868, unverified – Ruppli’s book still stored) « I’m Pulling Stakes And Leaving You », same lyrics format. Great, great Hillbilly Bop. Later in 1956, Roberts (or one of his aliases) had « Big Sandy » or « Hop, Skip and Jump« , pure Rockabillies. I still wonder if it’s the same man; if so, he would have adapted very well and quickly (within some months) from pure Hillbilly vocal to almost Rock’n'Roll. By the way, he would not have been the first to do so: SKEETS McDONALD, GEORGE JONES, MARTY ROBBINS did very well the transition early in 1956.
Another elusive artist: guitar player/singer PETE PIKE. Recently deceased (2006) just after a CD ‘back to roots’ (Bluegrass) issued in 2005, he was active both in Virginia and D.C. areas from 1947 onwards, and associated several years with another interesting man, BUZZ BUSBY (Busbice). Pike had Hillbilly Bop records on FOUR STAR and CORAL in 1954-1955, among them I’ve chosen the superior ballad »I’m Walking Alone« . Another future entry in www.bopping.org, research is well advanced.
Finally, on the Rocking Blues side, you’re in for a treat with L.A. ‘black Jerry Lee Lewis’ (as the Englishmen call him when he visits their shores), WILLIE EGAN and « What A Shame » from 1957 (Vita label). Pounding piano, wild vocal, strong saxes, heavy drums, the whole affair rocks like mad, althoug relaxed. Enjoy, folks. Comments welcome. ‘Till then, bye-bye.
Hello folks, here I am again, back in wonderful Vallée du Rhône (where I lived for more than 40 years): Roman monuments, wines, goat cheeses, near Lyon, the second city of France (rivalling Marseille). Here in Vienne we have one of the foremost Jazz Festivals all around Europe (1rst fortnight of July), held in a marvelous Roman theater (fantastic acoustic!). Among all artists will be this year Joe Cocker – he’s not a Hillbilly yet, you know, but one of the truly Soulful artists ever. The show is booked…
All my records are still in boxes, and the library has yet to be set up, later this Summer. So this early July fortnite will be made up of tunes stored on my Macintosch for accidental use like this one. No label pictures, no spare time left to research in my files, only the music. After all, it’s only music we all love that got importance, isn’t?
Here we go.First from Indiana (Ruby label) comes WALTER SCOTT and the fine Hillbilly bop « I’m Walkin’ Out » (1956) complete with swirling fiddles and steel-guitar. Then to Texas, I think (I may be wrong!), with the great HYLO BROWN, whose career was firmly dept in Bluegrass but flirted with Hillbilly at times. I’ve chosen his 1951 rendition of « Lonesome Road Blues » (Four Star). Down in Louisiana, here comes the Pope of Cajun accordion, NATHAN ABSHIRE and one of his first records (although he had already recorded in 1939) under his name, the fine instrumental « Lu Lu Boogie » (Khoury’s label, 1947). On to Nashville, and JIMMY MARTIN, one of the founding members of the Bluegrass style (he’s been once guitar player for Bill Monroe). The song herein is Bluegrass, indeed, but Jimmy has hiccups in his voice…that predate (in my mind anyway) Rockabilly! « Hop, Skip and Wobble » (Decca) Complete with fiddle, banjo, string-bass. Back to the real roots of Hillbilly of the Thirties: (Tom) DARBY & (Jimmy) TARLTON – the haunting « Sweet Sarah Blues » (may be from 1928? 1931? I cannot verify at the moment). Great, strange vocal, and wild dobro.
We finished with two very different tunes, separated by at least 50 years. BIG MACEO (Merryweather) was a fine piano player and intimate vocalist of Chicago in the early 40s. Hear his « I Got The Blues » (backed by Tampa Red on the fluid electric guitar). Then MAURA O’CONNELL (late 1990′s) and the beautiful (both melody and lyrics) « It’s A Beautiful Day ». Enjoy, folks!
Not enough time to have long comments this time; Just the music, various styles…
Darby & Tarlton open the sequence with « SWEET SARAH BLUES » from the Hillbilly early days; WILD dobro. Then onto Bluegrass with Frank Hunter from Tennesse for « TENNESSEE BOY ». West coast, and Terry Fell (singer & songwriter) and the classic Hillbilly Bop « GET ABOARD MY WAGON » (Harold Hensley on fiddle, Speedy West on steel, Jimmy Bryant on guitar!). Back to Kingsport, Tennessee, with Reece Shipley and the original to Red Foley’s « MILK BUCKET BOOGIE », complete with clockwork alarms and that wonderful sound of the milk pouring in the steel bucket…On to Blues? Elmore James with « LOOK ON YONDER WALL » (Sammy Myers on harmonica). We come to an end with Steve Young’s recent « ALABAMA HIGHWAY ». Comments welcome, folks!