Brown's Recording Studio

Brown's Recording Studio

Sherwood, Arkansas

Recently, I stumbled across a recording studio in Sherwood, Brown's Recording Studio. This name was printed on several 1970s singles and albums with producing credit sometimes going to Maxine Brown. No doubt, this was the same Maxine Brown who was part of the country family group the Browns (along with her sister Bonnie Brown and Jim Ed Brown). The studio was obviously operated by her and possibly by Bonnie Brown as well, who also sometimes appears as a producer.

Early promo picture of the Browns, mid 1950s

Maxine Brown was born in 1931 in Campti, Louisiana, but her family moved to a farm near Sparkman, Arkansas when she was very young. Brown would later call Arkansas her home state. The family later moved to Pine Bluff. In the early 1950s, she and her brother James Edward, nicknamed Jim Ed, started singing, having their first appearance at the Barnyard Frolic in Little Rock, and signed a recording contract with the Fabor label in 1954 as a duo. They enjoyed early success with "Looking Back to See" the same year, then signed with RCA-Victor and, in 1955 with the addition of sister Bonnie, became "The Browns". They appeared on the Louisiana Hayride and the Ozark Jubilee and had more hits throughout the 1950s, most notable "The Three Bells".

After Jim Ed started recording solo, the group disbanded in 1968. Maxine Brown had a brief solo career in the late 1960s, signing with Chart Records and having a hit with "Sugar Cane County". She then recorded for Plantation in 1970 but stopped releasing records afterwards.

There is not but information available on the internet what Brown then did. She returned to Arkansas and obviously started Brown's Recording Studio around 1972 in Sherwood, a city north of Little Rock. The studio had an in-house label, Sherwood Records, which had at least two releases by Harry Blanton and Dan Emory. The label was active in 1974 but there were earlier recordings custom produced for other labels as well (including Charles Saulsberry II, Seventh House, the El Dorados, and the Gospel Tones).

It seems that Brown's Recording Studio was out of business by 1975. Brown went out of the music business and passed away in 2019 in Little Rock. 

Recommended reading

• The Gospel Tones on The Good, Bad & Ugly Gospel Record Barn

Sources

• The Browns and Maxine Brown Wikipedia entries

• Encyclopedia of Arkansas

• Maxine Brown 45cat entry

• Sherwood Records 45cat entry

• Discogs

Ernest & Donald Thibodeaux on Lanor

Ernest & Donald Thibodeaux - Robert Special (Lanor 1000), 1982

I found this record in New Orleans in 2023 and got me some real fine, original cajun music. Ernest Thibodeaux performed with one of cajun music's stars, Nathan Abshire, and had a career in music on his own for more than half a century.

Ernest Joseph Thibodeaux was born on October 9, 1925, in the small community of Mermantau near Jennings, Louisiana. Music was a part of his life early on, as his father Clobule played cajun music, too. Thibodeaux started playing at the age of 10 years and taught himself to play guitar, fiddle, bass, and drums. At the age of 13, he met fiddler Will Kegley and the Lake Charles Playboys and began performing with them.

Following World War II, Kegley and Thibodeaux regularly played the local Pine Grove Club dance hall in Evangeline. In 1948, Kegley's sister Oziet joined on drums, making it a trio. Dance hall owner Telasfore Esthay suggested including an accordion. Thibodeaux found  an accordionist in Nathan Abshire, who joined as well. The Pine Grove Boys were born. The next year, Jim Baker and Atlis Frujia on steel guitar made the band complete. Thanks to the owner of the Avalon Club, Quincy Davis, the band was signed to a recording contract with George Khoury and Virgil Bozeman and their various labels that same year. However, in May 1949 Abshire and Thibodeaux held a session at a Lake Charles radio station backed by Earl DeMary's band. This session produced the first version of "Pine Grove Blues", which became a regional hit.

