Nate's Record Collection

2011-01-24T19:08:00.000-08:00

Well howdy there dear blog followers and internet surfers,

No music this time around on the ol' blog, but this has been a tremendous week for me and I thought I might go ahead and write one of those mass emails to tell every single person I know or have ever communicated with or who I might in the future communicate with...

My family's health is improving (this is the best news!), my work here at Indiana University is going very well of late (a very exciting thesis project is in the works), my bluegrass-rockabilly EP with Sean Mencher, Al Hawkes, and Event Records friends is finished and looks great (so many thanks to Fred Chao!!), I just finished a new rockabilly-hillbilly bop recording project with some of my favorite people (Jerry Miller, Shane Kiel, and Mike Lee), and... wait for it... seriously, big news... worth waiting one more second... ok, THE STARDAY BOOK IS FINALLY OUT!!!

As the blog followers here know, I've spent the better part of the last many years researching and writing the history of Starday Records, one of, if not THE, most important independent record label in country music history. All those years of work, for which I have so, so many people to thank (which I tried to do in the Intro to the book, but my sincerest apologies if I missed anyone), has finally culminated in 288 pages bound by colorful hardness. I'm mighty proud of the ol' paper weight and just wanted to let all of my friends, colleagues, acquaintances, and even mortal enemies, know that it's real, available, and lookin' great!

If anybody is interested in obtaining a copy (this here being a callout to all those interested in mid-century American popular music, country music, bluegrass, rockabilly, honky-tonk, gospel music, old-time, independent music, george jones, stanley brothers, willie nelson, roger miller, nashville, tn, the record business, record collecting, nate gibson, etc), I will be giving a lecture on the IU campus about my Starday research on Feb. 4 (Morrison Hall, 1165 E. 3rd St, Room 006, High Noon) and will have several copies on hand. If you are not in the Bloomington, Indiana vicinity, the publisher (University Press of Mississippi) has recommended that y'all: Buy this book online at Amazon, from the publisher, or at your local neighborhood bookstore. As a head's up, the book is presently on sale for the lowest price since Amazon put it on pre-order back in May (less than $40, shipping included). For those that come to the lecture on Feb 4 (details below), I will be able to match the current Amazon price as well. I would greatly appreciate the support, by either purchase, just coming to listen, or even passing the word along to people you think might like enjoy the book (specific details below)!

Lots of other great stuff is happening in my life (seriously, i'm so grateful for everything as of late!!), but I don't want to bore the world with too many overly gushy details... So, there are several ways in which you could find out more if you are so inclined...
1. Write me an email. This is not the best option if you are seeking a speedy reply, as I am in the midst of grant application season. But I'd love to hear from you and will reply as soon as I am able.
2. Stalk my book or band on Facebook, "liking" and "poking" things and keeping abreast of my current highlights...
3. Check out some of my new recordings on my Facebook/Reverbnation band page: http://www.facebook.com/pages/Nate-Gibson-and-the-Gashouse-Gang/134266376606754... You can also buy the new Nate Gibson and the Grass House album here (CD or digital download)
4. Check out the new updates to my website (my eternal thanks to Garet!!) and learn more about the book and other projects I'm working on: www.nathandgibson.com. More updates coming soon, including many never-heard-before MP3s!
5. Check Youtube for new Nate Gibson videos. We had a show this weekend to celebrate the book's overnight express arrival http://www.youtube.com/watch?v=UvxJ-kbsP3Y
and you can also find me playing upright bass for numerous bands in and around Bloomington, IN.

I send to you all my very best and thank you for sharing my joy in the release of the Starday book. For those still on the fence about making the purchase, below is a writeup and a few quotes from several writers and scholars whom I greatly admire and for which I'm mighty thankful. I send my best wishes to everyone and look forward to our paths crossing again in the near future!!

Country Musically,
Nate

The Starday Story—The House That Country Music Built, is the first book entirely dedicated to one of the most influential music labels of the 20th century. In addition to creating the largest bluegrass catalogue throughout the 1950s and '60s, Starday was also known for its legendary rockabilly catalogue, an extensive Texas honky-tonk outpouring, classic gospel and sacred recordings and as a Nashville independent powerhouse studio and label. Written by Nathan D. Gibson with label president and co-founder Don Pierce, the book retraces the label's origins in 1953 through 1968 and the Starday-King merger. Interviews with artists and their families, employees and Pierce contribute to the stories of famous hit songs including "Y'all Come," "A Satisfied Mind," "Why Baby Why," "Giddy-Up Go," "Alabam," and many others. Gibson's research and interviews also shed new light on the musical careers of George Jones, Arlie Duff, Willie Nelson, the Big Bopper, Roger Miller, the Stanley Brothers, Cowboy Copas, Dottie West, Red Sovine, Johnny Bond, and countless other Starday artists.
Conversations with the children of Pappy Daily and Jack Starns provide a unique perspective on the early days of Starday and extensive interviews with Pierce offer an insider glance at the country music industry during the Golden Era of country music. Weathering through the storm of rock and roll and, later, the Nashville Sound, Starday was a home to traditional country musicians and became one of the most successful independent labels in American history. Ultimately, the Starday Story is the preservation of a country music label that played an integral role in preserving our nation's musical heritage.

