Born in Bolt, W. Va, Jimmy Dickens began his musical career in the late ’30s, performing on WJLS radio station in Beckley, W.a. While attending West Va. University. He soon quit school to pursue a full-time music career, and traveled the country performing on various local radio stations under the name « Jimmy the Kid ».
In 1948 Dickens was heard performing on WKNX, a radio station in Saginaw, Michigan, by Roy Acuff, who introduced him to Art Satherley at Columbia Records and officials from the Grand Ole Opry. Dickens signed with Columbia in September and joined the Opry in August. Around this time, he began using his nickname, Little Jimmy Dickens, inspired by his short stature (4 »11, 150 cm).
Dickens recorded many novelty songs for Columbia, including « Country boy », « A-sleeping at the foot of the bed » and « I’m little but I’m loud ». One day, after having told Jimmy he needed a hit, Hank Williams wrote « Hey, good lookin’ » in only 20 minutes while on a plane with Dickens, Minnie Pearl and her husband. A week later Williams cut the song himself, jokingly telling Dickens « That song’s too good for you ! »
In 1950, Dickens formed the Country Boys with musicians Jabbo Arrington, Grady Martin, Bob Moore and Thumbs Carlile. It was during this time that he discovered future Country Music Hall of famer Marty Robbins at a Phoenix, AZ television station while on tour with the Grand Ole Opry road show. In 1957 he left the Opry to tour with the Philip Morris Country Music Show.
Dickens was active in music until nearly his death on January 2nd, 2015.
Good solid early ’50s Honky tonk music as shown in the several examples below :
« F-o-o-l-i-s-h me, me » (Columbia 20692), a nice honky-tonker, was cut in February 1950, and covered the same year by Charlie ‘Peanut’ Faircloth [see a previous fortnight's favorites section for the latter's version). It has definitely the crisp guitar sound of Grady Martin.
"F-o-o-l-i-s-h me, me"
« Rock me« http://www.bopping.org/wp-content/uploads/2015/03/Rock-Me.mp3download
« Rock me » (Columbia 21206), also known as « She sure can rock me », was an old Willie Perryman R&B belter, well adapted here by Dickens, obviously conscious of the « double-entendre » of the lyrics. As intended, piano is prominent instrument.
« Hillbilly fever », cut at the same session as « F-o-o-l-i-s-h me, me », was initially a Kenny Roberts song (Coral). Here Dickens is doubled on vocal by his rhythm guitar player. Note the rare label scan of a Japanese issue (« American folk music ») !
« Hillbilly fever« http://www.bopping.org/wp-content/uploads/2015/03/Hillbilly-Feverfev50.mp3download
« Salty boogie » (Columbia 21384) is almost rockabilly. Fiddle is still present, but lead guitar is well to the fore as in « Hey worm (you wanna wiggle) » (Columbia 21491), and indeed there are drums.
« Salty boogie« http://www.bopping.org/wp-content/uploads/2015/03/Salty-Boogie.mp3download
« Hey worm !(You wanna wiggle) »http://www.bopping.org/wp-content/uploads/2015/03/F-O-O-L-I-S-H-M-E-fev50.mp3download
Final foray in pure Rock’n'roll comes with the dynamite of « I got a hole in my pocket » (Columbia 41173) from 1958, and its furious Buddy Emmons licks on steel guitar.
« I got a a hole in my pocket« http://www.bopping.org/wp-content/uploads/2015/03/Jimmy-Dickens-I-Got-A-Hole-In-My-Pocket.mp3download
Howdy folks! Well it’s been quite some time since I last posted. Lot of work this Summer, down in Marseille (south of France) where I’d set my younger daughter as student in her flat up. Last post (today): an important article on the JACOBY Brothers (TNT and Columbia recordings). Nearly all their output is posted in a new presentation. I hope it will please you. Let me know. By now, for this fortnight, we begin with the guitar player of the Miller Brothers, EDDIE MILLER. He lets his bass player Jim McGraw take the lead on this April 1956 4 Star 1693 issue, « Patty cake man« , a typical 4 Star pano led honky tonker.
Another important artist on the West coast was ROCKY BILL FORD, mostly known for his 1951 « Beer drinking blues », easily found on many compilations. Lesser known is his « Willie Dum Dee » on Gilt-Edge 9 from 1951: typical baritone voice for this fine shuffler.
