Elaine Gay

Miss Miami Juke Box
The Story of Elaine Gay (Rouse)

Elaine Gay made a couple of noteworthy recordings during the mid 1950s for Syd Nathan's DeLuxe label, a subsidiary of his King Records imprint. A blend of country music, pop, and rhythm and blues, Gay was a talented singer and astonishingly versatile considering the fact that she was an offspring of the famous Rouse family.

She was born Elaine Eloise Rouse in Greenville, Pitt County, North Carolina, on August 10, 1935. The daughter of Jack Rouse, she was born into a musical inclined family. Jack's brothers were Earl, Gordon, and the most famous of them all, Ervin Rouse. Together, they performed as the Rouse Brothers and made various recordings in the 1930s, 1940s, and 1950s, including the famous and influential "Orange Blossom Special".

By the end of the 1930s, some of the Rouse Brothers had moved to Miami, Florida, including Elaine's family. She attended high school, where she took part in plays and operettas. Around 1952, when she was sixteen years old, she made her first public appearance at the Village Inn in Washington, D.C. It was her father Jack who encouraged her to start a career in music. By 1954, she appeared regularly on local WITV in Fort Lauderdale, Florida.

Billboard January 22, 1955

Miami music entrepreneur and head of DeLuxe's Miami office Henry Stone had already called her uncles into a recording studio in the early 1950s and he discovered that young a Elaine was a talent in her own right. A recording session for her was set up on February 20, 1954, in Miami, and four songs where recorded with accompaniment by Jerry Vaughn's orchestra. From this session, the two originals "Love" and "Deep Secret" were chosen for her debut single on DeLuxe #2021 the same year. Henry Stone, who had become her manager by then, made a deal with the AMOA (Amusement Machine Operators' Association) of Miami, containing a sponsorship of the association and promotion in Dade Country's jukeboxes. For that purpose, Elaine Gay was dubbed "Miss Miami Juke Box".

A second disc was released directly afterwards. The top side was a duet with her father Jack, a cover of the Wanda Jackson-Billy Gray hit "You Can't Have My Love", and the flip was a song co-written with sometimes-Miami-performer Buddy Starcher and country songwriter Mary Jean Shurtz entitled "Am I the One to Blame". Her recordings were not classic country style; her debut single was pure pop, while her second outing were

Two more records followed on DeLuxe - one in late 1954 or early 1955 featuring Elaine's cover of "Rock Love" (a hit for the Fontaine Sisters and written by King executive Henry Glover) and her last for the label, again featuring covers ("Blueberry Hill" and "Polly Wolly Doodle O-Day"). It was a usual strategy of King/DeLuxe label head Syd Nathan to let his country artists cover his R&B hits and vice-versa. This way, Nathan was guaranteed to keep money in-house.

Sheet music for "Rock Love" as recorded by Elaine Gay,
1954 or 1955

Charts success eluded her singles and no more sessions followed. Some of her discs were released in the UK on Parlophone, though DeLuxe dropped her from its roster.

Afterwards, her trail grows cold. If anyone has more information about Elaine Gay, please feel free to leave a comment or sent an e-mail!

Discography

DeLuxe 2021: Love / Deep Secret (1954)
Parlophone MSP 6140: Love / Instantly (1954)
DeLuxe 2022: Elaine Gay and Jack - You Can't Have My Love / Elaine Gay - Am I the One to Blame (1954)
DeLuxe 2027: My Dearest Darling / A Little Bit of Love
DeLuxe 2029: Ebony Eyes / Rock Love (1955)
DeLuxe 2037: Blueberry Hill / Polly Wolly Doodle O-Day (1955)

See also
• The Story of "You Can't Have My Love"

Sources
• Discogs
• 45cat entry
• Rockin' Country Style entry
• King Records Discography

Tex & Cliff Grimsley

The Louisiana Show Men

The Story of Tex and Cliff Grimsley

Tex Grimsley and his brother Cliff had many occupations: entertainer, fiddle maker, songwriter, recording artist. During their career, they participated in many historical music events but their legacy is buried under bright stars of their more famous companions like Webb Pierce.

