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)

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)

Lynn Pratt's Hornet label

Tammy Locke - C. B. Queen (Hornet HO-1013)

While there are only snippets of info available on Tammy Locke except for the fact that she recorded one single for Lynn Pratt's Hornet label in the 1980s, Lynn Pratt's career has been spotlighted a bit more. Thus we concentrate not on Locke but on Pratt and Hornet Records in this post.

But first, let us take a look on Tammy Locke. Locke performed with her family as a band, first called the Memphis Hillbillies, then they went as the Tammy Locke Show (derived from her "success" with the Hornet single), and finally as B.J. and the Bears. Her father was B.J. Whitman, who, along with his wife Jean and his three children, made up the band. They performed around Memphis for several years and had their own live stage show called "Nashville South Show" in Southaven, Mississippi, a suburb of Memphis. Concerning her daughter's record, Jean Whitman told a newspaper once: "She's still singing it at the show on Saturday nights, but only if it's requested."

So far, so good concerning Tammy Locke. Now, we focus on the owner of Hornet Records. By the time Lynn Pratt made his first commercial recordings in 1956, he was already 30 years of age. Nevertheless, Pratt waxed some of the hottest rockabilly music that ever came out of Tennessee. He was not one of the young singers imitating Elvis Presley. Pratt had a style of his own, developed by dint of his country music background and the unique but highly interesting musical circumstances.

Leonard Hugh “Lynn” Pratt’s birthday and birthplace are disputed. Country and rock’n’roll researcher Adam Komorowski mentions Pratt was born in 1927 in Lexington, Tennessee. However, Pratt was actually born on April 9, 1926 in Sugar Tree, Decatur County. A rural area in West Tennessee, it is located on the Sugar Tree Fork about 32 miles northeast of Lexington. He was the son of Walter Erie “Dutch” (1889-1962) and Amy Pearl (Baker) Pratt (1891-1967) and had four brothers (Walter Perry, Willie Earl, Clifford Clay, Carl David) and four sisters (Bonnie Lee, Berna, Doris, Verna Mae). Pratt’s family hailed from Decatur County but lived in Henderson County by 1913. By the time Pratt was born, they were again residing in Decatur County but moved back eventually, where most of the family members would spend much of their lives.

In 1939, Pratt attended a Saturday evening Grand Ole Opry show at the Ryman Auditorium in Nashville, which impressed him very much. He had the chance to talk to some of the musicians after the show’s end and left Nashville with the determination to become a musician in his own right. While still in high school, he founded his first band. During World War II, Pratt joined the US Navy and served in the South Pacific. There, he played and performed as much as he could. After the war, Pratt began to travel through Arkansas and Missouri in order to promote products of the Continental Drug Company as a singer over radio and at personal performances. He returned to Tennessee in 1948 and made nearby Jackson, Tennessee, his home base. Pratt was earning his living as a barber at some point in his life but it is unclear if he kept it as his day job or if he was able to make his living out of music, at least for some time.

It is assured that Pratt auditioned for Sun Records in Memphis, Tennessee, to no avail. Tapes were found in the Sun vaults under his name, including “If I Can’t Have You.” A friend of Pratt’s, Danny Hudson, recalls that Pratt began recording for Sun around 1954: “Lynn started recording at Sun Records in the 1950s before Cash, Perkins, Lewis, Presley, etc. had hits. Sam Phillips decided not to publish Lynn's songs, so Pratt left Sun […].” “If I Can’t Have You,” however, sounds it was recorded about 1956 or later. The recording featured a rhythm and electric lead guitar as well as drums plus Pratt’s vocals.

Lynn Pratt, ca. 1960s

By 1956, Elvis Presley had his first #1 hit with “Heartbreak Hotel” on RCA-Victor. Lynn Pratt was impressed with the new style of music and although Sun had refused him, he did not give up and set up his own record label in Lexington, which he called Hornet Records. Hornet was a tiny label operated by Pratt from his home on Summer Street. At that time, his regular band consisted of Pratt on vocals and rhythm guitar, James „Ikey“ Hauner on lead guitar, Charles F. “Charlie” Roach on steel guitar, Bill Grantham on piano, A.J. Maness on bass and Henry Hays on drums. Charlie Roach had previously performed with Red Rolison, Charles Moore, and Jimmie Rhodes in a band and also founded Westwood Records in Jackson, Tennessee, in the summer of 1959 and recorded a lot of artists from that point on. Regarding the other band members, nothing can be told of them.

