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.

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

Wednesday, July 13, 2022

Country Music from Indiana: Herman Hatfield


Country Music from Indiana
The Story of Herman Hatfield & Sharlet Sexton and the Tennessee Valley Boys

While preparing one of the upcoming episodes of my regular "Arkansas' Forgotten 45s" for KASU's "Arkansas Roots" radio program, I stumbled across a record in my collection on the Rimrock label. It is a straight, traditional country recording by Herman Hatfield and the Tennessee Valley Boys. While researching his story, I noticed there isn't much out there about Hillbilly Herman, as he was sometimes billed, and this naturally caught my attention and urged me to change this grievance.

Although many of their releases had appeared on Tennessee based labels, it seems Hatfield's homebase was Indiana. The Tennessee Valley Boys likely got their name from Hatfield's home state Tennessee. Hatfield and his band recorded numerous 45s and at least one album for different small labels. The group included a young female singer named Sharlet (or Charlette) Sexton. Other members of the Tennessee Valley Boys included at one time or another Johnnie Flatford (mandolin), Jimmie Flatford (bass), Bud Wall (lead guitar) with Hatfield and Sexton on vocals. The Hatfords were relatives of Sexton (uncle and cousin respectively). The group played a six state radius throughout the years, performing in Indiana, Ohio, Michigan, Kentucky, and Virginia. It seems that Hatfield first appeared on the Breeze label out of Livingston, Tennessee. Credited to "Hillbilly Herman and his Tennessee Valley Boys" on the A side and to "Charlette Sexton and the Tennessee Valley Boys" on the B side, they recorded "Today I Watched My Dream Come True" b/w "One More Broken Heart" (Breeze #366). The group had another disc out on Breeze a year later, "My Old Heartaches Are in the Past" b/w "Since Baby Put Me Down" (Breeze #401). This seems to be their most valuable and sought after record nowadays, as "Since Baby Put Me Down" has a rock'n'roll feeling to it, although Hatfield and the group were strictly country.

There was a record by Dana Sexton (Breeze #467), possibly Sharlet's daughter or sister. Assured information on this issue escape me, however. Next up, Herman and the band were on the Re-Echo label, another local Livingston record company. Hatfield and Sexton had a twin release in 1968 on the label: Re-Echo #1007 was by Hatfield, "Sweet Memories of You" b/w "He is the Master of Us All", and Re-Echo #1008 was by Sexton, "I Ain't Good For Nothin' 'Cept Pickin' and Singin'" b/w "Boys Like You" (presumably a piece of downhome, rural country music).

Another twin release came into existence in 1969, when Hatfield and Sexton appeared on Wayne Raney's Rimrock label from Concord, Arkansas. How they ended up on Rimrock is a mystery but it is possible that they recorded the tracks in Indiana and sent them off to Raney in Arkansas, hoping to secure either release or got them pressed up on their own label as Raney also operated a pressing plant. Sometimes, Raney used Rimrock as a custom outlet for recordings he thought were good enough for release on his own label. This was maybe the case here. Rimrock #307, credited to Herman Hatfield and the Tennessee Valley Boys, comprised Hatfield's own "My Heart Keeps on Loving You" and a cover of Bill Anderson's "Think I'll Go Somewhere and Cry Myself to Sleep". Rimrock #308 featured Sharlet Sexton on vocals and paired her compositions "I'll Be a Mama to You" (featuring Teresa Lou) and "You Just Don't Turn Me On".

There is another release on the Hatfield label, likely Hatfield's own company, that featured "I'll Cry Alone" and "I Guess I'll Always Love You" from an unknown year - 1960s is my best guess. Interestingly, he is accompanied by a different band on this release, the Bar Ranch Boys. So this could be his very first release. There was also a full-fledged LP release on the Promotional label, "Every Sunday Morning", featuring recordings of gospel standards. which is now a sought after collector's item.

Front cover of the band's LP "Every Sunday Morning".
Left: Sharlet Sexton, right: Herman Hatfield, lower middle: the Tennessee Valley Boys

Sharlet Sexton stayed with Hatfield and the Tennessee Valley Boys until 1972, when she married and decided to turn her back on the music business. She has been tracked down in 2019 by the owner of Dagnabbit Records, who regularly features her recordings on his LPs. Sexton currently resides in Anderson, Indiana.

