First selection, « Afraid to love again » on the Rhythm Kings label (location unknown) # 1207 by WAYNE CROSS with Porter Fender (on guitar?) is a jumping little thing with fine guitar throughout. A short and uninspired solo – as my current notes of course ! Cross cut another very Cash-styled effort on Rhythm Kings 1208 “Put another dime in the juke box“.
“Afraid to love again”
download BOBBY HODGE second. Born 1932 in N.C. He was active during the ’50s and ’60s in Wisconsin. Here he delivers « Gonna take my guitar » on Rebel 819, it’s difficult to give a date of issue. Urgent vocal, hard lead guitar (2 soli) and a steel solo. In a very different manner, in 1964, he had on Golden Ring 3040 a new version of Jimmy C. Newman‘s « Alligator man ». Same guitar as on previous record. Add Hodge re-cut “..guitar” as “Carolina bound” on Nashville 5014 (1960), perhaps in a next fortnight.
“Gonna take my guitar”
Finally Red (vocal, guitar) & Lige (vocal and mandolin), the TURNER BROS. Sometimes called the Kentucky Boys as their other competitors of the same name (Zeb & Zeke, on Bullet). They do here « When harvest days are over » (Radio Artist 235) and « Honky tonk mama » (243), both from 1947. Delmore Bros . Or York Bros. style. They also appeared on Imperial 8071 (« Boog-boog-boogie », from Radio Artist 234) and a half a dozen of singles on Mercury in 1949-50.
Hello, this is early August 2014 fortnight. Some new tunes, some already published a few years ago for newcomers, and finally sad news.
REDD STEWART was during long years the lead vocalist for PEE WEE KING. The latter (with the Golden West Cowboys) was allegedly under exclusive contract with RCA-Victor, but not Stewart: he was signed by King records and recorded several tunes in Cincinnati (February 1950), among them the very fine « Brother, drop dead (boogie) » King 843-AA). He is indeed backed by the Golden West Cowboys, disguised under the name of « His Kentucky Colonels » ! Great Hillbilly boogie, good steel and piano.
Redd Stewart “Brother, drop dead (boogie)”
Another well-known artist (he has his own entry in bopping.org) from Mississipi is JIMMY SWAN, or « Colonel Jim » as he presented himself on a Baton Rouge, La. TV-station in 1952. He was signed on the Lilian McMurray Trumpet label in 1952, and recorded for her at WFOR Radio station in Hattiesburg, MS. I retain particularly, among many fine sides, « Juke joint mama » (Trumpet 176), with nice steel (a la Don Helms, Hank Williams’ steel player) and fiddle, and «Lonesome daddy blues« (Trumpet 198). « Juke joint mama » was first cut by the veteran Denver Darling for Decca in 1946 ; Darling, active in Denver, IN, is the co-writer of, among others, « Choo choo ch’boogie », a hit for Louis Jordan as well as Bill Haley, and more recently for Clifton Chenier. « Lonesome daddy blues » is not the same track as Bill Johnson‘s on a Starday custom – which I will discuss about in another article.
Sad news now. The death (on June 21rst) of a giant of Country and Cajun music, Mr. JIMMY C. NEWMAN. Born 1927, he began his career vocally fronting the band of Papa Cairo on Modern sides – I think he sings « Kooche kooche », to be found on an old U.K. Ace compilation (« Swingbillies »), in 1949-50. Then he was cutting for Jay D. Miller in Crowley, La. and his first label Feature : songs like « Wondering » – later covered by Webb Pierce on Decca. He had records on Khoury’s too, before entering in Randy Wood’s stable on Gallatin, TN Dot label. A huge hit in 1956, « A fallen star » : then he was an established star. However he never denied his Cajun ancestry and roots and, in 1973, recorded on La Louisiane label the much acclaimed « Lâche pas la patate » in French, also known as « The potato song » (written by Clifford Joseph Trahan, better known as Pee Wee Trahan, or Johnny Rebel…). The song went n°1 in Quebec on the Deram label, and had not since then disappeared from his repertoire, always in demand by Cajun speaking folks until recent times. Newman died of cancer. I will have a survey later of his entire career. Let’s get his music !
