Updates

• Added info on Jimmy Ford, thanks to Volker Houghton. • Extended and corrected the post on Happy Harold Thaxton (long overdue), thanks to everyone who sent in memories and information! • Added information to the Jim Murray post, provided by Mike Doyle, Dennis Rogers, and Marty Scarbrough. • Expanded the information on Charlie Dial found in the Little Shoe post.
Showing posts with label discography. Show all posts
Showing posts with label discography. Show all posts

Wednesday, January 18, 2017

Stan Kesler's Crystal label

Stan Kesler's Crystal label has been overshadowed by his other efforts in Memphis and popular American music history. Crystal marked Kesler's first steps as an independent record producer and although it was only a rather short-lived venture, it was home to a handful of noteworthy singles, some of them enjoy cult status among rockabilly collectors.

Stanley Augustus Kesler was born on August 11, 1928, in Abbeville, Mississippi. It became evident in his early years that Kesler was a talented musician, as he learned to play mandolin and guitar as a child. He joined the US Marines in the 1940s and it was during this time that he mastered also the steel guitar. After his discharge in 1946, he began working with a couple of country bands. First he performed with an outfit that also included his brothers, then joining Al Rodgers' combo in Amarillo, Texas.

Stan Kesler
By 1950, Kesler had moved to Memphis, Tennessee, where he soon found work with different groups as a steel guitarist. The most prominent of them was Clyde Leoppard's Snearly Ranch Boys, a western swing band that enjoyed great popularity in Memphis and West Memphis, playing regular shows on KWEM and being the house band at the Cotton Club in West Memphis. Kesler would work on and off during the 1950s and 1960s with the band and many members of the Ranch Boys. Leoppard managed to organize a recording session for the band at Sam Phillips' Memphis Recording Service in 1955. Kesler not only played steel on the session but provided also the song material, "Lonely Sweetheart" and "Split Personality," the latter co-written with fellow Snearly Ranch Boy William E. "Bill" Taylor, who also was the vocalist on those sides. Sam Phillips released the band's recordings on his country label Flip Records in February 1955.

The Flip single had brought Kesler to the attention of Sam Phillips and he began working for Phillips as a musician, songwriter, and engineer. Elvis Presley recorded Kesler's "I'm Left, You're Right, She's Gone" (co-written with Bill Taylor) and "I Forgot to Remember to Forget" (co-written with Charlie Feathers) in 1955 for Sun. Kesler also played on many country Sun recordings during this time. In late 1956, Kesler learned to play bass, which eventually became his main instrument.

After leaving his mark at Sun, Kesler set out on his own in late 1957 and went into partnership with Eugene Lucchesi and Drew Canale. They founded Crystal Records with Kesler running essentially the label in creative terms, while Lucchesi and Canale mainly served as investors. The first single was by Jean Kelly, "Someone to Love" b/w "I Keep Forgetting" (Crystal #500), released in either late 1957 or early 1958. Kelly was born in 1935 in Braden, Texas.

Next up was Don Hosea, who also recorded for Sun and for Billy Lee Riley's Rita label. Hosea recorded "Everlasting Love" for Crystal, which was later that year recorded by Barbara Pittman for Phillips International. Originally hailing from Cape Girardeau, Missouri, Hosea spent much of the 1950s and 1960s in Memphis, performing with the Snearly Ranch Boys and the Bill Black Combo. He left for Nashville in 1967, where he found work as a songwriter.

Jimmy Knight with "You'll Always Be Mine" b/w "Hula Bop" (Crystal #502) had another interesting disc on Crystal. Knight was also a member of the Snearly Ranch Boys at the time of this release and sang with Kesler's vocal group "The Sunrays." The Stan Kesler-Bill Taylor written "Hula Bop" was likely one of the band's standards, as it had been recorded three years earlier by Snearly Ranch Boy Smokey Joe Baugh for Sun with the band providing the backing.

Crystal #503 was by James Edward "Jimmy" Pritchett, another of Kesler's discoveries. Kesler rented studio time at radio WHBQ to record the Ramon Maupin penned "Nothing on My Mind" and the stunning "That's the Way I Feel" with Pritchett but Kesler ran into problems with the equipment at the studio. Therefore, he instead used Sam Phillips' Sun studio. Sources often credit the Snearly Ranch Boys playing on this record but actually the background band sounds more like Sun's rockabilly staff of Roland Janes (guitar) and Jimmy Van Eaton (drums). May it as it be, the single made some noise around Memphis but finally shared the fate of its presecurors and went nowhere. Pritchtett, who hailed from Osceola, Arkansas, where he was born on March 26, 1935, died in Memphis on July 13, 1982.

