This first batch of duets will concentrate on bopping Bluegrass tunes. Indeed the choice of tunes is entirely mine, and I post the ones I like very much. The main instruments, as expected, are fiddle and banjo or mandolin, all pushing often an urgent vocal.
The DIXIE DRIFTERS were a small Bluegrass group from Houston, TX ; actually they were the first one to make Bluegrass music so far from Kentucky or Tennessee. Hank Wilson (guitar/vocal & composer) was the leader when they cut « Lies, lies and alibis », a fast ditty on the Minor label (# 112). Enjoy the dobro part! (According to ARLD, this record came out in October 1958). No label scan available, sorry: I’ve just got the music from a Tom Sims’ cassette. Earlier on the boys had another issue on Azalea 110, same style (« Gone forever »). Hank Wilson, as « Slim Wilson » recorded probably one more single for Minor (# 117) »The ring around your finger/Bring a wall around Texas« . And I really don’t know if Hank Wilson and Leon Russell are the same person.
Way up north with the THOMAS BROTHERS (Melvin and Erwin) for an oustanding « Way high, way low » on the Hammond, IN. Mar-Vel’ label (# 355 from 1956). Each voice (3 actually) compete strongly : the highpitched, then the bass man, finally the medium singing « Right in the middle, that’s where I want to be ». A pity they never had another issue.
Third we have a decisive ‘Vocal duet’ on the label : Rena 803 from Ripley, WV by RALPH & RUTH. « Hard hearted girl», great rhythm guitar. It’s difficult to assume a date for the issue, maybe late ’50s, or even 1961, as suggested by HillbillyCountry45 (Youtube).
From Pico, California on the Sundown label # 106 : TOMMY GUESS & BILL LOWE do give a lot of energy in their « My foolish heart ». Mandolin solo. They disappeared afterwards 1958.
A beautiful harmony with the NASH BROTHERS, probably from Georgia on the Peach label (# 569) : « My prescription refilled » from March 1959.
More of these Hillbilly bop duets, even a foray into Rock’n'Roll (country overtones)
It’s useless to present the DELMORE Brohers (Rabon & Alton). They began their career in 1931 ! When they stopped at King studio in Cincinnati in 1946, they cut many, many Hillblly boogies, either as vocal duet, or with spare instrumentation (Wayne Raney and Lonnie Glosson on harmonica). It’s been a real task to choose « Down home boogie » (King 784AA) : the Brothers sing in harmony for this romper cut in November 1947 in Cincinnati. Lead electric guitar player could be Roy Lanham or Zeke Turner.
A dozen years later or so, a man led a typical Hillbilly combo : JERRY DOVE (instrument unknown). He had already put a minor rockabilly classic in 1956, « Pink bow tie » on T.N.T. Label (# 144), but he was more a producer and musician than a singer. Here he gathers the duet (male/female) of Ray Stone and Dove’s wife, Peggy. First side is bluesy, and very atmospheric : « Losin’ the blues » (# 173), paired with an uptempo « Why don’t you love me ».
Let’s get back to December 1947 with the Arkansas born real ARMSTRONG TWINS. They recorded for 4* a serie of boogies showing the prowesses of Lloyd on mandolin, Floyd backing on guitar, especially on « Mandolin boogie » (4* 1231), a fast and furious piece of Bluegrass.
On the Cincinnati, OH based label Jalyn (# 208) JOHN & FRANCIS REEDY have « Quit kicking my dog around » : fine uptempo tune, amusing lyrics. This record goes back to ’64.
More of the same with RUFUS SHOFFNER & JOYCE SONGER, clearly billed « Vocal duet » although both join on chorus only, with the powerful « It always happens to me » on the Detroit’s Hi-Q label (# 17) from 1962. Awesome and driving guitar playing by Earl Songer’s ex-wife. Both seem unlucky in the song.
Next is « Truck driver’s boogie » by the MILO TWINS (Edwin and Edward), originally from Arkansas. Their style is pretty close to that of the DELMORE, the CALLAHAN, the SHELTON or the YORK Brothers. Released December 947 on Capitol 40138: fine harmony vocals over a good harmonica playing.
Finally GENE PARSON’S BAND, who’s backing Kimble and Wanda Janes on vocals in a classic, « Night club Rock’n'roll » from March 1959 on Southland label (# 4501) from lllinois. Parson was the owner of this small label. He already had cut for Chicago’s Eko label. I’m pretty sure this Gene Parson has nothing to do with the member of Byrds or Flying Burrito Brothers bands of the ’60s. The Southland issue falls into a collector’s hands for $ 400-500.
For this third feature specialized in bopping duets, we begin with the aptly named HARMONY BROTHERS. Their « Baby, tonight » fom 1959 was cut for St-Louis, MO label Bobbin 109, and it’s a very solid backed Everly Brothers styled opus. They had another one « Saturday night hop » on Bobbin 116 which sounds good (alas, untraced).
Mike & Bob, Houle Brothers « I heard the bluebird sing« download
On the Minneapolis, MN Circle Dot label (# 1012) , again from the late ’50s, we chose « Dream night » by the HOULE BROTHERS. Again Everly Bros. influenced, it fetches up to $ 250-300. Mike & Bob, the Houle Brothers, had another record on Bangar 642 in 1965, « I heard the bluebird sing ».
Jimmy Lee & Wayne Walker »Love me« download Now a great wild thing with the classic « Love me » (Chess 4863) from Spring 1955, cut at KWKH studio in Shreveport, La. by JIMMY LEE & WAYNE WALKER. It has urgent vocals and a ferocious steel (Sonny Harville), all propelled by the thuding bass of Tillman Franks and the jumping drums of D. J. Fontana.
Let’s go west with the FARMER BOYS, and the very special Western rockabilly style from the Capitol studio on « My baby done left me » (# 3476). The staff is composed by Bobby Adamson and Woody Murray (vocals), Roy Nichols on lead guitar, Fuzzy Owen on steel and Cliffie Stone on bass, and the tune was out May 31, 1956.. The story of the Farmer Boys is on this site.
An unusual duet of uncle and nephew were the JACOBY BROTHERS on TNT 1004, from San Antonio, TX. Great harmonies and backing (guitar and mandolin) for « Warmed over love ».
Martin Brothers « Where have you been all night« download
West VA. and the Liberty label (not to be confused with the big pop company in L.A.) (# 107). The MARTIN BROTHERS offer the good bopper « Where have you been all night ». Value $ 50-60.
Church Bothers « Broken vows and a broken heart« download
From N. Wilkesboro (S.C.) we turn now on the CHURCH BROTHERS and « Broken vows and a broken heart » (Blue Ridge 209), a typical 1953 bluegrass bopper: nice vocal and chorus in unison. I’ve read that the lead was Buffalo Johnson, an important figure not so well known today. Research goes on him.
From N. Charleston, (S.C.) and July 1954 BILLIE AND GORDON HAMRICK, a sacred tune on Rangeland 504 (one of the very first Starday customs). « He’s gonna take his children out » has a lead vocal male) and a chorus, plus a good banjo solo.
Billie & Gordon Hamrick « He’s gonna take his children out« download
Paul & Roy « Free, twenty one & ambitious« download
Paul & Roy « I wish you were a country girl« download
PAUL (Boswell) & ROY (Pryor) out of Nashville on the Pace label (# 1004) had previously cut a dozen sides for Mercury.The Pace issue date from late ’50s, and offer two medium tunes, « Free, twenty one and ambitious » and « I wish you’d be a country girl ». Good, a bit above average boppers.
Finally the terrific sacred « I’m a millionaire » by the Tennessee Harmony Boys (Dillard Anderson & Solon Maynard) on the Fortune label out of Detroit (# 209). A great, great mandolin solo, and a lot of excitement.. They had previously cut on their own « Tennessee Harmony Boys » label, and even had an E.P. on Fortune (# 1334).
Tennessee Harmony Boys « I’m a millionaire« download
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« download
« I can’t (take the easy way out) » is a fine uptempo with good although too short steel solo, by JEANNE JOHNSON on the Maarc label # 1501 (Ohio origin). Sincere vocal.
From Lakeland, Florida comes LEFTY NICKS on the Nicktone label # 6019, « Always alone ». Steel and lead guitar interplay. Rite pressing from 1961.
LAWRENCE WALKER on the La Louisiane 6019 label with the Cajun classic « Allons Rock and roll » from 1961-62, which could well have been cut 10 years earlier.
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.
