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.

Friday, February 28, 2014

Jimmy Dean

Another bobsluckycat post presented by Mellow's Log Cabin

This is not meant to be a "be all know all" article about country music legend and Country Music Hall of Fame member Jimmy Dean (1928-2010), but a brief overview. I recommend his autobiography published in 2004 "30 Years Of Sausage, 50 Years Of Ham," which gives the full story in his own words for that.

Jimmy Dean was born outside of Plainview, Texas, in 1928 in abject poverty and struggled through the Great Depression. He was musical and always funny but at age 16, left home for the Merchant Marines towards the end of World War II, after that an enlistment in the U.S. Air Force took up his time for the most part but he spent some free time around the Washington, D.C., area, even then playing in local bands. He had a good smooth voice and he could play piano, accordion, guitar and even harmonica fairly well. After mustering out of the Air Force, Jimmy stayed in the Washington, D.C., area with his own band "The Texas Wildcats" and eventually caught on with country susic entrepreneur Connie B. Gay and his "Country Music Time" radio program on WARL-AM in Arlington, Virginia. Around the same time he signed a contract with an east coast associate producer of 4-Star Records in Pasadena, California. His first record was to become a country music standard over the years, "Bummin' Around." Jimmy's version was the label's local hit in the east (4-Star #1613). 4-Star - upon hearing the song - had T. Texas Tyler record a better sounding version and leased it to Decca Records which became the nationally known hit version. Jimmy's version died on the vine. Two other 4-Star records were released between 1952 and 1954 and went nowhere. Jimmy claimed that he made little or no money in royalties from these recordings, even though they were re-issued again and again on "budget LP's" after he was famous.

 
Jimmy Dean - Bumming Around (4 Star 1613), 1954

In 1955, the radio show moved to television in Washington, D.C., on WMAL-TV in the afternoons. It was live, spontaneous and an immediate hit owing mostly to the wit and good humor of Jimmy Dean. Also in 1955, Jimmy signed a new recording contract with Mercury Records in Chicago. The first release being Mercury #70691 "False Pride" b/w "Big Blue Diamonds" which went nowhere. He released two more records on Mercury and then nothing for some time as recordings went.

In the mean time, he was on a regional TV hook-up live daily on Virginia and Maryland stations and a Saturday night live three hour TV show for Connie B. Gay called "Town and Country Time Jamboree." CBS picked up the daily show for 28 weeks into 1957 which was on WTOP-TV, and after a pilot was made, became the CBS Morning Show for 8 months into 1958. In September 1958 until June 1959, CBS had "The Jimmy Dean Show" live week days and at noon on Saturdays on the full network.

In the mean time, as to recordings, Jimmy had stalled out but was still under contract to Mercury in 1956 with no new recordings scheduled to be made, when and it get fuzzy here, depending on what I know and what other versions appear to be, Jimmy was called down to Nashville over a week-end to appear on the Grand Ole Opry and record enough recordings to fill out an album, which eventually became "Jimmy Dean's TV Favorites" (Mercury LP MG 20319) released in early 1957 which was a rehash of some old standards and a new version of "Bummin' Around" which was very "pop music" oriented with very sparse accompaniment, but still decidedly country. Also recorded was a ballad entitled "Losing Game" which had just enough of a pop and teen flavoring to be a hit record. The problem was the single was to be a "Mercury-Starday" release. Mercury and Starday merged around the time Jimmy made that recording session in Nashville and was only paid union scale for the session on "spec", according to him. Mercury and Starday had a short and acrimonius partnership, and by the time they settled who got what, Jimmy's "Loosing Game" had been released and the advance copies to DeeJays nationwide was getting a lot of air play. It was going to be a hit, but in the separation of the two companies, no more copies were pressed after the initial run and was "stillborn". The song appeared on the last Mercury-Starday LP 20358 as well. It wasn't a hit. Jimmy also told me that he never made a dime in royalties off on any of his Mercury recordings. They also had been re-issued countless times and in countless forms. He was adamant about this late in 1978/79 when I had the opportunity to question him about it. Compounding the problem, by his own admission, was the fact he signed a new long term recording contract with Columbia Records in mid-1957. Jimmy's first Columbia release went nowhere as did several more into 1959. His first album, the gospel LP Columbia CL-1025 "Hour Of Prayer" also did nothing when released.