Ennis Marcel "Tex" Grimsley was born on January 17, 1921, in the small town of Logansport, DeSoto Parish, Louisiana, on the western border of the state. He was the older brothers - Willie Clifton "Dizzy Fingers" Grimsley followed on October 18, 1922. The brothers came from a musically talented family; her mother had a total of 10 siblings, all but one played an instrument. Tex learned to play the fiddle from his uncle Butch Spraggins at the age of seven years and began building fiddles at the age of 14. Cliff also learned different instruments but eventually settled with the steel guitar.

Tex Grimsley, prob. early 1940s
during his military service

Tex and Cliff Grimsley became members of Jimmie Davis' election campaign band around 1943-1944, when he was running for the position of Louisiana governor. In 1946-1947, Tex Grimsley was part of Jim Hall's Radio Rangers that played in Richmond, Virginia. This band played more jazz-leaning arrangements and Grimsley "cut my teeth on that stuff", as he later remembered in a newspaper article. He returned to Louisiana, and in 1947, Grimsley made his recording debut, having one release on Deb Dyer's Red Barn label out of Chicago, "Sorry for You" b/w "It's All Coming Back to You".

Around the same time, the Grimsley brothers had begun working around Shreveport (about an hour north of their birthplace) and had a band known as the "Uncle Tex and his Texas Showboys". They appeared on radio KWKH and were one of the first acts to appear on the first broadcast of the station's Louisiana Hayride in April 1948. During these years, the brothers played at the Hayride with such artists as the Bailes Brothers, Johnnie & Jack and Kitty Wells, the Mercer Brothers, and Hank Williams.

Another early star of the Louisiana Hayride was Webb Pierce, who made himself a name in the Shreveport scene as well. Pierce set up Pacemaker Records in 1950, a small label that released discs by local artists. At that time, the Texas Showmen included Tex on fiddle, Sunny Harville on fiddle, Cliff on vocals, steel and standard guitar, and Don Davis on bass. The band recorded two records for Pacemaker, including their original version of Tex and Cliff's composition "Walking the Dog".Vocals duties were taken over by Cliff on this song and its flip side, "Teardrops". In 1951, both songs were also leased to Ivin Ballen' Gotham label from Philadelphia.

Webb Pierce signed with Decca Records in 1951 and found initial success with the label. In 1953, he covered "Walking the Dog" and his version was released as the flip side of his #1 hit "There Stands the Glass". The Pierce version of "Walking the Dog" reached #3 on Billboard's C&W as well and secured Tex and Cliff Grimsley with a good batch of royalties. The song became a minor standard in country music, being covered by at least 18 different artists over the years. They also co-wrote "The Glass That Stands Beside You" with Pierce, a reference to Pierce's earlier hit. The song was recorded by Jean Shepard for Capitol Records in 1954.

Pierce invited Cliff (and possibly also Tex) to join his band and embark on a tour across the world but the Grimsleys declined. They rather stayed in Louisiana and never regretted it. Music was only a part-time adventure for both. Tex worked as a safety and claims officer, building and repairing fiddles in addition. However, both kept on performing throughout the decades and although they did not make any recordings under their own name beyond 1951, they recorded occasionally with other artists. 

Tex and Cliff Grimsley settled in Bossier City, where both continued to perform locally. Tex also continued to build and repair fiddles. He married in 1979, teaching his wife Mary how to play the fiddle and she became a talent in her own right.

Shreveport Journal November 4, 1975

Tex and his then-current band, the Red River Boys, were often featured on the Keithville Jamboree, a local stage show out of Keithville south of Shreveport. Tex became Louisiana State Fiddling Champion in 1977, 1980, and 1982, and was also inducted into the Hall of Master Folk Artists at Northwestern State University in Natchitoches, Louisiana, in the 1980s. He kept on performing with his wife Mary well into the 1990s. Tex had taught her how to play the instrument.

Tex Grimsley around 1975

In recent years, two acetates by Tex Grimsley have turned up in online auctions, featuring the songs "Don't Forget Your Mother", "He Set the World Free", "Every Body's Blues", and "Sweetheart Divine". In 2025, my good friend Marshal Martin unearthed another acetate by Grimsley featuring early 1950s live performances.