Thibodeaux recorded with Abshire and various line-ups until 1955. Credited not only to the Pine Grove Boys but to various band names, the results were released on Khoury and Bozeman's various labels: Oklahoma Tornado (OT), Lyric, Khoury's, and Bob Tanner's Hot Rod label. Many of those discs were good sellers regionally but the band did not saw much money from it. Thibodeaux remained with the Pine Grove Boys until the late 1950s, then left the group but continued performing locally.

He regularly played Fred's Lounge in Mamou in the decades to come. Today's selection came into existence not until 1982, recorded for the Jennings based Lanor label's custom series. It featured Ernest Thibodeaux plus Donald Thibodeaux on accordion and Robert Thibodeaux on vocals. As far as I can tell, all three men were not (or not directly) related. Both "Robert Special" and "Hilda's Waltz" are fine examples of traditional cajun music. Ernest and Donald Thibodeaux, the latter also played at Fred's Lounge, eventually recorded the album "Fred's Hot Step" for Arhoolie with Ernest on drums.

In 1996, Ernest Thibodeaux was inducted in Fred's Lounge Wall of Fame and became a member of the French Cajun Music Association Hall of Fame in 1999. He passed away on August 18, 2006, in Lake Charles, Louisiana, at the age of 80 years.

Recommended reading

• Ann Savoy Collection (Interview with Ernest Thibodeaux)

Sources

Ernest Thibodeaux

• This Week in Cajun Music Facebook post

• Find a Grave entry

• Nathan Abshire Praguefrank's Country Music Discographies entry

• 45cat entry and Nathan Abshire 45worlds/78rpm entry

• Discogs

Donald Thibodeaux

• Downhome Music: Fred's Hot step by Donald Thibodeaux and Cajun Fever

Hank Williams on MGM

Hank Williams with his Drifting Cowboys - I Won't Be Home No More (MGM K11533), 1953

I'm always fond of some Hank Williams! I can really feel why so many people loved his music and why he was an inspiration for so many singers and musicians. His music and his voice have something you can't find anywhere else. Here is one of my favorite Hank songs, "I Won't Be Home No More". I won't go into detail here on his career - there has been written so much about him - but let me give you a bit of background info on this particular recording.

"I Won't Be Home No More" was recorded on July 11, 1952 at the Castle Studio, located in the Tulane Hotel in Nashville, Tennessee. Apart from Williams on vocals and rhythm guitar, the line-up included Jack Shook on acoustic guitar, Chet Atkins on electric lead guitar, Don Helms on steel guitar, Jerry Rivers on fiddle, and Ernie Newton on bass. Also recorded that day were "Be Careful of Stones That You Throw", "Why Don't You Make Up Your Mind", and the mega hit "You Win Again".

Billboard July 11, 1953, C&W review

Coupled with "My Love for You (Has Turned to Hate)", a song originally recorded by Williams already in 1947 for Sterling, "I Won't Be Home No More" was released in July 1953 (MGM #11533) on both 45rpm and 78rpm format. By then, Williams had been dead for seven months but MGM still turned out recordings of him frequently and many of those posthumous released songs became hits and standards. "I Won't Be Home No More" was no exception, reaching #4 on Billboard's best selling country singles.

Similar to "You Win Again", the song is believed to cover the relationship and break-up with Williams' wife Audrey. In fact, both were legally divorced the day before Williams recorded it.

Sources
• 45cat entry
• 45worlds/78rpm entry
• Wikipedia entry
• Praguefrank's Country Music Discographies entry

Dave Hillhouse & Ellis Mize - the Runabouts

The Runabouts, early 1960s. From left to right (prob.):
Stan Hopkins, Bobby Davis, Chuck Booker,
unknown sax player, Ellis Mize

The Runabouts

During the 1950s and 1960s, many groups performed and recorded in and around Memphis, Tennessee. One of those groups was the Runabouts, a name that was used several times by different combos across the early 1960s United States.