Features:

Interviews were conducted with many of the artists and employees themselves including Betty Amos, Glenn Barber, Bobby Black, Eddie Bond, Chuck Chellman, Bill Clifton, Jimmy Dean, Charlie Dick, Patsy Elshire, Freddie Frank, Tillman Franks, Luke Gordon, Rudy "Tutti" Grayzell, Aubrey Holt, Loyd Howell, Orangie Ray Hubbard, George Jones, Merle Kilgore, W.D. Kilpatrick, Sleepy LaBeef, Billy Linneman, Hoss Linneman, Jesse McReynolds, Rose Lee Maphis, Frankie Miller, Lattie Moore, James O'Gwynn, Arnold Parker, Tom Perryman, Kenny Roberts, Shelby Singleton, Eddie Skelton, Roni Stoneman, Howard Vokes, Link Wray and many others

Features 60 photos, the majority of which have never before been published, including many from Don Pierce's personal collection

A near-complete listing of Starday Records and affiliated labels (including Dixie, Mercury-Starday, Nashville, Juke Box Oldies and the custom series) issued between 1953-1970

What they're saying:

"Nathan Gibson's The Starday Story: The House that Country Music Built is among the best books I've read on the subject of country music in Starday's era (1953-1968). It covers not merely the history and activities of a very important independent record label, but also offers valuable insights on artist and song selection, studio recording, and the production, distribution, and marketing of records during that time. Starday Records has been often overlooked through the years, despite the role it played in the early careers of such eventual stars as George Jones, Roger Miller, Willie Nelson, and many others. Don Pierce, who led the company throughout its active years, was something of an administrative and innovative marketing genius, for which he, like the label itself, never got the credit deserved. That is all remedied by The Starday Story. The book is thoroughly researched and well written; anyone with a serious interest in American popular culture ought to have a copy."
—Nolan Porterfield, author of Jimmie Rodgers: The Life and Times of America's Blue Yodeler

"If we are ever able to understand the complete story of country music, and the ways in which it touched, enriched, and explained the lives of ordinary people, it will be because of books like The Starday Story. Nathan Gibson has given us a meticulously-researched and highly-detailed account of one of the most important record labels that helped to introduce country music to an international public. The Starday Story is not simply an entertaining account of some of country music's most colorful and influential performers, it is also an insightful study of American working class history, and the ways in which plain people interrelated with their musical messengers and spokesmen. I am pleased to give the book my unqualified endorsement."
—Bill C. Malone, professor emeritus of history at Tulane University and author of Country Music U.S.A. and Don't Get above your Raisin': Country Music and the Southern Working Class

"The story of Starday, Nashville maverick of the fifties and sixties, is told well in this book for which Nathan Gibson was fortunate to have the help of Starday's glory years' president, the late Don Pierce. At a time of turmoil in Nashville, Pierce found ways to record and market a diversity of gritty music that's stood the test of time: rockabilly, gospel, bluegrass, honky-tonk, old-time, historic country and more. Pierce's own comments and insights mix enthusiasm and business acumen in unique ways that make for fascinating reading. Gibson's meticulous research pulls in new threads and offers fresh insights into the workings of mid-20th century popular music."
—Neil V. Rosenberg, professor emeritus of folklore at Memorial University of Newfoundland and coauthor of Bluegrass Odyssey: A Documentary in Pictures and Words, 1966-86

"Starday is arguably the greatest maverick country music label of the 1950s-60s. Despite minimal investments in sessions and infrastructure, Starday produced lasting classics by George Jones, the Stanley Brothers, Cowboy Copas, Minnie Pearl, the Country Gentlemen, Ola Belle Reed, Charlie Monroe, Red Sovine, the Blue Sky Boys, Buzz Busby, Harry Choates, Johnny Bond, Carl Story, Jim & Jesse, the Stoneman Family, the Lewis Family, and many more, from celebrities to obscurities. Nate Gibson quotes Starday CEO Don Pierce extensively as he illuminates Starday's beginnings, growth, successes, failures and demise. This fascinating account includes rare insights into country music and the industry it built over half a century ago."
—Dick Spottswood, author of Banjo on the Mountain: Wade Mainer's First Hundred Years and producer and online host of The Dick Spottswood Show, www.bluegrasscountry.org

"Based on a close collaboration between Starday founder Don Pierce and musician/scholar Nathan Gibson, The Starday Story is more than a company history; it's also the story of a man who believed in American grassroots music—from honky tonk to southern gospel to bluegrass—and tirelessly worked from 1953 until 1970 to build one of the largest, broadest-based, and most artistically successful post-World War II independent record companies."
—Kip Lornell, editor, with Tracy E. W. Laird, of Shreveport Sounds in Black and White

"In The Starday Story, Nate Gibson, musician, scholar, and sprightly writer, assembles a wealth of facts and photos, and establishes the record label as a productive locus for an investigation of the relations between art and commerce and the connections among the varieties of American country music."
—Henry Glassie, Professor Emeritus of folklore at Indiana University and author of fourteen books, including The Spirit of Folk Art, Passing the Time in Ballymenone, and The Stars of Ballymenone

Week Two, Smokin Starday Instrumentals

2009-04-20T21:09:00.000-07:00

Music Blog—Nathan D. Gibson

Week Two: Smokin’ Starday INTRUMENTALS

Well, howdy there friends and neighbors! Welcome to Week Two of my music blog. As stated in the title of my first blog, I love Starday Records. I wrote a book about it. It will be released in January 2011. It has been my life and obsession for some time now. My intent for this blog is to share some information about the great old Starday recordings from years ago which are not commercially available.

There are many topics to be covered in this here blog, but for Week Two we shall focus on the magnificent instrumentalists of Starday. Don Pierce always had Nashville’s (and beyond) best instrumentalists recording in the Starday Studio. However, he always told them to hold back, to isolate and focus on the vocals tracks and to avoid all “the god-damn hot licks.” However, to feature the musician’s virtuoso talents, Pierce released numerous concept albums and EPs with the instrumentalists “cutting loose.” Most often the EPs were sent out to disc jockeys as voice-over fillers and the concept LPs were Starday shish-kebabs based on one particular instrument (i.e. steel guitar albums, fiddle albums, guitar albums, organ/guitar albums, banjo albums, etc). There were also several instrumental albums by major label artist’s backing bands (i.e. Hank Snow’s band, Jim Reeves’ band, Roy Acuff’s band, etc). The following are some of my favorite instrumentals culled from my collection of 45s, 78s, EPs and LPs on the Starday label.