Tex Grimsley died in 2002 in Shreveport, Louisiana. His brother Cliff died 20 years later on December 3, 1922, at the age of 100 years.

Sources
• Find a Grave entry for Tex Grimsley and for Cliff Grimsley
• SecondHandSongs
• Hillbilly-Music.com entry
• The Intelligencer obituary
• 45cat.com/78rpm entry

Brush Creek Follies

Stage of the Brush Creek Follies, ca. 1947

The One...the Only...the Famous... Don't Miss the

KMBC Brush Creek Follies

KMBC's "Brush Creek Follies" was Kansas City's longest running and probably most imported country music show of all time. Kansas City was a music city. Jazz being the most prominent example but country music was very popular in the "Heart of America" as well. With clubs, radio stations, and record labels offering artists exposure, the city had a lively country scene for decades. Of course, there had to be a country music live stage show, which was a popular format in the 1930s, 1940s, and 1950s, and Kansas City's own "Brush Creek Follies" became one of the nation's early radio favorite radio programs.

The Brush Creek Follies show originated from radio KMBC (Midland Broadcasting Company), which was located many years at the Pickwick Hotel in Kansas City. The station's founder and president was Arthur B. Church, Jr., who had programmed old-time folk and early country music since the early 1930s. He was well aware that KMBC also reached a rural audience outside of Kansas City. In 1938, he picked up the popular barn dance radio format for this market and launched KMBC's own live stage show, which became known as the Brush Creek Follies.

Kansas City Journal January 8, 1938
Ad for the first episode of the "Brush Creek Follies"

The first show took place on January 8, 1938, at the Ivanhoe Temple with portions being broadcast live on KMBC. This large auditorium would be the home of the show for many years, although the Follies were briefly staged at other locations as well. In usual manner, the stage was constructed to look like an old barn in order to create a rural atmosphere. The cast featured not only musicians but a variety of entertainers like comedian Jed Starkey, a blackface guy called George Washington White or magician Tim West. The show was emceed by Hiram Higsby, who had previously worked at WLS' National Barn Dance in Chicago. Singers and musicians included some of KMBC's mainstays such as Colorado Pete (real name George Martin), Kit and Kay, the Oklahoma Wranglers, Tex Owens (writer of "Cattle Call"), the Prairie Pioneers, Charlie Pryor, and many others. Of course, the cast would change over the years and featured many performers of local and national fame.

The show became an instant hit with the live audiences and radio listeners. During the early years of the Follies, the Columbia Broadcasting System carried portions of the show, beaming it out across the United States and thus making it the second most-popular show of its type right after the National Barn Dance. The Grand Ole Opry would not become the nation's number one country music show until after World War II.

The war affected the show's run, which was suspended for a brief time from March 1942 until November 1942 due to the US government's appeal to save tire rubber. Since many of the show's attandees came from rural areas outside of Kansas City and traveled far distances, manager Arthur B. Church decided it would be better to sign off until the situation improved. However, KMBC aired a studio version of the show without a live audience.

After returning to the big stage, the Follies were not broadcast by CBS anymore. The Follies were replaced another time with a studio version from November 1947 until January 1948 due to a conflict between the KMBC management and the American Guild of Variety Artists. A studio version replaced the live stage show but the Follies returned to its usual format on January 17 and remained a popular outlet for live country music in the next years.

In 1950, the Brush Creek Follies received competition in form of the Cowtown Jubilee, a similar format produced initially by WHB and soon thereafter by KCMO. The Cowtown Jubilee was staged at the Ivanhoe Temple, once the home of the Follies, which had moved to the Memorial Hall earlier. In 1951, KMBC moved to facilities on 11th and Central Street (formerly the Ararat Temple), where the station staged the Brush Creek Follies in their own auditorium from that point on.

The Kansas City Times December 8, 1950
Ads for Brush Creek Follies and Cowtown Jubilee

In September 1954, the Kansas City Star announced that both the Follies and the Cowtown Jubilee were held as one show at the Ivanhoe Temple, merging both casts into one. However, this fusion did not last long as KMBC discontinued the Brush Creek Follies at the end of the year due to another labor disput with the union, which demanded to double the performers' salary due to simultanous broadcasts for radio and TV. The station's management refused and ended the Brush Creek Follies. Regardless of the moral nature of this decision, the Follies ended shortly after the "Golden Age" of both radio and country music ended, too. TV and rock'n'roll would soon end a lot of similar shows all across the United States. 

