Hello folks, welcome to new listerners, howdy to returners !
This is the late March 2018 fortnight’s favorites selection, and it will include only 3 artists.
First is TAYLOR PORTER for 4 sides. First two were issued February 1958 (60 years ago..) on Starday # 694. « No more lovin’ you » is a fluid uptempo bopper ; the steel solo is common. The overall impression however is great. The flipside « It’s over now » is more of an uptempo shuffler. Fiddle and steel solos. It bears something lazy. Now it’s not that sure this Taylor Porter was the same as in the following tunes.
The old Hank Snow (as « Hank, the Singing Ranger » who cut this song in 1944) song « Sunny side of the mountain » by (another?) TAYLOR PORTER on the Salem, IN Radio Ridge label # 85. It’s a fast bluegrass (banjo) bopper ; fiddle solo dueling with banjo, from 1956. He had another issue on the same label, « Sweetheart, you were wrong », and on Excellent 225.
Then in 1961 on the Manchester, KY Janet (which was Zeke Clements’ – the latter’s story is on the line) label (# 25-60), he has « Away out there », a fast unclassable country tune. We finally find him for a sacred 6 songs EP on Ark 312 in 1964.
Next track is an instrumental, rare in bopping (I prefer voices!). DINK EMBRY [And – strangely – The Kentucky Lads] is probably a Memphian. Is he who pounds the ivories on this « Mason Dixon boogie », issued on Dot 1039 (early 1951) ? In any case, the tune is medium lowdown danceable one with guitar, piano and steel (plus bass of course).
The next four tracks are all done by JAKE THOMAS and all issued between September 1962 and March 1965 on the Dixie label. Wonder if this is really the Starday custom famous label. All tracks were apparently recorded in Arkansas.
Both first tracks, as Jake Thomas and Bluegrass Band, issued on Dixie 987, are medium paced, and have a fine dobro backing over a great vocal, plus bass and rhythm : « What’ll I do » and « If you keep doing what you do to me » are very good examples of 60’s Hillbilly bop.
R. D. Hendon & his Western Jamboree Cowboys were one of the most popular western bands in South East Texas in the first half of the 1950s. Their renown never really extended much beyond the Houston area, but that sort of regional fame was the norm in an era when the country music scene was far les centralized and national stardom was a far more rare thing han it became in later decades. The group served as training ground for such performers as the great songwriter and singer Eddie Noack and the guitarist-vocalist Charlie Harris – neither a household name then and now, but this is not a reflection of their abilities or relative importance – and also included a number of less known but no less talented performers, such as guitarist-vocalist Harold Sharp, fiddler Woody Carter and guitarist Hamp Stephens.
R. D. Hendon himself was rarely an active participant in the band – he had, by all reports, an almost singular lack of musical ability or talent – though he did in his later stages attempt to drum and sing with the group and recorded a recitation under the name the Western Rambler. Nor were the Western Jamboree Cowboys the smoothest and slickest of Houston’s numerous top-notch western dance bands. They were more a classic honky-tonk band than a western swing band like Dickie McBride or Benny Leaders’ groups ad excelled the closer they stuck to that classic, earthier sound. The Cowboys’ performing days came to an abrupt halt in September of 1956 when Hendon, long a troubled man, took his own life, but in the preceding half decade they laid down a number of fine recordings – including a couple of undisputed classics.
Rigsby Durwood Hendon was born around 1914 in Marquez, Texas, and grew up in the Houston area. He served in the Navy and worked as an oilfield roughneck before entering the night club business. The growing popularity of the house band, the South Texas Cowboys, at his Sprinx Club led Hendon to purchase a larger club, the Old Main Street Dance Hall, better known, as Andrew Brown has pointed out, by its street address, 105½ Main. « Hendon gave the club « a western theme » Brown adds, « and rechristened it the Western Jamboree Night Club. The band’s name change followed suit and, by 1950, the club was drawing huge crowds six nights a week. » The band began broadcasting on Houston’s KLEE, where Hendon also nabbed a slot as a disc jockey, and began recording around the start of 1951.