1. Joe Maphis – Coffee Break

Joe Maphis is my favorite guitarist. I play a Joe Maphis Model Mosrite and worship nearly everything this man recorded. This particular track appeared on SLP 316, The King of the Strings, his first of three instrumental LPs showcasing this flat-picking master. According to the liner notes, during a session break, Joe Maphis sat down on a chair and recorded ‘Coffee Break’ in one take. The results are astonishing.

2. Buddy Dee – Country Rockin’ And Flyin’

This is one of the more interesting Starday releases because it featured Eddie Cochran (then recording for Liberty Records) on guitar. This recording comes from 45-258 (one of the aforementioned instrumental EPs which were distributed to disc jockeys for voice-overs), though it was also released as Hollywood 45-1068 (also an instrumental EP sent to disc jockeys) and credited to the Ernie Freeman Combo. Don Pierce owned Hollywood Records and operated the R&B/blues label independently from Starday (though both labels shared the same Hollywood and Nashville addresses). It also sounds as though Joe Maphis is playing guitar on this track as well.

3. Thumbs Carlille – Thumbs Guitar Boogie

Thumbs Carlille (often misspelled on the Starday labels as Thumbs Carlisle) was backing Bill Wimberly on ABC-TV’s Ozark Jubilee when this record was released in 1958 (as Starday EP 45-408). Bill Wimberly fronted the successful western swing band, self-proclaimed “America’s #1 Show Band in 1956,” and were signed to Mercury Records around 1955/6. When Mercury’s country division merged with Starday Records in 1957, Bill Wimberly’s band appeared on Mercury-Starday. After the split, several Wimberly (and affiliated gang) appeared on Starday.

4. Bill Wimberly – Missouri Drag

This is Bill Wimberly’s lone Mercury-Starday 45, 45-71089. Interestingly, the track is credited to both Bill Wimberly and Buddy Dee (not likely the same Buddy Dee as mentioned above). Don Pierce claimed that Buddy Dee (whose name appears on several Mercury-Starday 45s as writer) was actually a pseudonym for D. Kilpatrick and used to give monetary thanks to the man who created Mercury-Starday, though Kilpatrick (the former head of Mercury’s country division, who left to become the manager of the Grand Ole Opry in 1957) remembers nothing of the alter-ego. It very likely could have been used as a pseudonym for Pappy Daily instead.

5. Eddie Eddings – Country Guitar

Perhaps my favorite concept album Starday ever released was SLP 176— Tennessee Guitar, which featured 14 smokin’ guitar tracks by Nashville’s best pickers. This particular track is by Eddie Eddings. I know very little about Eddings, but he was the author and cut the original version of ‘Yearning’ (Starday 45-163), which later became a hit duet between George Jones and Jeanette Hicks (released on Starday as 45-279 and later rereleased on Mercury-Starday as 45-71061).

6. The Stanley Brothers – Fling Ding

The Stanley Brothers need little introduction. They are among the Big Three in bluegrass music and, according to the liner notes in Bear Family’s reissue set covering 1953-1958 & 1959, Ralph Stanley said the Mercury sides were some of the best sides they ever cut. I agree. This is one of them. This is one of their last Mercury sides, issued as Mercury-Starday 45-71207, and was released in 1957.

7. Shot Jackson & Buddy Emmons – Fort Worth Drag

Don Pierce released was neighbors with Roy Acuff in Nashville and the two became very good friends. Ac uff encouraged Pierce to release full-length albums by members in his band and this one, SLP 230, Singing Strings of Steel Guitar and Dobro by Shot Jackson, is one of the best. Though he is uncredited in the album title, the steel guitar and dobro duets also feature Buddy Emmons. Together these talented musicians created the now famous Sho-Bud steel guitars. This was one of Don’s favorite albums and mine.

8. Buck Ryan – Nervous Breakdown

D. Kilpatrick is a funny man. He told me that he was sent by Mercury Records, around 1955/56, to Washington D.C. to scope out up-and-coming star Jimmy Dean (now famous for his sausages). He was taken aback by the popular stars stage show and decided to sign a few of his bandmates as well. He later recalled to me, “Dean was out there playing with Patsy Cline and Roy Clark and I decided to sign Buck Ryan!” Though Ryan didn’t hit the scene as big as either of the latter, he was an incredible fiddle player and ‘Nervous Breakdown’ was his lone Mercury-Starday release, 45-71082.

9. Bill Wimberly – Springfield Guitar Social

More Bill Wimberly. Because we can; Because I love Thumbs Carlille. Though this tune isn’t an instrumental, I am a huge fan of these play-like-several-other-guitarist type songs (i.e. Eddie Hill’s ‘The Hot Guitar’ and the next track) and am working on recording my own on the Gashouse Gang’s next record. This classic track comes from one of Starday’s first LPs, SLP 109, Country Express.

10. Phil Baugh – Country Guitar

This just might be the best one of these types of songs I have ever heard. Phil Baugh can play and I highly recommend his CD out on the Sundazed label!! Though this track wasn’t originally released on Starday, Pierce leased the track in the late 1960s and included it on his album, SLP 399, The Fabulous Sounds of Those Nashville Cats. Viva la Phil Baugh!

11. The Musical-Aires – Skip Along Guitar

I know next to nothing about this group or track except that this song was included as the flip side to Buddy Dee’s ‘Country Rockin’ and Flyin’ (45-258), along with two other tunes. It’s mighty rocking. Enjoy.