The Memphis based Runabouts were centered around David "Dave" Hillhouse and Ellis Mize, both vocalists and guitarists. Hillhouse was born in 1937 and probably hailed from Memphis. James Ellis Mize was probably born around 1936. By 1958, Mize was bassist with Eddie Bond's Stompers and took part in several recording sessions. The first of these took place in April 1958 at the Sun Studio, recording "This Old Heart of Mine" and "Show Me", which remained unreleased, however.

In 1960, Mize joined forces with Dave Hillhouse to form the Runabouts. They became acquainted with Buford Cody and Gene Williams, who started their Co & Wi record label around the same time. Pianist Jerry Lee "Smoochie" Smith, who had come from Jackson, Tennessee, with Kenny Parchman's band to Memphis in 1957, joined as well. With the addition of Stan Hopkins on bass and Chuck Booker on drums, the Runabouts were chosen to back up Bobby Davis on his Co & Wi single "Run Don't Walk" b/w "Standing at Her Door", released in 1961.

Also in 1961, the Runabouts held their solo session for Co & Wi. With the same line-up at Stan Kesler's Echo studio, they recorded "The Prom" and "When I Get the Blues" (Co & Wi #114, 1961). According to UK music enthusiast Dave Travis, who eventually bought the Co & Wi label, this single was the best seller for Buford Cody's labels. This probably caught the attention of the bigger Jubilee label, which released the group's "Train" b/w "Bring Back My Baby" in October 1961, being the first release in the label's new (and short-lived) country & western series. At the same time, the group was a featured act on Gene Williams' Cotton Town Jubilee in Memphis, which also aired over KWAM. Although Williams set up his record label of the same name in 1962 to record many of the show's performers, the Runabouts never had a release on it.

Billboard October 23, 1961, C&W review

The Jubilee disc became the Runabouts' last single. By 1964, Mize had returned to performing with the Stompers and recorded a few more sessions with them during this year as their lead guitarist. He remained associated with Bond, recording two duets with Kay Campbell in the early 1970s for Bond's Tab label. Around the same time, Mize was a country music DJ on KWAM FM (his colleagues included Bond and Chuck Comer). He was not only a good musician but also a bit of a songwriter, penning most of the Runabouts' material as well as songs for other artists (including "Hole In My Pocket" for Jim Morgan, another singer who was associated with Bond).

Dave Travis managed to track down both Hillhouse and Mize in the 1980s. Apparently, both still performed together. At a gig in Millington, a suburb of Memphis, in the winter of 1986, they performed a version of "The Prom" for Travis (much to the surprise of the rest of the audience, which was rather accustomed to country music). Sadly, Hillhouse lost his battle with cancer the following year. Ellis Mize continued to perform occasionally and, as far as I could find out, still resides in Millington.

Cees Klop's White Label Records released two different takes on "The Prom" and "When I Get the Blues" on his 1987 LP "Memphis, Rock and Roll Capital of the World, Vol. 4". The released versions had been already re-issued by Klop in 1973 on "Rare Rock-a-Billy". In 1988, the Sunjay label from Sweden released those versions as well on "Memphis Rockabilly, Vol. 2" plus the unreleased "Glad We Talked It Over".

Discography

Co & Wi C-112: Bobby Davis - Walk Don't Run / Bobby Davis and the (Runabouts) - Standing at Her Door (ca. 1961)
Co & Wi C-114: The Runabouts - The Prom / When I Get the Blues (1961)
Jubilee 9-1000: The Runabouts - Train / Bring My Baby Back (1961)

Sources

• 45cat entry

• Discogs

• Memphis Radio 1971

• Eddie Bond entry on Praguefrank's Country Music Discographies

• Rockin' Country Style entry

• David Hillhouse Find a Grave entry

• Official census records accessed through ancestry.com

• Dave Travis: Memphis Rockabillies, Hillbillies & Honky Tonkers, Vol. 4: The Memphis Records Story" (2004), Stomper Time Records

Rudy Gaddis on Custom

Rudy Gaddis - Wild Train (Custom 121), 1965

Rudy Gaddis' influence and fame was limited to the East Texas regions around Tyler but his name will always be linked with one song, "Uranium Fever", which he composed and recorded in the mid 1950s. The song, which bears more than just a little similarity to Hank Williams' "Kaw-Liga", was an expression of atomic war's impact on the US society and became a much cited example of it eventually.

