Les liens vers d'autres sites amis et les annonces de concerts sont en bas de chaque page
Jerry Lee Lewis (fiddle) with Linda Gail Lewis & Kenny Lovelace
27 october 1974 / Newport, KY - Beverly Hills Country Club.

Many Thanks to Jim & Gail Hyatt !
(picture sent by Lee Croes)
50 year ago, on Friday July 31, 1964 at 5 pm, Jim Reeves’ plane was reported down. That plane crash took him and Dean Manuel, his piano player, from us. It was a great lost for the country music community and Bear Family record has make the choice to remember that anniversary with a neat box set packaging Jim’s complete recorded work for Macy’s, Abbott and Fabor between October 1949 and early 1955. 76 recordings, including demos and alternates, to showcase Jim’s early years before he joined RCA records.

The first CD start with “My Heart’s Like A Welcome Mat” recorded in October 1949 and issued on Macy’s 115. That’s a fine country song with great guitar work by Bobby Davis. The three other songs issued on Macy’s 115 and 132 carries already the famous baritone velvet voice touch. All these songs were co-written by Jim and his musical partner Al “Rusty” Courtney. Next came two demos for “Wagon Load Of Love” and “I Could Cry” with Big Red and Little Red Hayes on twin fiddle from early 1950. These recordings are followed by the master for the very attractive “Wagon of Love” (Abbott 115) with a strong work on drums and fine steel guitar work engineered by Tom Perryman at KSIJ radio in Gladwater, Tx, in 1952. “Let Me Love You Just A Little” is an unissued side from late 1952 still from a session at KSIJ radio. Next platter opens with two takes of the smash “Mexican Joe” written by Mitchell Torok and recorded at KWKH, Shreveport – La, on January 18, 1953. The fine backing is provided by Don Davis (bass) and Floyd Cramer or Evelyn Rowley (piano), all Louisiana Hayride regular musicians. “Mexican Joe” entered in the Billboard charts late March 1953 where it remained 26 weeks being covered by Billy Walker. “Butterfly Love” (Abbott 137), also from Mitchell Torok, was cut on February 2, 1953 still at KWKH but with Jimmy Day on steel gtr. Three other songs/alternates from that session are included. From an April 1953 session came four takes of “El Rancho Del Rio”, a border hillbilly issued on Abbott 143, but also the attractive “Gipsy Heart” (Abbott 148) from Jack Rhodes and “It’s Hard To Love Just One” from Slim Willet (Abbott 143). In October 1953, Jim was back recording at KWKH with Ginny Wright “I Love You” (Fabor 101) from Billy Barton who had already written “Dear John”. At that session was cut the smash “Bimbo” from Rod Morris, a Capitol record artist, and “Echo Bonita” (Abbott 160), a Mexican ditty, with Ace Lewis on drums. These sides were issued on the rare London EP 1015 in UK. That CD close with recordings from a February 9, 1954 session done in Hollywood with Roy Lanham (gtr) and Speedy West (steel gtr). There are three takes for “Then I’ll Stop Loving You” (Abbott 160) and three takes for “My Rambling Heart” (Abbott 164), a fast Hillbilly with western overtone. Two takes of “Give Me One More Kiss” (Abbott 180) complete that CD. Next in line are two takes for “Tahiti” (Abbott 180), “Spanish Violins” and four takes of “Hillbilly Waltz” (Abbott 186). From a April 1954 session at KWKH came four takes for “Beatin’ On A Ding Dong” (Abbott 164), a song Jim seems to have hated, and two takes of the heartbreaking recitation “Mother Went A-Walkin’” (Abbott 168) written by Tom Bearden on life experience. Tom Bearden and The Rhythm Harmoneers were Louisiana Hayride regulars having records on Fabor and backing on recording sessions such Hayride artists as Johnny Horton, Carolyn Bradshaw, Ginny Wright and a few other artists. From August 15, 1954, are two takes for the fast Hillbilly “Penny Candy” that entered in the Billboard charts and three for “I’ll Follow You” both issued on Abbott 170. Here we had Leo Jackson on guitar with some KWKH session musicians. Few months later, in November 1954, Jim was in Hollywood, recording “Where Does A Broken Heart Go?”, “Drinkin’ Tequila” and a fast country song “The Wilder Your Heart Beats The Sweeter You Love” issued on Abbott 174 but also on London HL-U 8351 in UK. The CD ends on some late January/early February recordings done at Abbott studio in California. Were cut “Red Eyed and Rowdy” (Abbott 178), a cover of “Are You The One” with Alvadean Coker and two takes of “How Many”, a song also recorded by Charline Arthur for RCA in 1955.  Both songs were issued on Abbott 184.