According to Kesler, there were a couple of other releases on Crystal, which have yet to be located, however. Kesler became dissatisfied with his partner Canale and recalled: "Canale put in a thousand dollars and expected back 10,000 next week [...]. Me and Drew wouldn't work." In the end, Crystal was shut down and in 1959, Kesler began a new project with Clyde Leoppard and Jack Clement, opening their own recording studio for a short time.

Kesler later established the Echo Recording Studio on Manassas Avenue and ran the Pen and XL labels. Under his supervision, a couple of big pop hits were produced in Memphis during the 1960s and 1970s. He eventually returned to Sun and engineered sessions there well into the 2000s. Stan Kesler died in 2020.


Discography


Crystal 500
Jean Kelly, the Cotton Patch Cinderella
Someone to Love (Stan Kesler) / I Keep Forgetting (William E. Taylor)
C-100 / C-101

Crystal 501
Don Hosea
Everlasting Love (Stan Kesler) / I'll Try Again (Don Hosea)
C-102 / C-103
1958 (BB)

Crystal 502
Jimmy Knight
You'll Always Be Mine (Stan Kesler) / Hula Bop (Stan Kesler; W.E. Taylor)
C-104 / C-105
1958

Crystal 503
Jimmy Pritchett
Nothing on My Mind (Maupin) / That's the Way I Feel (Smith-Hyde)
C-106 / C-107
1958 (BB)

Saturday, March 26, 2016

The Jim Dandy label

The Jim Dandy label story:
Memories of photos and records

Jim Dandy advertising in "The Colonnade"
(Milledgeville, Georgia), December 7, 1957
I have been into the story of the small Jim Dandy record label since late 2010. Since my first post about it back then, I was able to assamble more detailed information about this local South Carolina label that was operated by Jim Price. Carolina music researcher Vance Pollock as well as a handful of witnesses and relatives of Price made it possible to present now an extended write-up about it.

The Jim Dandy record label originated from the small Jim Dandy recording studio, which was located in the Jim Dandy Film Service in Newberry, South Carolina. The film service was opened by James Broy "Jim" Price (born in 1918) and his wife Rita in 1957. By the late 1950s, Price also built a small recording studio within the film service and in 1961, set up the Jim Dandy record label. Its first release was the Elvis inspired "Destiny and Desire" / "Please Be Fair" by Fred Thompson that same year.

In December 1961, Billboard reported that Jim Dandy "offers jockey samples on its two new releases," which were by Melvin Morris with "Charlie's Got a Horn" / "Remember You're Mine" (Jim Dandy #1004) and Jim Stocks with "Knock on Another Door" / "Shadows" (Jim Dandy #1005). Further, Billboard explained that Price was always looking for new artists and songwriters.

Most of the releases were by local artists, including Eddie Kirkley and the duo Buck & Tommy. Songwriter Bill Trader, well-known for penning the hit "(Now and Then) There's a Fool Such As I", recorded an album of his own compositions on Jim Dandy. Trader was born on May 1, 1922, and hit big in 1952 with "(Now and Then) There's a Fool Such As I." It became a hit when Hank Snow recorded it and was later successfully covered by Elvis Presley, Jo Stafford, and Petula Clark. In 1962, Trader and his band, the Castaways, recorded an album of his own compositions. The songs "Cherokee Call" and "Bitter Harvest" from that album were also released on 45rmp.

Another act that recorded for Price was the duo Buck Jones and Tommy Hagen. They were from Wilson, North Carolina, and performed locally with Jimmy Capps, specializing in Louvin Brothers songs. In 1960, they had recorded their first disc for Ronald Killette's Glendale label and followed up with "A Lost Love" / "Never Love Again" for Price's Jim Dandy label (Jim Dandy #1007). The songs were in the Louvin style, which is no suprise since their lead guitarist Jimmy Capps was playing with the Louvins since 1959. Another disc by Buck and Tommy was rushed out by Price in 1962, comprising "Forever" and "Where Shattered Memories Are" (Jim Dandy #1008). Hagen joined up with Charlie Louvin about eight months after the Louvin Brothers split up in 1963. He played mandolin and sang the high harmony parts that Ira used to provide. Buck Jones remained in the Wilson area, recording some more 45s for Tiki Records, working on radio and television as well as running his own nightclub that closed in 2015

In 1962, Bill Haney and the Dixie Buddies had at least two releases on Jim Dandy. While "Oh! How I Cry" (Jim Dandy JD-1012) was a bluegrass song, his version of the "Crawdad Song" on Jim Dandy JD-1013 is a country outing with rock'n'roll elements. Haney was born in Haywood County, North Carolina and in 1957, he was part of Curtis Lee and the Dixie Buddies, with whom he appeared on the WRVA New Dominion Barn Dance out of Richmond, Virginia. His first record was made for the Atlanta based Super label. He toured the east coast in the 1950s and 1960s, playing country, bluegrass, and rock'n'roll, and also recorded for Dee-Dee and JFI.  In the 1980s, he performed locally with a band called the "Zassoff Boys" and also recorded an album with this group.