Jimmy Dean - Losing Game (Mercury 71120X45), 1957

When his CBS television show was over, and since he was good especially "live" as most shows were, he hosted the "Tonight Show" from time to time, did game shows and others and toured promoting minor recordings. He was also a frequent guest on the Arthur Godfrey Radio Show over the CBS Radio Network out of New York.

Then in 1961, on his second Columbia LP and a single release, Jimmy struck gold with "Big Bad John", which went to the top of the charts in America, number 1 country and pop for many weeks in late 1961. He took home a Grammy for it as well and it became his signature song. This is the original undubbed version.#


Jimmy Dean - Big Bad John (Columbia 4-42175), 1961


This song brought ABC Television calling, wanting Jimmy Dean to host a new variety show which would be decidedly town and country with a full orchestra and a chorus of featured singers. This program lasted 3 seasons 1963 through 1966 and was almost always at the top of the ratings. Jimmy also took this show on the road pretty much intact and made millions. A lot of up and coming young country stars got their first national exposure on his show, notably Roger Miller and Charlie Rich to name two.

At the end of his Columbia Records contract, Columbia released Jimmy Dean's last big hit record and it also sold a million copies "The First Thing Every Morning" in 1965. I should note here that over the years two very maudlin and sweet readings, to me anyway, sold over a million copies each, "Too A Sleeping Beauty" and "I.O.U.". They are not included here if for no other reason their extreme length.


Jimmy Dean - The First Thing Ev'ry Morning (Columbia 4-43263), 1965

In 1966, Jimmy signed an RCA Victor recording contract and had some very minor hits over the next 7 years. His energies had drifted elsewhere. He was in films and television series and in Las Vegas and in 1969, as an investment to save his now considerable fortune, started The Jimmy Dean Meat Company with his brother Don in Plainview, Texas, which was an immediate success. The rest they say is history.

Monday, February 17, 2014

The Glendale label

Glendale Records
"The Sound of the Sixty's"

I assume that the Glendale label was somehow connected to Buck Trail because a lot of his compositions were recorded by bands for the label. Glendale was located in Orlando, Florida, and started approximately in 1960. The first known record was by the Little Boppers, featuring the two Trail songs "Chattanooga Drummer Man" and "Something Special to Me." Other records on the label were by Jerry & the Capri's and the Flying Tornadoes.

Trail also recorded for the label with another singer under the name of "Buck and Tommy." The result was "Lady Friend" b/w "Beneath Miami Skies" from 1960. Trail often pitched one song to several different artists. "Beneath Miami Skies," for example, was recorded by Trail on two different occasions, Gabriel Denes, Norm Mello, and possibly some others. 

Similiar to Trail's previous label Trail Records, Glendale was a relatively short-lived venture. The last known recording was pressed in 1961 by Rite in Cincinnati, by 1962 Trail was recording a young teenage singer called Pat Parker for the Heartland and Skyland labels.

Discography

1001: Little Boppers - Chattanooga Drummer Man / Something Special to Me (1960)
1002: Buck and Tommy - Lady Friend / Beneath Miami Skies (1960)
1003: Karmone Gale - You're the Cutest / ? (1960)
1004: Dorinda Duncan - It's Christmas Time / Happy Little Star (1960)
1005:
1006:
1007: Jerry & the Capri's - Dancing Dan / I Still Love You (1960)
1008:
1009:
1010:
1011: Dorinda Duncan - Caddy Daddy / You're Something Special (1961)
1012: The Flying Tornadoes - Chattanooga Drummer Man / Make Believe Love (1961)


Thanks to the DrunkenHobo

Wednesday, February 12, 2014

Helen Thomas on Trail

Helen Thomas / The Rhythm Heirs - Chattanooga Drummer Man (Trail A-102), 1958 

Helen Thomas, also promoted as "The Singing Sweetheart" by label owner Buck Trail (real name Ronald Killette), remains a mysterious figure in the Miami rock'n'roll scene. She recorded that one record for Trail and then slipped into obscurity again.

Thomas recorded "Chattanooga Drummer Man" b/w "Young Sweethearts" in 1958 for Killette's short-lived Trail Records, which lasted only about half a year. Killette, who was a local promoter and songwriter, performed under the name of Buck Trail and also released a couple of records, including his version of "Chattanooga Drummer Man" that same year.

