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 from Mellow's vaults. Show all posts
Showing posts with label from Mellow's vaults. Show all posts

Wednesday, August 31, 2022

Dave Denney on RCA-Victor

Dave Denney - My Bucket's Got a Hole In It (RCA-Victor #48-0151), 1949

Although Dave Denney had an extensive career as a recording artist, he was never rewarded with a real hit recording. He started his career in the 1930s, began recording in the mid 1940s and was still a radio personality some twenty years later. He is largely forgotten today and I must admit that I had never heard of him until I purchased this piece of phenomenal RCA colored vinyl some years ago.

Denney hailed from Lafayette, Indiana, where he was born on August 25,1921, as David Karlstrand. His grandfather, Edward Karlstrand, was born in Sweden but immigrated to the United States in the 19th century and settled in Illinois. Later, the Karlstrand family moved to Indiana. David Karlstrand  took a liking at music at an early age. He was inspired by the western tunes his mother sang and soon, she felt that her son needed a guitar. A local preacher got word of that and not long after, he was presented with his first six-string.

By the time he was 15 years old, he performed with a band called the Texas Cowboys, led by Rube Tronson, and it is likely that he adapted the stage name "Dave Denney" around that time. Tronson's Texas Cowboys played various venues such as theaters, dances, rodeos, fairs and were also heard on such stations as WSAU in Warsau, Wisconsin or the famed WLS in Chicago (also appearing on the National Barn Dance). The sudden death of Tronson in 1939 disbanded the band and Denney set out on his own.

After his stint with the Texas Cowboys, Denney moved west and toured such states as Texas, Utah, California, and even Mexico. I have found no hint but it seems probable that Denney served his country between 1941 and 1945. At least, I did not find any mention of him in magazines during this time frame. However, he was back in music business in the northern states by summer 1945, as Billboard noted on June 16: "Dave Denney, formerly with Rube Tronson's hillbilly band over WLS, is currently doing a single at the Mayfair Club, Boston." Later that year, he became a performer on WHN in New York City.

Bilboard February 9, 1946

By late 1945, Denney had signed a recording contract with New York City based Musicraft Records and his first recordings saw release in December that year, "It's Nobody's Fault But Your Own" b/w "Careless Love" (Musicraft #15049). His backing band on the Musicraft sessions featured famous black jazz violinist Eddie South. Denney remained with Musicraft for about a year and afterwards, switched to the Signature label for two releases in July 1947. While recording for Musicraft, Denney had begun writing songs and was under contract with Leeds Publishing. He composed many of his recorded works and also other artists cut his songs, including Pee Wee King (with whom Denney also recorded as a vocalist in King's band).

Dave Denney RCA-Victor promo picture, 1948 or 1949

By 1948, Denney had appeared on nationally syndicated shows on CBS and ABC, when he joined the staff of KVOO in Tulsa, Oklahoma, moving from the north to the midwest. Already in early 1948, his first RCA-Victor disc had appeared, "I'm Waltzing with a Broken Heart" b/w "Part of My Heart is Missing" (RCA-Victor #20-2726). Denney would stick with RCA for the rest of the decade, the last for him being today's selection, "My Bucket's Got a Hole In It" and "I Gotta Have My Baby Back."

Both were recorded at RCA's studio in New York City on November 2, 1949, with an unknown line-up and saw release shortly afterwards on both 78 and 45rpm format. However, none of Denney's singles created sales figures that animated RCA to keep Denney on its roster.


Billboard December 24, 1949, C&W review

In June 1949, Denney had signed a three-year contract with Chicago's WLS radio. After his stint with KVOO, he had worked at a station in Washington and then moved to Chicago. By early 1953, he was a DJ at WPTR in Troy, New York, where he would spent the following years.

After a four year break from recording, Denney returned to a recording studio in August 1954, cutting four songs for MGM Records. The label signed him around September and his first release for the label, "Cry, Fool Cry" b/w "Stop, You're Breaking My Heart" (MGM #K11831) appeared in October. A second single followed but success eluded him and it remained Denney's only session for the label. He would not record again until the mid 1960s, cutting a single for Golden Crest, and waxing his last sides later that decade for the Viking label.


During the 1960s, Denney worked with different radio stations in New York State, mostly as a DJ . He teamed up with Anna Marie Thomas for both personal and radio performances during these years. In 1960, he spun platters over WROW in Albany, New York, and Billboard reported that the pair of Denney and Thomas joined WLEE in Glendale, New York, around June 1963. By 1965, both were featured performers on WXKW, also New York State.

Dave Denney died August 1, 1972, at the young age of 50 years. The British Archive of Country Music has released a 27 tracks CD of Denney's 1940s and 1950s recordings in 2009. It has since remained the only reissue of his recorded works.

Recommended reading
Dave Denney WPTR advertisement (New York Heritage digital collections)

Sources
• Dave Denney entries at 45cat and 45worlds
• Broadcasting, Telecasting Volume 34 (1948), Broadcasting Publ.
• Jack Norton: Corn Stars:  Rube Music in Swing Time (2022), lulu.com

Wednesday, August 24, 2022

Marty Wendell on Kee

Marty Wendell - Daddy Sang Bass (Kee #K-369), ca. 1970

I bought this 45 by Marty Wendell from a trusted dealer in Arkansas and I really got interested in this disc mainly because it was a cover of the Carl Perkins penned "Daddy Sang Bass", which became a hit for Johnny Cash in 1969. The powerful harmony vocals by the Statler Brothers and the Carter Sisters on Cash's original were replaced with an overall thiner sound, which nevertheless bears an amateurish charm. Also, this disc introduced by to Marty Wendell, the artist on this record, which I had never heard of before.

Born in Ticonderoga, New York, near the state border to Vermont, Wendell was heavily influenced by the southern rockabilly sounds of Sun Records out of Memphis during the mid to late 1950s, including Johnny Cash, who became a special influence on Wendell. However, he absorbed also other genres such as pop, folk, country, blues, and gospel music. Around the same time, he entered a local church talent contest and the experience to perform in front of a live audience led Wendell to the decision to become a musician.

