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 »
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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Howdy, folks! Finally moved. More room for records, more space for living. Hope all of you are fine, still prepared for good ole’ Hillbilly music. Two classics will be discussed this time. All the podcast will be 78 rpm but only one 45: many a hiss! Read the rest of this entry »
Fautheree (l) & Mathis (r)
The mainstay of this ensemble was Jimmy Lee Fautheree. Born (James Walton Fautheree) on April 11, 1934 in Smackover, Arkansas. When he was 12 years old, his aunt bought him a guitar and he was fortunate that his parents wanted him to be an entertainer : so Fautheree became an accomplished guitarist at the age of 16 He spent many hours and dayspracticing guitar and singing with two of his younger brothers, Lynn and Jackie, both of whom in adulthood would follow him in musical pursuits. Their father was an oilman and moved his family from town to town as jobs became available, but settled in Dallas in 1946. The family was very musical minded, so Jimmy came by it honest. Jimmy liked and was around most phases of music : blues and hillbilly were his favorites, but country and gospel also fell into place. Ernest Tubb and Jack Guthrie were big influences, but Merle Travis left a definite impression on Jimmy with his distinctive finger-picked electric guitar style.
Following a successful appearance on the Big « D » Jamboree, Jimmy Fautheree was soon a regular feature of the Dallas Country music scene. ‘Country’ Johnny Mathis, not to be confused with the pop crooner of the same name, hailed from Maud TX, where he was born in 1935. Mathis is arguably the most notable of the many individuals that made up the other half of the Jimmy & Johnny guise. Mathis had already garnered some experience in the recording field, having waxed a handful of sides for the JB [an extra-Bullet outfit of Jim Bulleit] in 1951 and Talent (Dallas, Texas) (1949) labels. Jim Bulleit acted also as manager for Jimmy Fauthereee (see below Billboard snippet).
In 1951, the boys were invited on to the Louisiana Hayride and very quickly became part of the house band which was then run by bassist Tillman Franks (more on him in the article devoted elsewhere in this site to the early days of Webb Pierce in Shreveport). Recently unearthed tapes of the Hayride concerts stand testament to their talent. Shortly after joining the prestigious show, Fautheree was signed to a recording contract with Capitol records. His first Capitol session took place at the Louisiana Hayride in 1951 in Shreveport, Louisiana. Four songs were recorded – « Go Ahead and Go » (a Jimmy Lee original), the fine uptempo « I’m Diggin’ A Hole To Bury My Heart » (# 2153) and here, Fautheree was also renamed « Jimmy Lee« . He went on to be a great star in the hillbilly field. One of his Capitol records is interesting, »Blowin’ And Goin’ » as it includes a muted trumpet, an unusual instrument in early ’50s Country, but in Lee Bond‘s Republic sides, e.g. « How About A Date« , cut at the same time as Jimmy Lee (see elsewhere for this label’s story)
Billboard 1952 snippet
In 1953, the pair Fautheree-Mathis recorded « If You Don’t, Somebody Else Will » for Feature (a Crowley, La. Jay D. Miller label), but it wasn’t until the following year, when they re-recorded the song for Chess, that it made the n°3 spot and became their only hit record. Jimmy Lee continued working and recording under the name of Jimmy & Johnny (Decca), albeit now with his brother Lynn. The new duet cut superb Rockabillies : the furious « Sweet Love On My Mind » (written by Wayne Walker, and shortly thereafter recorded by Johnny Burnette and the Rock’n'Roll Trio on Coral)(# 30061), the lazy uptempo Hillbilly bop bordering Rockabilly « Sweet Singing Daddy » (# 29772), the equally good « What ‘Cha Doin’ To Me » (# 30410), while the latter’s flipside, « I’ll Do It Everytime » was titled « Skiffle-Billy Beat » ! They were featured on Faron Young‘s band – Faron Young & The Deputies, on to the Grand Ole Opry in Nashville, performing there many times on the famous stage. Jimmy was featured in many shows of Elvis Presley’s early years, with Elvis being Jimmy’s opening act several times. Wow, how many can say that has happened for them ? Fautheree also did teaming up on Chess with Wayne Walker for the major 1955 Rockabilly classic « Love Me » with its furious steel-guitar and Fautheree’s own raucous, gutbucket bluesy guitar. In addition, he made later some solo recordings : in 1958, he cut the out-and-out rocker « Teen-Age Wedding » for the Vin label in New Orleans under the name Johnny Angel.