Howdy folks ! This is the last post on bopping duets. As surely you did notice it, my English is far from fluent ; actually I don’t dream neither think « in English », because it is not my natural language. I really hope you can understand it, and excuse me for writing such intricate phrases yet very common. But I LOVE this bopping music, and let’s keep it first ! My aim is to figure the music posted with record labels and odds and ends on the artists.
The McCORMICK BROTHERS were a Tennessee/Kentucky family affair. Lloyd and Kelly held the guitars, younger Haskel was on banjo, Hayden Clark on bass and Charlie Nixon on dobro. They cut for Hickory in Nashville between 1954 and 58 a fine line of Bluegrass and Rockabilly boppers, among them this « Big eyes » (1958, Hickory 1080). Strong strumming boogie electric guitar and vocals in unison. They even had a full album, « Songs for home folks » on Hickory 102 (1961) and still are playing today.
Chester and Lester, the BUCHANAN BROTHERS were another duet group. They hit big in August 1946 with the pioneering « Atomic power » on RCA, and revived a similar theme in November 1947 with « (When you see) Those flying saucers ». (RCA-Victor 20-2385) « You’d better pray to the Lord when you see those flying saucers, it may be the coming of the Judgement Day ». Good vocal and guitar duet. The song was used in 2009 in the animated release of « Monsters VS. Aliens ».
PAL (or Palford) BRADY (1922-1988) was a native of Tennessee ; himself relocated too in Michigan, where he had records on Lucky 013 (Cincinnati), Clix (Troy, MI), Bragg, among others (late ’50s to mid-60s). His « More lovin ’ » (Conteste 45-2) from 1961 has two voices for a good « city hillbilly bopper ».
Charlie & Wallace, the MERCER BROTHERS came from Metter, GA and began a professional career during the late ’30s. After the WWII they had their own radio show on WMAZ before joining in 1948 the prestigious « Louisiana Hayride ». From 1951 to 1954 they cut a dozen sides for Columbia in Dallas, with their Blue Ridge Boys (Clyde Baum on mandolin and Doyle Strickland (fiddle) + Wayne Raney (harmonica). I chose from their equally constant in quality output « No place to hang my hat » (Columbia 20927, 1952-53), very Delmore Brothers styled. After 1954 they settled in Macon, GA, and WIBB radio station before completely disappear.
JOHNNIE (Wright) and JACK (Anglin) were regulars on the ’50s charts, before Anglin was killed in a car crash in 1963. Their «Oh boy ! I love her » (RCA 47-6932) from ’57 is an enjoyable jumping little opus. Earlier on they had cut the C&W classic « Ashes of love » (revived during the ’80s by the Desert Rose Band), and « Cryin’ heart blues » in 1951, supposed to have been recorded (but lost) by Elvis Presley on Sun Records.
« Oh boy, I love her« download
On the Kentucky Dixiana label # 105 from 1954, CLIFF GROSS offer a sort of fast talking blues (with the band chanting in unison) with « Hog pen hop », probably recorded in Dallas. Gross was a mountain type fiddler, and Dixiana emanated from Bowling Green, Wayne County.
PAUL & ROY, The Tennessee River Boys, already discussed in another « Duet » feature (they had a two-sider on Nashville Pace label), have recorded for Mercury in 1953 « Spring of love » (# 6374) : it’s a fast Bluegrass influenced ditty – lead vocal & backing vocal.
Next track GOLDEN STATE BOYS‘« Always dreaming » was already posted here in April 2013. But I like very much this tune with its urgent vocal, the dobro part of Leon Poindexter, the vocal/mandolin of Herb Rice, and the energetic banjo of Don Parmley [personnel give then by a visitor]. Date : early to mid-62, Shamrock 717, Artesia, California.
A solid rocker (with drums), « Good gosh gal » on the Nashville Briar label # 111 by PHIL BEASLEY & CHARLIE BROWN. Nice guitar and steel solo, 1961.
It’s useless to present the YORK BROTHERS (their story is on this site). Here is one of their rarest issues on their own York Bros. Records # 600Y-100, from 1963, and the great « Monday morning blues ».
More of a solid rocker on Chapel Hill, NC Colonial label (# 7000 from June 1959) by the FRANKLIN BROTHERS. « So real » is strong, that’s not Hillbilly bop, but a real Rocker for a change!
We are going to the end with FRANKIE SHORT & DEE GUNTER on the Balto, MD Wango label (# 201) : again a solid version of Don Reno‘s « Country boy rock’n'roll » . Remember L.C. Smith and « Radio boogie » (2nd version) on this label.
[I really don’t know where I picked this biography from (a great lack of tidiness on my part in my archives), but it’s so complete and living that I decided to publish it without changing an iota. If any way the pages below are copyrighted and/or authored, I’ll gladly credit it to the right person. My thanks to him/her. Now let’s go.]
« A few years ago an old friend gave me a wonderful gift. I was visiting him at home when, without warning, he suddenly produced a Swan 4 slice toaster box saying, « This is for you. » I insisted I didn’t need a toaster whereupon he laughingly invited me to look inside. I nervously opened the box and my eyes almost popped out of my head (actually they popped out, bounced off all four walls and popped back in again). The box was crammed full of 7 inch singles, all country, all 50s to 70s, rescued from American jukeboxes and included records by George Jones, Patsy Cline, Loretta Lynn, Ernest Tubb, Willie, Dolly, Tammy and a whole lot more.
The amazing thing was that it also contained records by artists whose names I knew but had never heard before and it was a treat to hear them at last. One record, however, intrigued me most. It contained absolutely fantastic versions of two Willie Nelson songs « I Gotta Get Drunk » and « Who’ll Buy My Memories » performed by a guy called Joe Carson. I tried books, magazines, the internet, friends, everything I could think of in an effort to find out more about him but drew a blank every single time, despite the fact that the record was on Liberty, a major label. Who was this guy? Surely with a voice like his he made more than one record? How come no one knew who he was? I didn’t even know which part of the USA he was from, or even if he WAS American. I finally admitted defeat and contented myself with the one record I had. All corrections/additions in [...]
[I already knew Joe Carson for years, via several Mercury and Capitol songs taped on the fabulous Tom Sims cassettes, and wanted other stuff from him. I bought in 1982 the French reissue of his solitary Liberty album, but was a bit disappointed: it sounded more Country than hillbilly, nevertheless well done 1960's Honky tonk. Anyway I couldn't last finding everything Carson had recorded before. Then I found the D single from 1959: wonderful Hillbilly uptempo ballads. All in all, he had published 11 singles only during his short career.]
Then, one day, a miracle occurred. A few months ago I was perusing the latest in a regular line of catalogues from German record label Bear Family when my eye caught a feature on the very same Joe Carson.
Born in Holiday, Texas, in 1936 [November 21], it seems the reason Joe Carson wasn’t a major household name was that, just as he was on the verge of hitting the big time, he lost his life in a car accident on Feb 27, 1964 (the day before I was born). He was just 27 years old.
Carson left tragically few recordings behind and now Bear Family had gathered them all together on one CD called « Hillbilly Band From Mars« . I ordered it without delay. I camped out by the letterbox and was ecstatic when it finally arrived for what dropped onto my hall carpet was quite simply ‘The Best Texas Honky Tonk Album In The World…Ever!’ With a staggering 33 tracks, any one of which would stand out on anyone else’s record, it was nothing short of Honky-Tonk Heaven.
The songs are, roughly, in chronological order and represent all of Carson’s commercial releases together with previously unreleased gems including the title track; the wonderful « Don’t Be Afraid to Laugh » and Bakersfield style shuffle « Guess You Don’t Love Me Anymore ». Listening to them in order you get a real sense of just how great a star Carson could have become.
The CD begins with a bunch of very mature sounding Carson originals, recorded when he was only 16, and featuring backing from one of the top bands of the time; Hank Thompson’s Brazos Valley Boys (voted 1 band 13 years running). Carson had caught Thompson’s attention at the famous Southern Club in Lawton, Oklahoma where he regularly appeared as part of Tommy Allsup’s Southernaires. It’s easy to see why Thompson was impressed enough to invite Carson to record some demos at his studio. He also secured Carson a deal with Mercury Records on the strength of those same demos.
« I don’t have a contract(with you) »(Mercury 70315)download
Although lacking studio experience, the young Carson seemed to know just what he wanted and Brazos Valley Boys member famous Amos Hedrick recalled how, during those first sessions, when Carson felt they weren’t hitting it quite right, he turned to the band and said « I thought you guys were musicians? » The band took their revenge at a later session when they each smashed a copy of Carson’s brand new 78rpm record, « I’ll Do The Dishes » – OVER HIS HEAD!