More public performances followed and during a stint in Greenwich Village in New York, he was discovered by producer Stanley Rowland and the result was Wendell's first record "Hey Hey Mama", which sold about 10.000 copies (according to Wendell's website). Wendell switched to Tom Wilde's Ferus Records afterwards and due to the success of "Hey Hey Mama", served as the opening act on Johnny Cash's Folsom Prison album tour in August 1968.

In the late 1960s, Wendell he worked with Ticonderoga based Kee Records, including his cover of "Daddy Sang Bass", a song Cash had recorded in 1968 for his religious concept album "Holy Land" and which saw release as a single in January 1969. Cash's version peaked at #1 on Billboard's Hot Country Singles.

Wendell's version was released ca. in 1970 (Kee #K-369), judging from the Precision Record Pressing matrix numbers, with "Without You" on the flip side. Since the label was based in Wendell's hometown and he also appeared on a subsequent release as songwriter and producer, I assume Kee Records was operated by or associated with him.

Wendell continued to perform in the northeastern United States during the 1970s and began to host his own music festival in 1977, which continued for 20 years. Since the 1980s, Wendell has concentrated on performing and recording several albums for various labels, most notable the 2007 record "Rock & Roll Days" - recorded at Sun Studio in Memphis. Wendell performs to this day, although health troubles forced him to cancel most of his 2022 dates.

Sources

Wednesday, August 17, 2022

Foghat on Bearsville / Foghat in Arkansas

Foghat - I Just Want to Make Love to You (Bearsville BEA 15 504),
1972 (German pressing)

The hard rocking blues / boogie sounds of English rockers Foghat seem to be out of place for this blog but their musical roots, blues and 1950s rock'n'roll, are nothing but appropriate to feature this band here. As I developed a special interest in Arkansas music history, I thought it would be interesting to examine the personal appearances of one of my favorite rock bands in the Natural State.

Foghat was actually an off-spring of Kim Simmonds' Savoy Brown Blues Band, a group that had emerged in London in 1965. The line-up changed over the years and by the late 1960s, three of the members were part of Savoy Brown who later founded Foghat. It were "Lonesome" Dave Peverett on guitar and vocals, Tony Stevens on bass, and Roger Earl on drums. Thanks to a busy touring schedule, Savoy Brown became more popular in the US than in Great Britain, which presented the trio of Peverett, Stevens, and Earl with their first touring experiences in North America.

However, in late 1970, they decided to leave Savoy Brown (leaving Kim Simmonds as the only remaining member) and founded the band Foghat. With the addition of lead slide guitarist Rod Price, the group was complete. With Peverett's passion for 50s rock'n'roll and a guitar style reminiscent of Chuck Berry's as well as Price's great love for the blues, their hard rocking, stomping boogie blues sound was born. The band signed with American Bearsville Records and had their first self-titled album out in July 1972. It entered the US charts soon and a tour across the States was started. Eventually, the band relocated to the United States full time due to their ongoing success there. In Europe, the band was largely overlooked, although single and album releases were available in several European countries.

The "Foghat" album featured a cover of Willie Dixon's "I Just Want to Make Love to You", which had been recorded first by Muddy Waters in 1954 for Chess Records (a #4 Billboard R&B hit). Waters would record it again in 1968 for his album "Electric Mud". While the original was a slow number in the best tradition of the Chicago blues style, Foghat speeded it up and introduced it with a thumping bass run by Tony Stevens. The song was released as a single in the US and Europe with "A Hole to Hide In" on the B side and reached #83 in the US and #31 in Australia. "I Just Want to Make Love to You" became one of Foghat's signature songs that they played at probably every concert. In 1977, the band released a live album aptly entitled "LIVE" and the resulting single release was the live version of "I Just Want to Make Love to You", which peaked at #33 in the US and at #28 in Canada.

During the next years, the band enjoyed some chart success with their following albums and cut cover versions of rock'n'roll and blues standards for every record: Chuck Berry's "Maybellene" also for their debut (1972), Chuck Willis' "I Feel So Bad" for "Foghat (Rock & Roll)" (1973), Big Joe Turner's "Honey Hush" and Buddy Holly's "That'll Be the Day" for "Energized" (1973), Robert Johnson's "Terraplane Blues" for "Fool for the City" (1975) or Johnson's "Sweet Home Chicago" and Tampa Red's "It Hurts Me Too" for "Stone Blue" (1978). Some of them, like "Honey Hush" or "Maybellene", became part of their routine live repertoire.

One of their biggest successes came in 1975 with their album "Foor for the City", produced by Nick Jameson, who also joined the band as a bass player from 1975 until 1976. The album's single, "Slow Ride", became a #20 hit that year in the US (even # 14 in Canada) and a minor rock classic.

Foghat was known to have a restless touring schedule, which made them one of the hardest working bands in the US and a popular live act. During their classic years, they played six concerts in Arkansas, all of them in Little Rock. "I Just Want to Make Love to You" was probably part of the set list for every of their gigs there. Here is an overview of their concerts in Arkansas:

• November 18, 1972: Barton Coliseum, Little Rock, Arkansas
• March 31, 1976: Barton Coliseum, Little Rock, Arkansas
• November 19, 1976: Barton Coliseum, Little Rock, Arkansas
• April 26, 1978: unknown venue, Little Rock, Arkansas
• September 7, 1981: Barton Coliseum, Little Rock, Arkansas
• April 24, 1983: Barton Coliseum, Little Rock, Arkansas

Barton Coliseum, Little Rock, Arkansas
1950s postcard

Following their last concert in 1983, the band did an autograph signing at Hickey's Sports on Cantrell Road. Some of the songs they played included "Stone Blue", "Fool for the City", "Third Time Lucky", "Slow Ride", and of course "I Just Want to Make Love to You".