Rudolph Joe "Rudy" Gaddis was born on September 3, 1926, in Ben Wheeler, Van Zandt County, Texas, to Joe Marlin and Mattie Henry Gaddis. Though born in Van Zandt County, he spent much of his life in adjacent Smith County. Gaddis served his country during World War II in the US Navy. He married Ella Jane Smith in 1951, with whom he had three children. The marriage was eventually divorced.

By the mid 1950s, Gaddis had taken up music and was performing in the honky tonks of Tyler, Smith County, with his band, the Lone Star Rangers. He had developed a vocal style similar to Hank Snow and released his debut single "Girl from Mars" b/w "Garden of Roses" for the Liberty label in 1954.

He got the chance to record for Beaumont, Texas, based Starday Records in 1955. A session was arranged for him in October that year, which produced "Uranium Fever" and "My Tears Are a Measure" (Starday #217). The recording place is sometimes given as Gold Star Studio in Houston, Texas, but more often as a radio station in Shreveport, Louisiana. Although "Uranium Fever" later gained some popularity in the record collectors scene - especially among those who explored the cultural phenomenons of the cold war and atomic era - it was no hit for Gaddis back then.

Rudy Gaddis in the early 1960s
(taken from the back of his Custom LP)

Around that time, Gaddis was managed by Texas DJ Art Roberts. He continued to release 45s on small, local labels in the 1950s and early 1960s, including Kathy, Faith, and Flash. In 1963, he began his work with record producer and label owner Curtis Kirk, who ran the Custom Sound Studio in Tyler and his own label, Custom Records. This resulted in one album and several singles on the label. Today's featured single, "Small Boy and his Dog" b/w "Wild Train", also resulted from Gaddis' association with Kirk and was released on Custom #121.

Gaddis continued to record without much success. Throughout the years, Gaddis was also heard on local radio and television. His "Rudy Gaddis Lone Star Rangers Show" was the first TV show to air on KLTV. His last record, "Bass Fishermen", appeared on the G.M. label in 1983. Some of Gaddis' songs have also been recorded by other artists, including Joe Paul Nichols, the Redmon Brothers, Presten Bodin, Shirl, Lexie Johnson, among others.

Gaddis ceased musical activities in the 1980s. His second wife Paulette died in 2006, Rudy Gaddis followed her a few months later on November 11, 2006, at the age of 80 years. He is buried at Overton City Cemetery in Overton, Texas.

Billboard May 15, 1982

Discography

Singles
Liberty 103: Girl from Mars / Garden of Roses (1954)
Starday 217: My Tears Are a Measure / Uranium Fever (1955)
Kathy 2614: Stranger with a Colt 45 / A Young Boy and a Teenage Girl
Faith 3618: Lost in the Mountains / He Is Watching, Watching, Watching (1962)
Flash 100-9: Winona Hoedown / Old Ely
Custom 105: Hard Luck-Double Trouble / Don't Take the Rap (1963)
Alta 103: Smoke, Smoke, Smoke That Cigarette / Old Ely, the Big Texas Steer (1964)
Custom 121: Small Boy and his Dog / Wild Train (1965)
Custom 126: Everybody Wants Somethin' / I've Been There Once (1966)
Love 781: Sandy Land Farm / How Much Is a Memory Worth
Love 783: Countryville / My Love
Country America: A Boy Named Texas / Big Sandy Opry (1980)
G.M. 183: Big Bass Fishermen (Stereo) / Big Bass Fisherman (Mono) (1983)

Albums
Custom 115: Garden of Roses (1963)

