Early October 2021 bopping fortnight’s favorites

Boogie Woogie On A Saturday Night

by Hardrock Gunter

The veteran HARDROCK GUNTER does provide us his « Boogie Woogie On A Saturday Night » (Decca 46300) cut in 1950. A nice bopper, an happy song. Good guitar and vocal.

Next, JOHNNY RECTOR, singer fronting Blackie Crawford and the Western Cherokees, a Houston group, does « If They Ever Get Together » : a bopper – steel, piano and fiddle.

Dub Adams on stage (’40s)

The fine DUB ADAMS with an instrumental « Pocahutas Stomp » on the Dude label (Dude JB 1498) : steel, piano and drums. Western tinged.

From the South now, JOHNNY FOSTER does offer « Turn Me Loose » on Capa 233. A duet, jumping country song, shrill guitar and a good guitar solo.

DAVE BROCKMAN had a disk on Starday Custom, the great « Feel Sorry For Me ». Here he is on the Pea-nut label # 1001 with « My Angel’s Gone to Hell ». Surely a Southern label. He’s been on the Fayette label # 1002 too.

The King of Yodel American Singers, as they call him, KENNY ROBERTS in his finest hour (Coral 64032). Intro by harmonica, a nice bopper, fine lyrics. The song was issued too by Lonesome Willie Evans on London and Little Jimmy Dickens on Columbia.

1929-30 the Godfather of Country music JIMMIE RODGERS did two of his better-known tune, « Mean Mama Blues » (with brass acc.) and « Never No More Blues », (flipside to « Mule Skinner Blues »)both cut by Victor. Both of them were revived by AL RUNYON on the Kentucky label, respectively # 577 and 581. Slow songs, only acc. by guitar. Runyon closely copies here Rodgers.

LARRY GOOD on the Kansas City label R (« Our ») # 517 cut a good Rockabilly with « Pick Up Your Hammer » ; good guitar, the vocal is OK

Finally from Louisiana, the romping « Drunkard’s Two Step » by ROBERT BERTRAND. Steel and accordion backing. Fais DoDo # 1000 (a colloquial word for dance halls)

Sources : many ; YouTube for several(Johnny Foster, Dub Adams) ; the others from my own archives.

Leroy Jenkins, “Hard Time Hard Luck Blues” = Texas Hillbilly Bop and Ballads (1949-1954)

Payne leon profile

Leon Payne

Leroy Jenkins headThe image of the blind troubadour is a familiar one in Country music’s history. For many born this way, or struck down with blindness in infancy, music was their only tangible means to forge an independant path through life. Perhaps the most famous blind troubadour in Country, in the post years at least, was Leon Payne. Although he achieved more success through his songwriting than his own recordings. Equally prolific on the songwriting front, yet denied the Jenkins Leroy standing same degree of success, was Leroy Jenkins : he was born on July 28, 1921 in Texas. Only six months old he turned blind. From the age of seven he attended the Texas School for the Blind in Austin. Here he learned to play the guitar. In 1942 he entered “Abilene Christian College”, to become a priest, meanwhile preaching in churches in the neighborhood. A year later he quit college and moved in with his wife, a blind woman he recently had married. He wanted to become an artist and he and his wife moved to Dallas, Texas. He found a job in a nightclub where he sang and played guitar with fellow artists. He was a popular act and consequently he was offered a contract to host his own show at a local radio station.

In 1946 he had his first success when he wrote the song “Tell Me Now Or Tell Me Never”, which Roy Acuff recorded for Columbia (# 37099). He was then part of Miss Ludy & her Crazy Gang who were performing on KRLD, Dallas.Columbia Acuff tell

Tell me now or tell me never

billboard Jenkins 1946

Billboard November 9, 1946


talent Jenkins timedJenkins made his first recordings in September 1949 for the Talent label from Dallas [it’s unclear if it concerns the famous Star Talent/Talent label, which had only a 600/700 serie]. It’s however likely these recordings were made at Jim Beck’s studios in Dallas.

You two timed me three timed me



Beck was a key figure in the development of country music in Dallas. Another question appears when it comes to master # (BB 164/165) for « You two timed me three timed me » and « Forever and ever », as these numbers do seem Blue Bonnet (another Dallas label) cuts. Note that the B-side was also given at an earlier stage of research (by Al Turner) as another version of Wayne Raney’s « Why don’t you haul off and love me ».

Too fat boogie


Next Jenkins record with his Texas Showboys was made also in Dallas for the Jim Beck’s own Dude label (# 1507), and « Too fat boogie » is a hillbilly bop romper. Note that the flipside “If I could buy your love” (untraced) was cowritten with Beck and (apparently) Riley Crabtree.

dude Jenkins fatdude Jenkins buy

Nevertheless it was probably Beck who arranged an audition for Leroy with Columbia’s A&R man Don Law.

Leroy Jenkins signed his Columbia contract on March 1, 1951. It was a contract for one year and four songs. He would get 2% of 90% of the sales. There were two options for an additional year against 3%.

On March 13, 1951 he had his first Columbia session in Beck’s studio. Four powerful songs were recorded of which « Hard time hard luck blues » (# 20815) was a strong rhythm-guitar led country-blues tune. Its flipside however was a weeper, « I’m crying but nobody cares».