In 1984, Foghat disbanded. By then, line-up changes had occurred following the leaving of Tony Stevens in 1975 and Rod Price in 1981. The band reformed in 1994 and is active to this day under the leadership of drummer Roger Earl, who appears to be the only original member of the group nowadays. Dave Peverett has passed away in 2000, Rod Price in 2005 and long time bass player Craig MacGregor in 2018. Since the beginning of the new century, Foghat has performed two shows in Batesville, Arkansas, and one in Hot Springs, Arkansas.


1974 live appearance by Foghat on Don Kirchner's Rock Concert TV show, performing an extended version of "I Just Want to Make Love to You" (with parts of Bo Diddley's "Who Do You Love" thrown in)

Sources
Foghat set and concert list
Foghat Wikipedia entry

Wednesday, August 10, 2022

Onie Wheeler on Columbia

Onie Wheeler - I Wanna Hold My Baby (Columbia 4-21523), 1956

Onie Wheeler was a curiosity in country music. With a voice and style ahead of his time, Wheeler dabbled in country music, bluegrass, gospel, and even rock'n'roll. He was on its way to fame in the mid 1950s but took a detour that prevented him from stardom. He was rewarded with a chart hit not until the 1970s, when he hit with "John's Been Shucking My Corn". However, he is best remembered by collectors for his 1950s and early 1960s recordings.

The following biography of Onie Wheeler will be published in extended version as part of a special Vaden Records issue of American Music Magazine.


Wheeler was born Onie Daniel Wheeler on November 10, 1921, in Senath, Missouri, to Daniel Washington Wheeler (1978-1948) and his wife Clara (1882-1926). Growing up with four siblings, their mother died early and father Daniel had to raise the children alone. The Wheelers lived in Kennett, Dunklin County, by 1930, near to the Arkansas-Missouri state border. Wheeler took up the guitar but it was the harmonica that really became “his” instrument. He would take it out into the farming fields, where he would play while plowing.

While in high school, Wheeler won a talent contest and he would win several more during his stint with the US Army. He enlisted in 1940, still 18 years old, and was stationed at Pearl Harbor, Hawaii. He was one of the survivors of the Japanese attack in December 1941. He remained in the Pacific area and suffered injuries on his fingers, which limited his guitar playing to picking and playing an open G chord and bar-chording the guitar.

Upon his discharge in 1945, Wheeler decided upon a living as a country music performer and travelled the tri-state area of Missouri, Arkansas, and Tennessee during the years after the war. By 1949, Wheeler had made the move to Flint, Michigan, where he was working at a car assembly plant for earn a living for his family, which included daughter Karen (born 1947) by then. On weekends, Wheeler and his wife would perform with a band called the Lonesome Ozark Cowboys (the name being a resemblance to their home state region). The outfit made some recordings in 1949 at radio WWOK in Flint that saw release on the small Agana label: “Shackles and Chains” b/w What’s Wrong with My Daddy” (#1352/3) and “Too Young to Marry” b/w “You Shattered Many a Dream” (#1354/5).

Billboard May, 1953

Back in Missouri, Wheeler met brothers and guitarists A.J. and Doyle Nelson and drummer Ernest “Ernie” Thompson, who would become the core members of his band for the next years. Travelling to Nashville in 1953, Wheeler and his band became acquainted with Troy Martin, who helped the group to gain a recording contract with OKeh Records, at that time part of the Columbia label empire. As a reward, Martin got half of the songwriting credits on four of Wheeler’s original tunes. Supported by fiddler Jerry Rivers, the band recorded their first session on August 29, 1953, at the Castle Studio. It produced “Run ‘Em Off” and “Mother Prays Loud in Her Sleep.” While the latter became a minor classic in bluegrass gospel music and one of Wheeler’s own standards, “Run ‘Em Off” was covered by Lefty Frizzell and it became a #8 country hit for him.

Onie Wheeler, 1950s promo picture

After having a couple of follow-up singles on OKeh, Wheeler switched to its main label Columbia in 1954 and continued to record sessions in Nashville. Wheeler’s deep voice, his harmonica playing and often up-tempo song material created his very own, unique sound. Besides that, his regular band was allowed to back him on recordings, which was unusual at the time in the Nashville music business.

Today's selection "I Wanna Hold My Baby" and its flip side, the novelty "Onie's Bop", was recorded on April 1, 1956, at Music City Recording in Nashville. It was Wheeler's first session since October 1954, when he had recorded at the Tulane Hotel. The line-up consisted of Wheeler on vocals, Grady Martin on lead guitar, Ray Edenton on rhythm guitar, Bob Foster on steel guitar, Ernie Newman on bass, and Buddy Harman on drums. Both songs were the only products from this session and releases on Columbia #4-21523 in early summer 1956.

Billboard July 28, 1956

The disc soon became a good seller for Wheeler and even became Columbia's second bestselling C&W record at the end of July 1956. "Onie's Bop" received lots of airplay in areas as far away as Rosarito Beach, Mexico. However, the song did not enter Billboard's national country music charts.

Daily Standard, Sikeston, Missouri
July 12, 1956
Wheeler recorded for Sun Records in Memphis during the late 1950s but chart success eluded him. He would not record again until 1960, when John Capps recorded Wheeler for his K-Ark label, which had been founded a year earlier.

While Wheeler had made his home in Missouri previously (which was not beneficial for his musical career), he made the move to Nashville in 1962, when he and his daughter signed a recording contract with Epic. This deal would only last for a short while but Wheeler kept on recording for other Nashville based labels during the 1960s, including United Artists, Musicor, Starday, and K-Ark. Also in 1962, Wheeler had joined Roy Acuff’s band, playing tours and the Grand Ole Opry for the next two decades. Besides, he operated a guitar repair shop when not performing. Karen Wheeler also established herself as an independent artist and would record and perform under her own name as well as part of the Harden Trio.

After being nearly 30 years in the music business, Wheeler was finally rewarded with a hit. In March 1973, the Royal American label picked up his “John’s Been Shucking My Corn” (which had been originally recorded for Wheeler’s own Ole Windmill label) and the song peaked at #53. A follow up as well as an album was recorded but success went as sudden as it came.

