Hey Cat !

Hey Cat !

Wednesday, 26 August 2015

Viv Records !

Jimmy Spellman with The Sunset Riders.
Viv Records # 1000 - 1955
Give Me Some Of Yours / No Need To Cry Anymore.

Cool little tune from Jimmy Spellman on the pretty rare Viv label out of Phoenix , AZ from 1955.
Some tasty steel work lifts this song up from the usual mix of pop/country that was becoming very popular around 1955 , This is the sort of tune that jigs my jagger and makes collecting these old records worth all the effort and money . Superb !

Atomic Records !

Riley Walker and the Rockin' R Rangers.
Atomic Record # 1003/1004 - 1954.
It's A Little Late / Windy Waltz

Photo shows Charles Gallagher (left) and Riley Walker (right)

The state of Utah is not well known among Hillbilly lovers. Sole artist from this state is RILEY WALKER. He had already released on Atomic "Uranium Miner’s Boogie " (Atomic # 1001). Here is a second offering from Walker, less impressive, although almost equally good, on Atomic (# 1003) , the amusing "It’s A Little Late" . Solid backing from his band, the Rocking-R-Rangers.

More revelations from Peter Vogel: Atomic Records, incidentally, was Walker’s own label, and, as Vogel puts it, the label is “the exact yellow that gives refined uranium ore its name: yellowcake.” He distributed copies of the record to stores (where it sold for 98 cents) and jukeboxes all over the region. And its topicality and easy appeal had kept it in regular rotation in some of these jukeboxes for decades. 
Walker formed the band in 1947 (the same year, incidentally, that Hank Williams’s “Move it On Over,” came out, which “Uranium Miner’s Boogie” will remind some listeners of), and it featured Walker’s sister Belva on piano, a brother-in-law (not Belva’s husband) named Charles Gallagher on steel guitar, and a bassist named Gordon Hawkins.

The Rockin-R-Rangers played frequently all over the region, including a dance hall Walker ran himself for awhile in Cortez, Colorado (a town in which he’d also been working as a part time disc jockey for local station KVFC). He called it the Rockin R Rancho, and booked artists like Jim Reeves, Billy Walker, T. Texas Tyler, and apparently Elvis himself who, according to Vogel, was opening up for Tyler at the time. I had no idea that EP had ever toured with Mr. “Deck of Cards” and none of my web searching or page flipping has borne this out. (Any Elvisologists care to step forward?)
Walker quit the music business for good when the band split up in ‘58, and he drove trucks until ‘84. But thanks to this record and the efforts of Vogel, we can safely add Riley Walker and His Rockin-R-Rangers to the very small list of real-deal rock ‘n’ roll pioneers from the Utah and four corners region. And to drive the point home, may I suggest playing the record again and listening while reading the following choice passage from Vogel’s article:

Vogel said : But it was out at the old rustic Buckhorn Club [in Cortez] in the west end of town where things got really lively. There was at least one fight every night and sometimes there would be as many as 20 or 30 people fighting on the dance floor, regardless of the season of the year.
It would be a regular knock-down, drag-out brawl because one guy who would be drinking wouldn’t like the way somebody else would be holding his wife or his girl and that would start the fight. Then friends on both sides of the dispute would jump in and you couldn’t any longer tell who was on which side. “There were too many fists flyin’ around to get very close,” Walker recalls.
All the women would get back out of the way and watch the fight sitting at the tables or they would run into the restroom. “But we’d just keep on playin’ and sometimes we might have had to sidestep in case they started fallin’ our way, but generally they left us alone since we weren’t involved. Then the management would call the police and wait awhile.
“Men were more quarrelsome in those days and liked a fight and there weren’t any regular police assigned to the Buckhorn Club, which was known locally as ‘The Bucket of Blood.’ But when the call finally went up that the police were pullin’ in, the men fighting on the floor would all disappear pretty fast so as not to be arrested and taken to jail and the police would arrest whoever was lying out on the floor knocked out.”

Thursday, 13 August 2015

Westport Records !

JIMMY DALLAS ( with Cathy Justice) 
Westport Records # 131 - 1956
Who Do, Honey You Do / I've Got A Right To Know .

Jimmy Dallas (1927-2004, rn Keith B. Kissee) was a country performer famous on the KC scene of the 50’s. He had 3 releases on Westport. «Good Intentions» is a fine uptempo hillbilly tune : strong vocal, sawing fiddle and bright steel. «Eeny-Meeny-Miny-Mo » and « How Do ? Honey You Do » are duets sung with Cathy Justice.

Friday, 7 August 2015

Lin Records !

Frank (Andy) Starr & The Rock-Away Boys.
Lin Records # 1013 - 1955
Tell Me Why / From The Want Of Your Love .

Born Franklin Delano Gulledge, 21 October 1932, Mill Creek, Arkansas Died 12 September 2003, Fayetteville, Arkansas

The station manager persuaded Frank to audition for Joe Leonard, who owned the Gainsville based Lin label and KGAF radio. Leonard was impressed by the uptempo hillbilly stuff on offer and a session was arranged for early '55 at the Cliff Herring Studio in Fort Worth, Texas. 
Dallas songwriters Mietzl Miller and Bill Baker were commissioned to write a couple of songs, the first The Dirty Bird Song is a catchy uptempo item, not a million miles from Marvin Rainwater. The second number, Dig Them Squeaky Shoes is a plodding country rocker, with some nice guitar work from Frank. The resultant single (Lin 1009) failed to click on the charts but was a more than decent debut. Tell Me Why is probably the best song from the session, a real chugger, Franks vocals still very rural at his stage and the band on top form. It was written by bass player Marvin Pace, a local car salesman whose band, including fifteen year old piano playing son Johnny Pace, backed Frank billed as the Rock-Away Boys. For The Want Of Your Love is a country weeper with backing vocals from the pen of W.D.Patty who supplied songs to other Joe Leonard artists, most notably the excellent Buck Griffin but when released as Lin 1013 both sides sank without trace. ( Taken from RAB Hall of Fame)