Sources
• Find a Grave entry
• Entries at 45cat and 45worlds/78rpm
• Discogs
• Rockin' Country Style entry
• Gospel Jubilee entry
• Praguefrank's Country Music Discographies entry
• Atomic Platters (Wayback Machine)
• Tim Smolko, Joanna Smolko: "Atomic Tunes: The Cold War in American and British Popular Music" (Indiana University Press), 2021

Leon Starr

Leon Starr - Back in the USA (Stomper Time unissued)
Memphis pianist Leon Starr recorded steadily throughout the 1960s and 1970s, though he managed to leave behind no trace. My attempt to gain some more knowledge about his live through Findagrave.com and Ancestry.com was unsuccessful. However, it is Dave Travis who has some information for us in his booklet to his Stomper Time Records CD reissue.

Leon Starr

Leon Starr became a member of Eddie Bond's Stompers in 1958 or 1959. At the same time, Bond established his own Stomper Time record label (after his two-year term with Mercury and a short stint with Pappy Daily's D label). Starr was the pianist of the band but also a versatile singer. Bond gave him the chance to cut a few covers of rock'n'roll songs: "Back in the USA", "Brown Eyed Handsome Man", "My Baby Left Me", and "Whole Lotta Shakin' Goin' On". No info concerning the recording date, location, and line-up has survived, although it seems probable that Starr is playing piano on those tracks with backing by the Stompers. Although fine recordings, Bond did not release them at the time.

Starr left the Stompers around 1962 or 1963 but remained associated with Bond. He held down a steady gig at Bond's Western Lounge in Memphis and recorded for his Millionaire label in 1966. By then, Starr played country music. He continued to release solo singles in the years to come for small Memphis labels: a country single for Style Wooten's Allandale Records (1968), a fuzz garage guitar gem with the Fire Birds on Clyde Leoppard's VU Records (1968), country duets on John Cook's Blake Records with a female performer named "Little Sis" (1974), and more country music on the Bachelor and III label.

There are also two tracks by Starr that found its way onto a 2015 Stomper Time CD, "Memphis Country Favorites and Rarities, Vol. 4". The tracks are "Last Date" (an instrumental probably featuring Starr's piano playing) and a cover of Faron Young's 1950s hit "Alone with You". However, I have no release and label information on these tracks. What happened to Starr afterwards is a mystery. If someone can point me towards more information, please feel free to contact me.

Discography

Millionaire MM-120
Leon Starr
Honey Child (B. Huskey; J. Surber) / Have I Wasted My Time (A. Kyle; R. Needham)
1966

Allandale 3684

Leon Starr

Just Like That (Joe B. Cartwright) / That Kind of Living (Joe B. Cartwright)

W4KM-0883 / W4KM-0884 (RCA)

1968

"Producers: Style Wooten & Sam Neil"

VU 45-101

Leon Starr and the Fire Birds / The Fire Birds

Little Live Wire (Arthur Kyle) / Endless Dream (A. Kyle; H. Hunton)
1968

Blake 2-276

Leon Starr & Little Sis / Little Sis

Common Law Wife (A. Chipman) / The Lord Knows You're Drinking (A. Chipman)
1974

Blake 2-276
Little Sis / Leon Starr
Red Rover (N. Cooper) / The Town of Love (D. Cooper, Jr.)
1974

Bachelor and III 1101

Leon Starr

My Name's Trouble (Don Miller) / I Can't See My Way (to Go On Living) (Don Miller)
"Produced by Nonconnah"

Recommended reading
• Some Local Loser

See also
• That Million Dollar Memphis Sound

Sources
• Discogs
• 45cat entry
• Dave Travis: "Memphis Rockabillies, Hillbillies & Honky Tonkers: The Stomper Time Records Story" (2001), liner notes, Stomper Time Records

L. J. Foret on Ciro

L. J. Foret and the Country Boys - Fille de Houma (Ciro 1005), 1965

Here's one of the finds I brought back home when I visited Louisiana in 2023. I think I found this disc in a record shop on Magazine Street in New Orleans.  L. J. Foret was a cajun musician from Houma, Louisiana, area, where the Ciro label was also located. Houma is located southwest of New Orleans, about an hour away.