12. Buzz Busby – Banjo Whiz

Despite the misleading title, Busby was actually a fantastic mandolin picker. Still, this particular tune was credited to Busby and his Bayou Boys and was released as a single (Starday 45-408) and was also included on SLP 109, Country Express. The banjo player was Bill Emerson and John Hall is on fiddle. This is a mix-up of old-time tune ‘Shady Grove’ and the laughing in the background is by Busby himself. Pretty darn fast. Pretty darn rocking!

13. Herbie Remington – Station Break

Remington was the man behind the steel guitar behind Bob Wills for many years. He was also part of the California/Texas Starday house band. After backing up George Jones and many others on their Starday sessions, he finally cut loose and recorded several instrumentals of his own. This one was released on Starday 45-332 in 1957, along with ‘Slush Pump,’ and also appeared later on SLP 109, Country Express.

14. Joe Maphis – Sweet Rosie

As mentioned, I can never get enough of Joe Maphis. This is his acoustic ode to his wife, Rose Lee, and also comes from SLP 316, The King of the Strings.

15. Jimmy Richardson – Peanut Vendor

At first, I was somewhat boggled by organ LPs on Starday by Jimmy Richardson. I guess he got his fame from playing at Tennessee walking horse championships and would play along to the horse’s gallop. He then started playing organ versions of popular country songs and he actually saw releases on Starday, the Nashville subsidiary and even Pierce’s Hollywood R&B/blues label. This song, from SLP 126— Sweet with A Beat, is particularly fun because every time I hear it I think of the movie Office Space.

16. Leon McAuliff and his Cimarron Boys – Boogie on Strings

Leon is another to get his fame as one of Bob Wills’ Texas Playboys. The phrase, “Take it away, Leon,” is etched into the minds of every western swing fan this tune doesn’t let you down. McAuliff had three LPs released under his own name on Starday and this track comes from his first, SLP 171—Mister Western Swing.

17. Hardrock Gunter – Memphis

Though he is more famous for his classic, ‘Birmingham Bounce,’ I prefer this cut from Starday SLP 176, Tennessee Guitar. Gunter also released one 45 on Starday, with Buddy Durham, and also backed the Sunshine Boys gospel quartet on their earliest Starday recordings. I remember reading a great article about Gunter in Blue Suede News a number of years ago and if you like his music, it is well worth tracking down the article.

18. Billy Byrd – Teen Age Blues

Here’s another gem from Starday SLP 176, Tennessee Guitar. This blues ditty comes to us by the much-loved Billy Byrd, Ernest Tubb’s longtime picker and Troubadour. This is my favorite of the three Byrd tracks on this LP.

19. Pete Drake – For Pete’s Sake

Pete Drake was one of Nashville’s best steel players and played on seemingly every Starday session. Drake and Tommy Hill (Starday producer extraordinaire) were good friends (later co-founded Stop Records and Window Music Publishing Co.) and Hill used Drake on most sessions he booked. Drake eventually cut a few of his own albums for Starday, which included several songs utilizing his famous “talking steel guitar.” I’m not a fan of the aforementioned talking steel, but this creepy little instro is simply amazing! This track comes from SLP 180, The Fabulous Steel Guitar Sound of Pete Drake, his first solo LP for Starday.

20. Jackie Phelps – Guitar Cannonball

Phelps was another of Roy Acuff’s Smokey Mountain Gang who recorded a solo album for Starday. Pierce was proud that his friend and neighbor, Roy Acuff, trusted him to release solo albums by the Smokey Mountain Gang, as opposed to having them released on his own Hickory label then operated by Wesley Rose. According to Pierce, Acuff said, “Let Starday and Don Pierce release the albums so they’ll be seen everywhere. Wesley doesn’t know how to do crap.” This track comes from SLP 265, The Ten Talented Fingers of Guitar Star Jackie Phelps. This is one of my favorite albums on Starday and his Fender Jazzmaster really sings on this LP! The harmonica in the background is by fellow Smokey Mountain Ganger Jimmie Riddle.

21. Ernest V. Stoneman – Orange Blossom Breakdown

The Stoneman Family, aka the Bluegrass Champs, recorded three LPs for Starday. This track, from SLP 275—The Great Old Timer at the Capitol, features the crazy-good fiddlin’ of Scotty Stoneman. I am a mighty big fan of the Stoneman Family’s music and a while back I had the privilege of interviewing the fiery Roni Stoneman. She played banjo on the family’s Starday recordings and, as I very quickly found out, she absolutely hated Starday. This is likely the most anti-Starday conversation I have heard and I was very grateful for her opinions and contributions to the Starday Story. Her issues with Starday are further dissected in the book if you are interested... As our conversation began, I mentioned to Roni that I was writing a book about Starday Records and the following is her response to that introduction. It’s a little bit lengthy, but I didn’t have room to include the whole thing in the Starday book and I found her response to be quite fascinating. Enjoy the read…

“When the depression wiped out the recording industry, a lot of the mountain people during the hard times moved into the D.C. area from Virginia. A lot of the Kentucky folks went into Detroit. You know, trying to find work. Anyway, we all played music there and we played around the Washington D.C. area and we hardly had any money. No financial help. Nobody. And daddy was a hard working man and mama was a hard working lady. And most of the people who came to the D.C. area brought their culture and their music with them. That’s all they had. Sometimes we’d play music for a dollar a night. So my older brothers formed their own band and my dad had his old band called the Little Pebbles which featured the greatest, which was Scotty on the fiddle. Scott was absolutely a natural. So he had a band himself and played around the D.C. area and played with different ones and we also played together...