The CD gets better the further in you go and it’s easy to hear that Carson was developing into a truly great Country song stylist, mastering his craft and using that tremendous voice to greater effect. It’s also important to note that Carson’s sessions often included the cream of Country Music sidemen including Buddy Emmons, Glen Hardin, « Pig » Robbins and guitar ace James Burton. One session even features a future superstar, a young guitarist/singer named Glen Campbell who sings the wonderful harmony on hit song « Helpless » (not posted).
« I’m not allergic to love »(Mercury 70738)download
Joe Carson spent a little time recording in California where his sessions included players like Ralph Mooney, Joe Maphis and the legendary Buck Owens. It’s often said that had he relocated to the West Coast, as he was invited to do [in 1957], he would have become a major force in Country Music. One song recorded in California was ‘Passion And Pride‘ written by song-writing legend Leon Payne. Though not a commercial success the song was a favourite with other musicians and led directly to Carson’s meeting with Country legend George Jones. The story is told thus…
Carson was a fan of Jones and decided he wanted to meet him so he boldly knocked on the door of Jones’ tour bus. The musician who answered called up the bus « Joe Carson is here » to which Jones replied « Is that the ‘Passion And Pride‘ Joe Carson?‘ Next thing Carson knew he was on the bus and Jones was handing him a guitar with a request to « Sing it for me« . He spent the next three days with Jones picking, singing and, of course, drinking.
Joe Carson’s final recording session featured the recent hits (now country standards) ‘Fraulein‘ and ‘Release Me‘. A poor choice I first thought but when I listened to them I was blown away. Carson breathes new life into them and I would even go so far as to say that his version of ‘Fraulein’ is the best I’ve ever heard, including the famous versions by Bobby Helms and Hank Locklin.
Though it’s difficult to pick any one stand out track my own favourites include Carson originals such as « I Don’t Have A Contract With You« , « Careless Words » and, a song sure to find it’s way into a John Miller set in the near future, the beautiful « I’ll Never Love No One But You« . Add to that the Willie Nelson songs I first heard and the Bakersfield shuffle of tracks like « Be A Good Girl » and « Double Life » and you already have a CD worthy of any true Country fan’s attention.
« The last song (I’m ever gonna sing) »(Liberty 55614)download
The CD even contains an early example of an Anti-Nashville song, ‘The Last Song I’m Ever Gonna Sing’, which, according to popular legend was indeed the last one performed by Carson before he packed up and headed out on that fateful February night. It’s known that Carson had a few troubles in mind that night, he was involved in a bitter pay dispute with his band and his little boy, Randy, was in hospital fighting meningitis. Was it a case of one too many drinks in an effort to forget? Or would the accident have happened anyway? All we know is that a brilliant musical career ended that night and all that remains now is Carson’s musical legacy… but what a legacy!
Joe Carson’s music deserves the massive audience it lost out on first time around. This is classic Texas Honky-Tonk at its very best.
If you like Webb Pierce, Ray Price, George, Lefty, Hank, Willie, etc. etc. Hell. If you like Dale Watson… BUY THIS CD. I’ve already bought it three times as I keep giving it to friends in an effort to spread the news. But don’t just take my word for it, go out and discover the magic of Joe Carson for yourself. »
Many thanks to Ronald Keppner for the scanning of Mercury records labels.
EARL MONTGOMERY (backed by Shorty Underwood) delivers first « You played me for a fool » on the Slim Willet owned Edmoral label (# 954). It’s an uptempo hillbilly bop, with assured vocal. Backing consist of piano, steel and fiddle, each one having a short solo.
On the microscopic Marshall label (no #) probably from Atlanta, Ga. we find now PERCY MARSHALL and the double-sider « Leaving town/Give me my guitar and traveling shoes ». A GREAT lazy vocal Country-blues from the late ’50s or early ’60s. It reminds me of Harmonica Frank Floyd, and even has words to the traditional « Matchbox ».
« Leaving town« download
In a previous Fortnight I had posted HAL ANDREWS and his famous « Brown-eyed girl » on Choctaw. Now here is, with a nice mid-paced shuffler (steel, piano), « For wrongs you done » on the Escambia label ( 0502) from 1959. Indeed he had had earlier at least one record on Rich-R’Tone.
e
Next artist is not familiar, although he offers a fine bopper (complete with sound effects) with « No parkin’ here » on Columbia 21259 (not apparently to be confused with the Bobby Grove song on King – posted early in this site). JIMMY LITTLEJOHN had another (maybe for a future fortnight) great «Haunted blues » (# 21320).
On JIMMY AVANTS (A-B-S label # 118), « Devil or an angel » (some crackings, sorry), I could find nothing, even a location for the label. A fast bopper with a nice steel solo. Value: $ 50-60. You can find many informations on the A-B-S label on: http://anorakrockabilly45rpm.blogspot.co.uk/2014/06/a-b-s-de-45rpm-american-best-sellers.html (Dean C. Morris site)
From Kalamazoo, Michigan comes WAYNE ROBERTS on the Key label (# 15305) for the fine « Do blonds have more fun ? » : great interplay between steel and lead guitar. A short rockabilly solo. A nice awesome find.
Finally from Tampa, Fla. « My world keeps rolling on and on » by CLYDE GUTHRIE on the Nugget label (# 1005). A fast number, an husky voice and a short steel solo.
Biff (Hiram Abiff) Collie, pioneer country (DJ), show promoter and trade paper reporter, was born on November 25, 1926 in Little Rock, Arkansas, but raised in San Antonio, Texas. He graduated from Thomas Edison High School (San Antonio, Texas) in 1944. Biff’s professional career spanned forty years working such major markets as Houston and San Antonio, Texas and Los Angeles and Long Beach California.
Biff Collie began his radio career at KMAC radio in San Antonio as a teenager. After brief stints at Browning and Alice, Texas, he moved on to KNUZ radio in Houston and later to KPRC. Biff started with KNUZ (1948) working as sports reporter, before moving into a disc jockey role. During that time, Glad Music Company had a record store on 11th Street. KNUZ had regular remote broadcasts from their store. Popular recording artists were frequent visitors to the shop. Hank Williams was one of the many artists to stop by. Biff was conducting a remote broadcast from Glad Music in 1948 when Hank Williams visited the store.
Biff was the first country disc jockey (see note below) in Houston, which remains one of the premiere markets for country music radio. While in Houston, he also promoted and booked shows, becoming one of the first to ever book Hank Williams, Sr. and Tennessee Ernie Ford. In 1957, he became manager and emcee for the Philip Morris Country Music Show, which was broadcast nationally on Mutual Broadcasting Radio and CBS Radio. Later he worked mornings on KPRC and hosted a certain up and coming singer from Memphis by the name of Presley at the Grand Prize Jamboree.
In 1960, Collie moved to Los Angeles where he remained for the decade, gaining huge popularity over KFOX Radio. He was consistently in the top ten radio personalities in Billboard and Music Reporter magazines and was also named « Best Radio Personality » by the Academy of Country Music, an organization which he served on the Board of Directors and produced the annual awards show in 1967. He moved to Nashville in 1969 and produced the first syndicated radio show, « Inside Nashville, » which ran on stations across the country for many years. He also was a morning man (Collie’s Coffee Club) on KLEE radio in Ottumwa, Iowa.
Collie made an attempt at recording, first on Macy’s records in Houston and later for Specialty. His only charted hit was as Billy Bob Bowman in 1972 on United Artists. Collie married the former wife of country legend Floyd Tillman in 1953. Biff later married Shirley Simpson, who as Shirley Collie recorded several duets with Willie Nelson. It was Biff who introduced Shirley to the up-and-coming singer/songwriter and Shirley eventually divorced Collie to marry Nelson.
Before his death, Biff earned the Ernest Tubb Humanitarian Award for his contributions. Biff is a member of the Country Music DJ Hall of Fame (1978). Collie died on February 19, 1992 in Brentwood, Tennessee.