Lâche pas la patate (lyrics in French)(“Don’t drop the potato”)
Hey! Lâche pas la patate mon neg. Hey! Lâche pas la patate? Une chose qu’est claire, j’fais mon affaire mais j’lâche pas la patate??-?J’vas au bal tous les samedis, pour escouer mes vieilles pattes? J’danse avec toutes les belles filles… Mais j’lâche pas la patate – ?J’fais tous les clubs que je peux faire ent’Lafayette et la Ville Plate? Oublie-moi pas des fois ça chauffe… Mais j’lâche pas la patate?? Refrain😕 Hey! Lâche pas la patate mon neg Hey! Lâche pas la patate? Une chose qu’est claire, j’fais mon affaire mais j’lâche pas la patate??-?Chu pas marié, j’ai pas personne pour m’tenir le fond d’culotte? Quand j’veux partir chu “gone vieux j’ton” Mais j’lâche pas la patate ?J’vas là tout seul la moitié du temps mais quand l’idée me frappe? J’appelle Marie la chère p’tite fille mais j’lâche pas la patate?? Refrain😕 Hey! Lâche pas la patate mon neg Hey! Lâche pas la patate? Une chose qu’est claire, j’fais mon affaire Mais j’lâche pas la patate??-Un soir au bal un tout p’tit boguet et un gros a pris à s’battre ?J’voulais que le petit gagne et j’criais “Lâche pas la patate”? Le gros bougre m’a r’gardé et dit: Espère que j’te rattrape ?J’mé viré de bord… J’ai couru fort… J’ai lâché la patate?? Refrain😕 Hey! J’ai lâché la patate mon neg Hey! J’ai lâché la patate? Une chose qu’est claire, j’fais mon affaire J’ai lâché la patate??Hey! Lâche pas la patate mon neg Hey! Lâche pas la patate? Une chose qu’est claire, j’ faist mon affaire Mais j’lâche pas la patate…? [translation in English on personal request]
Howdy folks! Back from holidays in Rocking Italy, here I am again, this time more piano to the fore. Let’s begin with the now famous CURTIS GORDON and the classic Hillbilly Boogie from 1953, “ROMPIN’ AND STOMPIN’ – fine walking basses (Floyd Cramer, really??), a relaxed vocal, call & response type, steel and bass, everything is perfect here. From a 78 rpm.
Then we go West Coast with DICK LEWIS and his uptempo “BEALE STREET BOOGIE”. Good left hand, while a nice sax takes the first row for a good solo. 1947, Imperial 8004
The HODGES BROTHERS are well known – I really don’t know if this is the same outlet as on Arhoolie (Watermelon Man). Nevertheless their “HONEY TALK” is already a classic. Rockabilly indeed. Urgent rural vocal, nice interplay during the solo between guitar and fiddle. A great one! Whispering Pines 200 label, from Indiana. They also appeared on Starday custom serie (see elsewhere in the site)
Then a mistery. Famous French collector Henri laffont (R.I.P.) told me he thought it was Red Smith (same guy who cut “Whoa Boy” on Coral) but was unsure. Anyway “RED HOT BOOGIE” is a very solid slice of Hillbilly Bop, almost Rockabilly (because the hiccups of Smith); 3 solos (fiddle, guitar, bass, again fiddle). Which was the original label? This track is one on my all-times favorites! Please take a listen and let me know how you feel it. MYSTERY SOLVED on June 22nd, 2012 (thanks to a faithful visitor, Drunkenhobo from U.K.). The artist is Scotty Stevenson & the Edmonton Eskimos, a Canadian issue on RCA 55-3309-A, from 1950. I’d never thought a Canadian outlet could sound so “Southern hillbilly bop”!
Way down South. LAWRENCE WALKER and Cajun “Allon Rock and Roll” (sung in English); Lot of cliches, a corny sound: I would have assumed the tune was recorded in late 40s, however it goes back to …1962!
Finally ROD MORRIS and “Weary Blues” (Deadwood). When a Hillbilly got the Blues…WHO the hell may be the SUPERB guitar player ? He obviously heard much Magic Sam and T. Bone Walker, and he’s very aggressive during the solo.