Rocky Bill Ford: Willie Dum Dee http://www.bopping.org/wp-content/uploads/2013/08/rocky-bill-ford-willie-dum-dee.mp3
From Joliet, Illinois, 1957, comes JIMMIE LAUDERDALE for a joyful, hopping « Right away, quick! quick! » country-rocker on the Jopz label. Nice guitar. Right away, quick quick http://www.bopping.org/wp-content/uploads/2013/08/Jimmie-Lauderdale-Right-Away-Quick-Quick-1957.mp3 Download Now BEN BAKER for two tracks on the Cool label from Harrison, NJ. Atmospheric hillbilly bop (one waltz tempo). Lots of echo on the steel and fiddle. Nice tunes: « Tomorrow your leaving« (sic) and « Too late now« . strong>Tommow you_re leaving/span> http://www.bopping.org/wp-content/uploads/2013/08/Tomorrow-Your-Leaving.mp3 Download
Too late now http://www.bopping.org/wp-content/uploads/2013/08/Too-Late-Now.mp3
Finally a R&B romper with CECIL GANT and « Nashville jumps« , one of the early sides on Bullet out of Nashville. Enjoy the selections! Bye. Nashville jumps http://www.bopping.org/wp-content/uploads/2013/08/Bullet-250-A-cecil-gant-nashville-jumps.mp3
The Steeldrivers « Reckless » Rounder 0624-2 (2010)
Steeldrivers’ singer (Chris Stapleton) left the group and his replacement, Gary Nichols, will be in Craponne. Stapleton, beside being a good vocalist, is first a Nashville songwriter. One can surely see this new group on YouTube. I prefer personnally the fiddle player Tammy Rogers (already seen in Nashville, and 2 times in Paris) and Mike Henderson, mandolin and, most of all,dobro.
Better sides of this hybrid bluegrass band : the powerful fast « The Reckless Side Of Me », the bluesy (great dobro) « Peacemaker », the lively classic bluegrass sound of « Guitars, Whiskey, Guns and Knives » and the haunting (fine vocal by Stapleton) « Ghosts Of Mississipi ». Buy it in confidence !
Tim Hus « Hockeytown » Stony plain (2010)
Tim is a Canadian honky-tonk singer, whose compositions are very promising and interesting. The instrumentation is of classic origin, even comprising accordion (« North Atlantic Trawler ») and the inspiration includes references to trucker’s culture (« Canadian Pacific »). Also noticed were « Picture Butte Charlie », classic honky-tonk sound, and the « Talkin’ Saskatoon Blues ». An artist to look for in the future !
Nadine Landry & Stephen « Sammy » Lind « Granddad’s Favorite» (2010)
A duet (Nadine on vocal and guitar, Stephen on banjo and fiddle) who offer a cajun pot-pourri of old, traditional songs as well as personal compositions. I like Nadine’s high-pitched vocal in « Parlez-nous A Boire » (Invite us to drink), or the good « Les Oiseaux Vont Chanter » (The birds are going to sing). I picked up « Un Ange Pour Toute La Louisiane» (An angel for all Louisiana) too, and the fine instrumental fiddle-led « Brown’s Dream ». Really don’t know if they are used musicians on CD, but felt it a bit monotonous in term of paces and rhythm guitar styling. Maybe a duet to look for in the future.
Eileen Jewell presents Butcher Holler « A Tribute To Loretta Lynn » Signature Sounds (2010)
This is a difficult task of paying tribute to an icon of Country music of the ’70s to the ’90s, but Eileen Jewell (vocal) does it fairly well. Actually her versions of Lynn’s songs may even sound better than the originals, according to Jack Dumery ! I believe him, me being not familiar with Loretta Lynn’s music. Anyway, I particularly liked « Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind »), with Eileen’s assured vocal over a crisp lead-guitar. Other goodies do include « I’m A Honky Tonk Girl », with love gone wrong lyrics which seem suited to Loretta’s image. Let’s also take a listen to the nice shuffler « A Man I Hardly Know » or the good « Deep As Your Pocket », and I’m ending with « You’re Lookin’ At Country », a great Honky tonk song in its own right. A very fine CD, you surely enjoy if you ever decide to pick it.
