Billy Briggs was born in Fort Worth Texas in 1919. He apprenticed there under pioneering electric steel guitarist Bob Dunn & joined the Hi-Flyers in the mid-1930′s. He followed a stream of former Hi-Flyers to Amarillo in late 1937 to join the Sons Of The West (whose he played on « Panhandle Shuffle ») & in the coming years became one of the earliest steel guitarists to significantly expand upon Dunn’s model. Briggs built his own nine-string steel, began experimenting with new tunings & chord voicings, and, when he formed his own band Swinging Steel in 1939, became perhaps the first steel player to attach legs to his guitar & play standing, fronting his own group. He returned to the Sons Of The West in 1940 & took part in their tightly arranged forward-looking 1941 sessions for Okeh. He held together a makeshift Sons Of The West lineup for a while during the war, then formed his own XIT boys in 1946. In late ’46 or early ’47 Briggs began an association with Dan Allender’s Dalhart/Amarillo-based Time label that lasted to the end of the decade. A single release on Lew Preston’s Folke label followed, before a prolific stint withImperial (1950-53) gave Briggs a regional & much covered hit « Chew Tobacco Rag » in 1951. Briggs ended a nine year association with Amarillo’s Avalon club in 1956 when he dispanded the XIT boys & opened his own ill-fated hall. He left music soon after & died in California in 1984. Read the rest of this entry »
Hello, folks, howdy, visitors! Below are my favorites of the last 15 days which I’d like you (maybe) discover, both by music and my own words – what I know about these records, sometimes nearly nothing!
We begin in Nashville, early Sixties, with the DIXIELAND DRIFTERS and « HOT TO TROT » cut for the B.B. label. The presence of a dobro, and an unusual infectious rhythm, plus the unisson vocal, make this record very particular. I know the tune had a commercial impact, because, without doubt, its unlikely Bluegrass nature.
Then a decade earlier in Texas. JIMMIE STONE had this solitary « MIDNIGHT BOOGIE » on Imperial (8000 serie) in 1951. Firm vocal, a fine backing, and a completely stunning guitar solo. Surely the man knew the Blues!
On to Memphis and Meteor label. BARNEY BURCHAM is a real unknown, only for his solitary « CAN’T STEAL MY WAY AROUND« . Typical Memphis Hillbilly bop from 1955.
Next two choices are more Rock’n'Roll oriented. First, GRAHAM B. and « ROCK AND ROLL FEVER« . It’s been suggested that the man had connection with Buzz Busby, so a Washington, D.C. location is possible.
Second, for the well-known Bandera label out of Chicago, we find another unknown, certainly a pseudonym: LONESOME LEE and the cool 1958 « CRY OVER ME » – very nice guitar solo.
Finally a R&B classic, « CALDONIA« , sung and played on piano by the 8-years old wonder SUGAR CHILE ROBINSON in 1951. He disappeared afterwards.
THAT KITTY THAT WANTED TO BE AN ORIGINAL
Not many gals could have made such statement in the conservative country music world of the 50′s but Charline Arthur did it. That Texas gal was stylistically far ahead of her times and was rollin’ on stage floor wearing pants when other women were still in dress playin’ rhythm guitar on family band. She was a kind of « Maverick », and an hot item to handle, just like Elvis Presley. She brings something new on female country music and opened the way for rockin’ boppin’ teenage Janis Martin, cute Brenda Lee or for glamorous Wanda Jackson. That girl was not there to stand by her man and weep about her unfaithful honky tonkin’ husband. She sings about parties, fancy clothes, women dreams and wanted to enjoy life. If you ain’t treated her right or if you ain’t nothing but a « Hound Dog », you can move away, wag your tail and goin’ cryin’ in your beer somewhere. Move away, skinny dog! Read the rest of this entry »
Howdy, folks! I didn’t have a particular « theme » chosing the selections this time (as I did sometimes in the past): just a few songs I like at the moment.
Early September I posted something about the ubiquitous Mr. DIXON. Since then, I did not find something new on him, be it at hillbilly-music.com or with google, under his 3 aliases (Walter, Mason, or Ted). There is even on Youtube a bishop named Walter Dixon, and I wonder if this is the same person! I even found a Mason Dixon Country 45 on ebay. This time you will be exposed to a 1961 rendition for the Alabama based REED label, and a great shuffle by MASON DIXON, « Hello Memphis« .
Staying in the South with a minor classic by SPECK & DOYLE , the Wright Brothers, « Music to my ear » on the Columbus, Georgia based strangely named SYRUP BUCKET label. A nice guitar, a medium beat for this relaxed Rockabilly/Hillbilly Bop from 1959.
On to, probably, Texas, with a fast romper by JIMMY STONE on the IMPERIAL label from 1951, « Midnight Boogie« . I’ve never heard Stone had another record, but what’s this one? Entertaining lyrics, and most of all, a wild bluesy Rockabilly guitar! Who may the player be? Fine piano and even a short fiddle solo, Texas style. We are pursuing the musical journey to Indiana with a very young GAYLE GRIFFITH (he was fourteen when he cut his solitary record) and the out-and-out romper « Rockin’ And A Knockin’ » for the EMERALD label, from 1954. Griffith was at one time associated with WFBM Indiana Hoedown, although despite this promising first platter, he seems to have soon disappeared from the music scene.