Wheeler continued to record with minimal success well into the 1980s. He and his longtime accompanists, the Doyle Brothers, recorded a couple of gospel songs that were planned for release. In early 1984, he underwent a surgery that went well and he was back on stage in May that year and on May 25, he and the Doyles played Reverend Jimmie Rodgers Snow’s Grand Ole Gospel Time in front of a 1.500 crowd. While singing “Mother Prays Loud in Her Sleep,” he suffered a heart attack right on stage. Rushed into a hospital, it was already too late. Onie Wheeler was pronounced dead on May 26 at the age of 62 years.



Sources
• As mentioned earlier, this biography is an excerpt from a detailed Vaden Records special for American Music Magazine. All following sources were also used for the original text.

Onie Wheeler entry at Hillbilly-Music.com
Onie Wheeler entry at Fand a Grave
• 45cat and 45worlds entries
• Entry at Rockin’ Country Style
Entry at Bear Family.com
Entry at Praguefrank’s Country Music Discographies
• Adam Komorowski: “Classic Rockabilly” (liner notes), Proper Records (2006)
• Various Billboard and newspaper items (see depicted snippets for detailed source)

Wednesday, August 3, 2022

Red Yeager on Bejay

Red Yeager & Jack Danials - Tomorrow (Bejay 1344), 1970

Red Yeager, a popular country music singer in the Southwest regions of Missouri and in Northwest Arkansas, first came to my attention while writing about another act from the same area, the Reavis Brothers. Like the Reavis family, Yeager played the local venues of the Arkansas-Missouri border region, around the Branson entertainment scene and likely even south of Springfield.

Yeager was born Leonard Wayne Yeager on August 18, 1934, and actually hailed not from Missouri but from Bluff City, Arkansas. Born to Claude L. and Irma Yeager, he served in the United States Marine Corps as a young man.

By the late 1950s, Yeager had taken up music more or less professionally and managed to get his first release out in early 1960s. "Tears In My Eyes" b/w "Must That Someone Be Me" were recorded for the Capo label (CP-002), which was affiliated with Sundown Records from Pico, California. How Yeager ended up on a west coast label is a riddle still to solve.


Billboard March 21, 1960, C&W review

It was not until ten years later that a second disc appeared by Yeager, this time on Ben Jack's long running Bejay label from Fort Smith, Arkansas. Jack also owned a recording studio and it is probable that these tracks were recorded there. Yeager cut two classic country tracks, "Tomorrow" and "Send My Heart Back Home" (Bejay #1344), both duets with Jack Danials (likely a pseudonym or stage name).

It is likely that Yeager continued to perform well through the 1970s and 1980s but there is no documentation of such activities. Through my research of the Reavis Brothers, I made contact with Yeager's daughter but unfortunately, further correspondence with her fizzled out.

Red Yeager died December 30, 2015, at the age of 81 years in Fayetteville, Arkansas.

See also

Sources

Wednesday, July 27, 2022

Buddy & Jack Keele on Eugenia

Buddy Keele and Ozark Melody Boys - Time After Time (Eugenia #1002), 1964

I have featured the flip side of this record a few months ago and thought I'd share this side, too, as I was able to dig out some information on the artists.

Apparently, Jack Keele and the Ozark Melody Boys hailed from Missouri. Carvin Campbell "Jack" Keele was born on August 25, 1918, in Illinois. However, his father, Arthur Lucien Keele was born in Missouri and by the time Jack Keele was two years old, the family had moved back to that region. It seems that Keele spent most of his life in Missouri and by the mid 1950s had assembled a country band named "Ozark Melody Boys".


The Current Local, Van Buren, Missouri, April 28, 1955

In the mid 1960s, they got the chance to record for Style Wooten in Memphis and cut "Memories of You" / "Time After Time" for Wooten's Eugenia label (#1002). The vocalist on this record was Buddy Keele, one of Jack Keele's children. Buddy and Jack remained active in the music scene and in 1975, Buddy Keele cut another single record for the NSD (Nashville) affiliated Carvin record label, likely owned by Jack Keele. The single featured "Walking Into Your Life" b/w "Tell Me a Lie" (Carvin #101).

Buddy Keele had a career as a musician on his own in St. Louis, Missouri, playing a club six nights a week for 15 
consecutive years with his own band, known as the "Buddy Keele Band" or "Buddy Keele and the Swingers". He and his wife bought their own club eventually, where Buddy Keele continued to perform. He semi retired from music in 2003, moving back to Van Buren but kept karaoke as a hobby. He fully retired from music in 2023 at the age of 80 and currently resides in Indiana following his wife's death.

His father Jack Keele died on March 21, 1983, and is buried in Poplar Bluff, Southeast Missouri. I only found access to these information as Jack Keele's grandson posted a short comment under my first post on his father's group and revealed his identity. Another insight into their careers was given by Laura Keele, Buddy's daughter.

Wednesday, July 20, 2022

Roy Sneed on Valley

Roy Sneed - I'll Be So Blue Tomorrow (Valley V-111), 1954

Today, we feature a lesser known artist that had a couple of records out in the 1950s. He was active out of Knoxville, Tennessee, and his name was Roy Sneed. I was familiar with his name for a couple of years but have not researched his story until recently while working on my Vaden Records cover story for American Music Magazine.

Roy Lee Sneed was born August 1, 1924, in Mendocino County, California, to Roy Robert and Marie Sneed. Although he was born in California, his family hailed from Tennessee and Sneed's acestors lived there from the 1820s onwards. By 1945, Roy Sneed had returned to the Sneeds' home state in Meigs County, Tennessee, where he married Ruth Fern Bolen on February 4 that year.

Sneed's musical career likely began in the late 1940s, when he became a member of William Moore's Country Cousins around 1949. Moore, who recorded for Acme and 4 Star during the years 1949-1950, also saw two of his original Acme recordings released on Arlen Vaden's Vaden record label out of Trumann, Arkansas. While researching a little on Moore, I spotted the connection with Roy Sneed.