Pokey Lafarge & Soul City Three « River Boat Soul » Free Dirt Records (2010). Takoma Park, MD
This is entirely something else. Back to roots music and « jazz manouche ». Pokey and his band do offer a large amount of happy old-time music, be it traditional songs (« Claude Jones » or « Sweet Potato Blues ») or own compositions like « Daffodil Blues ». I felt like their sound of traditional instruments, like kazoo, mouth harp, banjo and acoustic guitar. All selections are taken at brisk tempos, even the blues songs. I noticed the slower « Bag Of Bones », full of laziness. A very nice record I recommend to old-time music lovers. But the other people will enjoy it too !
Born Jess Willard Griffin, 28 March 1916, Washburn, Texas.?Died 26 May 1959, Auburn, California.
I must admit that I had never heard of Jess Willard before the release of his Bear Family CD in 2000. Though he recorded for a major label (Capitol), Willard always remained an obscurity and is ignored by the country music encyclopedias.
Jess was named after the boxer Jess Willard, who won the world championship heavyweight in 1915. Born in a small town in West Texas, he was one of seven children. His two big musical influences were his father, a skilled guitarist who passed onto his son his love for Western music and his technical ability, and his best friend, singer Jack Guthrie (1915-1948), whose early death was a great shock to Jess. By then Willard was living in Los Angeles where he began to appear with Ole Rasmussen and his western swing band. It was while sitting in with Rasmussen at Harmony Park Ballroom, singing Jack Guthrie’s « Oklahoma Hills » (a # 1 country hit in 1945), that he was heard by Lee Gillette, then head of Capitol’s country department. Gillette signed him to Capitol and produced Willard’s first session, on June 14, 1950, in Hollywood. When Capitol decided to put Gillette in their pop division, his A&R hillbilly position on the West Coast was taken over by Ken Nelson, who would produce all subsequent Capitol sessions by Willard. Gillette and Nelson noticed that Jess had trouble staying in tune on slow songs, but his vocal limitations were less apparent on up-tempo material. Most of his recordings are good-time honky tonk country, with a touch of western swing. As Jess was no great songwriter, Capitol seemed to regard him at first as a vehicle for covers of other’s hits (like Lefty Frizzell‘s « If You’ve Got the Money Honey« ), but from his third session on, Willard sought original material from friends like Tex Atchison (a fiddler in Rasmussen’s band) and Eddie Hazelwood. They were the writers of « Honky Tonk Hardwood Floor » (recorded on May 3, 1951, Capitol 1562), probably Willard’s main claim to fame, especially after it was revived by Johnny Horton at the end of 1957 (Columbia 41110), and, in a more Rock’n'Roll mould, by Clyde Stacy in 1958 (Bullseye 1008). This song is still sung today. A ’90s very modern version was done by Tim O’Brien.
The Capitol recordings benefited greatly from the work of well-known West Coast session men like Jimmy Bryant, Speedy West and Cliffie Stone, and from humourous lyrics (« My Mail Order Mama« , « Turn That Gun Around« , for instance), but none of Willard’s 13 Capitol singles made any significant commercial impact. After a session in September 1952, his Capitol contract was not renewed and Jess would not record again for three years. In the summer of 1953, Willard and Eddie Hazelwood headed to Korea to entertain troops, followed by a four and a half month tour of the Far East.
In 1954 Jess befriended Hank Cochran, who was working in duet with teenage guitarist and future rock ‘n’ roll star Eddie Cochran. Though they were unrelated, the duo billed themselves as the Cochran Brothers. In 1955, the Cochrans toured northern California with Willard, then joined him for a time as members of the California Hayride in Stockton. Jess recorded Hank’s « Every Dog Has His Day » and his own « Don’t Hold Her So Close » for the Ekko label in Hollywood, with possible lead guitar from Eddie – although I (Xavier) don’t really recognize his usual style. The lead guitar would then be played by Hank. A fine record, issued in October 1955 (Ekko 1018), but unfortunately it would remain Willard’s only Ekko release.