There has been considerable effort put into the preservation and documentation of the Brush Creek Follies. The University of Missouri-Kansas City maintains a website for the show's history and several items are part of the ArchiveGrid database. Magazines have written about the long-time gone radio show and performers like Irene Diercks (one half of Kit and Kay) were interviewed. There are a few episodes available for listening on YouTube.

Recommended reading

• Midwest Geonology Center

• ArchiveGrid

• Charlie Pryor and the Brush Creek Follies

Sources

• University of Missouri-Kansas City Brush Creek Follies website

• Hillbilly-Music.com entry

• The Story Behind the Legendary Local Radio Show Brush Creek Follies (KansasCityMag)

• Fountain City Frequency

Ronald Rip Cannaday

Rip Cannaday, mid-1970s

God and Country
The Story of Rip Cannaday

The South has produced a sheer unbelievable amount of musicians and entertainers. When record pressing became affordable in the mid-1950s, a vast number of these singers was recorded and preserved for future generations. One of them was Rip Cannaday, a country and gospel singer from Louisiana, who has entertained audiences for more than 60 years. 

On the Banks of Castor Creek
Ronald G. "Rip" Cannaday was born on January 17, 1937, on the banks of Castor Creek in Winn Parish, Louisiana, but grew up in Tullos outside of Jena, Louisiana. Like many people from this region, Cannaday comes from an oil field worker family. His father worked on the oil fields and in fact, Cannaday grew up in an oil camp. While his father went to work, his mother stayed home to take care of the children. Their home was a little shack, which initially had no electricity or running water. 

Music was a welcomed entertainment in a hard life and Cannaday grew up hearing country music from stations WSM out of Nashville and KWKH out of Shreveport. The barn dances and hoedowns were another source of music for the family. Cannaday's favorite singer became Jimmie Rodgers: "There was a man that lived on the other side of Castor Creek. I would wade through Castor Creek and go to his house. He had all of Jimmie Rodgers' 78s, I would lay on the floor and listen to him all day," Cannaday remembered in 2025 to Marshal Martin, who traced him down for several interviews. At age ten, he got himself a guitar and a songbook to learn.

The Country Boys
The Cannaday family moved to Harrisonburg, Catahoula Parish, when Cannaday was 14 years old and in school, he was extremely good in sports. But music was still on his mind, and with school friends Bud Brady and Marvin Tyler, he formed a band entitled "The Country Boys." Cannaday sang and played acoustic guitar while Brady played lap steel guitar and Tyler was on washtub bass. It was the mid-1950s and the boys took every possibility to play churches, auditoriums, and private gatherings. Their repertoire included country hits of the day, some of Elvis Presley's early rockabilly songs, as well as gospel hymns like "The Old Country Church" and "There's a Hole in the Bottom of the Sea." 

Rip Cannaday in 1956

Black Land Soil
After graduating from high school, the Country Boys disbanded, and Cannaday married his high school sweetheart. He began working on the oil fields like his father. One time, his job took him to Yazoo City, Mississippi. However, his boss got so drunk there, Cannaday quit on the spot and hitch-hiked back to Louisiana. On his way back home, he wrote a song called "Black Land Soil", which he would record about ten years later. He became a regular cast member of Don Wiley's Catahoula Country Music Show in 1962 and had his own monthly morning show on KTCO in Columbia, Louisiana, which lasted for eight years. Cannaday was also heard regularly on KCKW in Jena, with his old friend Bud Brady hosting the show. 

Already in the mid-1960s, Cannaday had written many songs and together with fellow singer Ray Prince, went down to Lake Charles to audition for Eddie Shuler, owner of Goldband Records. Nothing came of it, although Shuler reportedly took some of Cannaday's compositions.