Billboard 1951 advert for "Drifting Texas Sand"
Now to California for the Louisiana-born EDDIE KIRK (1919-1997), who was consistently working with the Los Angeles musicians’ cream for CAPITOL records. Here he delivers a fine rendering of the 1936 Tune Wranglers‘ classic (also cut around the same time as Kirk by Webb Pierce) « Drifting Texas Sand » (Capitol F 1591). The backing is sympathetic, although ordinary. Harmonica player could be George Bamby, who cut with, among others, Johnny Bond.
As a bonus, we go to an end in Chicago with the underrated LITTLE MAC SIMMONS, singer-harmonica player (altho’ no harp heard here) and the frantic (great piano throughout, with usual Honking saxes, and a nice guitar) « Drivin’ Wheel » (PALOS label) from 1961.
I hope you enjoy the selections. Don’t miss the other « regular » posts: recently Bopping had had Jack Bradshaw story, the Daffan label, Roy Hall and Riley Crabtree, to name just a few. Not to mention in the « hillbilly profile » section, Chuck Murphy. Till then, bye!
As usual, pictures from various sources. Excellent Terry E. Gordon’s Rockin’ Country Style site, or ebay. Sounds from my collection, or various compilations. I can name for every track who provided me! BUT you CAN download everything!
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.
Hi! You all. I am a bit early this time, coming back from a trip to find a flat in Vienne, Vallée du Rhône (where I belong), and soon moving from Brittany, before parting early next Friday 14th of May to Paris’ area to meet my girl friend for a few days. All this is a mess! But a whole lotta fun indeed. Here we go with some more music. From 1946-1947 come JERRY IRBY (see his story elsewhere on the site) and one his his early offerings on GLOBE (Pete Burke at the Rolling piano) for « Super Boogie Woogie ». Next we go to a famous entertainer for 6 or 7 years before his suicide (?) I’m told, R.D.HENDON & His Western Jamborees, from Houston. Here is his guitar picker (superb!) CHARLIE HARRIS and the shuffling « No Shoes Boogie » from 1951 (Freedom label), reissued on UK’s Krazy Kat label. On the West Coast with JACK GUTHRIE, too soon deceased, who made superior Hillbilly music as early as 1944 for Capitol records. I chose his « Troubled Mind Of Mine ». Location unknown: Texas maybe. LEON CHAPPEL on Capitol. He begun his career as LEON’S LONE STAR CHAPPELEARS on Decca during the 30′s. You can hear his great « Automatic Mama » (1953), fine Honky Tonk style. On to Louisiana, 1955, with the underrated JIMMY KELLY and « Dunce Cap ». The record came out from Monroe, first on the Jiffy label. It was so good that Imperial picked up and reissued it (more affordable). I finish with a beautiful JACK BRADSHAW 1958 ballad from 1958, way up North in Indiana. Backed by the Morgan Sisters (chorus unobstrusive), his « It Just Ain’t Right » can be found on Mar-Vel’. Enjoy the music. ‘Till then, bye, boppers!
If Charlie Adams is mentioned these days, it’s usually in passing – as a footnote, likely connected to the fact that he toured with Hank Williams on the latter’s Texas swing in December 1952. However, though he never enjoyed a major hit nor became a household name, Charlie Adams & His Western All-Stars were a popular presence on the Southwestern dance hall and recording scene in the early-to-mid-1950s and left an enduring and engaging legacy of recordings before Adams bowed out of music in favor of family later in the decade. Read the rest of this entry »
This time we’re beginning with a strange item. Carl Story, bluegrass virtuoso, doing Hillbilly Bop with « Whatta Line »(Columbia). then 1955 Rock’n'Roll with Ken Davis « Shook Shake ». Same period with pianist -bandleader Dick Hyman, doing « Rolling the Boogie »(MGM 78 rm). Enjoy the walking basses! Back to Country-rock with the unknown Cuddles C. Newsome (One Little Kiss, nice guitar). Strong guitar bopper with Bill Watkins, out of Cncinnati for « unissued at the time » « Big Guitar » (Lee label). We come to an end with Jimmy Heap out of Abilene, Texas, for Harry Choates’ « Cat’n Around » done Hillbilly Bop style (strong fiddle), and vocal by Perk Williams. Enjoy! Comments?
Jerry Irby (from Al Turner’s sleeve notes to « Jerry Irby » Collector CD2851)
Gerald « Jerry » Irby’s career in Country music spanned almost forty years. The list of artists he worked with during that time reads like a WHO’S WHO of Western Swing. It ranges from the likes of Ted Daffan to lesser known Western swing performers such as Bill Mounce And The Stars Of The South. In 1937 Irby was « pickin’ and singin’ » with the Bar X Cowboys, a first rate Houston based outfit which featured among its number Elmer and Ben Christian, and singer/guitarist Chuck Keeshan, the latter having worked with Leon « Pappy » Self, and who is to found, along joined Ted Daffan’s band, The Texans. Irby also spent sometime, in the late thirties ans early forties, with another Houston based ensemble, The Texas Wranglers. This outfit comprised of a number of noted Western swing musicians, including steel guitarist Bob Dunn, bassist Hezzie Bryant, vocalist/guitarist Dickie McBride, Leo Raley (mandolin), Gary Hester (fiddle) and Johnny Thames (banjo). These boys, at one time or another, had played alongside the likes of Floyd Tilman, Aubrey « Moon » Mullican and Cliff Bruner. Read the rest of this entry »