Early August 2021 bopping fortnight’s favorites

It's hot outside, as the music included in this post. As usual, very various things for your own enjoyment.

As on early August I’ll be far from home (holidays), I post this fortnight with two days before the actual date.

On the Kentucky Acme label first, JESSE COATES does provide us with a fast fiddle-led ditty, his personal version of the old-timey « Columbus Stockade Blues » (# 1235A). He goes on, this time for both sides of his solitary Headine issue (# 101) in 1955 : the fast bopper « Nobody Can Take My Baby » and flip « You Gotta Be Good » : nice fiddle and steel. Barre, Vt.

Next artist is not an unknown one. JACK CARDWELL (1927, Georgiana, Alabama – then Mobile) made many fine sides during the early ’50s for King. Here he is with one of my faves « You’re Looking For Something » # 1269 (rec. Dec. 2Nd, 1952, probably cut at WCAB radio in Shreveport or at a Mobile station). A nice steel throughout . 5 years later he was back on Starday # 310 for the medium uptempo bopper « Once Every Day », very nice to be heard. During his stay in Mobile he became good friends with Luke McDaniel and even had a television show.

en from Kentucky on the very small Dixiana concern, launched around 1953 and which seems to have disappeared within several months. Nevertheless the owners released some first class Hillbilly music by the likes of Cliff Gross, Odis Blanton or this JIMMY SMIH and his « It Ain’t No Fun To Say I Told You So » (Dixiana 107) : good steel, rinky dink piano and fiddle. A brutal ending, sorry..

Down in Florida with JIMMY KELLER and « Brush Pile Burn » on Trail 1777 (also seen as #288) from 1964. It changes hands for $ 400-500 and it’s a real piece of hard Rock’n’Roll ! Great vocal and urgent guitar.

The never warysome CLIFF CARLISLE, who’d yodel, to quote Nick Tosches (« Unsung Heroes of Rock’n’Roll ») « the longest and the best» was also an acomplished lap-steel guitar player and produced very strange sounds, i.e. In « Shanghai Rooster Yodel # 2 » on Conqueror 8140 (don’t miss the sublime steel solo, alas too short near the end). Carlisle was also ahead of his time with the use of a wild slapping bass player in the classic « Goin’ Down The Road Feelin’ Bad » (Oriole 2860).

A complete change now in Philly on the Arcade label (1957) and the TRAVELAIRES, « Chopped Liver (part 1). Not really spectacular : a tight combo (with sax) doing a strong dance rocker. For more Arcade, see the excellent «AnorakRokabilly – Small independant 45rpm labels », the blog of Dean C. Morris (Drunken Hobo)

From Illinois, the sax player/singer JIM GATLIN provided the Western tinged « The Way You’re Treating Me » on Mar-Vel 505. A fine, lazy swinging record.

To sum it up, a recent (actually issued in 1985) fast Honky Tonker by DON HALL and his troupe for « You Rescued Me » (NSD) : a tour-de-force for a great rocking combo.

With thanks to Kent Heineman from Sweden, who sent the «NSD » label scan.

Early April 2020 bopping fortnight’s favorites

Howdy, folks! Hello to past visitors, hi! to new ones. Here it’s the new fortnight’s favorites selection of bopping music (early April 2020), and you’ll be treated with tunes as early as 1934, to immediate early ’60s.

Zeke Clements & his Western Swing Gang

An early Grand Ole Opry star, ZEKE CLEMENTS (1911-1994) was an immensely popular artist with songs like « Smoke On The Water » or « Oklahoma Blues ». Here he is on the Blazon klabel (# 10B) from the late ’40s for « It’s My Life », an uptempo a bit jazzy/Western swing : clarinet all through along the tune, piano and jumping vocal. Clements even adapted himself in 1959 to Rock’n’roll on his own Janet label.

Homer Callahan

Even earlier (1934) by HOMER CALLAHAN part of the Callahan Brothers duo (the other was Walter). This is crude Hillbilly ! « Rattlesnake Daddy » has a raw power, only singer and his guitar, with some yodel. Vocalion 04362, cut in NYC.

Randy Atcher

A fast hillbilly now in the hands of RANDY ATCHER, a Louisville, Ky artist. « Flying High » (M-G-M 11954), released iin 1955, is a fast number that moves, with a nice fiddle. More of the same for « You’re A Living Doll » (# 12058) : steel effects and also moving. Atcher cut an « Indian » classic hillbilly in 1956, « Indian Rock » (M-G-M 12347). He was also on Contract Records.

Bob Dean & Cindy

From Washington, D.C. comes BOB DEAN & Cindy with the Kountry Kings. They released in ’59 the fast Country-rocker « Walk, Walk, Walkin’ Blues » on Kay 3690.