“So I do not know how this came about, but we were invited to come to Nashville and record for Starday Records. And so we were staying at a little motel up on Dickerson Rd. called the Hilltop and I remember, I was very young, I guess I was about 8 ½ months pregnant. This was a very exciting time for us. Then when we came to Nashville, they took us to the Starday Studio, so we did a couple albums, two or three. It seemed like a lot because we were in there all day long. All day long! They took us out, took a picture, then took us back in. and started working again. I think we were in there for 14 hours of hard work. We featured Scotty on some fiddle tunes— ‘Orange Blossom Special’ [ed. Note: As heard in this blog]. And Scott played his heart and soul on the ‘Orange Blossom Special.’ Well, when it was released, it came out as ‘Orange Blossom Breakdown,’ arranged by York. We said, ‘who’s York?’ They said, ‘That’s Starday.’ They said, ‘That’s Don Pierce’s surname.’ I said, ‘He didn’t play no fiddle. How can he put soul into a fiddle tune?’ So here we were, Scott never read music. None of the Stoneman’s ever read music. We played our music with our every bit of soul and inner-beings because that’s all we ever knew to do. We just loved what we did. So Scott learned the fiddle from my grandfather in 1886 and then York claimed it. So I told Chet Atkins and he said, ‘It’s Don Pierce.’ Why would he want to steal our stuff? He changed the name to ‘Orange Blossom Breakdown’ and put arranged by York. So we played at some show and people would show that to us. How dare they? We should have taken some lawyers with us to Nashville.

“Then I recorded a banjo number. It was called ‘Lonesome Banjo.’ Scott said, ‘Roni, go in there and play. Make up a banjo number.’ I said, ‘I don’t know one.’ He said, ‘Go in there and make a banjo number up.’ I spent five minutes and I came out and says, ‘OK, I’m ready to play my new banjo number.’ The family all knew how I played so we all got in there and said, ‘OK, let’s go for it!’ It was called ‘Lonesome Banjo’ and it was put on Ralph Stanley’s album [ed. Note: SLP 201, The Mountain Music Sound of the Stanley Brothers] and as far as I know, my name wasn’t even mentioned [ed note: she was credited on the back cover as ‘Lonesome Banjo’ by Ronnie Stoneman]. Never received one penny for it. Never never. I’ve never received anything. Someone called me and said, ‘Roni, you’re on a Ralph Stanley album.’ I said, ‘I am?’ And so I went down there to the music store and there it was. And at first I felt proud because I think Ralph Stanley is absolutely the best – he is my hero and I love him dearly and I thought, ‘Wow, I’m on a Ralph Stanley album! But then I didn’t see my name. It just says ‘Lonesome Banjo.’ Now when I find that album.

“He (Pierce) took a lot of people and brought them into the studio and claimed their talent. I don’t go for that. If he don’t like that, to heck with him. I don’t care. That’s how I feel. Look on the album, darling. Do some research work on these albums. Now that he’s passed away I can say this, Chet Atkins is the one that taught me that there is such a thing as a blacklist. And a lot of people don’t like to give it to politically powerful people that can cause them trouble and keep them from getting anything anywhere. But I don’t have anything to lose or to gain. I’ll tell it like it is. Because I feel this way, I’m from a legendary family. I’m very thankful for that. We earned everything we got. We have honesty in our music. We worked hard. And we were cheated out of just about everything we had in our soul. For the music. But God don’t rest and he’ll take care of those who need it. And when Don Pierce got that award at ROPE, I like to fell out. I said, ‘I wonder how many people he cheated.’ And here people are braggin’ him up. But I can’t even imagine how many people he had to cheat to get there. I’ve never received one red cent from Starday and I don’t believe any of the Stonemans have. If Starday was so good, how come people didn’t stick with them? And you can read this story about Pierce in my book. Ellen Stuck from Northwestern University of Illinois is writing a book about my life. She’s been at it about two and a half years. She should be finishing it up during the latter part of March. She’s actually writing a play as well and that story is going to be in there as well.”

22. Al Petty – Steel Guitar Special

If you are prepared to be blown away, head over to http://alpettytrial.com/LifeofAlPetty.html and read about the life of Al Petty. He made some amazing recordings for Starday and backed a lot of the early Texas sessions. He later ran a pyramid scheme, had some shady church business practices and got nailed for it. He is now in prison, I believe, but recommend listening to this great track and reading his own version of his story as linked above… This track comes from Starday 45-141 and was billed as Al Petty and the Rainbow Riders.

23. George Jones – No Money In This Deal (Instrumental)

This is the instrumental version of George Jones first 45 on Starday, which he often jokes was a prophetic tune regarding his Starday contract. I’m not certain, but I believe Herbie Remington was on steel guitar for this one. It comes from 45-295, another of the early EPs sent out to DJs.

24. Allen Shelton – Bending the Strings

Allen Shelton was the banjo player for Jim Eanes and the band got together to record this one in November 1957. Though the band’s previous session songs were released on Mercury-Starday, by the time this record got into Pierce’s hands, the Mercury-Starday deal was over. Thus, Pierce released it on Starday 45-366, one of the earliest Nashville EPs filled with instrumentals for DJs. This track also appeared on several later LPs featuring bluegrass music and my recording comes from SLP 136, Banjo Jamboree Spectacular.

25. Joe Maphis – Fire On the Strings

More Joe Maphis, because I can! When his Columbia LP of the same title came out in 1957, a new sound was born! By the time he arrived at the Starday Studio, Maphis had been playing this song on California’s Town Hall Party for about five years. The tempo was significantly increased, rushed you could say, but WOW isn’t it amazing! Again, this track comes from SLP 316, The King of the Strings.