Hard time hard luck blues

downloadColumbia Jenkins luck

I’m crying but nobody caresjim beck & law

billboard 1951 Jenkins

Billboard June 9, 1951



The remaining tracks of this first recording session were “Time Passes By” and “Please Don’t Tell Me That You Love Me” (# 20853) both weepers, although good examples of classic honky tonk ballads out of Texas in the early ’50s. During his second and final Columbia session (8/2/51) again four songs were recorded. Out of the 4 tracks, the two weepers « You’re talking to a broken heart » (# 20931) and « Don’t be a home breaker » (# 20878) were striking a balance between the two uptempos « I just don’t know » and most of all the fast « Tennessee sunshine ». Jenkins of course wrote all of his material.

I just don’t knowcolumbia Jenkins know


columbia Jenkins breakerDon’t be a home breaker


billboard Jenkins 1952

Billboard, April 26, 1952

Tennessee sunshine

downloadcolumbia Jenkins Tennessee

His four records in the 20000 series didn’t have any commercial success and Columbia didn’t exercise the options. Jenkins stayed in Dallas until 1954, writing over a hundred songs.

He had a final record on Flair [Texas small label, not the big California R&B concern]flair Jenkins wagon

Why don’t you get on the woo wagon with me


The girl on page 83


# 1013 circa 1953/54. The strong shuffler « Why don’t you get on the woo wagon with me » was paired with the equally good « The girl on page 83 ». At an unknown date, he was affiliated with Nashville’s WLAC radio station.

jenkins WLAC Nashville

After that last record Jenkins disappeared from the music scene, and maybe returned to priesthood. He died December 18, 1990, and must not be confused either with the jazz violinist, or the Ohio televangelist of the same name. Nor of course with current artist Leeroy Jenkins.

Sources : 78rpm for label scans (thanks to Ronald Keppner) ; W. Agenant’s site « Columbia 20000 » for Columbia sides ; also his biography of L. Jenkins was of great help, as Al Turner’s in Hillbilly Researcher # 10 ; Uncle Gil Rockin’ Archives for Dude and Flair sides; Roots Vinyl Guide for some label scans. My own researches (photographs, various data, personal appreciations and additions).

Early March 2018 bopping fortnight’s favorites (1947-1952)

Hello folks. This blog was launched exactly 9 years ago. Already 438 articles later, and still alive and well ! Thanks for visiting. This is the early March 2018 fortnight’s favorites.

First an almost certainly late ’40s recording done in Nashville, « Hillbilly City, Nashville Tenn. » by ERNIE BENEDICT & his Range Riders (vocal: Roy West). It’s a fast moving tune – fiddle accompaniment and handclaps item. Full of energy. Issued even in Nederland on the Continental label # 8034!

Hillbill City, Nashville, Tenn.

downloadErnie Benedict "Hillbilly City, Nashville Tenn."

AL CLAUSER & The Oklahoma Outlaws for the next two tracks was not a newcomer. His career dates from the mid-30s. Here « Move it over Rover » (Dog House Blues) on the Bullet label # 720 from 1950 is an uptempo bopper. Half-spoken (vocal Norman Hart) upon a call-and-response format, indeed based on Hank Williams’ « Move it on over » (which was itself a revamp of an old traditional). The flipside « My sweet mama » is a medium shuffler with steel.

Move it Over Rover





Al Clauser & his Oklahoma Outlaws - "Move It Over Rover (Dog House Blues)"


My sweet mamaAl Clauser &his Oklahoma Outlaws "My Sweet Mama"


The remaining tracks of this fortnight are all by LLOYD WEAVER, another artist originally out of Texas (KTUL, Waco). His first record was “Virginia (of West Virginia)” on Blue Bonnet 110 from 1947: a very Western swing styled record. later on the Bullet stable, as « Cowboy Pal » Lloyd Weaver ( # 663). The recording was first issued on Dude 1600, in Dallas. « Kue-Tee-Kue » is an utempo in the Tex Williams style, on a banjo rhythm (solo) backed by a steel. The flipside « Too many tears » is a medium weeper, with an extrovert vocal – a trademark of Weaver – over a rinky-dink piano. Then on # 1607 a fine uptempo “Like the leaves (I fell for you)” backed with a romping, fast “My Honey Bee“. Note that both Dude and second Coral records were credited to ‘Loyd’ with just one ‘l’.

"Cowboy Pal" Lloyd Weaver "Too Many tears""Cowboy Pal" Lloyd Weaver "Kue-Te-Kue"Loyd Weaver "My Honey Bee"


Too many tears


My honey bee

Like the leaves (I fell for you)

On Coral 64143 (issued November 1952) and two excellent boppers. Vocal is perfect hillbilly, and again that rinky-dink piano for « Steppin’ out and sneakin’ in ». Flipside is equally good, « One wheel draggin’ », a fast bopper – steel solo is inventive. This June 26th, 1952 recording session provided two more tracks:

Billboard November 15, 1952

Steppin’ out and sneakin’ in”Loyd Weaver, "Summer 1944"Loyd Weaver "Steppin' Out And Sneakin' In"

Loyd Weaver "one Wheel Draggin'"One wheel draggin'”


The second Coral offering (# 64155) has the fine bluesy medium « Woman trouble blues » with even some yodel à la Hank. Reverse side is « After my love has turned to hate », a good vocal medium fiddle led tune.

Woman trouble blues

“After my love has turned to hate

Loyd Weaver "Woman Trouble Blues"Loyd Weaver "After My Love Has Turned To Hate"
Sources : as usual 78rpm site ; YouTube for music, also Hillbilly Researcher archives for Coral sides ; « A shot in the dark » for Al Clauser details.


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