Lawrence Joseph "L. J." Foret was born on June 30, 1930, in Houma, Terrebonne Parish, Louisiana. Foret was born in a time when it was common to speak French instead of English and many of his songs later reflected that. He started his career in music at the age of 14 years in 1944, when he joined his father's band, the Town Serenaders, a group that played the dance halls of the region. Foret learned to play guitar, fiddle, drums, and sang. By 1949, he had his own radio show on KCIL but had to interrupt his career when Uncle Sam came calling in 1952 and Foret had to serve in the Korean War. That same year, he had married Beverly Babin, with whom he had two sons. During his military service, he hosted a radio show for fellow soldiers and entertained the troops with personal appearances as well.

Upon his discharge, he formed his own band, "L. J. Foret and the Country Boys", and returned to hosting his Sunday morning show on KCIL. He didn't record commercially until the 1960s. His debut single appeared in 1965 on the Arelro label, comprising "Someone Who Didn't Care" b/w "Don't Scatter the Pieces of My Heart" (#450). The same year, he started recording for the local Ciro label and we feature his label debut on Ciro #1005, "Fille de Houma (Girl from Houma)" b/w "Pas Christmas Poor les Pauvre (No Christmas for the Poor)" (note that it is correctly spelled "Pas Christmas Pour les Pauvre"). Although both songs were sung in French by Foret, the musical arrangement is rather country than cajun. The songwriter on both sides was probably Donald Babin, Foret's wife's brother.

Foret releases a few more singles on Ciro during 1965 and switched to other local labels throughout the years, including Houma, Ajae's, Starbarn, and La Louisianne. He recorded his only full-fledged album on La Louisianne in the 1970s. In 1972, he started his own local TV show on KHMA, which lasted for two years. In 1970, his son Ronnie joined his band, followed in 1975 by Foret's younger son Bobby. During his career, Foret opened for such country stars as Loretta Lynn, Mel Tillis, Minnie Pearl, Jack Greene, Jimmy C. Newman, Jerry Lee Lewis, Ernest Tubb, Stonewall Jackson, and Conway Twitty.

A stroke in 1983 limited his possibilities to perform but Foret didn't give up music, playing occasionally with family and friends around Houma. He was inducted into the Cajun Hall of Fame in 2000 and passed away on September 12, 2002, due to cancer. He was posthumously inducted into the Westbank Musicians Hall of Fame in 203.

Sources

• 45cat entry

• Westbank Musicians Hall of Fame (Facebook page)

• Wikipedia entry

• Find a Grave entry

• "LocalCajun musician L.J. Foret succumbs to cancer" (Houma Today)

Big Howdy Records

Big Howdy Records

Country Sounds from the Pear River Valley

Big Howdy Records was a local record label from the Louisiana-Mississippi border region. Based in different towns of the Pearl River Valley, the label released numerous singles between 1959 and 1977. The man behind this operation was Hack Kennedy, who mostly relied on country material for his releases.

Daily News, December 19, 1958

Big Howdy Records came into existence in the first half of 1959 and was the brainchild of Hastel Joseph "Hack" Kennedy (1915-1994). Kennedy was born in Washington Parish, Louisiana, and by the 1930s, had made the move to New Orleans. He had acquired basic skills on the guitar and joined the city's thriving music scene. He also developed a sense for a profitable business during those years and eventually began promoting country music shows. By then, he had relocated to the Pearl River Valley in the Louisiana-Mississippi border region.