KWKH was a radio studio, also the only recording studio in Shreveport. Its studio was built as a room within a room : about two ft. away from the outside walls of the building, another wall was constructed stuffed with fiberglass. The only windows faced the annoncer’s booth and an area in front of the studio where the coffee machine and several chairs and tables were situated. The dimensions of the studio were approximately 25×30 ft. with a 12-foot ceiling, which was similar to the Dallas’ Jim Beck’s studio facility. Nevertheless, engineer Bob Sully excelled in being able to make the most out of what was available. For instance, he discovered that an echo effect was possible through feeding the output back into the board. Which he did, with Jimmy Lee & Wayne Walker « Love Me ».
Mathis teamed early in 1955 with a Dallas club owner, Les Chambers, who put on several singles on Starday by himself. The pair issued two nice fast Hillbilly boppers : « Everybody Else Does (Why Can’t I ») (Starday 181), as an answer to « If You Don’t, Somebody Else Will », and « Give Me A Little More » (Starday 206).
Chambers soon disappeared, recording-wise, while Johnny Mathis switched naturally under the protection of Starday, when this label and Mercury went to a common venture early in 1957. There he had «One Life » (# 71273), as several tracks on various artists albums, e.g. « Hillbilly Hit Parade ». He even cut uncredited for the
low-budget Dixie label a nice version of the, I believe he was
the originator, Porter Wagoner song « I Thought I Heard You Call My Name » (# 526). Later in 1958, he recorded Rockabilly on ‘D’ as Les Cole and the Echoes (« Bee Boppin’ Daddy /Rock-A-Bye-Baby», # 1010). He and Fautheree were reunited in the late fifties for a couple of releases on ‘D’, (« My Little Baby » , # 1089 ) and one for the Los Angeles Republic label (« Knock On Wood », # 2014), in 1961 before finally dissolving the act, and once again each one going their own way.
During the 1960s, Jimmy Lee recorded for the Paula label in Shreveport : a more modern version of « Can’t Find The Door Nob » (sic, # 239) (1966) and one very tough, fine guitar-led instrumental: « Box Full Of ‘Git’ » Next year, he cut the nice, loud rocker »Overdue » (also on Paula 279), then on the Lodema label, more instro with « Project X-9 » and the awesome country bopper « Laziest Man In The World » (Lodema # LR 101, 1983).
Jimmy produced several Gospel albums, his first in the late 1970′s. Lynn Fautheree died in 1989 from asbestosis. It would not be before 1995 that Jimmy & Johnny performed again together for the first time in 35 years, when they recorded a gospel tune « It Won’t Be Much Longer« , released on the Dallas based TIMA Records in 2000. It was their last recording together. It was however their last recording as Johnny became ill in 1999. Hewas invited to come backfor a reunion on the Louisiana Hayride show on June 27 and 28, 2003, titled « One More Ride », at the original Municipal Auditorium, 706 Elvis Presley Ave., Shreveport, Louisiana. Jimmy opened the Friday night show by singing one of his recordings, « Unknown Legends« , written by Johnny Mathis. That song was perfect for the night, and as many of the original performers such as Kitty Wells, Johnny Wright, Bonnie, Maxine, and Jim Ed Brown, Billy Walker, just to name a few, were present to once again perform their talents, and could say, « we are home once again« .
Also last year (2003), Jimmy performed a Rockabilly Show, « The Ponderosa Stomp », in New Orleans, Louisiana, backed by Deke Dickerson and the Ecco-Fonics Band. That performance went so well that Deke invited Jimmy Lee to his Fort Horton studios in Austin, TX., to record with the band. The result is: « I Found The Doorknob« , Jimmy Lee’s first recording in forty years! The new CD features the hit « I Found The Doorknob » (answer song to « Can’t Find The Doorknob« ), and many others including « Gotta Get You Near Me Blues« , « Overdue« , « Box Full of Gits » (Jimmy’s admirous guitar picking), « I’m Diggin a Hole« , « Big Mamma Blues« , « Nine Pound Hammer« , and many more. This CD is available through the web site – dekedickerson.com, his first album for nearly 30 years.