With the Catahoula Playboys, the house band for the Catahoula Country Music Show, Cannaday made his recording debut. The session took place at a radio station in Winnsboro and produced "Black Land Soil" and "I'm Just Laughing to Keep from Crying" for L.D. Knox's Delta label. The record became popular in the region and on local radio; Cannaday sold copies every week at the Catahoula Coutry Music Show as well. After the Delta single, Cannaday shifted from country to gospel music and began performing the church circuit in North Louisiana, South Arkansas, and West Mississippi.

God and Country
In the early 1970s, a gospel quartet came to Harrisonburg to perform at the local church. One of the members was Carlton Brown, who operated Herald Records in Brookhaven, Mississippi (not to be confused with the company of the same name from New Jersey). Brown offered Cannaday the chance to record a full-fledged album, which he did one day in 1976. Ten songs were laid down in Brown's recording studio that day, which saw release on the LP "God and Country": Again, the album proved to be popular and Cannaday would even produce 8-track tapes of it to meet the demand.

The Catahoula News Booster September 18, 1975

When the Catahoula Country Music Show ended its run, Cannaday focused solely on the church circuit and became a popular performer. He worked again with Carlton Brown in 1987, recording a bluegrass-tinged album with such musicians as Emmet Sullivan on banjo, Steve Myers on bass, and Joe Cook on mandolin, fiddle, and guitar. He kept on performing but would not record again until 2010, when he made his third album for Lighthouse Records. The label was owned by Gary Cater, a Vietnam veteran from Saint Joseph, Northeast Louisiana, who also played rhythm guitar on the album. It was followed by two more CDs in 2015 and 2019. Cannaday remained an active entertainer until 2020, then the Covid pandemic hit and he called it a day. 

Rediscovery
Rip Cannaday resides in Jonesville nowadays. He has been interviewed several times by Marshal Martin in 2024 and 2025 and has donated several recordings and pictures to the Southern Music Research Center. "In September 2024 I was in Jena for the first time. I went to a flea market and one of the vendors had a bunch of records in the middle of the stack. I pulled out 'God and Country' by Ronald 'Rip' Cannaday," Marshal recalls how he learned of him. "I said to myself 'This looks interesting' so I paid $0.50 and went on my way. I brought it home and looked at it closely and realized that all the songs are originals. Some of the songs are pretty good and I wanted to learn more. So to Google I went. The first thing that popped up was a newspaper article by him written in February 2024 so that gave me hope that he was still alive. About a month later, I called the Jena Times and they gave me his contact information. So later that evening, I called him and the rest is history. Without Rip, we wouldn’t know about the Catahoula Country Music Show or we wouldn’t know how rich Catahoula Parish is in music history."

Discography

Singles
Delta 0008: Ronald "Rip" Cannaday - Black Land Soil / I'm Just Laughing to Keep from Crying (1966)

Albums
Herald HLP-7651: Ronald (Rip) Cannaday - God and Country (1976)
Cap [unknown #]: Rip Cannaday - These Memories (1986)
Lighthouse [unknown #]: Rip Cannaday - Fond Memories and the Old Washtub (2010)
Unknown label: Rip Cannaday - In My Time (2015)
Unknown label: Rip Cannaday -  Rip Cannaday Sings True Stories (2019)

See also
• The Catahoula Country Music Show
• Ray Prince: Forgotten Louisiana Songster

Sources
• Craig Franklin: "Rip Cannaday Featured in SMRC" (The Jena Times), 2025
• Southern Music Research Center
• Discogs
• https://www.youtube.com/playlist?list=PLg9iqPpwtCHiDOMLCYrkv-kc4jzJFtDUq

Dub International / Stylo Records (Little Rock)

"The Hits Are on Dub!"

The Story of Foster Johnson's Dub International and Stylo labels

The Dub International and Style record labels were operated by local Little Rock bookseller Foster Johnson. Johnson recorded and released a slew of noteworthy rockabilly and rock'n'roll singles during the late 1950s, including the original hit version "Rama Lama Ding Dong" by the Edsels. Some of his productions achieved enduring popularity among the rockabilly fan scene. Johnson is not to be confused with another music business personality of the same name, who owned Cap City Records.