The band’s first recordings were for Sol Kahal’s local Freedom label (# 5033), which had been in operation since 1948 and began a hillbilly series a year or so later. »Those tears in your eyes » b/w « No shoes boogie » was actually issued under bandmember Charlie Harris‘ name, with Hendon and the band receiving secondary credit. The disc is a classic, « No Shoes Boogie » being, Brown writes, »an excellent example of the hard-rocking, shuffle-beat swing that was common in Texas before rock and roll. » In addition to Harris, who wrote and sang both songs and supplied incisive, hot lead guitar, the band at this time included Johnny Cooper, guitar; Theron Poteet, piano ; Tiny Smith, bass ; and Don Brewer, drums. Regular steel man Joe Brewer was replaced on this session by former Texas Playboy, the legendary and still active Herb Remington, who played one of his most exciting solos here.
Soon after, Hendon & the Cowboys joined a number of other Houston acts – including Jerry Jericho and Hank Locklin – in the stable of Bill McCall, the canny and ruthless West Coast label owner whose long-term relationship with the legendary Houston distributor and record man Pappy Daily yeilded a number of excellent recordings on McCall’s Four Star, Gilt-Edge and associated custom and radio-play labels. From the beginning, the Cowboys’ recordings were generally issued in Four Star’s quasi-custom « X » series, but several issues also wound up being issued on the label’s main series and this saw wider distribution.
The Four Star recordings were inaugurated by another coupling that featured Charlie Harris, who was soon to leave the group. « Oh ! Mr. President » (4* X-20) was a rush-job in the spring of 1951, a rare, overtly political song dealing with the firing of General MacArthur by President Truman. This was followed by an excellent coupling that featured long-time bandmember Johnny Cooper, « The Wandering Blues » b/w « Marking time » (4* X-24).
Cooper was soon replaced by Eddie Noack, already a veteran of the Houston recording scene and by mid-1951 the Western Jamboree Cowboys had settled into a classic lineup. Vocals were divided among Noack, Cecil « Gig » Sparks and Harold Sharp, with the two former supplying rhythm guitar and Sharp playing a sturdy lead. Don Brewer played steel, Tiny Smith played bass (Sparks and Smith had recently joined the band from Leon Payne’s group). A slew of strong recordings followed, including Noack’s classic debut, « I can’t run away » (4* 1590) , and two versions of the pretty « This moon won’t last forever ». The first version featured Harold Sharp (4* X-33) and a guest appearance of one of the song’s writers, trumpeter-bandleader Gabe Tucker, while a remake (4* 1590) marked the brief return of the peerless balladeer Charlie Harris and boasted a fiddle solo by former Floyd Tillman band mainstay Woody Carter, who joined the band for a few months during 1951-52 and was featured on the fiddle tune « Nervous Breakdown ».
download In late 1952 and early 1953, Hendon briefly recorded for the local Shamrock label, though he later returned to Four Star and several of the Shamrock recordings wound up being reissued on Four Star, as well, including the fantastic « Blues Boogie » (Shamrock X-13, 4* 1644) from fall 1952, which featured the twin electric guitars of Harold Sharp and Hamp Stephens (who played the deep, boogie bass runs under Sharp’s melody lead) and the band’s new steel guitarist Chet Skyeagle. The fine guitarist Stephens had joined the band after stints with Hank Locklin and Bill Freeman’s Texas Plainsmen, both of whom recorded for Four Star. Spark’s maudlin tale of guilt « Hit and run driver » was issued only on Shamrock, while Jimmy Tyler’s fine «I Ain’t got a lick of sense » was recorded by Shamrock but issued by McCall (4* 1644) . A final Four Star release featured an unidentified vocalist (possibly Chuck Davis) on one of the more western swing orientated songs the Cowboys cut «You crazy mixed up kid » and « Talking to myself » (4* X-86). The last recordings for McCall were a group of covers of current hits issued on EP’s on the Blue Ribbon label. The sessions featured not only Harold Sharp, but also guest vocalists, fellow Four Star artists Jerry Jericho and Rocky Bill Ford. Among the covers were « Hey Joe » (Carl Smith), « For now and always » (Hank Snow), « Free home demonstration » (Eddy Arnold) and « I won’t be home no more » (Hank Williams).
Starday sides featured old hands like Harold Sharp and Gig Sparks, but later sides feature new bandmembers Taylor and Jack Rodgers. Hendon had a small hit in 1956 with « Lonely nights » (Starday 248) and another good tune was « Return my broken heart » (# 167).