Pratt organized a recording session at radio WSIX in Nashville with his band in 1956 (possibly without drummer Henry Hays) and laid down “Tom Cat Boogie” b/w “At Night Time.” The top side is a fine rockabilly song with enjoyable lead guitar and piano breaks. The songs were released that year on Hornet #1000 and proofed to be a strong seller for Pratt, at least regionally. It peaked at number one in several local charts and the success of his first single led to performances with Lefty Frizzell, Carl Perkins, Johnny Cash, and Jerry Lee Lewis.

During the next three years, Pratt cut three more singles for Hornet. The next to come after “Tom Cat Boogie” was “Troubles” / “I Don't Need” (Hornet #1001), two songs that pointed more towards country music. On his recordings of “They’re Learning” and “Come Here Mama,” released on Hornet #1002, Pratt and his band however laid down two very hot cuts. “Come Here Mama” is a variation of the old folk standard “Mama Don’t Allow (No Low Down Hangin’ Round),” which had been recorded by countless artists, including Riley Puckett (Columbia #15261-D, 1928), the Allen Brothers (Bluebird #BB-5448, 1934), a rockabilly version by Vern Pullens entitled “Mama Don’t Allow No Boppin’” (unreleased, 1956), and Billy Wallace (Sims #120, with Jimmy King, 1961).

His last single on Hornet consisted of a cover of Sonny Burgess’ classic rocker “Red Headed Woman” and “I Cried All Night” (Hornet #1003). Burgess had recorded “Red Headed Woman” in 1956 for Sun Records in Memphis (Sun #247) and already at that time, it became a favorite among rock’n’roll performers in Tennessee, Arkansas, and Missouri. Bobby Crafford, the Jokers, the Rebel Rousers, and Wayne Worley, all recorded this song. On Pratt’s release, he was backed by the Jubilaires Quartet, a vocal group that has remained in obscurity since.

Apart from “Red Headed Woman,” all releases were penned by Pratt, who was an accomplished songwriter and owned Hugh Publishing in Lexington. But at the time of the release, publishing credits were split between Vol. Music Publ., Old Judge Publishing, and Bluff City Publishing. Interestingly, Old Judge also published songs on Chesley Sherod’s House of Sound label in Memphis, including “Real Cool” / “Want to Be Wanted Blues” (House of Sound #C&S 504, 1957) by Aubrey Cagle and “She’s Jail Bait” / “Sputnik” (House of Sound #C&S 505, 1957). Likely owned by Charles Matthews, Old Judge also published a lot of material released on Matthews' OJ label in Memphis.

In 1959, Pratt also recorded a singer named Carne Pitrello on Hornet. Pitrello was from New York and, contrary to widely held beliefs, was not a pseudonym for Lynn Pratt. He recorded a version of “When the Saints Go Marching In,” renamed simply as “The Saints,” and “You Belong to Me” (Hornet #1004) in 1959. “The Saints” was a wild version with guitar and piano breaks as well as an effective drummer’s performance. Interestingly, Pratt claimed songwriting credits for “The Saints” (Bluff City Publ.).

Unfortunately, all subsequent releases after “Tom Cat Boogie” failed to stimulate the same success. By 1965, Pratt and his band had given up playing music and recording. Nevertheless, Hornet was never closed down by Pratt and continued to exist well into the 1980s. For many of his 1980s prodcutions, he used Arlue Studios in Jackson. Some of his friends and discoveries still recorded for the label but only few copies of each release were pressed. Pratt turned to producing and promoting in the 1960s and produced a show called “Tennessee Jamboree,” which may have been the same show that was broadcasted out of LaFollette, Tennessee, over WLAF. His friend Danny Hudson also stated Pratt was one of the persons who discovered Loretta Lynn (which is doubtful, however).

Pratt promoted countless country music shows at venues in Lexington and Jackson, booking such artists as Freddie Hart. He also continued to perform locally and worked as a barber daytime, thus becoming known as the "singing barber".