The York Brothers

Another Indian Hillbilly is « Mohawk Squaw » (King 1468, recorded May 1955) by the YORK Brothers, Leslie and George. It’s a fine novelty « Mohawk Squaw, Hugh-hugh »..), well in their usual manner : good guitar and some spare drums. Released also on UK. Parlophone.

From Oklahoma on the Razorback label (# 103) in 1958 we are treated with a fast Hillbilly bopper by BILLY PARKS : « Four Leaf Clover » is a lively opus, string bass well to the fore, boogie guitar and a discreet steel (too short solo), chanter in good form. The flipside, « Why Shoud I Keep On Trying » is similar in essence and tempo, as well as the UBC 1015 « If I Shoud Tell You I’m Sorry » (issued November 1960).

Jimmy Reed

Finally a master in Rocking Blues : JIMMY REED with two tracks from a July 1955 session for Chicago’s Vee-Jay Records Company. W.C. Dalton on lead guitar, Milton Rector on bass, Earl Phillips on drums, plus the very great Henry Gray on piano (later with Howling Wolf). The two tracks have Reed on vocal and harmonica : « She Don’t Want Me No More » and « I Don’t Go For That » – neither me !

Sources : YouTube for Randy Atcher ; HBR 19 (Razorback) for Billy Parks’ songs ; Google Images for Randy Atcher and Jimmy Reed ; Ron Keppner for Zeke Clements on Blazon ; 45cat for Billy Parks and Bob Dean ; my own archives.

Late February 2020 bopping fortnight’s favorites

Howdy folks, this is the fourth portion of Country boogie or rockers for this 2020 year, and will contain no less than ten songs. I hope you will find something of interest here.

Lawson Rudd

A famous blogger and writer, Some Local Loser, posted in YouTube both sides of Starday 711. Originally released April 1958, this was the record debut for LAWON RUDD (born Salyersville, Ky in 1929 – deceased December 2011) backed by the Tippecanoe Valley Boys for two great sides. A-side was named « Country Town Girl », a superior uptempo mid-paced, great hillbilly vocal and rhythm guitar, fine steel all through the song (a short solo). B-side, « Blues On The Run » has a rhumba-beat (maraccas) and reminds one of Louisiana Lannis in « Much To Much » issued the year before (Starday 268){see Louisiana Lannis’ story elsewhere in this blog}.

But LAWSON RUDD’s best known side is to be found two years later (1960) on Kingsford Heights, Indiana based Harvest label (# 709) : « Shake This Town » has a lazy vocal, unobstrusive chorus and good backing for a late period Rockabilly : fine guitar and a trembling steel solo. The guitar player sounds as in Bill Bowen’s « Don’t Shoot Me Baby » (Meteor 5033) cut in April 1956, four years before ! Incidentally the flipside « No One Will Ever Know » couldn’t be traced, a pity..This disc is valued $ 100 to 150.

Paul Howard & Arkansas Cotton Pickers

The veteran PAUL HOWARD and his Arkansas Cotton Pickers do come next with « Texas Boogie » released in April 1949 on the King label 779. Actually a showcase, instrumental for the most part (steel, fiddle, guitar and of course a great piano) only adorrned by the vocal of RED PERKINS {see elsewhere in this blog his story}.

Red Perkins

Carolina Cotton

Then CAROLINA COTTON for a lazy vocal tune from May 1950 on M-G-M 10798B, « Lovin’ Ducky Daddy » has a ‘sugar’ voice, even some yodel and a good piano, but sparse backing (bass and drums).

Clay Allen & His Cimarron Playboys

More in 1950, on another major label (Decca 46324) the recording debut of CLAY ALLEN and his Cimarron Boys with « Evalina ». A good, although forgettable, uptempo ballad, the steel and the piano getting the better part behind the vocal.

The Country Dudes

Billboard, Sept. 28, 1959

Chuck Harding & His Colorado Cowhands

CHUCK HARDING was born in 1914 (Marion Cty, Ky.), the son of a minister who taught him the fiddle. With his Colorado Cowhands he released in March 1948 a fabulous « Talking The Blues » : really great bass, awesome vocal, mandolin, steel solo, great fiddle too. It was first released on Texas Blue Bonnet 135A, before being switched to a greater exposure on California’s Modern 581 in May of the same year. Personnel is wholly given on the back of Boppin’ Hillbilly # 19, issued a mere twenty years ago.

Harding was to have in March 1954 on the Des Moines, Ill. (a Northern suburb to Chicago) Replica label # 101 the fine double-sided « Stop Crying On My Shoulder » and « I’m Living In A Lonely World » : accordion well present to the fore (it has its solo), sparse backing and no fiddle but steel solo.

As a matter of comparison I add the original version of « Talking The Blues » (written by Harding and Pyle) by PETE PYLE on Bullet 602 released June 1946. Good guitar, fiddle solo, and a trembling steel over an extrovert vocal – a good disc, but not to the standard of Chuck Harding’s version.