26. Link Davis – Waltz of the Jambalaya

Link Davis has many claims to fame. He recorded some amazing rockabilly tracks for Starday. He played fiddle and sax with Cliff Bruner and the Texas Wanderers. He recorded ‘Good Rockin’ Tonight’ in 1949! He played sax on the Big Bopper’s ‘Chantilly Lace.’ In addition to his great western swing and rock sides, he was also a great fiddler and recorded his share of outstanding Cajun music. This 1957 instrumental features his fantastic fiddlin’ on Starday 45-331.

27. Johnny Bondz – Remington Ride

This one here was a mystery to me to me for a long time. It comes from the Nashville subsidiary label, NV-5299. It’s a cover of the great Hank Penny side by the same title on King Records (45-902) which featured Herbie Remington. Note, this version is not by the more famous Starday artist Johnny Bond, but by Johnny Bondz. I have later discovered that this is likely Johnny Bondzinski, a Florida-based steel player and music shop owner (Bondz Music in Wildwood, FL). A photo of the man can be seen here: http://www.pbase.com/cozy123/image/34049071. Viva la Starday artists Johnny Bond and Johnny Bondz!

28. Arthur “Guitar Boogie” Smith – Boogie Battle

There were a couple Arthur Smith’s recording instrumental LPs on Starday, Arthur ‘Guitar Boogie’ Smith and Fiddlin’ Arthur Smith and his Dixieliners. This is from the former. Though most famous for his 1948 MGM recording of ‘Guitar Boogie,’ which is often cited as the first ever rock and roll song, Smith also recorded nine LPs for Starday and appeared on several singles and compilations as well. It was hard to pick just one song to feature this great fiddler, banjo, mandolin and guitar picker, but I chose ‘Boogie Battle’ because he did several great organ/guitar duet tracks and this is one of them. Though my favorite LP of his was his SLP 243— Blue Guitar, this track originates from SLP 216,Arthur "Guitar Boogie" Smith Goes To Town.

I LOVE Starday - Starday Blog 01

2009-04-07T17:22:00.000-07:00

Howdy there and welcome to week one of my music blog! I am excited to finally get this underway. Music blogs have been a relatively new discovery for me and I have uncovered some amazing out-of-print music via this new technology. Thus, I have decided to start my own blog and share with the masses my love of Starday Records.

While researching The Starday Story—The House That Country Music Built (by Nathan D. Gibson with Don Pierce and due to be released in January 2011), I began collecting Starday records so that I might be able to hear the music I was writing about. That simple effort quickly turned into a decade-long obsession. So far I have mapped out the next 30 blogs, each blog filling one hour of glorious Starday music revolving a specific topic. The goal is to not allow any overlap of songs under different blogs, though there are several different categories in which some of these songs could be used. I thought I would start off my musical blog with the simplest of sentiments, I LOVE Starday Records! Every song in this week’s collection of ditties uses the word “love” in the title and is culled from the Starday label and its subsidiaries (including Nashville Records, Mercury-Starday, Dixie Hillbilly Hit Parade records, Dixie custom records, the Dixie label, Hollywood Records, etc.).

Lastly, I should add that I am absolutely amazed at how long it has taken me to put this first music blog together. Still, I hope to be able to keep up with the once a week schedule. There is a lot of great music from the Starday vaults and it deserves to be heard!
I LOVE Starday - Starday Blog 01

1. Roger Miller – Can’t Stop Loving You

Our first tune was recorded in 1957 and is Roger Miller’s second ever release (45-356). The track was recorded in Houston, Texas and I was happy to send in a scan of the record label to Bear Family for their recent release of Miller’s earliest material. As mentioned in Deke Dickerson’s liner notes, this record is extremely rare and many believed that it had never been released. It was, however, and was also later included in Starday LP 318 (Wild Child) released in the mid 1960s to capitalize on Miller’s Smash successes.

2. Jim & Jesse – I’ll Love Nobody But You

Don Pierce was a huge bluegrass fan and in the late 1950s he went around picking up recordings from many of the top bluegrass acts on the circuit. The Starday recordings made by Jim & Jesse are among their best and among my favorite bluegrass recordings. Jesse was a great help to me during my research and sent me a great photo of the 1958 group that recorded the early Starday material. This particular song was released as 45-458 and was also included on one of Pierce’s earliest bluegrass compilations, LP 115: The Bluegrass Special.

3. Curly Fox & Texas Ruby – I Don’t Love Nobody

Curly Fox & Texas Ruby performed on the Opry in the ‘30s, ‘40s and 1960s. In 1963, Don Pierce persuaded the couple to record one album for Starday (SLP 235, Fantastic Fiddlin’ Fun and Songs). Hoss Linneman, who engineered the session, remembered that Ruby’s breath always reeked of garlic. I decided not to put that in the book… Shortly after this recording, Ruby passed away in a house fire while Curly was performing at the Opry.

4. Mike Miller & Jack Casey & the Stone Mountain Boys – Love Me

I don’t know too much about this group. They had some songs out on the Starday EP series (mostly gospel stuff) and also on the Nashville label (a subsidiary label to Starday). I bought this 45 on eBay because the flip side (Nashville 45-5051) was ‘Outer Space Blues’ and I thought that sounded cool. Turns out, ‘Love Me’ is the far better side and is one of my favorite 45s on the Nashville label (which will be featured in an upcoming blog).

5. Jimmy Dean – Nothin’ Can Stop My Love

Though I’m not a very big fan of his sausage, I absolutely love Jimmy Dean’s honky-tonk music! Dean’s recording career took off when Don Pierce gave him a rough demo of ‘Bummin Around’ while they were both at 4-Star. D. Kilpatrick then signed the up-and-coming star to the Mercury label and when Starday and Mercury where merged (1957), Pierce again produced Dean. Aside from three stellar 45s (this one was Mercury-Starday 71240), Mercury-Starday also released Dean’s first LP (MG20319, Jimmy Dean Sings His Television Favorites), from which this song was also included. I was fortunate enough to speak with Dean about this phase in his career and he was surprisingly critical, almost embarrassed by these recordings. Even so, I love this stuff! If you’re looking for an entertaining read, I highly recommend Dean’s autobiography: Thirty Years of Sausage, Fifty Years of Ham.

