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.
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First from the West Coast, a fine crossing between Hillbilly Bop and Rock’n'Roll (because of the drumming): DICK MILLER and « Now I’ Gone« . I’ve added a second song from him, very different, this time, 1957 on Mercury Records, « My Tears Will Seal It Closed« .
Eddie Hill and « The Hot Guitar » was combination of various guitar stylings, Merle Travis, Hank Garland, Chet Atkins.Very nice fast tune.
Rufus Shoffner is not a stranger. Here on Detroit’s HI-Q label, he delivers an energetic »It Always Happens To Me« , backed by his sister/wife (I don’t know) Joyce Shoffner.
A real mystery now. Ked Killen was cutting Hillbilly Bop as late as 1969 on WESTERN RANCH. Bopping has recently posted a track by him (Fortnight’s favorites, May 2010). Here « You’d better Take Time« , on a Starday Custom pressing, has welcome gospel overtones. The name HIRAM PHILMON isn’t that common: he cut on his own PHILMON label the fine Hillbilly « I‘m Lonesome Baby« . Just to finish with someone who, with is biting guitar sound, was very close to Rock’n'Roll, FRANKIE LEE SIMS – he cut for Specialty, here on Johnny Vincent’s VIN label, the great « She Likes To Boogie Real Low« .
Howdy folks. We begin in Texas (Marshall) with the energetic duet MACK & GWEN for « Baby I Want Another Date With You » – could be from 1959-60 on the Phil label. Then JOHNNY BROWN on the Big State label (El Paso, Texas) for the fabulous « Shame » (3 steel solos!), vocal assured by « Sammy » (Sammy Smith is the songwriter)
This is a very special feature. I’ve noticed a singer from Georgia, CLYDE BEAVERS, who sounded interesting. First he appeared on the famous STARDAY CUSTOM serie (he gave his own state as label, GEORGIA) as a Hillbilly Bopper in 1955; he pursued his carreer on other labels, finally hitting a bit on Mercury in 1957 with « Crying For My Baby« . Constant quality of his recordings. Hence 4 tracks by him in chronological order.
The seventh track is a favourite of mine. Alexander « Papa » Lightfoot cut the wild (raucous vocal + harmonica) « Wine, Women And Whiskey » in New Orleans, added by a guitar player (Guitar Gable) and just a drummer in 1952. What a sound, what a savagery! Imperial label.
Enjoy every tune, folks! Comments welcome!
The name LINK DAVIS is well known to the fans of a number of musical styles. Over a period of three decades, he was involved in Western Swing, Hillbilly, Cajun, Rockabilly, Roll and Roll and Blues recordings, either as a recording artist in his own right or as a supporting musician. Read the rest of this entry »
Tibby Edwards (rn Edwin Thibodeaux) was born in Garland, Louisiana in March 29th, 1935. His thorough grip of cajun music, his native idiom, can be heard on « C’est Si Tout » which he composed with his longtime co-writer Leon Tassin. Read the rest of this entry »
Howdy folks! Here are my ‘new’ favourite tunes of early this month. As usual I try to give you oddities to illustrate the music, although lacking of inspiration and enthusiasm this time!
Red and Lige, The TURNER BROTHERS, were a duet group from Tennessee. I don’t know if they were related to the more famous brothers, Zeke and Zeb (King and Bullet labels). They offer here a strong Country-boogie with »Honky Tonk Mama » on the Radio Artist label (the one which issued Jimmie Skinner first sides). Circa 1950.
PECK TOUCHTON, a native of Texas, had a solitary release on Sarg (« You’ve Changed Your Tune« ). He also recorded for Pappy Daily’s Starday label, without seeing any issue, following a mixing of label stickers during a car wreck! The whole story was told by Andrew Brown in his excellent site, Wired For Sound. See it here:
Touchton’s record, « Let Me Catch My Breath » was finally issued under the name of George Jones (Starday 160).
Out of Texas or West Louisiana, and at one time associated as a singer with Bill Nettles, DANNY DEDMON had records as early as 1947 on Imperial. Here is his « Hula Hula Woogie« , typical Texas Honky-tonk of the late Forties, with a touch of Western swing. The Rhythm Ramblers were actually Nettles’ band.
George McCormick (he had discs on M-G-M, for example, « Fifty-Fifty Honky Tonkin’ Tonight ») and Earl Aycock teamed as GEORGE & EARL in 1956, and had a string of Rockabilly releases on the Mercury label. I’ve chosen one of their most dynamic sides, « Done Gone« . Nashville musicians behind them. The duet folded shortly afterwards.
Out of Nashville came CLAY EAGER on the Republic label. Although he was a celebrity as D.J. in the St.Louis/St.Paul, MO, area, he had cut this fine « Bobbie Lou » in Nashville. We finish with the wild, rasping young ETTA JAMES on the West Coast. « Tough Lover » is backed by the ubiquitous Maxwell Davis.
Curtis Gordon – Play the music louder (from 1998 Rick Kienzle notes to Bear Family CD 16253)
At 1 :30 on Wednesday afternoon, October 22, 1952, newly signed RCA Victor recording artist Curtis Gordon began his first session at Brown Brothers in Nashville, with RCA A&R man Steve Sholes presiding. Three of his own band members joined him in the studio : fiddler Charles Mitchell, pianist Curly Gainous and bass player Slick Gillespie. Rounding up the band were three of Nashville’s early studio A-team : guitarist and Sholes protege Chet Atkins, singer and rhythm guitarist Eddie Hill and steel guitar virtuoso Jerry Byrd.
For Gordon, landing a deal with RCA, the label of Eddy Arnold and Hank Snow, was a major break. A regional performer who mainly worked south Georgia and north Florida and did occasional national tours, he fit into the honky-tonk sound in vogue at the time. It didn’t matter that he had no national home base like the Opry or Louisiana Hayride. He was a regional favorite around Georgia, Alabama and Florida, and in those days major labels didn’t shy away from signing such acts, hoping to break them nationally.
Born in July 27, 1928 on a farm near Moultrie, Gordon spent his boyhood drinking in music. « Ernest Tubb and Bob Wills were two of my favorites.(…) Ernest Tubb was really my idol until I got into Bob Wills. » Soon enough, Gordon was trying to sing locally, winning a talent show sponsored by a Moultrie radio station.