Radio stations where Biff worked: KMAC (San Antonio, Texas, 1944-45), KWD (Browning, Texas, 1945-46), KBWI (Alice, Texas, 1946-47), KNUZ (Houston, Texas, 1948-55), KPRC (Houston, Texas, circa 1955-57), KLAC (Los Angeles, 1959), KFOX (1960-69, Long Beach, CA), KLEE (Ottumwa, Iowa, circa?), KSIX (Corpus Christie, Texas, circa 1958)
Note: Some articles claim that Texas Bill Strength (8/28/1928 — 10/1/1973) was the first country DJ in Houston, but that may not be the case. Texas Bill Strength was a sixteen year old teen in 1944 when he won an amateur contest at the Joy Theatre in Houston. A representative from KTHT radio happened to be present and decided to give Bill his first radio job as a fledgling western singer. In remembering that episode, Bill was quoted, « My Mother thought for sure I was dying and I can’t say what the old man said. » Texas Bill Strength had a modestly successful singing and recording career. He recorded for 4Star, Capitol and Coral records.
About KFOX-AM 1280: KFOX was called The Country King. It was the original country music heavy weight in Southern California. It broadcast from the International Tower in Long Beach. During the 1960s, the country music hosts consisted of Dick Haynes, Biff Collie, Charlie Williams and Clifford « Cliffie » Stone. (RJB: Country Music Historian, 9/2010).
About the recordings of Biff Collie (bopping’s editor)
The earliest were made for Macy’s in Houston, first with Collie as vocalist fronting Smitty Smith orchestra for « Broken memories » (# 109, November 1949). As you could expect from such a title, it’s a slowie, well sung, but nothing else. Superior lazy backing.
On Macy’s 126, the record is credited to Biff Collie, either a sign of greater popularity as a D.J, either of his exposure on stage. Both sides, the macho « I want a gal (that cook for me) » and the uptempo « I’ve said it before » are somewhat ruined by an organ, and partly saved by a nice steel guitar.
November 1950 : Collie was then signed by Columbia and cut two sides with Little Marge (rn. Margarete Hartis). Let’s forget a boring weepie « Why are you blue » ; the best side is the upempo (backed by the Range Hands) « I don’t care who knows » : pretty hard piano boogie solo, and nice steel (Columbia 20776). Margarete Hartis was born 1921 in Goose creek, TX, and was D.J. in Houston, also talent scout for Hill & Range publishing company. Common friend Floyd Tillman got them in touch, and soon they were married, but the duet was shortly over. Hartis died in 2001.
Next record by Biff Collie was on the short-lived Specialty Country serie. He’s here nicknamed « Bellerin’ bowlegged boy ». I didn’t put until now my hand on « Everybody wants me but you »(Specialty 709). « Don’t talk about love (the way you do)» on the other side is a fast ditty, with a wild piano well to the fore, added by a typical (for the era) fiddle and a steel. Collie is in good vocal form.
Then he was signed to Starday and cut 4 singles for them between January 1955 and July 1956. Several tunes remained unissued. The first issue « What this old worlds needs » (# 178) has the typical Starday sound and combination of fiddle, guitar and steel over an assured vocal. Nobody can say if Collie, as a D.J., was not pushing a little more his own record ! I don’t ever heard the flipside « Lonely ». In any case, he returned to the Gold Star studio in Houston for « Goodbye, farewell, so long », a nice piano led uptempo (# 203); Its flip « Look on the good side » is fast, same vein.
As a proof of his success, he was called again in January 1956 for 4 sides (2 remain unissued).. « Doodle-doo » ( 230) is a novelty, happy side, while « Empty kisses » is a forgettable weeper.
Last session for Starday in July 1956,and it’s a completely different style : »Joy joy joy » (# 251) is an out-and-out rocker, with sax (Link Davis?), in the manner of Glen Barber. The flipside is untraced (« All of a sudden ») nor of course the unissued « Baby let’s mix », which looks promising. There is a lot of music stilll to unearth from the Starday vaults.
One must wait 1972 for the next record of Biff Collie, cut in Nashville under the name of « Billy Bob Bowman ». « Miss Pauline » (U.A. 50597) is plain main Country music, with steel and chorus. Not disagreable music, but nothing exceptional. Another label in 1974 : Collie cut for Capitol 6 sides, 4 remain unissued, and the 45 is untraced.
Sources : biographical details from HillbillyBoogie1 Youtube chain (my sincere thanks to him, whoever he may be), with additions. Scans from 45rpmcat and 78rpmworlds. Music from Hillbilly Researcher serie (Macy’s) or Cactus (Specialty). « Starday » (scans and music) is easily found on the Net. Discography [partly inaccurate] from Praguefrank site.
Around 1948-49, several big R&B concerns, like Apollo, Modern, Imperial began to squint from the East and West coasts at the lucrative Country music market of the South. Major labels (RCA, Decca, M-G-M) were already running it, but without being locally positioned, they were losing sales, and could not exploit completely this rich soil. So people like Modern’s Bihari Brothers, Imperial’s Lew Chudd, or Specialty’s Art Rupe did seek for D.J.s and A&R men to help them to recruit good talent. And studio for recording locally. The Biharis concluded contracts with Sam Phillips, who leased them a good amount of Blues, which not prevented him to sell other sides to the Chess Brothers in Chicago. Finally Les, one of the Biharis, launched on place in Memphis Meteor records in 1952. The label found immediate success with Elmore James, and later in 1954 in the Country charts with Bud Deckleman. The Chesses came to an agreement to furnish them with masters with local promoter in Shreveport, La. Stan Lewis, who used the facilities of recording at night in the KWKH radio studio. Lew Chudd liked Jim Beck’s studio better in Dallas, Texas and found a certain commercial success with Texan artists : Billy Briggs or Jimmie Heap to name only two. Art Rupe (Specialty) preferred KWKH for its East Texas/Louisiana border position. It has been suggested that his first Southern sides had been engineered by Johnny Vincent in Jackson, MS. But the aural evidence show the very distinctive Stan Lewis feel. Billboard (January 12, 1949) gave notice that Rupe had just inked his first 4 artists on the new Specialty 700 label. All of them were barely known, no doubt they had been approached by Stan Lewis’ relations or talent scouts. Actually only Earl Nunn may be localized with his band, the Alabama Ramblers, for the first issue. Previously he had co-written in 1944 with Zeke Clements the controversial (for its racist words) « Smoke on the water » for Red Foley (Decca 6102). He was probably vocally fronted by Billy Lee, who would have his own record (# 704) a little later.
EARL NUNN offers an enjoyable lazy mid-paced « Double-talkin’ woman », with a steel well to the fore (# 701). Actually the very same steel appears on these early sessions, and one can wonder if this is a studio man, possibly Shot Jackson ; the latter was indeed hanging around at KWKH, and even had his own issues (# 704 and 710, discussed below), not to talk about his work on Pacemaker with Webb Pierce. JOHNNY CROCKETT (# 702) has «Just a minute », a very fast talking blues in the manner of Tex Williams with piano and steel effects, that could easily fall into the novelty category. BRUCE TRENT third (# 703) delivers a jumping sad « Alimony » and the medium paced bluesy « River blues ». It can be noted that he had backed with his Western Tunesters some Hal Carey on a Ca. Jewel label (# 7002).
BILLY LEE does the ordinary hillbilly « I don’t know why I love you » (# 704), while LEO STANCIL had to wait July 52 for the release of his excellent effort « Why don’t you quit hangin’ around »(# 707)(two sides penned by Earl Nunn). Long steel solo for an awesome bopper, with sweet Southern accent !
Leo Stancil « Why don’t you quit hanging’ around« download
It seems that the first 4 issues were released in a relatively short time after the label was launched, for example Specialty 703 (Bruce Trent) was reviewed by Billboard in March 1949, 704 in June 1949 although both the full years 1950-51 were blank in releases. Maybe Art Rupe was expecting more sales before cutting more records.
Things began to change a bit in 1952 with the advent of three new artists in the roster : namely CLAUDE KING, BIFF COLLIE and SHOT JACKSON. Collie has been discussed in full earlier in this site, so I omit him here. Claude King (born in Louisiana in 1923,deceased 2013) was not a newcomer. As soon as 1947, he had teamed with guitarist Buddy Attaway and bassist/entrepreneur Tillman Franks as « Buddy and Claude » for an issue on the small President label (HB-10), and a frequent theme for the era, « Flying saucers »
« Buddy & Claude« »Flying saucers« download
In December 1950, he recorded 4 tunes for the local Pacemaker label, which were also leased to the big Gotham East coast concern. On Specialty he cut three sessions, 10 tunes in all (2 remained unissued) – he wrote them all – between Spring and December 1952. « She knows why » (# 705) is an uptempo sad ballad (the same old story of the broken-hearted guy), which became seemingly the first hit of the Specialty Country & Folk label. At last, it had good sales and spinning reports in the South. So much so that it even had its answer song « He knows why » by Jeanette Hicks (Okeh 18021). « Take it like a man » (# 708) : the second release of Claude King has more rhythm and an insistant bass, a prominent piano and nice steel solo. Vocally King is in fine form, as in the next song « Got the world by the tail » (711), a little faster although in the same format as 708. Indeed King and his Hillbilly Ramblers had already found their way to the Louisiana Hayride saturday night show that had strong connection with KWKH radio. Actually Claude and Buddy Attaway were cast members of the Hayride since 1948, and wrote songs at the turn of the decade for Kitty Wells and Webb Pierce, who got them through Tillman Franks. Last Specialty 716 by him, « Now that I have you », remains untraced.