As always, the box set came with a stunning 123 pages booklet making the first ever the early Jim Reeves sessions correctly documented. Kevin Coffey, David Busey and Arie Den Dulk have made a fantastic work collecting facts from musicians, rare and unpublished pictures and memorabilia. This is a must-have, not just for the Jim Reeves’ fan but for any fan of classic country music.
(text and archives "Imperial")
(Merci à Pierre Poidevin)
click the pic, it's about a biopic
(Merci à Jean-Louis Lamaison)
La musique n'adoucit pas toujours les mœurs

Moutain Music critics beat two at the bar
  Long Beach Press Telegram (année ?)
Deux jeunes qui n'aiment pas le hillbilly ont tabassé un couple dans un bar. L'épouse de Lee qui passait des morceaux tristes de hillbilly sur le jukebox, a déclaré à la police que les deux individus disaient ne pas supporter cette musique et l'ont jetée à terre. Lorsque son mari s'est interposé il lui ont brisé une bouteille sur la tête avant de leur asséner des coups de pieds.
  Hillbilly music for breakfast is way too much !
Oakland Tribune, october 1947 : hillbilly music causes divorce !
Une femme a obtenu le divorce d'avec son mari à cause de son choix permanent de musique hillbilly à la radio ! Son avocat lui a demandé ce qui pour elle est le plus insupportable : "le Hillbilly au petit déjeuner".
(press clippings sent by Patrick Peralt)
Vince Taylor with his fiancee, fashion model Helen April
sixties era
(Thanks to Katie)
more (but copyrighted) pix
La revue "Soul Bag" dans son dernier numéro parle longuement de Barbara Dane. Grande défenseuse des droits civiques  depuis les années 60 elle a enregistré quelques disques importants de Folksongs. Vous me direz, c'est bien gentil mais pourquoi en parler dans Roll Call dont le Folk n'est pas précisément la tasse de thé du site ?... Et bien on en parle parce que vient d'être réédité "Living with the Blues" et "On my Way" sur un même CD. C'est du Jazz (et oui !), mais du Jazz que beaucoup d'amateurs de Rock and Roll apprécient. Le genre à écouter en sirotant un bourbon, avec le pied qui marque la mesure et la main qui s'égare dans le corsage de votre fiancé du jour. Bref du swing à l'état pur et honnêtement on ne peut pas passer à côté de cette réédition. A noter si vous êtes accro que dans la foulée vous trouverez également "Sometimes I Believe She Loves Me" album Blues enregistré avec Lightnin' Hopkins et l'excellent disque en compagnie des Chambers Brothers.
Pierre Poidevin

Johnny Winter
est mort en plein été...
photo extraite de l'article de Libé
(© X ?)

sur le web...
Merci à Christian Nauwelaers, Jean-Louis Lamaison, Didier Delcourt, Patrick Peralt, Bernard Gouttenoire (pour le titre et les commentaires et photos ci-dessous)
Avec Robert Lapassade (Killdozer) et Frédéric Bruckert (le Progrès) qui nous montre fièrement (à Stevie Dixon et moi) sur son portable sa photo avec Johnny Winter en backstage à Vienne 6 juillet 2013.
Johnny Winter avait fait le plein aux abattoirs de Bourgoin Jallieu le 23 mai 2014 puis au théâtre antique le 6 juillet 2014 à Vienne. Plein écran le fabuleux bluesman guitariste assurait vraiment !