"Chattanooga Drummer Man," a knock-off of Red Foley's "Chattanoogie Shoe Shine Boy" written by Killette, is a rather chaotic version of the song. Thomas sings four about a minute, then the band keeps on jamming away for the rest of the song with hollers and shouts thrown in. Thomas' version was solely reissued on the Collector CD "Savage Rockin' Girls" in 1999.

Marlon Grisham on Cover

Marlon Grisham - Man with No Heart (Cover 45-711)

Better known as a rockabilly singer, Marlon Grisham also recorded a couple of country songs during his career in the 1950s and 1960s. One of those pieces, the beautiful "Man with No Heart," is featured today.

Grisham was a local Memphis/East Arkansas singer. He probably first recorded for B.B. Cunningham's Cover record label in Memphis, releasing "Ain't That a Dilly" b/w "Sugarfoot" (Cover 5982, 1959), for which he is best known today. He followed up with another single on Cover ("Teenage Love" / "Now It's Your Time," Cover 4621, 1962). Probably between those two singles or even before his first, it is reported that Grisham also recorded a couple of tapes for Sun Records, including "Between Here and There" and "What a Beat."

Marlon Grisham

I'm not quite sure where today's featured disc by Grisham fits in, but I would date it around Late 1960s or early 1970s. "Man with No Heart" is a highly commercial tune with lots of pop influences, written by Jody Chastain (1933-1999). Chastain played with Eddie Bond early on and wrote "Boppin' Bonnie" for him, before performing with Fuller Todd and then Charlie Feathers from 1955 to 1960. Both Chastain and Todd composed songs recorded by Grisham, including "Ain't That a Dilly" (written by Chastain), "Sugarfoot" (co-written by Chastain and Todd), and "Teenage Love" (co-written by Grisham and Todd). The flipside of "Man with No Heart" was "Square Watermelon Seed," penned by W. A. Harris, who also wrote Grisham's "Jungle Love."

In 1964, one single by Grisham appeared on the Fernwood label. The aforementioned "Why Did She Go" b/w "Jungle Love" were released in 1965 on the Memphis based Clearpool label. Around the same time, Grisham was with Gene Williams' Country Junction Show ensemble on KAIT-TV in Jonesboro, Arkansas, and in addition, appeared on a various artists LP on Williams' Cotton Town Jubilee label. Three years later, Grisham recorded one record for John Cook's Blake label.


Discography

Cover 5982
Marlon Grisham
Ain't That a Dilly (Joe D. Chastain) / Sugarfoot (Joe D. Chastain; Fuller Todd)
863 / 864
1959
Billboard pop review on September 7, 1959

Cover 4621
Marlon Grisham
Now It's Your Time (Marlon Grisham) / Teenage Love (Marlon Grisham; Fuller Todd)
C-4621-1 / C-4621-2
1962
Billboard pop review on August 25, 1962

Fernwood 140
Marlon Grisham Combo
You Are My Sunshine (Davis & C. Mitchell) / Pins and Needles in My Heart (Floyd Jenkins)
F-256 / F-257
1964

Clearpool 101
Marlon Grisham
Why Did She Go (Marlon Grisham; Fuller; Brewer) / Jungle Love (Bill Harris)
101 A / 101 B
1965

Blake 2-222
Marlon Grisham
Queen of the City (M. Grisham) / You're the Rose for Me (M. Grisham)
2-222-A / 2-222-B
1968

Cover 45-711
Marlon Grisham
Man with No Heart (Joe D. Chastain) / Square Watermelon Seed (W. A. Harris)

Saturday, February 8, 2014

Sleepy LaBeef on Columbia

Sleepy LaBeef - Sure Beats the Heck Outta Settlin' Down (Columbia 4-44068), 1967

By 1964, Sleppy LaBeef had been in the music business for about ten years, recording numerous singles and playing shows all over Texas. But at that time, he had not recorded for a major label yet. Today's selection is one of LaBeef's Columbia singles recorded in the period 1965-1967.