When the Cochrans split and left the Hayride, Willard stayed, settling in Auburn, near Sacramento. He was a popular local radio personality and recorded two one-off singles for small labels (Kay-Hi 127 : « I’m Telling You », 1957, and Sundown – « Cops and Robbers », still untraced- 1959) before he died of a heart attack on May 26, 1959, at the age of only 43. Willard was, as Hank Cochran put it, « solid country … no pretense at all. He was as down to earth as you can get. » In the late 1970s, some of his recordings were rediscovered by country fans, and one track, « Honky Tonkin’ All the Time » was included on a Charly anthology in the early 1980s. Had he been alive, Willard would probably be amazed that people are still listening to his music in the 21st century.
(biography taken from Blackcat Rockabilly Europe and written by Dik De Heer – reproduced with permission)
Jess Willard is always at his best with medium up-tempo songs. Name « Cadillac Blues » from his penultimate Capitol session of February 25, 1952. Willard has that distinctive nasal pronunciation, prettily backed by the lead guitar playing of Walt McCoy (already an artist by himself on Crystal records. His « Cowboy Boogie » is to be found on Boppin’ Hillbilly vol. 16), and the steel guitar of Leodie Jackson (also an artist of his own, known for « Steeling The Blues« or « Double Crossin’ Mama », the latter to be found on the 2001 « Swinging West vol. 2» compilation). Noticeable also is his fine version of « New Panhandle Rag », recently (early 1950) originally done by Webb Pierce on Pacemaker (see elsewhere in this site for Webb Pierce’s early disks). For this version, a fine instrumentation does include harmonica (Jerry Adler), the renowned Tex Atchison (he would later co-write « Honky Tonk HardwoodFloor ») on fiddle, and a very inspired Jimmy Bryant on lead guitar ; the whole being propelled by the solid bass of Cliffie Stone. Indeed his best known track is « Honky Tonk Hardwood Floor », with his tap dance sounds, bar-room styled piano, and on the whole its very easily evocative atmosphere of a early ’50s honky tonk. I like very much what is in my mind his best recording session ever, of September 1951 : songs like the two amusing « Turn That Gun Around » (Capitol 1855) and « My Mail Order Mama » (# 1963)(co-written by none other than Mar-Vel’s label Bob Burton’s lead-guitar player Ronnie Durbin, out of Indiana), Willard’s own « Truck Driver’s Boogie » (co-written with guitarist Walt McCoy, who does a superb job here), ; this song has nothing to do with the Milo Twins‘ 1947 song of the same name. Finally from this session, I like particularly « Mistreated Blues » (# 1855) with its line « Nobody wants me to be their darling – I’ve got those lonesome mistreated blues » and always an impressive backing on a slowish uptempo number.
Considering both Ekko sides, they are fine uptembo hillbilly bop songs, Willard in fine form, in front of a sympathetic backing. Everybody in the studio seems to feel relax and enjoy doing their job.
Big Allan Turner, out of England, did fortunately put his hands on a two-sided test pressing of songs, already unissued elsewhere, and published on his site (www.hillbillyresearcher.blogspot.com). They are really demonstration songs: « Please Believe In Me » and « It’s A Sin« , with sparse instrumentation (steel, lead guitar barely audible and bass), and otherwise would have deserved a full backing. No composer credits. Maybe Willard did intend to use them for knocking at another label’s door ?
Finally the Ka Hi issue, « I’m Telling You » (flipside unknown – this song has been reissued twice recently, on Cactus « High On The Hog – vol. 3″ and Collector « Rock and Roll Country Style ». It’s a microscopic label, out of somewhere in California (I only know of another disc, by Freddie Byers – same period, 1957, a good hillbilly bop). Willard is in fine form, and lovely backed by a tight combo (steel, lead guitar, piano,fiddle and bass), singing the evergreen « You’re gonna change, or I’m gonna leave » refrain. Jack Guthrie had had his own version in 1946 on Capitol.
The last record I know of was issued probably in the Summer of 1959, so AFTER the untimely death (at the age of 43) of Willard. It’s on the Pico, Ca. Sundown 127 label, and I have still to hear « Cops And Robbers/Night Time Is Cry Time ». Anyone can help ? Let me know, please !
He died of a heart attack on May 26, 1959, at the age of only 43. Willard was, as Hank Cochran put it, « solid country … no pretense at all. He was as down to earth as you can get. » In the late 1970s, some of his recordings were rediscovered by country fans, and one track, « Honky Tonkin’ All the Time » was included on a Charly anthology in the early 1980s. Had he been alive, Willard would probably be amazed that people are still listening to his music in the 21st century.