Foster David Johnson was born on February 15, 1915, to Robert Edward Lee and Lula T. Johnson. He had one brother and two sisters, all of them being several years older than him. In 1920, the Johnson family lived in Little River County, Arkansas, but Johnson eventually moved to Saline County southwest of Little Rock. There, he married Lurline Rice in 1936.

At some point, he opened a bookstore and also worked as a radio distributor. Johsnon eventually added a record shop to his repertoire as well. His shop may have been on the corner of 5024 Club Road and Kavanaugh Boulevard in the Heights district of northern Little Rock. This may also have been the location of Johnson's recording studio, which he built when he entered the recording business.

Johnson's record shop had a hard time competing with rival shops in the city. His competitor, Moses Melody Shop, furnished drug stores across the city with racks of records, which sold them for him. One of those drugs stores was right across the street from Johnson's store. Therefore, Johnson decided to found his own record label, opting for a hit and thereby opening a new profitable business for him. His first record label, Dub International, came into existence in late 1957. At that time, rock'n'roll had been on the charts for about three years and it seems that Johnson wanted to take advantage of the new music. Indeed, he was just one of countless entrepreneurs that founded independent record labels to find their own Elvis. To retain control of the original song material, he also set up J&W Music. The name of this publishing company indicates that Johnson had a partner for this venture. This might have been singer Jimmy Williams, who did not only record for Dub International but also married Johnson's daughter Sarah. Both contributed song material to the J&W catalogue as well as Foster Johnson himself, who registered a couple of songs with BMI.

The Batesville Guard reported in October 1957 that Bobby Fudge and the Rhythm Rockers had recorded two songs for the new label. However, no release of these cuts has ever appeared. The first known release on Dub International came approximately in November 1957 featuring the Martin Sisters, a local act that recorded two rockabilly songs, "Don't Run and Hide" b/w "Voodoo" (#2837). On many of Johnson's early releases, Arkansas rock'n'roll pianist Teddy Redell was featured in the background band. Redell would go on to record for Vaden Records and find worldwide acclaim in the rockabilly community for his songs decades later. Several of the Dub singles became minor rockabilly classics, including those by Jimmy Williams, Chuck Brooks, and Don Head. 

Advertisement of Don Head's Dub Int. single "Going Strong"
Cash Box March 8, 1958

Johnson seems to have been serious about his recording business, as he mailed out promo copies to radio stations as well as both Billboard and Cash Box, placed ads with those magazines, and struck a deal with Apex Records, which released and distributed Dub International and Stylo material in Canada. Those included releases by Jimmy Williams, Don Head, and Jimmy Ford. His studio was also available for custom recordings, although it is not known to which extend. The Jokers, a local group from Batesville, Arkansas, recorded "Little Mama" at Johnson's studio in the late 1950s.

In 1959, Johnson issued a song called "Rama Lama Ding Dong" by a black vocal group, the Edsels. The song did not become a hit until it received radio airplay by a New York City DJ. Johnson leased the song to Twin Records, which re-released it in April that year. "Rama Lama Ding Dong" (initially released by mistake as "Lama Rama Ding Dong" by Johnson) became the Edsels' biggest hit, reaching #21 on the Billboard Hot 100.

By then, Johnson had been out of business for about a year. In 1959, he had replaced Dub International  with a new label, Stylo Records, which released singles until 1960. None of them became hits, though Jimmy Ford's two releases for the label was a strong contender and became an in-demand rockabilly collectors items as well. Stylo closed down at some point in 1960 after having one last release with Bobby Towers' "Gone, Gone, Gone Dreams" b/w "Bondage of Love" (#2108).

Johnson had been also active in local politics since at least 1952, wanting to run for congress but he was not nominated by the Democratic Party, however. In 1966, Foster ran for US Senator for the Democratic Party of Arkansas but his election campaign yielded only little attraction and he lost to veteran politician John McClellan. Johnson passed away October 8, 1997, and is buried at Pinecrest Memorial Park and Gardens in Alexander, Saline County, Arkansas.