With the Country Cousins, Sneed made his debut on record. He wrote a couple of songs for the band, namely "My Heart is Filled with Tears" and "Come Along to Tennessee," which he co-authored with William Moore and took over the vocals on the band's recording for Acme in 1949 or 1950. The outfit also recorded a single for Dot in 1950, on which Sneed appeared with "Chattanooga Stomp." By 1950, Sneed was also working regularly on WROL in Knoxville, Tennessee, and became a member of the Playhouse Gang, the house band for Archie Campbell's TV Show "Country Playhouse."

In 1951, Sneed made connections with the Chicago based blues label Job Records and had his first solo disc out. "Don't Make Me Go to Bed (and I'll Be Good)" b/w "Too Young for Love" was one of the label's earliest releases and one of the few country 45s turned out by the company. However, Sneed still made Knoxville - or, more precisely, Decatur - his homebase and a year afterwards, joined another Knoxville act, Bill Carlisle's new band: the Carlisles. Sneed played guitar and sang bass with the group that recorded for Mecury and started making hits with such country bop recordings as "No Help Wanted," "Knot Hole" and "Is Zat You, Myrtle?". 1953 saw Sneed joining WNOX and he became a regular on different programs of the station. He became part of the popular Tennessee Barn Dance, a live stage show out of Knoxville, as well as the Mid-Day Merry-Go-Round.

Cash Box February 6, 1954

Sneed's next recording came in 1954, when he recorded for local Knoxville label Valley Records, owned by Jack Comer and Dave Garrison. The label had earlier releases with hot country boogie discs by Reece Shipley, for example. Sneed's "Turn Around Boy" b/w "I'll Be So Blue Tomorrow" was released on January 20, 1954, and soon proofed to be a top seller for the label. Cash Box spotlighted Sneed in early February and a deal was arranged, which made the songs also available through the London label in Great Britain, issued in May. Sneed also made guest appearances on two of the country's leading country music shows, the Grand Ole Opry and the Louisiana Hayride.

To Sneed's disadvantge, the Valley label became dormant afterwards, so a follow-up to his promising single never materialised. Sneed would not record again until 1956, when two discs appeared on the Scenic label, a small scale custom imprint manufactured by 4 Star Records. They likely saw only little distribution and brought Sneed no success. It would take another two years before Sneed had a new release out, this time again on the reactived Valley label, "That Same Old Dream (About You)" b/w "Maverick." The latter is often described as rockabilly, although it is rather a country-pop styled number.

Likely in 1965, Sneed had another record out on the Miami Beach, Florida, based Alta label. How Sneed ended up on this far away located company is another riddle to solve. He had two more records on Hala (1967) and Potts (1968), before he would turn out what would be his final record, a live album entitled "Roy Sneed and the Western Gentlemen" in 1971 on the Custom Fidelity label.

In later years, Sneed moved to Merritt Island, Florida, where he passed away on June 6, 2005, at the age of 80 years. He was buried at Pleasant Hill United Methodist Church Cemetery in Meigs County, Tennessee.

If somebody out there has more info on Roy Sneed, William Moore's Country Cousins or any another act mentioned here, please feel free to send me a message.

Recommended reading
Roy Sneed 45 discography at 45cat
Roy Sneed 78rpm discography at 45worlds
Full session discography on Praguefrank's Country Music Discographies
Songs of Appalachia: a guitarist's guitarist

Additional sources
Find a Grave entry
Hillbilly-Music.com entry
WikiTree entry
• Charles K. Wolfe - Classic Country: Legends of Country Music (2002), Routledge

Tuesday, June 7, 2022

Alvis Wayne on Westport

Alvis Wayne - Don't Mean Maybe, Baby (Westport 138), 1956

Alvis Wayne is a familiar name to many of the hardcore rockabilly collectors. Ironically, Westport's most commercial recording artists never visited Kansas City nor did he had even contact to the label's owners.

Alvis Wayne Samford was born on December 31, 1937, in Paduka, Texas, being one of four children. Because of the depression, the Samfords were very poor and moved around a lot in constant search of work. Wayne spent most of his early years in rural Texas until the family found a home in Corpus Christi in 1953. Music was a part of the young boy's life early on and his main musical influences became country music singers such as Jimmie Rodgers, Hank Snow, Bob Wills, and others. But as it was for many who later became rockabilly singers, he also heard some rhythm and blues on the radio.

At at the age of ten, Wayne received his first guitar from an aunt and first learned to play "Goodnight Irene". Around the same time, he saw Bob Wills performing in a town near San Antonio. By the time he was 13, Wayne was playing night clubs on Friday nights and got to know a musician called Anthony Wayne Guion, who had a band he called "Tony Wayne and the Rhythm Wranglers". The group was on tour playing honky tonks and clubs at night and Alvis Wayne soon was asked to be part of the band. His family wasn't happy with it at all but his parents finally agreed and so Wayne went on tour with the Rhythm Wranglers in 1956.


Alvis Wayne, 1950s promo picture

Tony Wayne booked gigs in South Texas that were not paid very good and they went home to Corpus Christi after they learned it was too hard being on the road without money and even without food. Alvis Wayne then joined Al Hardy's western swing band and played regularly in Hardy's club. By the summer of 1956, Tony Wayne had contacted the Ruf brothers in Kansas City, Missouri, who ran the Westport record label. They gave Tony Wayne and the band a recording contract and asked for some rock'n'roll songs. Both Tony and Alvis Wayne, at that time, mainly sang country music but that didn't matter. Tony Wayne had already written a couple of songs for a recording session which he intended to be sung by his young protégé Alvis.


Billboard January 20, 1958
Wayne went into a small studio in Corpus Christi in July 1956 to record "Swing Bop Boogie" b/w "Sleep Rock-a-Roll Rock-a-Baby" as well as the unissued cut "Heartbreak". Although Tony Wayne's band was credited on the record label as the background group, it was in fact Al Hardy's combo that provided the music that day. Released ca. September 1956, the record only sold locally but secured some airplay on small stations.