Lynn Pratt, ca. 1970s. Photo taken from the back of
Collector LP #CSL 2304

By the 1970s, Pratt had been involved in several social and municipal affairs, including the local school board, the Lexington Fair Association, and the Henderson County Cancer Society. He was also at one time the owner of the Henderson County Times newspaper and booked many national acts for local shows, including Conway Twitty and Alabama. By the 1970s, Pratt’s 1950s songs were rediscovered by music collectors in Europe. In 1975, the Dutch Collector label released a LP entitled “Super Rock ‘a’ Billy,” which included several tracks by Pratt. Also, it was probably Collector’s owner Cees Klopp who first interviewed Pratt during one of his visits to the US. Since, Pratt’s recordings have been re-released on numerous compilations in both the United States and Europe. Also, other Dutch collectors like Hank van Broekhoven and Mike Arts came to visit Pratt in Lexington and to interview him for their "Rockville" magazine.

Pratt erased some controversy when he started out as a movie maker, directing and writing a movie called "Revenge in the First Degree". It was a low-budget "sex-and-violence" film made for the home video market. It premiered at the Princess Theatre in Lexington and Pratt was well aware of its polarizing content but, as he was cited in the Jackson Sun, "there's a hunger for raunchy, R-rated stuff on the home video rental market."

In later years, Pratt began recording again. His first album was called “Lynn Pratt & Friends – Honky Tonk Country in Old Traditional Style.” In 1999, Pratt recorded his last full length album entitled “Country Living,” which also featured new versions of “I Don’t Need” and “At Night Time” as well as a reworking of “Tom Cat Boogie” entitled “Tennessee Boogie.”

Lynn Pratt died on January 19, 2002, in Lexington at the age of 75. He is buried at the Henderson County Memorial Gardens in Lexington.

Hornet Records Discography

1000: Lynn Pratt – Tom Cat Boogie / At Night Time
1001: Lynn Pratt & the Tomcats – Troubles / I Don’t Need
1002: Lynn Pratt and his Rhythm Cats – They’re Learning / Come Here Mama
1003: Lynn Pratt with Jubilaires Quartet – I Cried All Night / Red Headed Woman
1004: Carne Pitrello – The Saints / You Belong to Me (1959)
1005:
1006:
1007:
1008:
1009:
1010:
1011:
1012: Don Rhodes – She Never Had No Intention / Gonna Find Me a Lady (1984)
1013: Tammy Locke – C.B. Queen / Truck Driving Daddy
1014: Dennis Smith – Just One More Time / I See a Good Night in Her Eyes
1015: Talmage Hawkins – A Toast to Her and Him / When I Think About My Woman

LP-009: Rayburn Anthony - I've Been Loved By You Today

Robbyn Records Discography

RR-001: Linda Charlene - The Gypsy Told Me / If You're Comin' Home (1982) 

Sources:

• Entries for Lynn Pratt and for Hornet Records at 45cat
• Adam Komorowski: "Classic Rockabilly" (Proper Records), liner notes, 2006
• Thanks to Danny Hudson for his input on Lynn Pratt
• Special thanks to researcher Volker Houghton, who was kind enough to share several newspaper articles with me.

The OJ label

The beginnings of the OJ record label in Memphis probably date back to late 1956. Founded by Charles G. "Red" Matthews and Bill Biggs, OJ released a total of 15 records over a two year stretch. Although it was only a small operation, OJ managed to score minor hits with its first two releases.

While there is no information on Bill Biggs, Charles Matthews had been a songwriter for some time by 1956 but success had eluded him. He had worked as an A&R manager with Ekko Records, which had offices in Memphis, and was responsible for Al Dexter's re-recording of his 1940s hit "Pistol Packin' Mama". With the advent of rock'n'roll and the rising of independent labels in Memphis like Sun Records, Matthews and Biggs set up OJ Records on 1018 North Watkins Avenue in Memphis. OJ was a shortcut for Old Judge, Matthews' music publishing firm. Apart from OJ material, Old Judge handled the publishing for a considerable amount of other songs in the Memphis area, including releases on House of Sound and Hornet.