6. Gene Terry & his Kool Kats –The Woman I Love

Gene Terry was born in LA but grew up in Port Arthur Texas. His recordings also appear on Savoy and Goldband, but this tune, from the Dixie custom label (Rock-It 598), is one of the best! Pure rockabilly greatness!

7. Orangie Ray Hubbard – Sweet Love

Speaking of rockabilly greatness, here is the “Holy Grail of Rockabilly Music,” as referenced by Hubbard in an interview I had with him. I had a great chat with Orangie Ray while researching the Starday custom Dixie label (this was Dixie 662) and I hope to make it out to Cincinnati one day to meet him in person. I can’t thank him enough for his story in the Starday book. This track is also available on the Ace Records compilation of Starday-Dixie rockabilly.

8. Lonnie Irving – An Old Fashioned Love

Lonnie only recorded six tunes for the Starday label (two of which previously appeared on the Dixie custom label) and they are all fantastic. This song comes from 45-505. Though his most famous song was ‘Pinball Machine,’ the others also deserve equal attention. Lonnie’s brother, Eddy, sent me some wonderful pictures of Lonnie to be included in the Starday book and he was also kind enough to send me some of his own recordings covering Lonnie’s music. I will likely play a song from those demos in a later blog. For now, enjoy Lonnie, backed by Jim Eanes’ band.

9. The Love Brothers – Baby, I’ll Never Let You Go

This is one of my greatest record finds ever. I found this 45 for $4 in a Lincoln, Nebraska record shop. Oh, Baby! Even though the word “love” isn’t in the song title, I thought the boy’s name justified their existence in this blog. This is one of my favorites from the Starday custom Dixie label (By-Love 843).

10. Howard Mayberry & the Sangomon Boys – This Just Can’t Be Puppy Love

Back in 2004 this 45 went on eBay for $255. I didn’t win it. I haven’t seen one since. Rare, but rockin! I instead first heard this song on some rockabilly compilation. Regrettably, I know very little about Howard Mayberry. This is from the Dixie custom series (Dixie 908).

11. Carl Story – You Don’t Love God (If You Don’t Love Your Neighbor)

If you’re a fan of current bluegrass music, you might be more familiar with Rhonda Vincent’s cover of this classic Carl Story tune. Prior to recording for Starday, Story recorded a large amount of old-time gospel music for Mercury, as well as a brief period of secular tunes for Columbia. Once Mercury and Starday merged, Story reformed the Rambling Mountaineers as a bluegrass ensemble and recorded solely bluegrass from then on. Don Pierce nicknamed Story ‘The Father of Bluegrass Gospel’ and this tune appeared on SLP 219, Mighty Close To Heaven.

12. Dee Mullins – Oh Oh, I’m Falling In Love Again

This particular track comes from the Dixie Hillbilly Hit Parade Series, not the Dixie custom label. The Hillbilly Hit Parade version of Dixie was typically no-name artists (or in many cases un-credited stars) covering the hit songs of the day. The artists never received royalties for these, but usually were paid $5-$10 per session. This is Dee Mullins covering the popular Jimmie Rodgers 1958 hit song from Dixie 45-530.

13. Jimmy Blakley – Standing In Line (For Your Love)

Here’s a great track from Jimmy Blakley, brother of Starday rockabilly artist Cliff Blakley. Jimmy and his wife Dorothy were all over the early Starday days, recording for the Starday main label, the Mercury-Starday label, the Dixie Hillbilly Hit Parade sessions as well as recording his own Dixie custom singles, from which this song derives (Starday custom 582). Their son, Jimmy L. Blakley, is also a country musician and has his own music on his myspace page.

14. Ken Clark – Ho Ho Love ‘Em Joe

Like the Blakley’s, Clark was all over Starday. He recorded on the main label, for the Dixie custom label, the Nashville subsidiary and appeared on numerous bluegrass compilation albums. His songs were recorded by several Starday artists including Cowboy Copas, Hylo Brown, Kenny Roberts and others. This song comes from his Dixie custom pressing (Starday custom 631).

15. The Flatt Mountain Boys – I Could Love You (All the Time)

The Flatt Mountain Boys were an eastern Kentucky band which included Kenny Baker, who later played with Bill Monroe, on fiddle. This song was recorded in 1954 and originally released on the Arrow label. After showing promise, it was picked up by Starday and released in either late ’56 or early ’57, making it one of the first bluegrass songs to appear on the Starday label as 45-307.

16. Floyd Tillman – I Love You So Much It Hurts

I think Floyd was perhaps the greatest song stylist in country music (or at least right up there with Lefty Frizzell and George Jones). I remember telling D. Kilpatrick that my band would be recording in Nashville one time, and he told me to cover some of Floyd’s songs in his style. He said I’d be guaranteed a hit… Well, I don’t doubt that the public would welcome such a song stylist, I just doubt that I could be the one to do it. This is a rerecording of Floyd’s biggest hit and comes from Starday SLP 310, Let’s Make Memories, which was originally issued on the Cimarron label.

17. Frankie Miller – Maybe You Would Love Me Then

Frankie Miller is one of the nicest personas in country music! I am grateful to him for his encouragement and interviews in the writing process. He is one of the many Don Pierce advocates who are pushing to see the former Starday President and Co-Founder entered into the Country Music Hall of Fame. Recently, Bear Family reissued all of Frankie’s Starday sides and I highly recommend picking up the 3-CD set. His Columbia stuff has been reissued on Bear Family as well and Frankie is still making great music on the Cowboy Capitol label. This particular track comes from his second Starday LP, SLP199, The True Country Style of Frankie Miller.