Wayne was back in the studio around September 1957 (other sources state the session was already cut in late 1956), recording the raw and classic "Don't Mean Maybe, Baby" as well as the ballad "I'd Rather Be with You", which became probably his best selling record. The same session also produced "I Gottum", which saw release not until the 1970s. Both "Don't Mean Maybe, Baby" and "I'd Rather Be with You" were written by Tony Wayne and were coupled on Westport #138, released in early November 1957 and the record sold very well in South Texas. It even secured a release in Australia on Bell and was also issued in the early 1960s on Starlite in the UK.

Both records made Wayne a local celebrity and he went on the road through Texas and also played the Louisiana Hayride. 1958 saw his final release on Westport with "Lay Your Head on My Shoulder," a song written by James Bacon, who had a doo-wop group. Tony Wayne arranged a session in a Houston studio with Alvis being backed by studio musicians and Bacon's singers.

By 1960, Wayne decided to quit his music career and joined the Air Force. He never gave up performing but reduced it. He cut two records in the 1960s and also recorded for Ronnie Weiser's Rollin' Rock label in the 1970s. The rockabilly revival secured Wayne new fans in Europe and he began to appear on shows there. He also returned to the studio several times, releasing two albums in the new century. In later years, his health caused him to cease his performing activities and he spent his last years in Corpus Christi. Alvis Wayne died on July 31, 2013.

Wednesday, June 1, 2022

J. Allen Gann on Philwood

J. Allen Gann - I Want You (Philwood P-238), 1973/74

I bought this disc several years ago and always intended to post it here but never really followed through with it. Until now, when I found time to sit down and do a little research on J. Allen Gann and his career in music. What I found is not the ultimate biography of Gann but at least I found some hints and snippets that I can puzzle together for this post.

Who was J. Allen Gann? I cannot answer this question satisfactorily. There was a J. Allen Gann (born August 26, 1930 - deceased December 9, 1994), who is buried at Holly Springs Cemetery in Harrisburg, Arkansas, which could be the person we are looking for. However, I haven't found a final proof for this theory.

For his career in country music, Gann was obviously drawn to the city of Memphis. The first known release by Gann appeared in the late 1960s on one of Style Wooten's custom labels, Hazel Records (although listing the Memphis suburb Southaven, Mississippi, as location). It comprised "Walking Tall in Heaven" and "A Whole Lot of Whys" on Hazel #1226. Gann stayed in Memphis and followed up with a single on Tom Phillips' Philwood label. Tom Phillips, one of Sam Phillips' brothers, also operated the Select-O-Hits record store on Chelsea Avenue in Memphis. Philwood released numerous discs by such Memphis acts as Charlie Feathers or the Bogard Brothers. Gann recorded two up-tempo country numbers, "I Want You" and "Takin' a Lot" (Philwood #238), which saw release in either late 1973 or early 1974.

Catalog of Copyright Entries, 1973


At one point, Gann made the move to Nashville, where he cut at least one more record ("Road to Nashville" b/w "Talk to Me Mama", World Productions #501). BMI has listed 18 songs by Gann (also as "Junior Allen Gann"), some of them were co-written with female songwriters (one being Shirley A. Gann, either a sister, daughter or his wife).

There is a video on YouTube that has some conversion of Gann family members but my attempt to contact them has failed so far. If anyone out there has more information on J. Allen Gann, feel free to pass it along.

Sources
- 45cat entry
- BMI search
- Find a Grave entry

Tuesday, April 12, 2022

Johnny Tolleson on Chance

Johnny Tolleson - You're In Love with Yourself (and Not In Love with Me) (Chance 31761), 1961

The Chance label out of Fayetteville, Arkansas, released a handful noteworthy rock'n'roll singles, among them was John Tolleson's debut on record, "Summer Love 'N Summer Kissin'" b/w "You're in Love with Yourself" (Chance 31761). Tolleson's short-lived career has remained in obscurity more or less, though being a mainstay on Fayetteville's music scene during the late 1950s and early 1960s. 

Born John H. Tolleson on July 29, 1937, in Board Camp, Arkansas, a tiny place south of Fort Smith in the western region of the state, he learned to play piano through his mother when he was five years old. This started his live-long passion for music and he eventually also learned trombone and drums. When Tolleson was eight years old, the family moved to Greenwood, Mississippi. Upon finishing high school, he joined the University of Arkansas at age 17 and moved to Fayetteville.

There, he joined the Razorback Marching Band on trombone and also performed with Bob Donathan's orchestra. In 1957, when rock'n'roll had captured America, Northwest Arkansas was no exception and Tolleson moved in with the new sound. He founded his own band, John Tolleson and his Bunch, which started likely playing local gigs in Fayetteville. Soon, they must have built up a reputation as they accompanied Conway Twitty and his band on tour through Canada during 1958-1959, serving as Twitty's opening act.

Returning to Arkansas, Tolleson graduated from University with a bachelor of science in education, main emphasis music, but followed up with a bachelor in business administration, which he earned in 1961. That same year, Tolleson got the chance to release his first record. Shortly before, Phil Eagle had formed his own label, Chance Records on East Center Street in Fayetteville, and Fayetteville being a college town, the city had many talented rock'n'roll acts to offer. And many, if not all, were eager to have their own record out. The first one of them was Tolleson.

Billboard August 21, 1961

Tolleson recorded his two self-penned songs "Summer Love 'N' Summer Kissin'" b/w "You're in Love with Yourself (And Not in Love with Me"), which were released in August 1961 on Chance #31761. Even Billboard took notice of the record but as it was obvious, it did not become a national hit. Tolleson also recorded a couple of unreleased tapes for Sun Records in Memphis, which saw the light of day for the first time in 1999 on a CD of Bear Family's "That'll Flat Git It!" series.