1964 was a turning point in LaBeef's career. One day that year while being at the Wayside Inn (probably playing a show), he received a phone call from Don Law, Columbia executive. He signed LaBeef to a recording contract with the major label Columbia Records because Law probably thought, he had talent and the potential being a star. LaBeef moved to Nashville in 1965 and recorded his first session for Columbia on March 5, 1965. From that session, only "Completely Destroyed" was originally released, almost two years of its recording with the Mack Vickery/Merle Kilgore composition "Go Ahead on Baby."

The sound of LaBeef had changed from stonehard rock'n'roll to a more polished, urban country sound. Most of his repertoire at Columbia were country songs, with a couple of old rhythm and blues as well as some pop numbers thrown in. Organ, harmonica, and dobro were added to the usual line-up of guitar, bass, piano, and drums. LaBeef was now working with experienced Nashville session men, including Ray Edenton, Pig Robbins, Floyd Cramer, Charlie McCoy, Buddy Harmann, and others. 


"Sure Beats the Heck Outta Settlin' Down" was a song composed by W. Wyrick. LaBeef cut it on December 15, 1966, at Columbia Recording Studio in Nashville. He was backed by Grady Martin (guitar), Fred Carter (guitar), James Wilkerson (guitar), Pete Drake (steel guitar), Joseph Zinkan (bass), William Pursell (piano), and Buddy Harmann (drums). It was released with "Schneider" being the top side on April 3, 1967, but didn't reach the charts. It was not until his sixth and last single, "Every Day," which peaked at #73 on Billboard's C&W charts.


Columbia, though, wasn't satisfied with the results and didn't renew LaBeef's contract. This was not too tragic for him, since Shelby Singleton had faith in his talent and signed him to his Plantation label in 1969, where he would go on to reach the charts again with "Black Land Farmer" and then switching to the reactivated Sun Records.

Thursday, January 30, 2014

Slim Dortch on Lightning Ball

Slim Dortch - Pappy (Lightning Ball LB-45-8501), 1993

Slim Dortch fascinated me right from the moment I heard "Big Boy Rock" for the first time. After long and intensive research, I was able to put up an article about him, which was published last year in American Music Magazine. Unfortunately, this disc is not included because I just discovered it. I bought it from a seller out of Poplar Bluff, Missouri.

The songs on this 45rpm record are pure country music. Both "Pappy" and "Walking Through the Sand in Texas" were also included on Dortch's 1993 LP "Below the Dixie Line." All the tracks were recorded at Kennett Sound Studio in Kennett, Missouri, in 1993. As noted on the label, James Prince is playing lead as well as steel guitar with Dortch on vocals and rhythm guitar, Lee Barnes on bass, and Jeff Bost on drums. 

Another Lightning Ball single featured "Easy Street" b/w "Jim, the Truck Driving Man." Those titles were not included on the album. The Lightning Ball label was used prior to these 1990s releases in the 1960s by Dortch for two 45rpm discs. Thus, I assume this was his own label.

For further reading on Dortch, see American Music Magazine #133 (September 2013).

Tuesday, January 28, 2014

Rusty York R.I.P.

Legendary rockabilly and bluegrass musician Rusty York died January 26, 2014. York was famous for his song "Sugaree" and recorded a lot of singles for such labels as King, Starday, and others. He also played for Jimmie Skinner and owned his own Jewel recording studio in label in Mt. Healthy for decades.

Sunday, January 26, 2014

Chuck Miller on Mercury

Chuck Miller - Boogie Blues (Mercury 70767X45), 1956

Chuck Miller, a today mostly forgotten pop singer and pianist of the 1940s and 1950s, recorded this piece of big band style rock'n'roll in 1955 for the Mercury label. He had two chart entries during the mid 1950s but "Boogie Blues" unfortunately was not one of them. This is his best rock'n'roll outing by far with a driving beat, a furious beginning and a solid performance by Miller.

Charles Nelson Miller was born on August 30, 1924, in rural Wellington, Kansas. By the 1940s, Miller was playing piano and singing in the clubs of Los Angeles and surrounding areas. Through his friend, saxophonist Big Dave Cavanaugh, he got to know Robert Douglass and formed the "Chuck Miller Trio" with him in the late 1940s. Cavanaugh became an A&R manager for Capitol Records in the early 1950s and secured his friend Miller a recording contract with the label in 1953. Back then, Miller's music was in the vein of pop stars like Dean Martin or Bing Crosby. Miller recorded a couple of songs for Capitol from 1953 up to 1954 with Cavanaugh's orchestra. With the recording of "Idaho Red" (originally cut by country singer Wade Ray), Miller's style became more dynamic and rock'n'roll oriented.