Claude King « Got the world by the tail« (711)download
Claude King « Run baby run« (Dee-Jay 1248)download
Claude King
Claude also worked one of Hank Willams’ last tours, as his driver and opening act. He also toured in the Shreveport area with Johnny Horton, but they spent more time fishing and hunting together than in the studio ! Record wise, he remained without a contract until 1957, when he cut the famous rockabilly/rocker « Run baby run » for Dee-Jay (# 1248), and turned in 1961 on Columbia in Nashville for « The comancheros » and « Wolverton mountain » ; but this is another story..It’s interesting to note that, if King wrote all his material, he’d publish his songs sometimes at a curious « Ark-La-Tex » publishing house other than the regular « Venice music » for Specialty recordings.
The third new artist to appear in 1952 on Specialty is SHOT JACKSON (1920-1991), a steel guitar player. He did hang around at KWKH in 1950 and was the player (even sometimes singer on « Beautiful Hawaiian shores », or solist on some instrumentals) for all the Pacemaker sessions of Webb Pierce between December 1949 and January 1951. So it’s him playing steel on « California blues » to name only 1 of the score (circa 23) tunes cut by Pierce at KWKH. Jackson even had his Pacemaker record (# 1004) although sung by Pierce uncredited ! Needless to say, since Pierce, except 2 or 3 occasions, never used a fiddle, that hot Jackson was the real force behind Pierce. He was indeed naturally intended to record for Specialty as soloist.
His 4 sides are uptempo honky-tonks, nothing spectacular, except in a negative way : the machist « I’m trading you in on a later model » (# 706), and the deceiving « You can’t get the country out of the boy » (# 710) – such a title did merit a better treatment. Barely audible steel (short solos), an omnipresent fiddle; the voice of Jackson is forgettable. Note that current Hayride artists Johnnie & Jack gave him 3 of his 4 songs ; in return Jackson was to play dobro for them on numerous records onwards. Surely he was better on instrumentals, and after he built, with the help of Buddy Emmons (house steel-player at Starday), a double-neck steel baptized « Sho-Bud », he was to come again in light in 1962 on a compilation dedicated to steel guitarists (Starday EP 236).
Shot Jackson « I’m trading you in on a later model« (706)download
Shot Jackson « You can’t get the country out of the boy« (710)download
courtesy David House, one of the boys
The third generation of artists on the Specialty 700 serie begins with the Texan JERRY GEEN. (born 1931) He was signed by Art Rupe early in 1953 and cut 4 sides.
« Naggin’ women and braggin’ men » (# 712) is a real good bopper, a tinkling piano well to the fore, followed by a nice steel and a rather embarrassed lead guitarist. « Are you going my way » (# 714) is a shuffler, well-sung and agreeable, with the same backing format. Leader is still shy ! Luckily piano and fiddle come to rescue the solo ..Green was also active indeed on the La. Hayride, before being drafted into the Army until 1955. He then relocated in Arkansas for a radio show « Country Capers » on a Fort Smith KFPW station. Then later he hit the big time with « Tripod the three leggged dog » which led him to Grand Ole Opry in 1967.
Jerry Green « Naggin’ women and braggin’ men« (712)download
Next artist was SMOKEY STOVER, D.J. in Baytown, Tx. He liked Claude King « She knows why », according to a Billboard snippet! Very few details came to light about him, except these : a native of Texas (Huntsville, 1928), he had his own band at 16 and began a long carreer Country D.-Jaying in Pasadena in 1948 only to retire from radio in 1995 in Gallatin, TN! In the meantime, he had been on numerous stations out of Texas, Mississipi, Louisiana (where he tried a career as singer), even New Mexico. He had records on Starday, Ol’podner, Stampede, Sage, Toppa. So now let’s value his Specialty product, cut at KWKH on November 15, 1952. « What a shame » (# 715) is a mid-paced opus ; nothing particular, a nice shuffler as too many in this era. Soli (guitar and fiddle) are interplayed and welcome. Vocal is firm but without any personal touch.
This is not the case with JOHNNY TYLER, a veteran (first sides in 1946 : « Oakie boogie » on Stanchel) whose story has been told in this blog before. He offers the bluesy partly double-voiced mid-paced « Take your blues and go » (# 713) ; good surprise : a spare harmonica a la Wayne Raney, without a sufficient volume. « Hillbilly preacher » (# 715) reminds me at times of someone sounding like, say, Luke McDaniel : fine guitar over an insistant rhythm backing. This type of material predates Tyler’s Ekko sides of March 1955.
Johnny Tyler « Take your blues and go« (713)download
Last but not least, the elusive EARNEY VANDAGRIFF, whose story is hard to write. The details on him are near zero, except he came from Texas, and that he had records on Starday and Rural hythm between 1954 and 1957, among them the famous « Atomic kisses ». Here he delivers in a duet with Joyce Lowrance the happy and fast bopper « Hush money » (# 718), with a fine steel throughout and insistant fiddle.
And that was it, Art Rupe decided after 18 issues it was time to close a relatively not so lucrative affair, and concentrate his hopes (and money) on black music, be it Gospel (e.g. Soul Stirrers), R&B (a huge catalog) or, before long, Rock’n'Roll. A sign moreover of poor sales is given by the rarity of these Specialty 700 sides. Rupe’s rivals of Chess, Modern and Aladdin had come to the same conclusion for their part. Sole Meteor in Memphis remained open with the smash success of Bud Deckleman (« Daydreamin’ ») in 1954, before the advent of Rockabilly in 1956, and closed in 1957. But Sun was then at the right position to take advantage in the race for the hits.
Sources : Cactus CD « Specialty hillbilly » for music and CD tracks. Iconographic material : 78tpm.worlds for 78rm scans. Youtube for President Claude King 78 (scan & msic). Various entries on Internet for Art Rupe, Speciaty logo, Smokey Stover, Billboard records reports. Dominique Anglarès (warm thanks !) for Jerry Green and Shot Jackson pictures, also a full Bllboard page and interesting precisions. David House for Shot Jackson picture with Mr. House on Shot’s knee.
Not much info this time on artists or music I am afraid.
HAROLD MONTGOMERY has already been posted for his great 1969 bopper on Sun-Ray 139 « All them wives/Pardon me Jim« . This time I’m putting an equally good side with «How much do you miss me ». Wolf-Tex # 103 label, which emanates from Lancaster, KY. Solid backing by the Ray Johnson band over a hiccupy vocal. This record is sold between $ 300 and 400, maybe a lot more ! Montgomery had also « Thank you little girl » on Wolf-Tex 105, and « Gabriel doesn’t play a steel guitar » on Lemco (no #), both untraced.
The next artist was an itinerant D.J., who also carried from town to town his own record for sale. JOHNNY DAUME (Johnny Daume label # 1001) is an early ’50s double-sider with strong Western swing overtones : lazy vocal, a prominent fiddle and a discreet steel , all this reminds me of Texas bands of the mid to late ’40s. »Boogie woogie blond » and « Lookin’ fer a gal in Tennessee » are mouled in the same matrix, one slow, the other side more medium uptempo. A nice record.
From Johnson City, TN hails BILLY SIZEMORE. A fine country-rocker (heavy drums) over fiddle and steel for « My baby’s gone » (Edmac # 104). No other data available.
Marty Robbins had done « Mean mama blues » on Columbia in early 1956 – urgent vocal and fast rockabilly backing. Same song is revived 4 years later on Circle Dot # 1002 (Minneapolis, MN) by RONNIE RAY. This version is on a par with the original. Ray also had another issue on Demand 101 (« My heart has to make it (on it’s own) » (untraced).
LES & His Western Playboys comes next in 1961 on the B-W label (# Q-609). A prominent steel over a light country rocker. Maybe Les was named « Haven » : that’s the writer of « I don’t care anymore ». This outfit had another on the Wel Burn label (parent to B-W) # 103 with the good uptempo from 1962, « It’s rough« , cut in Wooster, OH and reviewed on May 5th, 1962 by Billboard. Nice steel throughout.