Billboard May 27, 1954

And that’s it for this fortnight ! Pheewww, as usual, a lot of work (research and making-up) and a lot of fun too (listening to dozens songs before choosing the selection I prefer).

Sources: YouTube (Some Local Loser); 45cat and 78rpm worlds; Ohio River; HBR serie; my own archives

Lattie Moore, Cincinnati hillbilly bop and Rockabilly (1952-1982)

Though highly revered within hillbilly and rockabilly circles, the name of Lattie Moore is practically unknown outside auction lists. Even there’s a tad mysterious, Eddie Bond’s « Juke Joint Johnnie », Jerry Reed’s « If The Good Lord’s Willing » and George Jones’ « Out Of Control » have been reissued on CD but they were probably more familiar than Lattie’s versions even before they were readily available. Yet, arguably, Lattie’s records are more rewarding. His experience-laced vocals have far more expression than Jerry Reed’s or the affectless Eddie Bond and the countrypolitan elements which often diluted George Jone’s 60’s music are almost entirely absent.

Lattie’s voice is absolutely perfect in a coarse, grainy, ragged sort of way and there’s the odd device like a half yodel when he sings about doleful effects of drink. Country traditionalists go for the light, twangy vocals on hillbilly songs like « Don’t Trade The Old For The New ». Rockabilly enthusiasts bid big bucks for Lattie’s very scarce records on Arc and Starday. Lattie, however, admits to singing about drink more than anything else.

Lattie Harrison Moore was born in Scottsville, Kentucky, on October 17, 1924. He was named after Lattie Graves, the family doctor who delivered him. He grew up learning to play guitar, mandolin and bass. Only 65 miles of Nashville, Lattie listened to the Grand Ole Opry. He was impressed by Roy Acuff, and later, Ernest Tubb and Hank Williams.
In 1944 Lattie hichhilked 200 miles North to Indianapolis, a city of greater opportunity for the professionnally-minded musician. A brief stint in the Navy interrupted his intentions but on discharge he worked nighclubs and some of Indiana’s large jamboree parks. In December 1944 he married. They raised 4 children, and recently (in 2000) they celebrated 55 years’ togetherness.

If ever a record disappeared into collector holy graildom, it was Lattie Moore’s first. No one has ever seen a copy ! It was called « Hideaway heart » c/w « Married Troubles » and cut in 1951 at the home-built studio of Tate Boland, the Arrow’s label owner. The same year Lattie joined the Mid-Western Jamboree held at Turner’s Hall and broadcast over WIBC, from the Indiana capital.

A copy of the 78rpm was sold $ 134 in January 2019.

In 1952 Moore travelled to Nashville with a view to recording for Bullet, the local grandaddy of independant labels. He discovered that Bullet wasn’t signing anyone new but was pointed by John Dunn, who handled Bullet’s pressing plant, in the direction of the Speed label, a smaller company in which Dunn also had interest. Story of Lattie Moore’s Nashville debut was given by Dunn’s partner : « In the summer of 1952, I met Lattie Moore as I walked out of the Ernest Tubb record shop on lower Broadway. He was a writer and guitarist who wanted to make a record and he sung right there in the busy sidewalk for me to listen.

The song was called « Juke Joint Johnny ». I thought it was so good I gave him a contract and cut it that very afternoon. We went to a makeshift studio on Union Street. No one in the band knew the song except Lattie and his lead player, so to fill up the sound I told the engineer to bring the drums in as loud as possible to fill ut the sound of the piano.

The song “Juke Joint Johnny” hit the jukeboxes fast and good. I think this was about the first rock’n’roll record out of Nashville, and in these early days we didn’t know it. »

Lattie Moore cut 25 tracks for King over two periods : 1953-1956 and 1959-1963. The musicians on earliest recordings, made at the label’s own studio on Brewster Avenue in Cincinnati, included Zeke Turner (electric lead guitar), Don Helms, veteran member of Hank Williams’ Drifting Cowboys (steel), Tommy Jackson (fiddle) and Zeb Turner (rhythm guitar). They had as firm a grasp on the essentials of the honky-tonk genre as any musicians in Texas.

King dropped Lattie after six singles. He cut a flat-out rock’n’roll version of « Juke Joint Johnny » (as « Juke Box Johnnie ») for Arc Records in December 1956. On stage, however, he mined the mother lode ; Elvis and Little Richard were as important to his repertoire as Hank Williams and Ernest Tubb.

In 1958 Lattie joined Starday which had moved its HQ from Beaumont,Texas to a suburb of Nashville the previous year. « Don Pierce looked me up in Indianapolis, said Lattie ; He really wanted me on Starday. We cut « Why Did You Lie To Me » in Nashville in a studio that Floyd Robinson had in part of his house. Floyd played electric guitar and Benny Martin wrote it and played the acoustic flat-top guitar on it. » « Too Hot To Handle », Lattie’s second and last Starday single, was his take on Eddie Noack’s enduring and much-loved song.