It seems that Herman Hatfield continued to appear with his band. I know that he is deceased by now but assured details escape me. It is likely that he is the Herman Hatfield that was born December 8, 1927, in Tazewell, Tennessee, and passed away on December 3, 2002, at the age of 74 years in Beech Grove, Indiana.

Indianapolis Star, December 5, 2002

Discography

45rpm singles
• Breeze 366: Hillbilly Herman and his Tennessee Valley Boys - Today I Watched My Dream Come True / Charlette Sexton and the Tennessee Valley BoysOne More Broken Heart (1966)

• Breeze 401: Herman Hatfield & his Tennessee Valley Boys - My Old Heartaches are in the Past / Sharlet Sexton & the Tennessee Valley Boys - Since Baby Put Me Down (1967)

• Re-Echo 1007: Herman Hatfield and the Tennessee Valley Boys - Sweet Memories of You / He is the Master of Us All (1968)

• Re-Echo 1008: Sharlet Sexton and the Tennessee Valley Boys - I Ain't Good for Nothin' 'Cept Pickin' and Singin' / Boys Like You (1968)

• Rimrock 307: Herman Hatfield & the Tenn. Valley Boys - My Heart Keeps on Loving You / Think I'll Go Somewhere and Cry Myself to Sleep (1969)

• Rimrock 308: Sharlet Sexton-Teresa Lou & the Tenn. Valley Boys - I'll Be a Mama to You / Sharlet Sexton & the Tenn. Valley Boys - You Just Don't Turn Me On (1969)

• Hatfield 001/002: Hillbilly Herman and the Bar Ranch Boys - I'll Cry Alone / I Guess I'll Always Love You

• Anderson 108-228: Herman Hatield & Pat Bailey - I Cried Again / Out of Our Minds

33 1/2 rpm albums
• Promotional PLP 190: Herman & Sharlet and the Tennessee Valley Boys - Every Sunday Morning

Sources
The Ohio Valley Sound
Find a Grave entry for Herman Hatfield (presumably)
"Every Sunday Morning" LP on Gripsweat.com
Herman Hatfield on 45cat
Herman Hatfield on Bluegrass Discography

Wednesday, July 6, 2022

Sylvia Mobley on Santo

Sylvia Mobley - If I Had You Again (Santo #502), 1962 

Sylvia Mobley has been present on the Memphis, Arkansas, and Nashville country music scenes steadily during the 1960s and 1970s, though she never found the acclaim she deserved. She worked with some of the most infamous figures of these scenes, though never achieving much commercial success. Some of her early recordings are now favorites in rock'n'roll record collectors circles and original copies can fetch up some money.

Born Sylvia Mae Robinson on April 28, 1941, in Marshall, Searcy County, Arkansas, she was one of four children of Charles Herman and Lois Marie Robinson. At the time of her birth, her mother was only sixteen years old. Supposedly in the late 1950s, she married Billy Sigman, with whom she had a son, Carson Vail. Her marriage with Billy Sigman obviously did not last long, as she had remarried by the early 1960s. Her new husband was Justin Lee "Bud" Mobley, who stayed with her the rest of her life.

In the late 1950s or early 1960s, Mobley once was managed by DJ, singer, and band leader Jimmy Haggett, who enjoyed some popularity in Southeast Missouri and Northeast Arkansas. Haggett had ties to Memphis as he had recorded for Sun and Meteor during the 1950s and it is possible that he connected Mobley with the Memphis music scene. To start her career as a recording artist, Mobley made the trip to Memphis across the Mississippi  River and got the chance to record for one of the smaller labels in the city, Wayne McGinnis' Santo Records. McGinnis had been an artist in his own right, cutting a superb rockabilly disc in 1956 for Meteor, and had created his own Santo label shortly before Mobley arrived on the scene.

In March 1962, her first single appeared with a romping country rocker entitled "All My Myself", backed by "If I Had You Again" on Santo #502. Judging from the publishing and songwriting credits on the record, her debut for Santo was recorded at Slim Wallace's Fernwood studio and leased to Santo afterwards. Signs of success are not reported for this record but soon, Mobley made herself a name in the local country music scene. Her searing vocals seemed to be perfect for country music.