Click here
Merci à Christian Nauwelaers
Rockin' Around The World
Barry Darvell -  WKLO (Louisville) - Feb 06, 1960
Very interesting to see Barry Darvell's recording getting action from Louisville (Kentucky) to Holland, England and Australia. Born in 1942 as Barry Peregoy, that cat has waxed the terrific sax stomper "Geronimo Stomp" for Colt 45, a label from Washington, DC, in 1959. Here that's the B-side for the second pressing (Colt 45 107) that get action on WKLO radio but also in Canada. That's a ballad a la Paul Anka without much interest. Note the misspelling on the radio survey.
We had three record label variations for the US Pressing. Colt 45, probably connected with Lou Krefetz (manager of The Clovers) being distributed by Atlantic may have help for oversea releases in UK, Holland and Australia. For some unknown reason two different pressings were done in Holland, one being black and the other being blue. A great 1.52 rockin' rave to enjoy !
from l. to r. : London 45-HL 9191 A - Barry Darvell 45 rpm / W & G 987  A - Barry Darvell 45 rpm (Oz) / B. Darvell 45 rpm black - Holland
"Imperial" text + archives

Don 1980
(© Marsel Bossard, archives Alain Fournier)
 archives Alain Fournier

The Everly Brothers
? era
(Thanks to Katie)
Gene Vincent
1969 / England ?
(© Adrian Owlett - thanks to Gilles Vignal)
Bo Diddley
Chess records era
(Thanks to Katie)
Johnny Cash
post-Sun records era
(Thanks to Katie)
Jerry Lee Lewis
(© jerryleelewis.com, thanks to Lee Croes)
Nashville's Historic RCA Studio A to Be Sold
Un lien très intéressant au sujet du studio RCA A situé 30 Music Square West à Nashville ouvert en 1964 par Chet Atkins avec l'aide de Owen Bradley. J'ai été informé par Kevin Montgomery, le fils de Bob Montgomery (Buddy Holly's partner and much more).
Une page Facebook est ouverte.
Sun Studio marks 60 years since Elvis' debut
Thanks to Patrick Peralt
(© http://www.elvis.com.au/)
Belle réédition avec ce CD publié par RPM records. Ici nous sommes dans le Rock and Roll "Beat" des années 1964-1966 c'est à dire la grande époque (pour certains) où l'on rencontrait Them, Zombies, Pretty Things, Animals et autres Hollies. Pillage du Rock and Roll dirons les puristes du genre mais en évitant toute polémique disons que cela n'a rien à voir. Bien sûr, Hello Josephine (Domino), Bye bye Johnny (Berry), Who Do You Love (Bo Diddley), Not Fade Away (Petty), Rip it Up, Johnny B Goode, Long Tall Sally peuvent donner quelques sueurs froides aux fanatiques de Little Richard, Chuck Berry, Jerry Lee voire Gene Vincent. Encore une fois ce groupe de Manchester ne joue pas dans la même cour et sanctifie avec énergie le Rock and Roll de la grande époque. Et puis reconnaissons le, à l'époque les compositeurs comme John Lennon ou McCartney ne couraient pas les rues. Alors ça pompait à mort dans le répertoire des pionniers. Reste que ce n'est pas désagréable à écouter. Mention spéciale pour le So Mystifying des Kinks. Toute une époque...
Pierre Poidevin
They will play at the Béthune Rétro festival (France) in august 2014
Don't touch my greasy hair
Do The Crab Bop 
Un lien très intéressant même si en même temps c'est quelque peu attristant...
15 personnes au bord d'une route pour une telle célébration !
Où sont les Stones, les Kinks, etc. ?…
(© "Imperial")
Un petit bijou à écouter pour les amateurs de Boogie "rocker" :
"Jamboree Jump" du grand Matt "Guitar" Murphy, enregistré à Limoges en 1963 avec Memphis Slim.
Matt, né en 1927 à Sunflower, Mississippi commença sa carrière de musicien à Chicago aux cotés de Memphis Slim en 1952. Il semblerait qu'alors militaire en France, il ait joué dans des clubs à Châteauroux (d'après les notes du LP Memphis Slim with Matthew Murphy P-Vine PCD-5513 sorti en France à la fin des 60's).
Matt est surtout connu pour sa participation comme guitariste avec Steve Cropper dans le groupe des Blues Brothers. Dans les films "The Blues Brothers" et "The Blues Brothers 2000" il interprète le rôle du mari d'Aretha Franklin.
Après avoir accompagné Memphis Slim, Willie Dixon, Chuck Berry, Etta James, Howlin' Wolf, Muddy Waters et Ike Turner il a été élu au Blues Hall Of Fame en 2012. Une guitare façonnée par Cort et une autre par Delaney portent également son nom.
Éric Duhoux  (Photo X)