After 1961, Tolleson moved to Mason, Ohio, where he began to work for the Baldwin Piano & Organ Company for the next 36 years. During his time with the company, he lived in Cincinnati, Chicago, and Phoenix, eventually becoming vice president of domestic sales. After his retirement in the 1990s, Tolleson returned to Fayetteville and took a job with the University of Arkansas. He died October 6, 2020, at the age of 83 years.

Sources
University of Arkansas obituary
Entry at the UARK David and Barbara Pryor Center for Arkansas Oral and Visual History (including pictures from Tolleson's rock'n'roll days)
Echoes of the Ozarks: Taking a Chance on Fayetteville's Talent
Discogs

Tuesday, March 22, 2022

Gene Autry on Columbia

Gene Autry - Back in the Saddle Again (Columbia 4-20084), 1951

I have been a fan of Gene Autry's music for many years, so I couldn't pass this record when it popped up recently. The label of my copy is a bit damaged and seems to lose connection with the vinyl but it plays great though. "Back in the Saddle Again" ranks among my Autry favorites - besides such songs as "That Silver-Haired Daddy of Mine" (one of his earliest recordings), "Riding Double", "Have I Told You Lately That I Love You", "Can't Shake the Sands of Texas (from My Shoes)", or his versions of "South of the Border" and "You Are My Sunshine" (I could continue this list with several other titles). Autry was an extremely popular performer and actor, so the information provided here may not be new to you but I can't help but give you a little insight on his career and this particular disc.

"Back in the Saddle Again" is one of Autry's best remembered hits. Co-written with fellow western singer and actor Ray Whitley, the song became his signature song and was first released in September 1939 on Vocalion #05080, originally as "Back to the Saddle", and re-recorded by Autry for OKeh in 1940 under its correct title. It was an instant hit and was reissued several times in the years to come, including this issue from 1951, which was actually part of a record set with some of Autry's most popular hits.

Orvon Grover "Gene" Autry was born on September 29, 1907, near Tioga, Texas. Autry worked for the railroad in the 1920s, where he met his mentor and companion Jimmie Long, and also appeared on radio in Oklahoma. He signed his first recording contract with Columbia in 1929, previously auditioning unsuccessfully at Victor with Long. Autry also performed on the famed National Barn Dance on WLS in Chicago during these years. From 1930 through the early years of that decade, Autry recorded for Victor, Gennett, but mostly for the American Recording Corporation (ARC), often with Jimmie Long, and his recordings were released on a plethora of ARC labels like Perfect, Conqueror, Oriole, Banner, among others. His style during these years was heavily influenced by Jimmie Rodgers - in fact, Autry was one of many Singing Brakeman sound-a-likes. His sound was guitar and blues based and lyrically often included sexual connotations. In later years, Autry would relativize or even deny Rodgers' influence on him (similar to Jimmie Davis).

The year of 1934 saw Autry's first movie engagement for a Ken Maynard western production. At that time, movie studios tried to develop a new style of western with a "singing cowboy". Most of the western actors, including a young John Wayne, tried their hands at singing during this time but most of them had not a talent for it. Although Autry would appear in only one scene in his first movie, it was a success and he already starred the next movie. In addition, ARC records were sold and advertised through Sears-Roebuck warehouses and his face became known all over the country. Autry soon became the first star of this new genre called western or cowboy music and its accompanying B western movies.

Movie poster of "Ride Ranger Ride"

Western music today is known as a style or variation of country music but actually is a genre of its own (although connected and affiliated with country music and its root forms). The historic cowboy songs were often performed a Capella or with sparse instrumental accompaniment, mostly harmonica, guitar, or jew's harp, but by the 1920s often featured accompaniment by guitar, fiddle, or banjo. Actually it was one of Autry's early innfluences, Jimmie Rodgers, who recorded a couple of well selling songs in which he began to glorify and create the romantic life of cowboys in the wild west, therefore shaping the image that became so important for western music. Musically, the music began developing into a style that drew heavily from other popular genres, including jazz. Guitars, fiddles, and upright bass were used but also accordion, harmonica, and sometimes even wind instruments. Therefore, a style was created that had more in common with western swing than with traditional folklore. And Gene Autry became its first star.

Cover of one of "Autry's Aces" fan magazine issues

Until 1942, Autry could be seen in countless B-western movies in which he had enough opportunity to sing his songs, which were released on record at the same moment, selling well throughout the country. Often appearing with him was his sidekick Smiley Burnette. During World War II, Autry fought overseas as a pilot and when returning home, he had to find out that Roy Rogers from the Sons of the Pioneers, another successful and influential western group, had eclipsed him in popularity. While Autry's career as an actor never achieved the same level as before the war, his recording career remained as successful as it was. Until the early 1950s, he regularly achieved high chart positions in Billboard'c C&W charts and scored a couple of Christmas hits in the late 1940s that also crossed over into the pop charts (most notable "Rudolph, the Red-Nosed Reindeer").

Promotional picture of Autry and his horse "Champion"

By the mid 1950s, his records didn't find entry into the charts anymore and movies about true and brave singing cowboys were outdated. Autry concentrated more on business, purchasing several hotels and even a baseball team. He also founded the west coast based Challenge record label, which had a big hit in 1958 with the rock'n'roll instrumental "Tequila" by the Champs.

Autry retired from show and music business in 1964 but continued to invest in real-estate as well as radio and television firms. He was inducted into the Country Music Hall of Fame in 1969 and into the Nashville Songwriters Hall of Fame in 1970. Gene Autry died on October 2, 1998, in Studio City, California, at the age of 91 years.

Sources

See also
I recommend reading the Wikipedia article on Western Music (the German-language article on this topic is even better), a genre often overlooked in context with country music.

Tuesday, March 8, 2022

Buddy Keele on Eugenia

Jack & Buddy Keele & Ozark Melody Boys - Memories of You (Eugenia 1002), 1964

This record comes from a batch of Style Wooten 45s that I bought recently from Bruce Watson, the man who opened his massive Designer Records collection for Big Legal Mess that in turn released an amazing 4CD reissue set of Memphis gospel recordings a couple of years back.