Armoneer 1003 : RONNIE NEWTON and « Workingman’s blues ». A good 1959 record ; solid vocal and backing, fine boogie guitar and piano backing. Cut in Wynona Lake, Indiana.
Notes : all selections from the net or (Johnny Daume) from « Hillbilly Researcher » blogspot.
Texas Bill Strength (Aug. 28, 1928 ~ Oct. 1, 1973): Although much better known for his career as a radio personality, Texas Bill Strength also cut a series of country and rockabilly efforts, including a session for the legendary Sun Records backed by former Elvis Presley guitarist Scotty Moore. Perhaps his biggest success came as a songwriter, having penned the blockbuster hit, « He’ll Have to Go » for Jim Reeves [actually written by J. Allison & A. Allison].
Born August 28, 1928 in Bessemer, Alabama, Strength was sixteen when he won an amateur contest at Houston’s Joy Theater. Local station KTHT was in the market for a cowboy act and soon he was working part-time on the air. In 1945 Strength began working as a DJ full-time for St. Joseph, Missouri station KFEQ, followed by a stint singing for Sioux Falls, South Dakota radio KSOO. After tenure with Denver’s KMYR, he returned to Houston, in quick succession appearing on KLEE, KATL and KNUZ. During that time, Strength also cut a serie of minor singles for the 4-Star label. Among them were « Who’s the lucky one » and « I’m doing a peach of a job ». By September of 1949 Bill was in Birmingham, Alabama doing daily radio programs at WRBC, which was a network of thirty-seven stations throughout the Southeast. In late 1949, Bill’s career had taken him back to Houston, Texas. Bill was one of the mainstays at a new venue in Houston along with others such as Floyd Tillman and Leon Payne. In early 1950 he was hired by the Congress of Industrial Organizations (CIO) to promote the organization via radio and convention.
In late 1950, Texas Bill signed to 4 * Records, debuting with « Black Coffee Blues » (4* 1465).
Strength’s Coral stint would prove the most successful and long-lived of his roving recording career. Texas Bill enjoyed his biggest hit there with « You Can’t Have My Love », a duet with the underrated Tabby West (also « Let’s make love or go home« ) and also scored with singles including « Nobody Knows This More Than Me » and « I Was Only Teasing You ».
In 1954 Strength was named Mr. DJ USA by influential Nashville station WSM, and by year’s end he relocated to Memphis station KWAM, where he witnessed the birth of rock & roll via the emergence of Sun acts Elvis Presley, Johnny Cash and Carl Perkins. On Nov. 13, 1954, Texas Bill worked shows in Sheffield, Alabama with Webb Pierce and Red Sovine and with the same pair in Ripley, Mississippi (MS) on Nov. 16 and Clarksdale, MS the following evening. After accepting a position with St. Paul, Minnesota’s KEYD, home to fellow DJs/singers Roy Drusky and Dave Dudley, Strength signed to Capitol Records . A session was held at the Capitol Records (Hollywood, California) studio on Jun 23, 1955, where he recorded twelve sides, including « Cry, Cry, Cry » (Johnny Cash) and « Turn Around » (Carl Perkins). Later that year (1955), he worked a string ofshows, winding up at Russwood Ball Park, Memphis, on July 4 along with Goldie Hill, Faron Young, the Wilburn Brothers, Marty Robbins and the Carter Sisters. Strength returned to Memphis in mid-’60, accepting Sun promotional manager Cecil Scaife’s offer to record for the label. With Moore on guitar and D.J. Fontana on drums, he cut seven songs, with only « Guess I Better Go » and « Señorita » receiving commercial release.
After a short stay with Bakersfield, California station KUZZ, and a record on Toppa (# 2021), Strength returned to the Twin Cities, first for KTCR and later for WMIN. He remained there for the rest of his life, recording the occasional single for labels like Starday (Nervous as a Cat), Golden Wing (Let the Chips Fall) and Bangar (Paper Boy Boogie). During the early 1970s, he also penned for the monthly Upper Midwest & Western News Scene a column entitled Down Memory Lane, documenting stories about his life and experiences in the music business.??Some of the more well known venues he appeared were the Palmer House in Chicago, Atlantic City, New Jersey, the Hotel Utah in Salt Lake City, Utah; the National Training School for Boys, Washington, DC, the Hudson Manor in Tampa, Florida and also KWKH’s Louisiana Hayride in Shreveport. Texas Bill appeared numerous times on WSM’s Grand Ole Opry. In October of 1973, Texas Bill Strength was asleep in a car while driving with a friend on a promotional tour. Their car left the road and flipped several times. Texas Bill was paralyzed from the waist down and later slipped into a coma. He passed away later that month. In 1990, Texas Bill Strength was elected to the Country Music Disc Jockey Hall of Fame.
Biography written by: Richard J. Bell: Country Music Historian, May, 2011.
References: Record Research: Country Music Singles 1944 — 1993; Billboard Magazine; Richard J. Bell: Original Country Music Chronicles.
Texas Bill Strength: an appreciation by bopping.org editor.
Whether a honky tonk or a ballad, he always has an ample and strong baritone voice. On Cireco 102, he shares the record – each having his side – with the well-known Texan Jerry Irby (M-G-M sides like « 49 women » or « Hillbilly boogie ») . His vocal has yet to be more assured on « Little I and big you ».
I like particularly the great « Black coffee blues » (4* 1465) about getting morning after plastered. Another goodie is « Frown on the moon » (4* 1554), a cheerful tune, adorned by a nice fiddle. On Coral, « Cherry pie » and « Is someone else the lucky one tonight » (Coral 64117) are med-tempo a bit crooning whereas « Let’s make love or go home »(# 64177), an acceptable duet with Tabby West, is a solid shuffle. I like very much too his version of Tommy Trent‘s « Paper boy boogie » (# 64133), very close to the original. « Country love », with its topical lyrics, is a lively honky tonk; the vocal is now assured, and the steel well-present (# 64171).
Next Strength went to Capitol. His renditions of Johnny Cash‘s « Cry cry cry » (# 3217) and Carl Perkins‘ (« Turn around ») are rather convincing. « When love comes knockin’ » is fine for the era, and I retain two more, « Gotta lot of love » (# 3477) and « North wind » (# 3568), with good effects by the steel. « Six fools » (# 3568), from 1956, backed with a banjo, is already a folk song.
1960 is a mixed year. The Sun session (# 346) is nearly saved from pop-country by the presence of Scotty Moore and D.J. Fontana. The Toppa cuts are definitely anchored in the Bakersfield (Ca) sound, mostly with the steel of Ralph Mooney. One slow song, very sincere » (« Picture of my heart », the other being the uptempo « Watching the world go by » (# 1021).
In 1963 Strength is to be found on Golden Wing 3023 for the nice « Tears in my beer » [is this the old Hank Williams/Big Bill Lister song?] with a good 6-string guitar. Finally a good recut of « Paper boy boogie » on Bangar 0649 in 1965 or « Nervous as a cat » (Re-car 9001) from 1971 do merit to be kept. All in all, a long career, without true highlights, but same quality, either in slowies or uptempos.
« Let’s make love or go home« (w. Tabby West)download
Let’s begin this new fortnight serie with BUDDY GRIFFIN. He stayed a good part of his life in the shadow of his elder brother REX, who never encouraged his younger brother performing first in Birmingham, Chattanooga and Atlanta. He later teamed up with fiddler Bobby Atchison and guitarists Pete Cassell and Doug Spivey and he played for many sessions early ’50s in Dallas. His recording debuts occurred on the Dude label, as « Otis West & his All Star Cowboys ». When the career of Rex Griffin began to decline in the mid-50s, Buddy Griffin recorded for the tiny Ekko label. Was it in Nashville or Los Angeles ? The writers E.. Hazlewood and J. Willard rather show on the West coast. « Bartenders girl » (Ekko 1017) swings, a mid-pace tempo with heavy guitar and piano (2 soli). (biog. details from the notes of Bruce Elder on « All music » site)
Lee Moore & Juanita « When my blue moon turns to gold »download
RUSTY NEWBY comes next on the Academy label (# E4KB-1022, a RCA pressing from 1954). « Musician’s blues » bears some western swing overtones. Medium paced hillbilly bop and a lazy vocal. The whole thing is swinging.
From the mountains on the Folk Star label (# 630-A, a parent label to Rich-R’Tone) I’ve chosen KEITH BUCK and the good « Only fooling around » from ca. 1955.