Jim Price closed down his Jim Dandy business in the early 1960s. In 1968, his wife Rita died but he remarried in 1971 and moved to Clinton, South Carolina, where Jim Price died in 1989. He was buried at the Newberry Memorial Gardens next to his first wife.


Discography


45rpm  
JD4501: Fred Thompson - Please Be Fair / Destiny and Desire (1961)
JD-1000:
JD-1001:
JD-1002: Saxons - You Are the One / The Power of Love (1961)
JD-1002: Judy Wright with Musical Accp. - Stop / The City of Despair (1961)
JD-1003:  
JD-1004: Melvin Morris - Charlie's Got a Horn / Remember You're Mine (1961)
JD-1005: Jim Stocks - Knock on Another Door / Shadows (1961)
JD-1006: Jim Hardin - It's a Shame / Blue Eyes
JD-1007: Buck & Tommy - A Lost Love / Never Love Again
JD-1008: Buck & Tommy - Forever / Where Shattered Memories Are
JD-1009: Eddy Kirkley - I'll Keep Telling Myself / Ole' Blues (1962)
JD-1010:
JD-1011: 
JD-1012: Bill Haney - Oh! How I Cry / 27 Strings (1962) 
JD-1013: Bill Haney & the Dixie Buddies - Crawdad Song / Lookout, I See a Heartbreak (1962)
JD-1014: Castaways - Caravan / Carol's Theme
JD-1015: Ideals Combo - Lift-Off / Double Shot
JD-45-962: Bill Trader and the Castaways - Cherokee Call / Bitter Harvest

Note: The number JD-1002 was apparently used twice.
 
Extended Play
EP 101: Lulu Belle & Scotty - Tenderly He Watches Over Me / When They Ring the Golden Bells // Have I Told You Lately That I Love You / Spanish Fandango
 

EP 102: Arthur Smith and the Crossroads Quartet - Deliverance Will Come / Will the Circle Be Unbroken / Amazing Grace // Beyond the Sunset / The Ninety and Nine / Whispering Hope

JDLL P102: Arthur Smith and the Crossroads Quartet - I Look Up / He Will Set Your Fields on Fire / When He Reached Down His Hand for Me // I Can Find My Way from Here / Going Down the Valley / How Great Thou Art
 
Albums  
JD-LP-963: Bill Trader & the Castaways - Bill Trader Sings his Songs 


Sources: Billboard, RCS, Country & Western blog, eBay, Bill Haney's website, Jerry Kendall, Bob, Kay Bank Custom Pressings, Mr. TeenSwe, Lightnin', Hayne Davis, Safran's Antiques, The Directory of American 45 RPM Records (by Ken Clee)

Thursday, March 3, 2016

The Story of Perfect Records

The (short) Story of Perfect Records
(Miami, Florida) 
According to researcher John Miller, Perfect Records "made its appearance during the early 1950s and was devoted exclusively to Country and Western music." A sentence which might bear some inaccuracies. Maybe Miller did not knew better when he wrote these words in 1979 for the first volume of the "Miami Rockabilly" LPs but Perfect issued not only country material but also latin jazz. But the label did made its first appearance on the market in the early 1950s.

Perfect Records was one of Harold Doane's labels, owner of the American Transcription and Recording Service, later shortened to ART. Much has been written on this blog about about his other labels Art and AFS. During my intense research over the last few years, I assumed for a long time that Perfect was likely established by Doane in 1955. No records dated earlier than 1955 had surfaced until September 2022, when I discovered that he re-released old-time recordings by the Carter Family, the Coon Creek Girls and Roy Acuff on green labeled 78rpm records in 1953 (how he got hold of these recordings is unknown so far). Therefore, Miller's statement that Perfect was solely intended for country & western material, which I believed to be a falsity, was actually true - at least at the beginning of the label's life. However, the fact that latin jazz records by Machito & his Afro-Cuban Orchestra were released as early as 1955, shows that Doane soon broadened Perfect's repertoire.

After the re-issue of those old-time recordings, Doane set up another 100 series that seem to be country recordings without exception. The 100 series was issued only in the US - or South Florida to be precise. Other discs with different catalog numbers were likely produced for markets outside the US, including Panama and Costa Rica.