Finally, this gem and milestone of Style Wooten legacy is in my possession. This is not like Slim Dortch's "Big Boy Rock", the holy grail of Eugenia Records, but I won't lie when I tell you that Buddy Keele's Eugenia record was on my want list, too. The music is nothing special, though I like it very much. Both "Time After Time" and "Memories of You" are relaxed country music and the recordings have a rural charme, comparable to Buck Trail's "Young Sweethears". This is one of Style Wooten's earliest productions from 1964 and the music sounds quite out of date for mid 1960s Memphis but there were still artists that performed this kind of music and people who enjoyed listening to it.

I have compiled the info I found Jack & Buddy Keele in another post about them. Actually, "Mailing My Last Letter" from Slim Dortch's Eugenia record as well as his "A Long Time" and "Broad Tennessee" from Dortch's Lightning Ball single have that same rural sound and I wonder if the Ozark Melody Boys were backing him up on that number.

See also:
The Ballad of Big Style Wooten
Eugenia Records discography
Buddy & Jack Keele on Eugenia

Wednesday, February 16, 2022

Okie Jones on Majestic

Okie Jones and the Sunset Starliters - Kiss Away (Majestic 10-1358), 1958

I didn't really buy this record because I needed it but I was curious because the label design looked liked to be one of Major Bill Smith's productions. And what can I say? It really is. You can identify it prominently because of the Lebill publishing but also because of the distinctive design of the yellow label. Actually, this appears to be one of Smith's earlierst works. His name should be familiar with every collector who is familiar with 1950s and 1960s local music and so am I but I did not deal with his story until my work about Curley Jim Morrison, who worked with Smith in the 1960s and 1970s in Fort Worth.

However, today we want to pay attention to the artist of this disc, Okie Jones. He was born Otho Eugene Jones on August 14, 1930. He was a native of Fort Worth, Texas, and his parents Howard Rufus Jones and Ina Rue Francis Jones had a total of four children.

In 1949, Jones made his first recordings for Bill Quinn's Gold Star label out of Houston. "Stop, Look and Listen" b/w "Foolish Heart" were released as by "Gene Jones" (Gold Star #1382). Possibily through Quinn, Jones landed a recording contract with major Columbia Records and recorded a total of three sessions for the label - two in Nashville, one at Jim Beck's studio in Dallas. It was on Columbia that he first appeared as "Okie" or "Oakie" Jones. Columbia released Jones' recordings between January 1951 and August 1952, however without noteworthy chart success. At some point in the early 1950s, Jones joined the US Army and served in the Korean War. Upon his return, he resumed his career in the music business and became a member of Little Jimmy Dickens' road band, performing with such noted musicians as steel guitarist Buddy Emmons. This engagement lasted probably until early 1956.

Promotional picture of Okie Jones and Little Jimmy Dickens

During the 1950s, Jones appeared on such big shows as the Louisiana Hayride, the Big D Jamboree, and the Cowtown Hoedown from Fort Worth. Major success eluded him, however, much likely also due to a missing recording contract with a major label. From early 1956 until around April 1957, Jones was working in Detroit as part of Casey Clark's Lazy Ranch Boys. It was during this time that he recorded his next single for the Sage & Sand label, backed by the Lazy Ranch Boys. After his engegament with Clark, Jones returned to Texas circa in May and worked the Red River Jamboree out of Paris, Texas.

Billboard May 13, 1957

Today's pick from 1958 falls into this time frame. The Majestic label, based in Jones' hometown of Fort Worth, seems to be Major Bill Smith's first venture in the recording business, prior to his leaving of the US Army and the subsequent founding of LeCam Records in 1959. "I Borrowed from Peter (to Pay Paul)" b/w "Kiss Away" (Majestic #1358) was released by Smith at the end of 1958 with Billboard reviewing the disc on November 24 that year. The band on the recordings, dubbed as the Sunset Starliters, may be Jones' regular band, which had been known as the Western Starliters a year before. Distribution was likely non-existent at that stage of Smith's venture and aside from this, the song material's questionable quality added possibly to the failure of this record.

Catalog of Copyright Entries

Billboard C&W review November 24, 1958

Jones was also a bit of a songwriter and composed a lot of his recorded songs on his own. He also co-wrote "Strictly Nuthin'" with Frankie Miller, who recorded the song for Starday in 1960. Jones moved away from his Texas stomping grounds in the 1960s and concentrated on his ties to the Nashville scene. He worked as Marty Robbins' bus driver (as well as his unofficial business counselor) for ten years and later drove bus for Hank Williams, Jr. for another five years. Jones recorded his last single in 1966 for Red Wortham's Sur-Speed record label, which was based outside of Nashville in Bon Aqua (see here for Sur-Speed's history). After his retirement from the music business, Jones enjoyed working on his farm and lived outside of Nashville in Readyville with his wife Madeleine, whom he married in 1985.

By then, Okie Jones was hardly remembered outside the hardcore country music record collectors scene. Two albums of his works appeared in more recent years: one compiled by the Hillbilly Researcher team issued in 2003 and another one in 2012 by the archivists of the British Archive of Country Music, which was a joint release with Neal Jones. That same year, Jones attented the release event of Diane Diekman's Marty Robbins biography "Twentieth Century Drifter" at the Country Music Hall of Fame. Jones had contributed valuable information to the book through a phone interview with the author.

Okie Jones died on November 20, 2017, at his home in Readyville, Tennessee, at the age of 87 years. He is buried at Coleman Cemetery in nearby Murfreesboro.

Billboard March 3, 1956

Jim Bulleit Music Corp. advertisement in Billboard Febuary 23, 1952

Discography
For discographies of Okie Jones' 78rpm and 45rpm releases, see 45worlds and 45cat.

Sources
Find a Grave entry
Rockin' Country Style entry
Hillbilly-Music.com entry
Session and record discography at Praguefrank's Country Music Discographies

See also
Steel Guitar Forum
Audio file of Okie Jones at the Country Music Hall of Fame