1966 saw the issue of HILLBILLY HERMAN and the medium « Today I watched my dream come true » (Breeze 366), a fine bopper (with mandolin) for the era. Despite deep and large researches, I’ve found nothing on the artist neither the label.
Get back to Virginia, in Staunton. The Buttermilk 1001 label has HARRY SNYDER well bopping for « Worry, worry, worry ».
From Gadsden, AL, we now have « Railroad bum », a great « Hillbilly-goes-Rockabilly » type song for its insistant slapping string bass played by Jimmie Harris; Calvin Flemons is on lead, Ronald Underwood on rhythm and the steel is played by the leader RIP UNDERWOOD. No date is given, except the personnel. A fabulous bass throughout.
We finish this fortnight with CARL LOTTS and « Wandering lonesome blues », a fast Hillbilly bopper on Delmarti F80W-1478 (another RCA pressing) from 1955. Indianapolis origin. The label says « & his Kentucky Kernels » Both sides were reissued (or was it the first issue?) on Lot [sic] label, same numbers.
For this Xmas 2015, as a gift, you faithful visitors of bopping.org will get 13 (yes, thirteen) selections, instead of the usual only 6 ; although for several months I gradually posted more and more tunes. Merry bopping Xmas to y’all !
« Deep Elem blues » was first recorded by the SHELTON BROTHERS (Bob & Joe on vocals and mandolin/guitar) in February 1935 in Chicago (Decca 5422), before the Prairie Ramblers gave their own version in August of the same year. The song refers to the black quarter in Dallas, where you need 50 $ because of the red headed women there. It was an immediate success, revived by others over the years, namely by JERRY LEE LEWIS, whose 1957 version remained unissued in the Sun archives for 40 years ! Same year saw the WILBURN BROTHERS‘ version (Decca 29887) : Doyle & Ted do a fine job on this song. Later on Jerry Garcia (Grateful Dead) and Levon Helm had their versions too, outside the scope of this blog, as they say.
JIMMY COPELAND hailed from Flynn, Texas (hence his backing band « The Texas Kids »), but relocated later in Manchester, New Hampshire where he was very popular in the mid-’50s. He cut a fine « Radar » (sound effects) on the Event label (# 4256) in Maine issued May 1956. Two solos by steel and fiddle each. Good hillbilly boogie.
From Robstown, Texas in 1960 comes ED JUNOT for a heavy although very melodic Hillbilly bop « Give your love back to me » on the O-T-O label (# 5015). Junot apparently promises his woman he will be better and shorter on drinks if she’ll returns to him. Nice dobro solo.
Floyd Tillman apparently wrote but never recorded « Slippin’ around with Jole Blon ». This song was cut by Tillman’s co-writer Bill Franklin, vocalist for BUD MESSNER, both doing a fine relaxed bopper with Western overtones on the Abbey label (# 15004 – see variations of the label). The tune has an unobstrusive organ and a nice steel, and was issued Spring 1950. Later on Merv Shiner, Jess Willard and Dick Stratton had their own version, a sign of the success of the song. Messner had begun his career on radio in Alexander, Louisiana in 1938, and obviously the song derives from the Harry Choates‘ « Jole Blond » saga.
note different logo
Bud Messner (vocal Bill Franklin) « Slippin’ around with Joe Blon« download
« How about it » (partly written by Tommy « Bingo boogie » Mooney) was issued on Fayette 1002 by DAVE BROCKMAN. Fine lead guitar to the fore, fiddle and discreet (to my ears at least) drums. Indeed Brockman is famous nowadays for « Feel sorry forme » (Starday custom serie # 669, from 1957) ; he had during the ’60s a good country-rocker with « My angel’s gone to hell » on Pea-Nut 1001.
From Cincinnati, OH, HARVEY HURT offers a good country-rocker : harsh vocal, steel, unobstrusive chorus that fits well in the song « Stayed away too long ». Ark label # 296 from 1962. Hurt had also in the same vein « Big dog little dog » in 1965 on Master 10 – urgent vocal ! Hear it on Youtube.
BENNY LEADERS next artist has a long recording career. He was as early as 1950 on Houston Freedom label, and later on 4 *. Here he delivers a good, lazy « Clean town blues » (Nucraft 105), ca. late 1952. The sound of the recording is muddy, sorry. Fine piano and steel.
CHUCK CARROLL backed by Casey Clark & the Lazy Ranch Boys comes in with 2 tracks, back-to-back of Esta 281 (Hamilton, OH) ; first, side A, « Mean ‘ole blues » (fiddle prominent and insistant medium rhythm) is what white blues is all about : a great side. Side B « Hey now » is uptempo (jazzy fiddle, a certain Chuck Rich on steel – according to Craig Maki). To confuse things, the guitar player pictured here is also named Chuck Carroll but doesn’t sing at all ! Carroll also had another disk on Happy Hearts 133 (« Heart breaker »). Record from 1956.
« Wandering blues », another Hillbilly blues, is plaintive, as sung by AL REX on Arcade 107 (ca. 1953). Yes, it’s the same guy who cut the energetic « Hydrogen bomb » in 1959 (not issued before the ’80s on one « Rockaphilly » album in England). Steel guitar on « Wandering blues » is played by Merle Fitz.
Al Rex
We come to the end with one of the most famous and endurant duets in Rocking Blues : BROWNIE McGHEE & SONNY TERRY, who do the rollicking « Meet you in the morning » cut in 1952 for the New York Jax label (# 307). Bob Gaddy on a fine piano, and McGhee with urgent vocal.
Brownie McGhee & Jook Block Busters « Meet you in the morning« download
Sources : Youtube (more than one selection! Particular thanks to « Cheesebrew wax archives » channel), 45rpm (Dan De Clark site), Leslie Fancourt’s « Blues discography », Tony Russell’s « Country music records », Galen Gart’s « A.R.L.D., « Hillbilly-music » site, my own archives. Hope that I am not forgetting anyone !
Howdy folks, a happy and bopping New Year to everyone. As a seasonal gift, I will post no less than 15 selections, as on the Xmas fortnight.
First a mystery with GEORGE BOWE & the Travelers. It has proved impossible to find any detail on him neither even the location of the label, Eagle – a common label name during the ’50s/60s. A very small clue is to be detected in the deadwax, « Rimrock » – which leads one to Arkansas Wayne Raney‘s label of the ’60s. Anyway Bowe delivers a Rockabilly styled opus with « Big man » (Eagle 110A) – the whole thing is quiet and lazy. B-side (« Do you remember ») is a melodic ballad, a bit sentimental, over sympathetic backing.
Note: Alexander Petrauskas did advise me that the Eagle label was definitely associated with Rimrock, the latter pressing the Eagle products.
DON WHITNEY (incomplete bio statistics – he died in 1985) was a D.J. associated with Arkansas radio stations KLCN in Blytheville, then KOSE in Osceola (1957) ; he’s been too on WELO in Tupelo (MS), and cut a whole string of boppers for 4*. Where he cut them ? Probably Nashville. I chose from 1950 « Red hot boogie » (# 1471), call-and-response format (girl chorus). Steel and piano are barely audible, while the guitar player does a too short but wild solo. « Move on blues » (# 1588) from 1951 is a fine bluesy tune over a boogie guitar. Discreet steel and piano.
On Adco records (# 781), cut in Cincinnati, OH, next comes GLEN CANYON and a rocker from 1965, « I won’t be able to make it » : a shrilling guitar thoughout, and the disk is valued $ 50 to 100. I couldn’t locate the flipside « Still in love with you », reputedly a bopper. Canyon appeared also on Acorn and Boone (Kentucky).
The Sandy label out of Mobile,AL. is interesting for many records issued between 1957 and 1962 and highly revered by Rockabilly/Rock’n'roll buffs : do Ronny Keenan, Happy Wainwright, Jackie Morningstar (« Rockin’ in the graveyard »), Ray Sawyer (« Rockin’ satellite ») or Darryl Vincent (« Wild wild party ») ring each a bell to you ? Well, the label also had its hillbilly boppers, like Johnny Foster (more on him next fortnight, late January 2016) or WADE JERNIGAN. Both his sides (# 1010) are high quality boppers penned by label bossman Johnny Bozeman in 1958. « Road of love », medium paced, has a very « hillbilly » type vocal (high pitched at moments), over a prominent fiddle and good steel, while its flip « So tired » uses the same format, just a little bit slower. A good record for Hillbilly lovers.