Jimmy went to Rye, Sussex, England, and performed the Rockabilly Rave Show on March 7, 2004, doing an outstanding performance playing his guitar and singing to many a fan who never thought they would get to see their favorite artist in person. This was also the first time he ever did perform in Europe. Three months later, he lost his battle against cancer : he passed away at his home in Dallas TX, on June 29, 2004.
As a solo artist, Johnny Mathis released several singles for D, United Artists and Little Darlin’. His final charting single was « Please Talk to My Heart, » released in 1963. He also encountered significant success as a songwriter, penning songs for Johnny Paycheck, George Jones and Webb Pierce, among others.
Mathis suffered a stroke in February 1999, and was no longer able to perform. He died on September 27, 2011, one day prior to his 78th birthday
There was also a release on TNT which is by a different Jimmy & Johnny duet; a Jimmy Lee has « Look What Love Will Do » on Vin 1010, and a record on Feature is by a Jim & Johnny, once again no relation to Messers Fautheree and Mathis.
Biography based on Dik De Heer work (www.rockabilly.nl), Walter Stettner’s own, from « Steel Guitar Forum » (published on the Rockabilly Hall of Fame site), and, most of all, from the very fine and indispensable book « Cowboys, Honky-tonks and Hepcats » written and published by my good friend Tony Biggs. Nearly all pictures were provided by Tony, too. And all the music comes from his fabulous collection…Thanks-a-lot, Tony!
Born on 8 August 1921, near West Monroe, Louisiana, USA. His father died when Pierce was only three months old; his mother remarried and he was raised on a farm seven miles from Monroe. Although no one in the family performed music, his mother had a collection of country records which, together with Gene Autry films, were his first country music influences. He learned to play guitar and when he was 15, he was given his own weekly radio show on KMLB radio in Monroe. Read the rest of this entry »
Hi! there all, friends, visitors, listeners. This is not April fool! Another batch of good ole’ Hillbilly Bops, Hillbilly Boogie and Honky Tonks from the golden age, and various sources.
Let’s begin with the earliest track, from Texas, 1950-51. TILMAN FRANKS was an entrepreneur, bassist, and associate with various labels and artists. For example, he launched the carrers of very young WEBB PIERCE (Pacemaker label, before 4 * and Decca) and FARON YOUNG, recording them in Houston, then placing the products with East Coast labels. FARON YOUNG made his vocal debut on Philly GOTHAM with this « Hot-Rod Shotgun Boogie N0. 2« . Way before Young specialized on Capitol with sweet ballads, this is raw Hillbilly Bop, Texas style!
Second then, a legend, the great MERLE TRAVIS, with a little known opus, « Louisiana Boogie » – fabulous piano by Capitol session man Billy Liebert. Indeed Travis takes his solo too…
More on Capitol with very recently deceased FERLIN HUSKEY, who disguised under 3 personas. As a comedian, as Simon Crum. As Honky-tonker (early in carreer) as Terry Preston. Here he’s attempting as FERLIN HUSKEY on Rockabilly in 1955 with the famous classic « Slow Down Brother« .
More Hillbilly Bop from Detroit, 1953- almost Rockabilly in spirit: FOREST RYE and « Wild Cat Boogie » on the Fortune label. Like the sparse instrumentation and lyrics! More on « Cat music » on the site with the « research » button above right!
1956, from Louisiana, hence his name, CURLEY LANGLEY (l’Anglais, in French) and the minor classic, « Rockin An’ A Rollin » on the Arcadia label. Fine backing. Langley made more quiet Hillbilly on the same label.
Finally, a 1957-58 disc from Indiana (Iowana label) by WES HOLLY, « Shufflin’ Shoes« . Holly had already cut the same song as « Shuffling Shoes Boogie » in 1952 for the Nashville TENNESSEE label (see elsewhere in the site the story to this label).
Enjoy the selections, folks! You also can see what’s available for sale from my collection (overstocks, as new) on « Contact Me » button.
See you, as always, comments welcome. Bye!
Howdy folks! The new batch of stomping Honky tonks and Hillbilly bop tunes for this early November 2010 fortnight.