There was, maybe, another man involved in the  Big Howdy label, too, namely country radio engineer and DJ Hardin Leon "Red" Smith (1928-1995). Smith had built up a reputation as a popular radio disc jockey by then, having worked at WBOK in New Orleans and WCKY in Cincinnati, among smaller stations in Texas and Kansas. By late 1958, he was at WHXY in Bogalusa and hosted the "Big Howdy Show" weekdays, which he had already aired over WBOK. In December 1958, he added a Saturday night live stage show called the "Big Howdy Jamboree" from the Redwood Theatre in Bogalusa and this show was broadcast over WHXY, too.

When WHXY changed owners in February 1959 and became WBOX, Smith and the show moved to WIKC. Already in January 1959, Smith had reinstalled the "Big Howdy Show" on local WARB in Covington, Louisiana. It was around that time that Hack Kennedy started Big Howdy Records in Bogalusa and the label was seemingly intended as an outlet to release recordings by the Jamboree's regular cast members. The name of the record label came almost certainly from Smith's shows. When Dave Travis purchased Big Howdy Records in 1990s, he spoke extensively to Hack Kennedy but in his memory, no one talked about neither Red Smith nor the radio shows being part of the company cosmos. In case Smith was a part owner of the Big Howdy label, he dropped out at an early age, leaving Kennedy as the sole owner.

The debut release went to Jeff Daniels alias Luke McDaniel, a Mississippi born country and rockabilly singer. McDaniel had just split with Sun Records from Memphis, an unsuccessful collaboration, and appeared on the Big Howdy Jamboree frequently during late 1958 and early 1959. His record, "Switch Blade Sam" b/w "You're Still On My Mind", appeared in May 1959 on Big Howdy #777 credited to "Jeff Daniels". While "You're Still On My Mind" was the country ballad that enjoyed some success after its original release, the rock'n'roll side "Switch Blade Sam" became the sought-after song during the rockabilly revival. McDaniel was accompanied by the Hicks Sisters on vocals, another Jamboree act.

While the Big Howdy Jamboree probably did not survive past April 1959, the Big Howdy record label did. The early and mid 1960s saw releases by such artists as B.J. Johnson, another local DJ, and Vern Pullens (both performed at the Pearl River Valley Jamboree, also staged at the Redwood), while later that decade Kennedy pulled talent from the Hayride, another Southeast Louisiana stage show. The majority of the releases featured country music with the occasional rockabilly side by McDaniel.

Kennedy and B.J. Johnson built a small recording studio in the early 1960s in Angie, some 13 miles north of Bogalusa. With the Angie Sound Studio being finished, Big Howdy Records moved to this location as well. Johnson, due to his DJ profession an expert for running a studio control board, engineered many of the sessions at the studio during the 1960s. Around 1971, Kennedy and his record label moved one more time, just across the border to Picayune, Mississippi.

Kennedy released discs on Big Howdy and short-lived off-shot/custom labels like Big B and Angie Ville until 1977. Dave Travis bought the label in 1994 and reissued a good portion of Big Howdy's recordings in 2017 on a 33-track CD entitled "Rockabillies, Hillbillies, and Honky Tonkers from Mississippi and Louisiana - The Big Howdy Recording Company Story".

Sources

• 45cat entry

• Hack Johnson Find a Grave entry

• Dave Travis: "Rockabillies, Hillbillies & Honky Tonkers from Mississippi and Louisiana - The Big Howdy Recording Company Story" (Stomper Time Records), liner notes, 2017
• Thanks to Dave Travis for additionally answering my questions and sharing his memories with me.

Al Horn on BTR

Al Horn - Come On In Mr. Blues (BTR 1005), 1965

I couldn't find much on Al Horn, who had several releases out in the 1960s. I am familiar with his name since years and first found mention of him when compiling a Do-Ra-Me label discography.

Horn was a Tulsa based artist but had his debut single out on Murray Nash's Do-Ra-Me label from Nashville, Tennessee. "It's Much Too Soon" b/w "Where Does Love Go" was released in 1962 and the latter was part of a six track EP put out by Do-Ra-Me for the annual Country Music Festival in Nashville. The record seems to have received some good airplay and Nash decided to release a follow up on Horn the next year, "Slowly Dying" b/w "Crazy Moon".