Though Miller's singles for Capitol sold well, none of them entered the charts, though. Therefore, he moved to Mercury Records in 1955, where he had his first (and only) big hit "The House of Blue Lights." It reached #9 on Billboard's Hot 100 and was originally a Freddy Slack hit in the 1940s. Mercury pitched Bobby Lord's rocker "Hawk-Eye" to Miller, which became his next single, followed by "Boogie Blues." The latter was a Gene Krupa original on Columbia from 1945 with Anita O'Day on vocals. Miller turned it into a hot rock'n'roll performance when recording it on November 13, 1955, at the Mercury Sound Studios in New York City. Backed by the haunting "Lookout Mountain" (waxed at the same session), the disc was released on January 1, 1956, but did not saw any chart action. An alternate version of "Boogie Blues" from an August 1955 session at the Universal Studios in Chicago, is still burried in the Mercury vaults and waits for its release to the public.

Miller continued to record uptempo songs like "Bright Red Convertible," "Cool It Baby!," "Baby Doll," "The Auctioneer" (his only other chart entry, #56 in December 1956), among others. None of his later singles became a hit and Mercury dropped Miller from its roster in 1958. By 1959, the Chuck Miller Trio disbanded and Miller moved to Anchorage, Alaska, in the 1960s, before settling down on the Hawaiian islands. There, he kept on performing for many years. Miller died on January 15, 2000.

Thursday, January 9, 2014

Willie Gregg on Waterflow

 
Willie Gregg and the Country Kings - If You Want to Be My Woman (Waterflow 702), ca. 1969

One must love this record - not only because of the great Merle Haggard cover version but also because of the nice label design. I bought this one from Mack Stevens, a record collector and rockabilly musician from Texas. There's nearly no info out there on Willie Gregg and the Country Kings except that this is some really great Country Bop. Gregg had another release on the Kay-Bar Dane label out of Orange, Texas, featuring the slow ballad "You Fool" in 1960, credited to "Willie Gregg and the Velvetones."

Producer of the disc Tee Bruce, whose real name was John Lloyd Broussard, played a major role in bringing Cajun music on the radio in Texas. He hosted several shows on local stations, including the "Cajun Jamboree" on KOGT in Orange, Texas, by 1965. He also had a record label called Cajun Jamboree and Waterflow Records was definitely also owned by him. Jamboree Enterprises, located on 3218 15th Street in Port Arthur, Texas, as stated on the label, was a Tee Bruce venture. Both the Jamboree Ent. as well as the Waterflow Publishing is also shown on Cajun Jamboree record labels. Bruce died March 18, 2010, at the age of 81.

The record was pressed by Houston Recorders from Houston, Texas, in 1969. The "LH" prefix in the matrix number tell us "mastered at Location Records, Los Angeles."



Information on Tee Bruce taken from John Broven: "South to Louisiana - The Music of the Cajun Bayous"

Monday, January 6, 2014

Arkansas Travelers

 
Arkansas Travelers - Travelers Boogie (Benz 1207), 1961

This is a really nice rockabilly instrumental. And when I type r-o-c-k-a-b-i-l-l-y, I mean it. This is not the usual stuff credited with being a rockabilly instro. Just a slapp bass, a rhythm guitar, and an electric lead guitar - that's all.

I couldn't come up with anything on the Arkansas Travelers. According to Bob (from Dead Wax), Benz Records was operated by Mac Engle and Ben Baldwin, Jr., out of Champaign, Illinois. The label published its records through the Merrbach Record Service from Houston, Texas. I would have dated it around 1955-1958 but Bob tells us this disc is actually from late 1960 or early 1961. In addition, another visitor noted the disc was mastered by ACA (also from Houston) in January 1961. I especially like the fact that they printed the key on the label, so anybody could easily play along with his guitar to this tune. The A side of this record, by the way, is "Arkansas Mountain Rag," which features a fiddle and points more towards country music.

RCS doesn't list it and I never saw another copy, this is possibly the only copy known. Never turned up anywhere, quite mysterious.