Matthews' first artists were Bobby Chandler and the Stardusters, a white teen rock'n'roll vocal group from Little Rock, Arkansas. The Stardusters were founded in 1956 while Chandler was a student at Little Rock high school. It included Chandler, Bill Sharp, Bobby Blount, Bill Glasscock, and Bill Dedman on guitar. Later on, also Trumann Mitchell and Bob Walters sang with the group. The Stardusters appeared at local high school dances in Little Rock and were signed to a recording contract by Matthews in 1956. Their first release comprised the Quinton Claunch/Bill Cantrell penned "Im Serious" and "If You Love'd Me." The coupling appeared in either late 1956 or early 1957 and saw review in Billboard on February 2, 1957. Although the magazine was sceptical about the single's hit potential, it eventually entered several local charts in Tennessee as well as Arkansas and even peaked at #38 on Billboard's Hot 100 charts. Chandler and the Starduster became OJ's most prolific recording artists with a total of three releases. Chandler also had one release on Hi ("The Voice of a Fool" / "By-O", Hi #2012, 1958). He toured the US a couple of years before returning to Little Rock. Chandler died in 2012. Visit his website here.

Charles Matthews also placed several of his own compositions with his artists. Dave Gardner, who went on to fame as comedian Brother Dave Gardner, recorded his "White Silver Sands" in 1957 for OJ. Gardner, born in Lexington, Kentucky, had previously recorded for Decca in 1956 and then for OJ in 1957. "White Silver Sands" was coupled with "Fat Charlie" on OJ #1002 and became the label's second hit. "White Silver Sands" peaked at #28 in July 1957 on the Billboard Hot 100. Don Rondo also recorded a version for Jubilee, which became a #7 hit that same year. "White Silver Sands" was eventually also recorded by Owen Bradley, Bill Black's Combo, as well as Sonny James and was voted #27 in Billboard's "1957 Top Tunes."

Gardner recorded a second single for OJ that same year as a follow-up on OJ #1006. "Mad Witch" was a spooky rocker written by Matthews, while "Love Is My Business" was again a Claunch/Cantrell penned song, which was later also cut by Cliff Gleaves (an unreleased take for Sun and a released version on Summer) and Bobby Wood (Vin). Gardner's version seems to be the first one recorded. However, it appears that there was a second version of this single released with "Love Is My Business" as the top side and a different flip, "I'll Never Make You Blue."

Both OJ #1000 and OJ #1002 became the label's biggest sellers. There are still many 45rpm and even 78rpm copies popping up. Other artists on OJ were less successful, though probably not less talented. Wailin' Bill Dell, Nancy Lee, the Rockin Dukes, and Charles Senns also had releases on OJ but they didn't caught on with the record buyers back then. Another singer worth mentioning is another Jackson, Tennessee, native, namely Wink Martindale, who started his career on OJ with two records. Martindale also hosted "Top Dance Party" on WHBQ already since 1956 in Memphis. In June 1956, he had a special guest on his show: Elvis Presley. Martindale began recording for Dot in 1958 and continued to release disc for the label well into the 1960s. He eventually became a famous game show host.

By 1958, OJ's last records were released and Matthews finally closed down the label. Interest in the OJ label has been limited in recent years to unknown reasons. Some releases like "Mad Witch" by Dave Gardner or the Rockin Dukes' record, nevertheless, became collector items. 

Discography

thanks to DrunkenHobo and Xavier Maire

OJ 1000

Bobby Chandler and his Stardusters

I'm Serious (Claunch; Cantrell) / If You Love'd Me (Bobby Kindred)

M-1005 / M-1006

1957 (BB)

OJ 1001
Chester Guyden
Miss Fannie Brown () / You Gotta Help Me Some ()

OJ 1002

Dave Gardner

White Silver Sands (C. Matthews) / Fat Charlie (G. McCarty)

M-1011 / M-1012

1957 (BB)

OJ 1003

Wailin' Bill Dell and the Bachelors

Do You Care (B. Dell) / You Gotta Be Loose (B. Dell)

M-1016 / M-1017 

1957

OJ 1004

Nancy Lee and the Bachelors

You're My Inspiration (A. Doddona; J. Ayre) / My Heart Has Wings ()

M-1018 / ?