By 1956, rockabilly entered the repertoire of Perfect, as it was the case with so many labels in those days. The first recordings in this new style were those by Tommy Spurlin and the Southern Boys, a local Miami country outfit that had developed their own rockabilly tunes by then. West Palm Beach singer Wesley Hardin followed up with two recordings of hits of the day, "Honky Tonk Man" (Johnny Horton) and "Cry! Cry! Cry!" (Johnny Cash). The last known rockabilly release on Perfect was by Mike Shaw, once a member of radio and TV personality Happy Harold Thaxton's popular country band (who also had a release on Perfect). Shaw laid down two rasping recordings of "Long Gone Baby" and "Frankie and Johnnie," which became local hits.

The Perfect label was, however, a rather short-lived affair. After Shaw's record, the last known was by Rit Corso. By 1956 or 1957, the label vanished from the local music scene. In 1957, Doane replaced it with AFS Records, which operated well into the early 1960s.

If anyone can contribute to the discography or can share memories of Harold Doane's operations, artists, or the Miami country music scene in general, please feel free to leave a comment or contact me via e-mail. 

Read more about Miami's musical past:
 

Discography

16-101
The Carter Family

The Homestead on the Farm (A.P. Carter)
P-49176
Roy Acuff and his Smoky Mountain Boys
Will the Circle Be Unbroken (n.c.)
P-49179
July 1953

16-102
Coon Creek Girls

Pretty Polly (n.c.)
P-49177
The Carter Family
Beautiful Isle O'er the Sea (A.P. Carter)
P-49178
July 1953

Perfect 100

Perfect 101

Perfect P-102
Harold Donelson with the Buckeroos
Hillbilly Waltz (Harold Donelson)
ART-126 A
Eddie Thorpe with the Buckeroos
Rose of San Antone (Bob Wills)
ART-126 B

Perfect 103

Perfect P-104
Happy Harold and his Dixie Millers
Queen of the Smokeys (Cecil Carbonell)
Art 136-A
Mary Peck with Happy Harold and his Dixie Millers
Broken Hearted (Cecil Carbonell)
Art 136-B

Perfect 105

Perfect 106

Perfect 45-C-107
Tommy Spurlin and the Southern Boys
Danger! (Spurlin) / Ain't Had No Lovin' (Since the Last Time It Rained) (Spurlin)
A / B
1955
Billboard C&W review on October 22, 1955

Perfect 45-C-108
Tommy Spurlin and the Southern Boys
There Might Have Been a Love Song (Spurlin) / Tomorrow I'll Be Gone (Spurlin)
A / B

Perfect 45-109
Tommy Spurlin and the Southern Boys
Hang Loose (I've Gotta Rock) (Spurlin; Frost) / One-Eyed Sam (n.c.)
A / B
1956
Billboard C&W review on August 4, 1956

Perfect 45-C-110
Wes Hardin with the Southern Boys
Cry Cry Cry (Cash) / Honky Tonk Man (n.c.)
1 / 2
1956

Perfect 45-C-111
Mike Shaw with Sons of the Drifting Sands
Long Gone Baby (Shaw) / Frankie & Johnny (arr. by Shaw)
1 / 2
1956
Billboard C&W review on October 27, 1956

Perfect 112

Perfect 113

Perfect 114


Perfect 45-115
Rit Corso

I Like You (Beulke-Houseman) / Sweetest Voice on Earth (Beulke-Ax)
45-115-1 / 45-115-2


Perfect TR 45-4000
Machito and his Afro-Cuban Orchestra
Holiday Mambo (Chico O'Farrill) / Si Si - No No (Rafael Blanco Suazo)
ZTSP 24603 / ZTSP 24604 (Columbia)
1955

Perfect 45-4001
Machito and his Afro-Cuban Orchestra
with Graciella & the Rigual Brothers
Hay Que Recordar (Piloto-Vera)
ZTSP 24518 (Columbia)
Machito and his Afro-Cuban Orchestra
Negro Nanamboro (Mariano Merceron)
ZTSP 24519 (Columbia) 
1956  

Perfect No.#
Machito and his Afro-Cuban Orchestra
Adios (Woods-Madriguera)
ZTSP 24093 (Columbia)
Machito and his Afro-Cuban Orchestra / Vocal: The Skylarks
Mambo a la Savoy (Fuller-Machito) 
ZTSP 24094 (Columbia) 
1956 

Perfect No.#
Machito and his Afro-Cuban Orchestra
Bella Mora (Menita Caron) / Sambia (Rene Hernandez)
P 52219 / P 52220