Billboard March 30, 1963

Between 1965 and 1967, Horn released four singles on the Tulsa based BTR label. Today's pick was his first for the imprint, comprising "Relief Is Just a Swallow Away" b/w "Come on In Mr. Blues" (#1005). Horn remained connected to Music City USA, though, as several of the recorded songs he recorded for BTR were written by Nashville songwriter Larry Kingston.

There was a series of square dance records on the Penrose, Colorado, based Prairie label by a certain Al Horn but I don't know whether this was the same artist or not.

Discography

Do-Ra-Me 1424: It's Much Too Soon / Where Does Love Go (1962)
Do-Ra-Me 1435: Slowly Dying / Crazy Moon (1963)
BTR 1005: Relief Is Just a Swallow Away / Come On In Mr. Blues (1965)
BTR 1010: Please Play the Other Side / Unemployment Compensation (1965)
BTR 67-1001: I Think I'll Build a Nest / Since Never (1967) 
BTR 67-1003: Copy Cat / Hello, Mr. Heartache (1967)

See also

• The Do-Ra-Me label

Sources

• 45cat entry

• Discogs

• Al Horn (Square Dance Caller)

Cowtown Jubilee (Kansas City)

Kansas City Star
September 19, 1952

The Place to Go Is the Ivanhoe!

The Cowtown Jubilee from Kansas City, Missouri

By the time the Cowtown Jubilee show was launched, Kansas City audiences were already used to hearing a similar program, the "Brush Creek Follies". The Follies had been on air since 1938 and proved to be quite popular for its radio station, KMBC. Rival station WHB started its own live stage show, however, and the Cowtown Jubilee was born.

Kansas City Star
November 24, 1950

The first show took place on September 23, 1950. Initially, WHB, one of Kansas City's oldest radio stations, was home to the Cowtown Jubilee. However, the show switched to KCMO in 1952. The Jubilee was sponsored by the Sunny Slope Chapter of American War Dads, a charity organisation. The show was held on Saturday nights at the Ivanhoe Temple, an auditorium in Kansas City that had a capacity of nearly 2,000 seats. After the stage show portion had ended, a square dance took place at the auditorium. The Ivanhoe Temple had been previously home to the Brush Creek Follies for many years, which had moved to another venue by then, however. 

One might think that two shows of the same format would include the same musicians but that was not the case. Kansas City's pool of country musicians was big enough to furnish both shows with different entertainers. The Cowtown Jubilee offered a stage for a younger generation of singers, including Jimmy Dallas and Elmo Linn, Milt Dickey, Balin' Wire Bob Strack, the Sons of the Golden West, Peggy Clark, Cora Rice, Betty Riley, Neal Burris, Don Sullivan, and many more. Hobie Shep was also a featured act on the show, he also led the house band, the Cowtown Wranglers, and helped out as an emcee. In the early years of the Jubilee, local comedian Frank "Whizzo" Wiziarde was the emcee but he was replaced with Dal Stallard (probably with the move from WHB to KCMO).

When TV became the more popular medium, the Cowtown Jubilee ended its broadcast over KCMO, instead switching to television air time on WDAF-TV. It appears that the show was also carried by radio KCKN during this time. While the cast remained, the show was now hosted by Roch "Uncle Virgil" Ulmer, a local radio and TV personality. This incarnation of the Cowtown Jubilee remained on air until 1959, when the final episode was broadcast in October that year.

Kansas City Times
November 9, 1968

It was especially Hobie Shep who kept the memory of the Cowtown Jubilee and Brush Creek Follies alive. He organized a reunion show of both casts in November 1968 at Memorial Hall in Kansas City and would do so infrequently well into the 1990s.

Sources

• Hillbilly-Music.com entry

• Various newspaper items (incl. depicted ads)