This is Jack Dumery’s new chronicle. Jack kindly chose the CDs and sent them , allowing me to review them with an open ear. And I found in the batch some real treasures in various styles, honky tonk, cajun or gospel hillbilly. Although I don’t have Jack’s writing abilities to English, I hope to pass round the pleasure I had discovering the CDs.
Jack left, Xavier (bopping editor) right - Attignat, 2008
Here we go…
Read the rest of this entry »
Earnest Earl Walker was born in Mason County, West Virginia on December 18th, 1915, a few miles from the river town of Point Pleasant. Having been reared in his home locals and also in the Pittsburgh area, he worked as a riverboat man in the late ’30s before being drafted into the military. Read the rest of this entry »
Howdy folks! This time I managed to post 8 tunes, instead of the usual 6. I must say: the matter was significant with the « Move It On Over » story, a tune frequently covered over the years. I picked up 4 versions, ranging from 1947 to the ’60s. Read the rest of this entry »
I’ll try to give the story the best I can. My dad’s family were farmers: grandad was a dutch/german immigrant and grandma was cherokee indian. When my dad was old enough, he couldnt wait to get off the farm, so towards the end of the second world war, he joined the air force where he worked in the hospital and was involved with the u.s.o. My mom and dad met in the service; mom had just returned from being in Japan for four years as part of the occupation force. They met, fell in love and got married, mom became pregnant and I was born at Bowlings Air Force base in Washington, DC. My dad wanted to break into the music business, as he already had been doing u.s.o. shows for the troops, so it was decided to get out of the service and head to southern California: it was 1951 and the beginning of hillbilly and rockabilly, although they didnt call it rockabilly, they called it country and later as the honky tonks started poppin’ up everywhere, they began to call it honky tonk music and because many of the artists themselves came from the country and the hills, they also called it hillbilly, for the purest though I call it honky tonk music. Papa nicks, the blue room, the hitching post, jubilee ballroom, the palomino are just a few of the many honky tonks, that my dad and others like him played everynight, dad drove a truck for his day job and worked the honky tonks at night. As at two a.m. in the morning all the bars in southern california close, so its grab a bottle and everybody head over to the house for a jam session. I can tell you they all came through our house at one time or another, everyone from Little Jimmy Dickens to (Ralph) Mooney on steel to Eddie Drake, Ferlin Husky to Hank Snow. In the garage they would play until the sun came up, those were the days when they created what they call today the Bakersfield sound, working in those small recording studios like Aggie and Toppa, two of the labels my dad was on as well as M&M and Mercury and Sundown. I remember this old honky tonk piano my dad got somewhere, it had a very unique sound and they had it in the garage, so they could jam all night after the honky tonks closed. So when it was time to record « Make Room For The Blues », my dad wanted that true honky tonk sound, so they took the piano to the studio and that’s the one you hear on the song as well as on « World’s Champion Fool », I really loved that old piano and always will wonder what became of it. In 2008 Dick Miller passed away, but what he left us is something that we can all cherish, good old honky tonk music that you can still dance to today. God bless and thanx for your interest & love of this wonderful music, feel free to edit this to suit your needs at your blog, also have many more pics and have 8 tunes on my hard drive and a big cardboard box full of reel to reel tape from the old days, am working on a best of compilation of Dick Miller and his band to release on compact disc in the very near future. Please stay in touch, am always around and love to chat, Roger. Read the rest of this entry »
Billy Wallace had one of the most unique voices in rockabilly music and played a different guitar style than most of the guitarists back then would do. Both, his voice and full-bodied guitar play worked well together on his classic session with the Bama Drifters in 1956 for Mercury Records, on which he laid down four songs. But Wallace had also a long and more successful (but also unknown) career in songwriting. He never achieved the honor he should have.
Wallace was born in Oklahoma City, Oklahoma, in 1917, but his family moved soon after to Athens, Alabama. Previously, his father had worked on the oil fields in Oklahoma. He grew up on his father’s farm and learned to play the guitar at an early age. As a teenager, he began to write songs and was later influenced by the country music stars back then like the Delmore Brothers, Rex Griffin and Roy Acuff but also listened to Hank Smith, Ernest Tubb and Hal Smith.