Sylvia Mobley and the Cotton Town Jubilee band live on stage, ca. mid 1960s
From left to right: poss. Bill Medlock, Jake Tullock, Mobley, Ken Burge, Johnny Duncan

By 1964, she had been discovered by Gene Williams, a local DJ, record label owner, and stage show host. He put Mobley on his Country Junction TV show that was broadcast from Jonesboro, Arkansas, and also gave her the chance to lay down some more recordings. Williams' right hand, Style Wooten, who later went on to become the "king of custom recording" in Memphis, produced another fine country rocker with her, "Every Time I See You", and the country weeper "Tell Me Clouds". Also involved in this production were DJ and singer Chuck Comer plus an unknown, Bozy Moore. The results were released on Wooten's Big Style label and distributed by Williams' Cotton Town Jubilee enterprise.

More or less simultaneously, Williams released "Are You Sorry b/w "Worried Over You" on his own Cotton Town Jubilee label (#113) in 1964 and followed up with a re-release of "Every Time I See You", backed with "I'm Not Alone Anymore" (Cotton Town Jubilee #115) in early spring of 1965. That same year, Williams paired Mobley with Memphis music stalwart Eddie Bond, who released a single on her on his Millionaire label, "Hearts Have a Language" b/w "In and Out of Love" (Millionaire #660S-0885). During this time, Mobley recorded songs from the pen of more or less familiar names. "Worried Over You" was written by Marlon Grisham (known in rockabilly circles for "Ain't That a Dilly" on Cover), "I'm Not Alone Anymore" by Chuck Comer, and "In and Out of Love" by Melvin Endsley, who also wrote the big hit "Singing the Blues" and was affiliated with Gene Williams at that time.

None of her singles so far had stimulated any success, which was probably due to the fact that promotion and distribution of the discs were limited on all labels. Around the mid 1960s, Mobley was still performing on the Country Junction TV show and recorded two more records for the Lake City, Arkansas, based Jeopardy label, which comprised songs penned by Leland Davis, an Arkansas based musician, and Glenn Honeycutt, a 1950s Sun Records artist.

By the late 1960s, she had made the move to Nashville, probably in order to give her career a boost in the capitol of country music. In 1969, she recorded a single for the once glorious Starday label, which had passed its heyday at that time already. In 1974, two more singles followed for the Villa label. In the mid 1970s, Mobley teamed up with famous guitarist turned producer Scotty Moore, lead guitarist for Elvis Presley and producer in his own right, and recorded a whole album for the Belle Meade label, "My Needs are You", which resulted also in a few more singles.

By 1976, after recording unsuccessfully for 14 years, it became clear that Mobley's chance of becoming a star had passed. However, she remained her ties with the entertainment industry, in a different sense though, and drove whirlwind bus tours across Nashville. She had one last album out on the Rays Gold label in 1984, entitled "Songs for Ma Ma".

In 2009, her husband died at the age of 76 years. Mobley, who had remained in the Nashville area, spent her last years at Elmcroft Assisted Living Facility and passed away July 10, 2017, at the age of 76 years in Hendersonville, Tennessee.

See also

Sources

Tuesday, June 14, 2022

Wayne McGinnis on Meteor

Wayne McGinnis - Rock, Roll and Rhythm (Meteor 5035), 1956

Probably one of the most underrated personalities in the Memphis music scene, Wayne McGinnis was both an artist and a business man, recording some of the finest Meteor rockabilly sides as well as leading various labels throughout the 1960s. Another fascinating fact is that he later owned Elvis Presley's first guitar.

Robert Wayne McGinnis was born on January 6, 1932, in Mississippi County, in the Northeast of Arkansas just across the Tennessee state border. Contrary to many other rockabilly singers of his era, McGinnis originated not from a poor sharecropper family but from a relatively wealthy background. His parents, Harry and Audrey Cleo McGinnis, also had six more children: Harold L., Dale, Harry Boyd, Margie, Dorothy, and Ramona June. During high school, McGinnis learned to fly a plane, inspired by a relative of his and it would become a passion he enjoyed all his life. Instead of driving a car, he would cover the distance of 40 miles between home and Arkansas State College with his own plane.