18. George Jones – ‘Cause I Love You

Classic Starday-era George Jones. I’m not sure I need to say much more. This was from Jones’ Dixie hillbilly hit parade sessions, when he was covering other artist’s songs (in this case, Webb Pierce) for a flat rate per session. Though Jones didn’t speak too highly of these recordings in our interview, I still see their merit. As his recording successes continued with Mercury, Pierce rehashed some of these “cover” sessions with his Starday and Mercury recordings and issued them in album form. This particular title comes from Jones’ second Starday LP, SLP 125, The Crown Prince of Country Music.

19. Joe & Rose Lee Maphis – I Don’t Love Nobody But You

Joe Maphis is my favorite picker of all-time; I just can’t get enough of that Mosrite doubleneck picking. In addition, Rose Lee just might be the sweetest woman alive. If I could include a song from them in every blog I would. Rose Lee is the person who gave me Don Pierce’s phone number and arranged for our meeting. For that, I am forever grateful. After recording for Okeh, Lariat, Columbia and Capitol, Pierce signed the duo to Starday Records. This track comes from their first Starday album, SLP 286, Mr. and Mrs. Country Music.

20. Johnny Bond – Love Song In 32 Bars

Johnny Bond scored the biggest hit of his career while on Starday with ’10 Little Bottles.’ Following that hit, which Pierce hated interestingly enough, Bond cut several albums of drinking songs hoping to cash in on the success of the previous hit. Nothing caught on with the mainstream, but this little gem is one of his best. This tune is an album track from SLP 378, Bottles Up!

21. Eddie Bond – Love, Love, Love

Coming from Memphis, Eddie Bond is one of the great Mercury rockabilly performers. However, he always preferred country music. When Don Pierce and Pappy Daily took over the country department of Mercury (as Mercury-Starday in January 1957), Bond was allowed to record country again. Reggie Young had just left the Stompers (Bond’s band) and Phil Baugh became the lead guitarist for the more country-oriented Mercury-Starday sessions. Still, Bond had a little rock left in him for this tune (Mercury-Starday 45-71237). Jerry Smith on piano and Pee Wee Wamble on trumpet, both blind musicians, give this one a distinctly pop-rock feel.

22. “Country” Johnny Mathis – Holiday For Love

“Country” Johnny Mathis used to be known as just Johnny Mathis. In 1957, another Johnny Mathis grew popular in the pop charts and it quickly became apparent that a name change was in order. During his Starday years, “Country” Johnny Mathis recorded for Starday and Mercury-Starday, though this particular track was from the Dixie hillbilly hit parade soundalike sessions (he was trying to sound like Webb Pierce). The track was later included on Mercury-Starday Hillbilly Hit Parade Vol. 2 (though this was technically Vol. 3, because there was an earlier Mercury-Starday LP by the same title and because Starday LP 102, titled Hillbilly Hit Parade, could be considered the true Vol. 1).

23. Rudy Grayzell – I Love You So

Interviewing Rudy for the Starday book was a great thrill. I am a huge fan of his music and he is one of the most active people I know. He was recently in a movie, a musical, some plays and is still performing his rock’n’roll brand of music out on the West Coast. This track comes from Starday 45-321. There was a rumor that this was also issued as a Mercury-Starday single, because it was assigned a Mercury-Starday release number, though sadly I don’t think that happened. I have searched extensively for any evidence and have found none. Shortly after this release, Rudy left Starday and recorded for Sun Records.

24. Sleepy LaBeef – You’re So Easy To Love

Sleepy LaBeef was another great artist to interview, arguably the most knowledgeable artist about the early Starday Texas period. He also recorded for Starday and Mercury-Starday, though this song comes from one of those aforementioned soundalike Dixie Hillbilly Hit Parade sessions (Dixie 529). Unlike George Jones, who regrets those early rockabilly recordings and seems rather embarrassed by them, LaBeef just viewed them as “all part of the ladder.” I am a big fan of this big guy and if you ever get a chance to see him live, make it happen! He is the original “Human Juke Box!”

25. Tibby Edwards – I Don’t Want To Say I Love You (But I Do)

Oh man, Tibby’s so great! Bear Family recently put out a whole CD of Tibby’s stuff and I highly recommend it to all. This track comes from Cajun-born Tibby’s lone Starday single, which was later reissued on Mercury, and he also had one release on the Mercury-Starday label. Tibby lived and toured with Lefty Frizzell extensively and became a great song stylist under Frizzell’s tutelage. This track, an Edwards original, was recorded in Nashville and comes from Starday 45-278.

26. The Willis Brothers – Love Thy Neighbor

The Willis Brothers, Hank Williams Sr.’s original backing band, were basically the Starday Band. They backed up several other musicians on their recordings. Vic Willis ran the jingle company. The All of the Willis Brothers’ wives worked in the Starday office and they also recorded several hits for the label. This track comes from SLP 353, Road Stop Juke Box Hits, and is (in my humble opinion) one of their best.

27. Fred Crawford – I Just Need Some Lovin’

For many, Fred Crawford was the best artist on the entire Starday roster. He made legendary rockabilly recordings, wonderful honky-tonk stompers and even recorded at least one Starday session with Buddy Holly. This track is my favorite Crawford ditty, from 45-170. There is a great write-up about Crawford at: http://lonestarstomp.blogspot.com/2007/12/cornfed-fred-crawford.html.

Well, that about sums it up. I wish you all well and hope you enjoyed the first Starday blog of what I hope becomes many. Please feel free to leave feedback and let me know what you think of them!