Hendon’s suicide came not long after the final Starday release and occurred at a time of great musical upheaval. Rock and roll had arrived with a vengeance and it would have been interesting to see if Hendon would have managed to ride the storm of changing tastes – at the same time, the dancehall scene was being decimated by television and other factors. At any rate, Hendon was certainly game to try something new – his second Starday release found him trying his hand at singing rockabilly on the odd, uneven « Big Black Cat »(Starday 194) – although it’s obvious that Hendon was not a talented vocalist, as on the unissued-at-the-time « My old guitar » (during the song he even loses several times the tempo!).
Sources : the main biography went from Kevin Coffey for the Cattle CD 329 (2006), and some additions from Andrew Brown. As usual, a solid help was given by the indefatigable 78rpm-owner Ronald Keppner out of Frankfurt, Germany, thanks to him. Four Star X-20 was given by Steve Hathaway. Then my own researches and archives.
The Honorable ‘Cowboy’ Howard Dean Vokes is born in Clearfield, PA. on June 13, 1931. His father works in the coalmines to provide the needs of his big family, wife, 6 girls and 7 boys.
His mother handles her children in a firm education. Anytime uncles and cousins turn up at the family’s house it’s with their mandolin, harmonica and guitar. No wonder why young Howard
got his inspiration to use a broomstick as a guitar.
In this musical world, the Grand Ole Opry or the Supper Time Frolic shows fit very well the introduction to music of the multi-talented artist to come. He also lends an attentive ear to Buckshot Morgan, Rusty Herman or Slim Bryant on the local radio airwaves.
Howard started to play harmonica when only 6 years old to give it up for guitar 5 years later, right after the Vokes family set up in New Kensington, PA. in 1941.
When 15 years old, he got his first start on local shows and entertained on various radio programs such as WKPA, New Kensington or WAVL, Apollo.
A hunting accident broke his right ankle in 1948 and put him for 6 weeks in a hospital. His personal therapy is in writing songs and improve his guitar playing.
When ready he forms his first own group, The Country Boys. Together they travel throughout northern USA and some parts of Canada.
On March 1955, Wanda Jackson is in the Bradley’s Recording Studios in Nashville with a song written by the young Howard : «Tears at the Grand Ole Opry », issued on Decca 29514.
This same year, he puts his songwriting talents to the service of Hank King (or Russian origin: rn Papalia) for two tracks to appear on the Blue Ribbon label # 1925, « YourAtom Bomb Heart »/« I Want To Know (Why You Don’t Care For me ). They also appear on Blue Hen 223.
Also, for the Cicero, IL. based duo Denver Duke & Jeffrey Null who record in October 1955 « Hank Williams That Alabama Boy » issued on the Blue Hen label.
Denver Duke & Jeffery Null, “Hank Williams that Alabama boy”
Howard becomes their manager and main songwriter. He gets a record deal to his protégés with the Mercury label ; and he decides to handle his own career. So, in 1958 he cuts his very first single in the School House Studio in Jeanette, PA. backed by Johnny Drolz (steel), Skeets Martin (electric guitar) and Bob Rose (bass) issued as ‘Cowboy’ Howard Vokes : « Ghost Of a Honky-Tonk Slave », a pure medium honky-tonker with a strong Hank Williams influence, « This Prison I’m In » is another honky-tonker, but slower and with a more driving vocal. Steel-guitar is omnipresent on both sides of this Del-Ray 204 single.
Real success comes with his second single : « Willie Roy, the crippled Boy », cut in 1959 in Cleveland, OH, with the same musicians as on his first record with additional help from his friend Rudy Thacker on guitar. This leads to many tours throughout the USA and TV and radio shows.
It’s not until 1961 that Howard meets with a second hit, « Mountain Guitar » (Del-Ray 205) after Rudy Thacker, writer of the song, cut the original version on Blue Hen 234. The great Roy Acuff also had his own version on Hickory 1134 in 1961.
On February 1st, 1969, Howard uses the same Starday recording studios for another Country session, backed by DJ.Fontana (drums), Al Gore (flat top guitar), Jeff Newman (steel guitar), Joe « Red » Hayes (fiddle), Bill Linneman (bass). The 12 tracks appear on the « HOWARD VOKES SINGS THE SONGS OF BROKEN LOVE AFFAIRS » (Folk-Variety FV 1212).