Now on to Louisiana. The Khoury’s label began activities in 1951 to cease them in 1955 (last known is # 647, « Lu Lu boogie » by Nathan Abshire, which I owned moons ago before selling it – I am biting my fingers now..). We find here on # 700B (not in numerical order, this one is from 1954) a fabulous Cajun wildie « Louisiana stomp » by LEBLANC’S FRENCH BAND (an unidentified singer yells and encourages by his yells the whole fiddle led orchestra). Reverse is by Eddie Shuler, the founder of Goldband. Second La. selection : by GENE RODRIGUE, who had other releases on Folk-Star, Houma and Rod (the Cajun Rockabilly « Little cajun girl » from 1959). Here is his « Jole fille » (Meladee 101, cut in New Orleans), full of energy and « joie de vivre », Cajun style. Nice fiddle, steel and piano. This comes from the late ’50s apparently.
More from Louisiana with PAL THIBODEAUX (also known as Little Pal Hardy on Imperial) and « Port Arthur boogie » (Sky Line OP-154). Call-and-response, sung in French and English. Fiddle solo, sympathetic backing, two good guitar solos encouraged by the singer a la Bob Wills.
« Port Arthur boogie« download
GEORGE GREEN & The Missouri Ranch Boys comes next with a good 2-sider on Zeylon . The medium paced « I don’t love you anymore » is backed by a welcome accordion, and sounds its late ’40s recording, although its prefix (J80W, an RCA pressing, dates from..1958). The flip « Be a little angel » is a jumping little thing, which grows on you at each playing. Good fiddle.
« Just because « is a classic Sun side, only issued on RCA, by ELVIS PRESLEY. We conclude this fortnight with his version (RCA 47-6640, early 1956) and the original by the SHELTON BROTHERS (in the ’30s). Great lyrics. Elvis does a very fine job on it.
Sources : Somelocaluser blogspot (George Bowe, Wade Jernigan, George Green), Youtube for several tunes (Don Whitney – scans from 78rpmworld) ; Robert Lunn on a 3-CD compilation of country music on Mercury, picture from « hillbilly-music.com ». Hope you enjoy this selection. Comments welcome. ‘Till then, bye.
Despite a long career that spanned almost 45 years, comparatively little is known about Earl Peterson. He was born in Paxton, Illinois, on February 24, 1927 and moved to Michigan when he was 18 months old. He apparently became proficient on both guitar and drums and formed his own band, the Sons of the Golden West, when he was still in high school. The group secured a regular spot on WOAP, Owosso, then moved to WMYC in Alma, Michigan, before settling at WCEN, Mount Pleasant. WCEN gave Earl and his group a regular show, Earl’s Melody Trails, and made him the talent director, staff announcer and farming news editor. Earl was to study Law after high school but he switched to a musical career instead.
Earl made his debut in the record business when he formed a record label, Nugget Records, with his mother, in January 1950.
Peterson also undertook road trips to publicise his record and, at the same time, worked guest dee-jay spots at various stations. It seems as though his mother, Pearle Lewis, was the driving force behind Peterson. Sam Phillips recalled that the pair arrived on his doorstep early in 1954 pitching « The Boogie blues ». Phillips located some country session musicians to work with Peterson and the result of the session was released in the Spring of 1954. « Boogie blues« (Sun 197)download
« In the dark« (Sun 197)download
The story becomes more convoluted from that point. In October of that year Peterson, with a healthy disregard for contracts and AFM regulations, re-recorded the same song for Columbia. The song was re-copyrighted and probably sold more than the 2500 copies that Phillips had shipped.
« Be careful of the heart you’re going to break » (Columbia 21406)download
In 1960 Peterson and his family established radio station WPLB in Greenville, Michigan. In 1962, they switched to the FM frequency and the following year saw Earl’s retirement from the performing side of the music business. By that point there was an undeniable quotient of rock and roll in country music and, in Bob Lewis’ words, « Earl wasn’t crazy about that stuff ». In 1965 Earl learned that he had cancer but he continued to work at the station until his death in May 1971.
« I ain’t gonna fall in love » (Columbia 21467) download
any Columbia issue coupled an uptempo and a slowie. The vocal is firm and assured, and the backing is on a par with the best what Nashville did offer at the time. Although unknown musicians, there was a steel, a fiddle and on « Boogie blues » (remake of the Sun version) a welcome rinky-dink piano. I posted the tracks side-by-side to let yourself judge.
« Boogie blues » on Sun 197 has sewing fiddle, steel and drums. Peterson’s voice is very reminiscent to that of Jimmie Rodgers, and the song itself derives from pre-war country songs, like Gene Autry’s ‘blues’ songs. Its flipside « In the dark » is a strong shuffler.
« Alimony blues », although in the past (N.L. Redita LP) credited to Peterson, is in fact done by Gene Steele.
« You just can’t be trusted », found on Youtube (Mr. Honky tonk chain), is evidently a ’60s recording, nice done, although I don’t know the original label neither the flipside.
This fortnight begins with a heck of wildness: MICHAEL RAYE & Judy Shaye (“two voices and four hands” on the label) do offer the storming “Rockin’ Jamboree” on Arcade (Philly) # 112. Boogie woogie pano, trombone and guitar combine for this from 1953.
JOHNNY FOSTER (announced a month ago) from Alabama offers the perfect rock-a-ballad “Locked away from your heart” on the Sandy label (# 1028). Good steel and sincere vocal. 1958. He had an earlier issue (# 1014) on the same label, which sounds promising (alas untraced): « It’s a hard life/You gotta be good« . I don’t know if he’s the same artist who appeared later on Capa and Carma during the early ’60s. Anyone can confirm, or deny?
Cope McDaniel and the Cimarron Valley Boys are backing EDDE LEE for a fine melodic ballad, “I can’t believe you mean it” on Indianapolis Sunset label # F70W-2603 (1955).
MAX LOWE enters for two issues, both came out from Morristown, TN. First “Ain’t got a nickel, ain’t got a dime”, a banjo led bluesy ballad, is to be found on Waterfall 502. More of the same on J-F-K-L 701 and “Little Lou”, from 1961 (thanx to Youtube Cheesebrew Wax Archive chain).
The “REAVES WHITE COUNTY RAMBLERS” go back to the late ‘20s on Vocalion 5218 for the romping “Ten cent piece”. It’s a fast raw hillbilly, showing prominent fiddle and a strong vocal. Courtesy 53jaybop on Youtube.
From Wichita, KS, emanate the Kanwic label on which OWEN McCARTY & His Troubadours cut “Key to my heart” (# 145), an uptempo ballad with nice steel, in 1968. McCarty was to have two other known records: on Show Land (produced by Benny Hess) and Air Cap.
AL URBAN doesn’t need introduction. He cut the great Hillbilly bopper (1957) “Looking for money” (Sarg 148), and the fabulous twin-sider Rockabilly “Gonna be better times/Won’t tell you her name” (Sarg 158), without forgetting his two issues on Fang 1001 and 1003 (untraced). Here he appears on a “manufactured by Tanner ‘n’ Texas [T.N.T.]” A.P.U. 201, which shows two addresses: Gonzales (hometown to Urban) and San Antonio, TX. His “Run away” is similar to his Sarg sides, with a heavy Starday sound: a piano player sounding like Doc Lewis, a fiddle sounding like Red Hayes. Could it be that this record has actually been recorded in Houston?
This fortnight’s favorites selection begins with an old-time singer, JESSE ROGERS (1911-1973). He had a long stint of issues on Bluebird, Montgomery Ward and Sonora, among RCA-Victor, which label he cut records during the late ’40s for. I chose his energetic rendition of Bill Nettles‘ 1949 hit « Hadacol boogie »(# RCA 32-00001). See elsewhere in this [...]
Hello, folks. This fortnight's favorites selection will be very various and pointing in different directions.First artist whom a virtually nothing is known about, and not more on his band. DON HAGER
What little recognition Carvel Lee Ausborn enjoys today is due to the fact that he hosted a show called « Pickin’ and singin’ hillbilly » on WELO, Tupelo, Mississipi, starting in June 1944. Originally a 15 minutes Saturday show, it increased to 30 minutes and finally to one hour, five days a week. It preceded WELO’s Saturday [...]
More of a solid rocker on Chapel Hill, NC Colonial label (# 7000 from June 1959) by the FRANKLIN BROTHERS. « So real » is strong, that’s not Hillbilly bop, but a real Rocker for a change!
Next artist is not familiar, although he offers a fine bopper (complete with sound effects) with « No parkin’ here » on Columbia 21259 (not apparently to be confused with the 