Hi de Hi de Hi de Ho !
Superbe tag de Cab Calloway
juin 2014 / station des trains de Luchtbal (Anvers/Antwerpen)
(Merci à Lee Croes)
Jimmy C. Newman
August 29, 1927 – June 21, 2014
Roll Call blog
 (Merci à Éric Duhoux) 

Here's something I wrote few years ago :

On Saturday October 16th, 1955 Frank Page introduced Elvis on the Lucky Strike Guest Time, after Floyd Tillman as guest star, and the young man from Memphis with the new and distinctive style goes straight on “That’s All Right” with his sidemen wearing matching country shirts with decorative bibs. After the performance, Frank Page, a sweet and charming man, came back and talks clearly about that “Rhythm and Blues song”. Something you won’t ever hear on the Grand Ole Opry stage. It’s interesting to note about Frank Page having work for KWEM radio in West-Memphis (Arkansas) from February to November 1947 before being inked by KWKH. Before recording commercially for “Sun”, Elvis came quite often to that radio station where played a lot of bluesmen and some early rockabilly performers. Next song was a bright version of “Blue Moon of Kentucky”. Both performances were recorded on audiotape for Lucky Strike Corporation that was sponsor for that segment and remain the best-preserved recording of Elvis on the Hayride. Rather funny when you about the Hayride policy being to fine $ 100 anybody who would smoke in the stage aera. Horace Logan decided to let the band play again in the second segment and Elvis did the same two songs with success. Other performers for that show were Buddy Attaway, Betty Amos, Hoot & Curly, Tibby Edwards, Floyd Tillman, Jack Ford, Ginny Wright, Merle Kilgore, Martha Lawson, Jimmy Newman and Dobber Johnson.

Some of the Hayride veterans, like Claude King or 27 year old Jimmy Newman, who had just had his big hit with “Cry, Cry Darling,” regarded the proceedings with a certain amount of suspicion. “I’d never seen anything like it before. Here comes this guy, I guess you could almost call him an amateur, rings of dirt on his neck, but he had it all right from the start. He didn’t work into it, he just knew what he was going to do. We’d just stand in the wings and shake our heads. ‘It can’t be, it can’t last, it’s got to be a fad.’ “What he did,” said Jimmy Newman, “was he changed it all around. After that we had to go to Texas to work, there wasn’t any work anywhere else, because all they wanted was someone to imitate Elvis, to jump up and down on the stage and make a fool of themselves. It was embarrassing to me to see it—Elvis could do it, but few others could.” Bob Luman was himself all shook up and forgot about Country music after seing Elvis on stage in Kilgore (Tx) in August 12, 1955.

A tall, skinny singer from Shreveport with a show on KNOE-TV in Monroe (La) sidled up to the new sensation—he was barely 20 himself and had been knocked out by Elvis Presley ever since hearing the first record at Jiffy Fowler’s Twin City Amusements, a jukebox operation in West Monroe. “I said, ‘Hello, Elvis, my name is Merle Kilgore.’ He turned around and said, ‘Oh, you worked with Hank Williams.’ I said, ‘Yeah.’ He said, ‘You wrote “More and More” [a No. 1 hit for Webb Pierce in the fall of 1954].’ I said, ‘Yeah.’ He said, ‘I want to meet Tibby Edwards.’ It was the first thing he said to me. Tibby recorded for Mercury, and he was a star. I said, ‘He’s my buddy, we room together here in Shreveport.’ And I went and got Tibby and introduced him to Elvis. That’s how we got to be friends.” “I think he scared them a little [in the first show],” said Merle Kilgore. “He was really on the toes of his feet singing, I think they thought he was going to jump off the stage. But when he came back out, he destroyed them—by now they knew he wasn’t going to jump off the stage and beat them, and they absolutely exploded.”


Country song roundup jan 55  / Cowboy song july 56

 found by Gilles somewhere in the clouds
(ex Burning Dust...)
Wild Rockabilly

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