Completely devoted to the Country Music cause, Howard Vokes remains the big promotor of this style in the state of Pennsylvania. He launches 2 labels, Vokes and Country Boy, to support new talents without forgetting the old veterans happy to get attentive ears again.
A deserved homage is paid to him in 1987 with a song written by Ray D.Jones and recorded by Mel Anderson, « The King Of Country Music In Pennsylvania » (Country Boy CB-106).
This article was originally written in French, then translated by Jack Dumery.
Despite being a presence on the country music scene in Houston for over 30 years, Johnny Nelms never found the right song or right label to break out of the local honky-tonks. His long recording career included stops at Gold Star, Freedom, Starday, D, Tilt, Westry, Bagatelle, (briefly) Decca, and probably others, but none of these give the likes of Peck Touchton or Eddie Noack anything to worry about. They are decent C&W records, but nothing more. He was more successful as a club owner, pipefitter, Mason, and eventually a politician, serving in the Texas House of Representatives during the 62nd Legislature in 1971-72. When I met him in 1996, he was a bail bondsman in downtown Houston. (No, I wasn’t there to see him about bailing me out of jail.)
Peck Touchton
For my money, Nelms’ 1955 outing on the Azalea label is his finest hour. The record, made at Bill Quinn’s Gold Star Studio before it’s renovation, is pretty low-fidelity, but Johnny’s singing is great and musically, “After Today” is what ’50s honky-tonk is all about: raw, direct, and emotional…”white man’s blues,” as (ironically) a black country music fan explained to me once. The uncredited backing band here is Peck Touchton‘s Sunset Wranglers, which includes Doug Myers (fiddle), Herman McCoy (guitar), Hoyt Skidmore (steel guitar), and George Champion (piano) — the same band heard on Peck’s Starday and first Sarg session. Peck remembered Johnny very well and often played at his club, The Dancing Barn, on Houston’s East Side:
“We were working at the Dancing Barn with Johnny Nelms [c. 1955],” Touchton said in a 1999 interview. “We worked out there a long time. The Dancing Barn was a rough damn club, too. It was on LaPorte Road. (Nelms’s) old man, his daddy, had just got out of the pen for killing a man when we were working out there. His daddy killed one or two people. At least one. You could just look at the old man and know that the old son-of-a-bitch was dangerous. There was a few knives pulled out there during that time. Even the band had fisticuffs with the crowd.”
Azalea moved around a lot. Starting in Mobile, Alabama, it moved to Houston for awhile, then Dallas, and the final releases have a Fort Worth address. To make things more confusing, Nelms’ record was advertised in Billboard on July 16, 1955, with a New Orleans address. Presumably, label owner Dave Livingstone was a guy who “got around.” He was certainly tenacious, releasing 31 records over about seven years. None were hits, but there were quality outings from the Hooper Twins, James O’Gwynn, Dixie Drifters, Coye Wilcox, Adrian Roland, the Country Dudes, Joe Poovey, and Marvin Paul. The label should be of interest to anyone into ’50s Texas country music.
Nelms was born January 9, 1931 in Huttig, Arkansas (not Houston like he told me in 1996). He died at age 70 in Houston on February 17, 2001.
(from Andrew Brown and his blogsite « Wired for sound », 2009)
Johnny Nelms records – an appreciation (by bopping’s editor)
Both Gold Star 1386 (1950) sides [Note Nelms without “s”] are average Texas Country tunes, one fast (« I’ll learn ya, dern ya ») , the other slow – with minimal instrumentation, they can be forgotten. “I’m so Ashamed” was re-recorded just ten years later on “D” Records!
Let’s jump to 1955 and arguably the cream of the entire Johnny Nelms output with the Azalea issue. « After today » (Azalea 104) is what hllbilly bop is all about : strong and emotional vocal over a medium paced tempo, solid backing (fiddle and steel) ; « Cry, baby cry » goes in the same vein, only adding echo for a good effect, as often in Starday records.
Billboard July 16, 1955
And deservedly Nelms’ next outing was issued on the famous yellow label, and both sides (« A tribute to Andy Anderson/Everything will be all right », Starday 238)) are very good examples of the ‘Starday sound’. It’s surely ole’ Doc Lewis tickling the ivories, and possibly Ernie Hunter who’s sewing his fiddle, plus Herby Remington on steel. Great sides of 1956, reminding certain Sonny Burns‘ or Fred Crawford‘s tunes, and very near in intensity to Azalea.