1957

OJ 1005

Bobby Chandler and his Stardusters

Shadows of Love (Matthews; Biggs) / Me and My Imagination (Claunch; Cantrell)

M-1009 / M-1010

1957

OJ 1006

Dave Gardner

Mad Witch (Matthews; Baffa) / Love Is My Business (Claunch; Cantrell)

45-1020 / 45-1022

1957

OJ 1006

Dave Gardner

Love Is My Business (Claunch; Cantrell) / I'll Never Make You Blue (Ollie Shepard)

M-1022 / 45-1024

OJ 1007

The Rockin Dukes

Angel and a Rose (Butts; Robinson) / My Baby Left Me (L. Grant)

45-1032 / 45-1034

OJ 1008

Princess Ming Chu
Island of Love () / Hearts are Trumps ()
1958

OJ 1009

Wink Martindale

Thought It was Moonlove (C. Matthews) / Love's Got Me Thinkin' (Matthews; Hunter) /

M-1038 / M-1040

OJ 1010

The Escorts

Arrow Two Hearts (Biggs; Matthews; Tate) / Misty Eyes (Nelson; Parker; Roberts)

45-1044 / 45-1045

OJ 1011

Wink Martindale

Love Brooke Loose (Singleton; Cathy) / I Don't Suppose

45-1041 / ?

OJ 1012

Bobby Chandler and the Escorts

Winter Time (Nelson; Crutchfield) / Junior Prom (G. Nelson; F. Burch)

J8OW-1140 / ? (RCA)

1958

OJ 1013

OJ 1014

Charles Senns

Gee Whiz Liz (Halen Hudgins) / Dig Me a Crazy Record (C. Matthews)

J8OW-1137 / J8OW-1138 (RCA)

1958

Zonia Records Discography

Zonia
3635 Allandale

45-1964: Hugh Ronell - Who La Ta Da Da Do / Jag

Wooten Records Discography

Wooten
3373 Park Avenue

45-1969: Travis Vance - Gonna Tell the Blues Good Bye / Crazy Me (1969)

Tri-State Records Discography

Tri-State
P.O. Box 11522

The Tri-State label had a post office box adress printed on all labels, in contrast to other Wooten productions. The reason for this oddity is still unknown.

45-1921: "The Rambler" Max Riggs - The Playboy / The Story of the Country Boy (1967)
45-1922: Curley Fields - Son of a Gun, I Done It Again / Could It Be (1967)
45-1923: Clyde Nelson and Ronnie - Stairway to the Top / Wrong Side of Town (1968)
45-1924: Cousin Zeke - Get Your Finger Out of It / Lover Man Minus Sex Appeal (1968)
45-1925: Johnnie White - Two Old Mais, Part 3 / Two Old Maids, Part 4 (1968)
45-1926: Patsy C. Sharp - Lara / Cherry Hill P. T. A. (1969)

Torino Records Discography

Torino
3373 Park Avenue
P.O. Box 29004 (1057, 1059, 1061)

Another label named after an automobile. Torino 45-1057, 1059 and 1061 give a different adress than usual, which is possibly a special customer adress.

45-1050: Jackie Foster and the Persuaders - Treat Her Right / ? (1969)
45-1051:
45-1052: Frank Gilreath & the Southern Swingsters - Homesick for Home / The Talk of the Town (1969)
45-1053:
45-1054:
45-1055: Kevin Smith and the Country Rangers - Okie from Muskogee / You are Walking on the Fightin' Side of Me (1970)
45-1056:
45-1057: Duke Tintle - Out of a Clear Sky / Only Yesterday (1970)
45-1058:
45-1059: The Klassen Girls - Standing on the Promises / A Sweet Love Affair (1971)
45-1060:
45-1061: Cowboy Roy and the Keystones - I Walk the Line / The Smoke Went Up the Chimney (1971)
45-10??: O.J. Gonzalez and her Music Makers - Cowboy Sweet-Heart / Distant Drums (1971) 

Tentay Records Discography

Tentay 
3635 Allandale

There is nothing to say about this Style Wooten label except for the assumption that Bob Taylor was likely the same who recorded for the Cotton Town Jubilee and Express labels.