First, from Nashville, JIMMIE SELPH. He seems to have had a long career, both in Bluegrass and Hillbilly, in the late 40s and early 50s, although mainly as a backing member (rhythm guitar and steel) for such luminaries as RED FOLEY or WEBB PIERCE. Here I’ve chosen his nice, relaxed Bopper « That’s Why I Worry » (Majestic label). Below he is shown with a whole bunch of Nashville musicians in 1950. SELPH had records on BULLET, and in 1956 a famous « TOM CATTIN’ AROUND » on COIN.
Then later, in Kentucky. Small BLUEGRASS label in 1957. A real wildie « MAMA, MAMA » by JESSE STEVENS. Urgent vocal, fine guitar. Wonder what happened later to the man?
The ARCADE label of Philly had a whole string of Hillbilly boppers, and was well documented on two « Rockaphilly » albums once in the 70s. Here is JIMMY COLLETT and the great « FOUR ALARM BOOGIE (# 106, 78 rpm), with sound effects.
Back to Nashville with the brother to Chet, JIM ATKINS, and a decent « I’M A DING DONG DADDY » on the CORAL label. We stay in Tennessee, this time in Gallatin, home of Randy Wood’s DOT label (1000 serie). One BILLY WORTH was fronting vocally the TENNESSEE DRIFTERS (whose personal is unknown) for the great early sounding (1950-1951) « BOOGIE WOOGIE BABY ». Fine piano, which may be played by George Toon.
Finally I offer to you one of the best, harsh Rocking blues ever. LUE CAZZ was at one time fronting the JIMMY McCRACKLIN’s band (he also had a 45 on ART-TONE, out of Oakland, Ca.). Here he is covering the classic « THE WALK » in 1962 for the VEE-JAY label. Fine, energetic version: the drummer is pounding like mad!. Don’t miss the great Joe Conwright’s alto-sax solo!
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!
Roy Hall, Pumpin’ and Drinkin’!
James Faye « Roy » Hall was born on May 7, 1922, in Big Stone Gap, Virginia. An old colored man taught him to play piano, and to drink. By the time Roy turned twenty-one, he knew that he was the best drunken piano-player in Big Stone Gap, and armed with the pride and confidence that this knowledge gave him, he departed the town of his birth to seek fame. Roy made it to Bristol and farther, pumping boogie-woogie in every Virginia, Tennessee, or Alabama beer-joint that had a piano. He played those pianos fast and hard and sinful, like that colored man who had taught him back in Big Stone Gap; but he sang like the hillbilly that he was. He organized his own band, Roy Hall and His Cohutta Mountain Boys (Cohutta was part of the Appalachians, in the shadows of whose foothills he had been raised up). It was a five-piece band, with Tommy Odum on lead guitar, Bud White on rhythm guitar, Flash Griner on bass, and Frankie Brumbalough on fiddle. Roy pounded the piano and did most of the singing; but everybody else in the band sang too. Read the rest of this entry »
Hi! Here are my new favorites, be it Hillbilly bop, Bluegrass, Honky Tonk, Country rock-a-ballad, or even a bit of Western swing. CARL BUTLER was on Capitol, and cut mainly unclassifiable Hillbilly/Bluegrass sides. I’ve chosen his great « No Trespassing » from 1951, complete with hiccups and banjo/fiddle. Then to early Honky tonk with WEBB PIERCE. One of his very early sides on Decca (1951): « California Blues » (78 rpm – I will be moving soon, so already packed all my precious shellacs and can’t have a label scan). Back to Hillbilly bop with a fairly obscure artist, JACK HUNT (Capitol, 1953) and lazy vocal on « All I Can Do Is Sit Ad Cry ». A short insight into MERLE LINDSAY’s career. He fronted the Oklahoma scene from the mid-forties, and had numerous sides on many labels; here we hear « Mop Rag Boogie » (MGM). A nice Country Rockaballad from 1958 on the Sandy label out of Alabama by JOHNNY FOSTER « Locked Away From Your Heart » (# 1028). I love his sincere vocal. Finally a late 60s Hillbilly Bop by KED KILLEN (Western Ranch), « Hey Pretty Mama ». I don’t know an awful lot of him, except that his style dates from at least 15 years earlier. Couldn’t find his work except on a Cattle LP moons ago, or a Tom Sims Cassette. Enjoy the selections! Bye…