Young McGinnis moved to Memphis, Tennessee, in 1953 after graduating from high school. There, he began appearing with guitarist Billy Joe Miller and played a mixture between jazz and country music. Shortly afterwards, McGinnis joined Slim Wallace's Dixie Ramblers, a country band that included at one time or another also Billy Lee Riley and Jack Clement. Wallace just had founded his own label Fernwood Records and built up a small studio in his garage. The label was named after its location, Fernwood Drive in Memphis. McGinnis recorded a couple of demo cuts for Wallace but more information on these early cuts escape me, unfortunately. Cees Klop issued two demo recordings of McGinnis' "Rock, Roll and Rhythm" and "Lonesome Rhythm Blues", both of which he would later record for Meteor Records. If these were the tapes made at Fernwood is unclear at this moment. Klop, who issued them on his "41 Years Collector Records" CD in 2008, gave no particular information other than "[...] these are much earlier 'rough' demos [...]. These primitively recorded demos give us a unique piece of recorded history that luckily is preserved for posterity."

At the same time, Elvis Presley went nationally and had left a massive impact on Memphis and its whole music scene. Everyone was speaking of a new sound soon to be called "rockabilly," a style that captured many young southeners' hearts. McGinnis was no exception, especially because he lived in Presley's neighborhood.


First, McGinnis tried his luck at Sam Phillips' famed Sun Records that also had Presley, Johnny Cash, Carl Perkins, Roy Orbison and countless other rockers under contract. Since Phillips wasn't impressed enough with the results, McGinnis turned to Meteor Records, another independent label on Chelsea Avenue, and owner Lester Bihari gave him the chance to cut his first record. On April 12, 1956, he went into Meteor Studio to wax "Rock, Roll and Rhythm" and "Lonesome Rhythm Blues," which were released in the summer of 1956 on Meteor #5035. On this session, he was backed by Billy Joe Miller on lead guitar and Curley Wilson on bass with McGinnis on vocals and rhythm guitar.

Source: Volker Houghton
Bihari sent out some of his rockabilly artists, including McGinnis, on tour through West Tennessee, Northeast Arkansas, and Southeast Missouri, but McGinnis' disc never achieved much success. Although more records were granted in his contract with Meteor, McGinnis never got the chance to record a follow-up and in the end, it remained his sole release on vinyl.

In 1957, he went into partnership with Harold Curry, Herman Hall, and Dick McPhearson to develop his hobby into a business and founded his own crop dusting firm, "McGinnis Crop Dusting Service", in his home of Mississippi County, Arkansas. At that time, he was only 25 years old.

Though, music was still on his mind and McGinnis got involved with promotion work in the late 1950s. In 1961, he founded his own Santo label that enjoyed moderate success and a year later, added the Sanwayne label to his business operations. McGinnis also ran his own recording studio for some time in Memphis. The Santo label had a minor chart hit in the spring of 1962 with Ace Cannon's "Sugar Blues" b/w "38 Special" (Santo #503), which peaked at #92 on Billboard's Hot 100. Apart from that, McGinnis released discs by such infamous Memphis figures as Harold Dorman, Thomas Wayne, Anita Wood, Sylvia Mobley, Bobby Lee Trammell, among others. 

In 1968, when Slim Wallace finally gave up his interest in Fernwood Records altogether, McGinnis jumped at the chance and bought the remaining master tapes that had been left over. A good deal of Fernwood's tapes and equipment had been destroyed by a flood prior to McGinnis' purchase. McGinnis operated the Santo label until the early 1970s, before closing down its activities and in turn eventually selling the label to British music enthusiast Dave Travis. 

Although living in Memphis during the 1950s, he later relocated to Mississippi County and spent his last years in Jonesboro. McGinnis had married his wife Ramona in 1954 and had three children with her.

Wayne McGinnis died August 19, 2013, in Jonesboro, Arkansas.

Sources:
Entry at Find a Grave
• 45cat entries for Santo Records and Sanwayne Records
• Cees Klop: "41 Years Collector Records (40 Was Not Enough)" (liner notes), Collector Records (2008)
• Adam Komorowski: "Classic Rockabilly" (liner notes), Collector Records (2006)