45-1041: Bob Taylor - After the Trial / Like a Crazy Fool (1965)

Style / Style Way Records Discography

Style / Style Way
3635 Allandale
3109 Park Avenue

Presumably Wooten's third label, after launching Eugenia and Big Style also in 1964. It was the first outfit to feature a distinct label design and was active at least until 1967. The next known release then appeared in 1977 (Guitar Harp McKinley James, now a valuable disc). Style also released one of the few LPs that Wooten produced. At least one release (#45-1967) was issued under the label name of "Style Way" with a different, green design.

Thanks to DrunkenHobo, Bob, Xavier Maire

45-1920: Dave Hollie - Lonely Street / Let's Start Our New Love Affair (1964)
45-1921: Don Willis - Mar's Dame / A Glass of Wine (1964)
45-1922: Billy Raye - Charles the Blues / How Was I to Know (1964)
45-1923: Johnny Gentry - Do You Take This Woman / Memphis, Rave On, Tennessee (1964)
45-1924:
45-1925: John & Margie Cook - I Have No One to Stay with Me / Higher Above the Mountain Top / I'm Letting You Go / When the Saviour Comes Calling on Me (1964)
45-1926:
45-1926:
45-1927: Little Chico - Little Green Man / My Wishes
45-1928: Randall Barker & Ray Lunsford - Down and Out Feelin' / Mt. Vernon Rag (1966)
45-1929:
45-1930: Landon Auburn and the Shifters - When I Met Daisy / Baby Don't Go (1966)
45-1931:
45-1932:
45-1933: The Country Travelers - I'm Losing Again / A Glass of Wine (1966)
45-1934: Danny Marshall - Miya Son / Yes I Do (1966)
45-1935: Paul Fannin - I Don't Trust Me / Honky Tonk Tramp (1967)
45-1936: Thelma Roy - Leaving You This Time / Queen of the Farm (1967) 
45-1937: The Cavaliers - Turn Your Leaf / W. F. 67 (1967)
45-1938:
45-1939: Dusty and Linda Kaye - Makes Everything Seem Right / Dusty Mahoney - It Don't Matter (1967)
1940-1966:
45-1967: Odie Palmer - Half a Notion / There'll Never Be Another Like You (1967)
45-1968:
45-1969:
45-1970:
45-1971:
45-1972:
45-1973:
45-1974:
45-1975:      
45-1976:
PAG 1977: Guitar Harp McKinley James - Flying Home / You Can't Tell Them Nothing (1977)

SLP-1919: McKinney Sisters - Sing 12 New Gospel Songs (1964)

Pretty Girl Records Discography

Pretty Girl 
3373 Park Avenue

The earliest known releases on Pretty Girl are from 1968. Along with the founding of Pretty Girl, Wooten also launched Pretty Girl Publishing as an alternative to his Stylecraft division. The Pretty Girl label was intended for Wooten's "favorite" femaly country singers.

45-8167: Sherry Pierce - How Can I Fight What I Can't See / My Son's Last Mission (1968)
45-8168:
45-8169: Sherry Pierce - Four Letter Words / I Shouldn't Wear White (1968)
45-8170:  
45-8171: Laurie Hunt - Dear Heart - L-O-V-E / The Shadow of Your Smile - Mama (1968)
45-8172: Bonita Stevens - All Girl Band / Little Bitty Cry (1968)
45-8173:
45-8174: Marianne Miller - Crashing the Grand Ole Opry / Walk Thru This World with Me (1968)
45-8175:
45-8176:
45-8177: LeAnne Mack - The Truth of Billy Joe / Dirty Faced Angel (1969)
45-8178: LeAnne Mack - Pieces of My World / Just One More Time (1969)
45-8179:
45-8180:
45-8181: Tina Mari - Don't Lock Your Heart Up / The Love Bug Bit Again (1969)
45-8182:
45-8183:
45-8184: Leta Ray - Honky Tonk Woman / Can of Courage (1970)
45-8185:
45-8186:
45-8187:
45-8188: Elizabeth Hardison - Lady Talking Blues / My Little Home Town
45-8189:
45-8190: Joyce Lynn - Pieces of My World / One More Time (1971)
45-8191:
45-8192:
45-8193: Ruth Hartman - The Worlds Greatest Man / It's Like Heaven Here on Earth Loving You (1972)
45-8194:
45-8195: 
45-8196: Helen Jean - Why Don't the Eskimoes Peek / Mommy for Christmas (1972)