It’s interesting to note that the original of « After today » had been done in 1951 by the veteran of Honky-tonk in Houston : Jerry Irby, on the Hummingbird label (# 1001) . Included below.
Next record in 1957 on the Tilt label, and the change is significant, as for the first time Nelms imitates (consciously?) someone : Johnny Cash, for a train song, « Mr. Freight Train » (Tilt 1195). Any ‘string band’ instruments removed, sole remains a nice insistant guitar, and the result is fine. Flipside is an average slowie, « Hurt is the heart ».
Finally from 1959 to 1961, Nelms went on the Pappy Daily’s ‘D’ label, and had 4 singles of an high standard, considering the era. « Yoshe’ » and « Memories for a pillow » (D 1114) are uptempos, « Old broken heart » is a mid-paced inspired item, but its flipside « Half past a heartache » (D 1195) is better. « Picture of my heart » is a slowie, and « I’ve never had the blues » D 1178) is of course bluesy. (note a fine swooping piano).
Later on Johnny Nelms went on Stoneway, Westry, Bagatelle, among other small labels, during the late ’60s and early ’70s before turning on to Politics.
My special thanks to 78-Ron, as usual, as well as to Armadillo Killer (D labels). Some sides were taken from the HMC compilation. Thanks to Uncle Gil’s Rockin’ Archives.
Howdy, folks ! All you lovers of good ole’ bopping beat and hillbilly enthusiasts, here we go with another batch of goodies for this early October 2017 fortnight’s favorites’ selection.
First a strange record , I even don’t know its location neither its date of issue : late ’50s ? early ’60s ? Can anybody shed some light on this mystery ? THE NELSON FAMILY on the Olis label (# 080). A spare instrumentation, very light (electric guitar, rhythm guitar, bass and discreet drums) for the great dramatic atmospheric «You Hurt me (and say I’m sorry)». Great harmony vocals (tenor + baritone). I just found « Hillbilly Christmas » by a certain Norma Lynn [unheard] on Olis B20, and even don’t know if this is the same label.
From Flint, Michigan, on the Lucky 11 label, three tracks by CHUCK SLAUGHTER. First a minor classic from 1967 : a crisp Country rocker with « Get the best of livin’ » (# 002) – « I’m gonna get the best of livin’, before livin’ get the best of me »..Fine steel. The flipside « Woman, a pretty woman » is a decent honky-tonker, a bit spoiled by some obstrusive female chorus ; good steel anyway. Third tune is a fast rocker, « Lucky 11 Rock » (no #) : this time the vocal chorus do fit it well. A biting guitar solo. Slaughter had a further issue on Desire 113, as a J. Cash sound-a-like, « Burning in my soul » can be heard on YouTube.
Next artist do come from Colorado Springs, Colorado. GENE LEWIS and his Dude Rancher’s [sic] has two good bopping sides on the Barne’s label. « Mother Goose boogie » (# 103) is a very nice hillbilly boogie , stylistically from ca. 1953-54, while its flipside « Purple Heart of Gold » (# 104) is a slowie, full of emotion. And despite the common name, one can wonder if this is the same cat who cut in 1958 on the California label R-Dell (# 103) the great Rockabilly/Rocker « Crazy legs » [fabulous Roy Lanham solo on the electric guitar] (backed with « S’posin’ you were mine »). The question is open to anybody’s guess..but most probably no. “Mother Goose boogie“
The seventh track of the selection is done by the well-known BILL MACK, artist and D.J. from Texas. His « Long, long Train » is done in his usual style ( Starday 418), with few steel and a good fiddle.
Last track was issued in Paris, Texas [the place was the subject of a Wim Wenders’ film a couple of decades ago] , located between Dallas and Arkansas border, on the Royalty label. CHUCK TUCKER and his Texas Caravan do offer « Hog Sloppin’ Time in the Hollow » (# 607), an uptempo shuffler from the early ’50s. Fine steel, call-and-response format. The label had also among his artists Chester Odom and Hank Locklin, and was relatively prolific.
“Poor Boy Blues”
arkansas 45s