In 1958 Lattie joined Starday which had moved its HQ from Beaumont,Texas to a suburb of Nashville the previous year. « Don Pierce looked me up in Indianapolis, said Lattie ; He really wanted me on Starday. We cut « Why Did You Lie To Me » in Nashville in a studio that Floyd Robinson had in part of his house. Floyd played electric guitar and Benny Martin wrote it and played the acoustic flat-top guitar on it. » « Too Hot To Handle », Lattie’s second and last Starday single, was his take on Eddie Noack’s enduring and much-loved song.

Derby Town LP (1982)

Leaving King for a second time, Lattie cut a good album and a single for Derbytown and a single for WPL. Eventually Lattie returned to Scottsville and worked in law enforcement for four years. He underwent laser surgery for throat cancer in 1986 and recovered from a quadruple heart bypass in 1999. Now, he says, he’s fine, and keeps fit walking 30 minutes every evening.

Sources: Bill Millar’s biography of Lattie Moore (Westside CD “I’m Not Broke, But I’m Badly Bent”, 2000); most labels from 45cat and 78worlds; music from various sources (e.g. YouTube or Gripsweat.com). Article originally published in September 2009, completely revised July 2019. The podcasts omitted second King period (1959-61), in my mind the poppiest-country sounding period of Lattie Moore.

Early December 2019 bopping fortnight’s favorites

Howdy, folks ! This is the latest batch of bopping goodies – and the penultimate 2019 selection. You will have to be comprehensive with label scans, that don’t match the usual bopping.org criteria : as a matter of fact I am experiencing the latest Photoshop version and not completely familiar with it. Anyway the music is still intact and ready for listening/downloading. So let’s go.

Ted Daffan’s Texans

TED DAFFAN (1912-1996) was a bandleader and prolific songwriter (and steel guitar player) since the mid-30s. Backed by his Texans, he wrote many hits and classics: just one among others, the abundantly revised later « Born To Lose » from 1941. Here he is with « Car Hop Blues », orginally published on Okeh 6452, then reissued in June 1947 on Columbia 37438 then 20165 : a fine shuffler, indeed adorned by Daffan’s steel, plus accordion and a bluesy guiar. The vocal is done by the disillusioned Chuck Keeshan. A short note : Daffan had his own label in ’55-’58, which released fine records by Jerry Irby « Clickety Clack »), Jerry Jericho (« These Hands »), Fidlo (« Triflin’ Heart ») or William Penix « Dig That Crazy Driver » .

Jimmie Ballard

As vocalist for Buffalo Johnson & His Herd on Kentucky 520 (1950, Cincinnati), JIMMIE BALLARD cut the two risqué « Tappin’ Boogie » and « T’ain’t Big Enough ». Great boppers, the fastest being the A-side – great walking bass for a combination of guitar and steel over a non-sense vocal. The B-side is slowier, although equally good.

Billboard Sept. 27th, 1952

Billboard, Dec. 20th, 1952

This time two years later on King, as JIMMY BALLARD, he once more had very fine records. The double-sided « I Want A Bow-Legged Woman » and « Shes Got Something » are both superior boppers, drums present – actually pre-rockabilly tunes. Nice steel and vocally fluent.(King 1118). His later amusing « The Creek’s Gone Muddy (And The Fish Won’t Bite ») (# 1143) is done in a similar style. The agile guitar player in these sides could be the great Al Myers, who adorned several days before a Bob Newman session (« Phht ! You Were Gone »).

Adam Colwell, Tex White & the Country Cousins

Less and less known are both next artists. ADAM COLWELL is delivering in 1962 (Cincinnati) the fast « Open the Door » (some chorus, but great steel) on Ark 219, while TEX WHITE — is doing a medium nice uptempo on Nayco 2526 (location and date unknown – do you have any clue, Drunken Hobo?) with « You’re Wasting Your Tears ».

“Little Willie” Littlefield

Finally we got fabulous piano walking basses and tremendous high-pitched notes by LITTLE WILLIE LITTLEFIELD : his first record from 1948 on Houston’s Eddie’s 1202, « Little Willie’s Boogie » is very reminiscent of Amos Milburn great Aladdin wildies like « My Baby’s boogeing » or « Amo’s Boogie » ; Littlefield’s « Jim Wilson Boogie » on Federal 12221 is done in the same style.

Sources : HBR « Kentucky label » ; Will Agenant « Columbia 20000 serie » for Ted Daffan ; King Hillbilly Project (Jimmy Ballard) ; Gripsweat (Tex White, Adam Colwell) ; my own archives.