In the 1970s, the rockabilly and rock'n'roll recordings from Johson's labels resonated with a young audience in Europe. Orignal copies were collected by music fans around the world and reissue albums began appearing. The Redia Records LP "The Sound of Rockabilly" (1973) from the Netherlands was the first two feature two cuts from Johnson's catalog, Jimmy Williams' "I Belong to You" and "You're Always Late". Next up another Dutch LP by Knockville Records, "Rock and Roll for Collectors, Vol. 2" (1975) featuring Jimmy Ford's Stylo recording of "Don't Hang Around Me Anymore", and finally, Germany's Bison Bop Records released a whole collection of Dub Int./Stylo productions on the 1980 LP "The Bop  That Never Stopped, Vol. 6". Since then, material from both labels has appeared on numerous reissue LPs and CDs. If Johnson was aware of those re-releases though a proper licensing process or if the were done without his knowledge remains unknown. 

Discography
Dub Int. 2837: Martin Sisters - Don't Run and Hide / Voodoo (1957)
Dub Int. 2838: Buddy Childress - My Lovin' Arms / Two Young True Hearts (1957)
Dub Int. 2839: Teenos - Love Only One / Alrightee (1957)
Dub Int. 2840: Don Head - Goin' Strong / Never Before (1958)
Dub Int. 2841: Kirmet Phillips - Walking Alone Tonite / I Caught You Slippin' Round (1958)
Dub Int. 2842: Jimmy Williams - You're Always Late / I Belong to You (1958)
Dub Int. 2843: The Edsels - Lama Rama Ding Dong / Bells (1958)
Dub Int. 2844: Chuck Brooks & the Sharpies - Spinning My Wheels / You Make Me Feel Mean (1958)

Stylo 2102: Jimmy Ford - You're Gonna Be Sorry / Don't Hang Around Me Anymore (1959)
Stylo 2103: 
Stylo 2104: Paul Babbitt - Shade Blue / Ooo Yah Yah (1959)
Stylo 2105: Jimmy Ford - We Belong (Together) / Be Mine Forever (1959)
Stylo 2106: Little Cameron - Kansas City Dog / She's Leaving (1959)
Stylo 2107: Johnny Roberts - My Lovin' Arms / When We're Alone (1959)
Stylo 2108: Bobby Towers - Gone, Gone, Gone, Dreams / Bondage of Love (1960)

See also

• Dub International Records Discography on Arkansas45rpm Records

• Stylo Records Discography on Arkansas 45rpm Records

Sources

• Foster Johnson Find a Grave entry

• 45cat entries for Dub International and Stylo

• BMI

• 1966 United States Senate election in Arkansas Wikipedia entry
• Unknown: "Arkansas Rockabilly" (Spade Records), liner notes, unknown year

Harry Blanton on Sherwood

Harry Blanton - Footsteps (Sherwood 42704), 1974

The city of Sherwood was home to a few small record labels in the 1970s, including the Sherwood record label. One of artists on that label was Harry Blanton, a local singer from Gurdon, Arkansas.

The song were featuring today, “Footsteps”, is probably one of Blanton’s earliest recordings, done in 1974 at the Browns Recording Studio in Sherwood. This studio was operated probably by Bonnie and Maxine Brown (of The Browns country group fame), who produced both sides of Blanton’s Sherwood single. Both songs were written by Dan Emory, a fellow Sherwood label artist.

Afterwards, Blanton had his own band, aptly named the Footsteps, toured with Don Gibson and reached out for Nashville. There, he recorded a few singles for the Starcrest and Firecracker labels but never enjoyed any national chart success. Blanton was still active as late as 2023, performing on the Pam Setser Show in Mountain View, Arkansas.

Recommended videos

• Video of the Pam Setser Show (Mountain View, Arkansas)

Sources

• 45cat entry

Devon & Nancy / Luke Jones

Devon & Nancy - Set You Free (Velvet Ear 45-41072), 1972
The duo of Devon & Nancy was a local act from Marthaville, a tiny community in Natchitoches Parish, Louisiana. We know a bit about Devon Elburn Jones. He came from a musical family, his brother Luke was a musician, too, and Luke made at least two records under his own name. They also had a sister named Nancy and it could possibly be her singing on this primitive but charming country performance. This Velvet Ear release was made in 1972 and was probably a vanity pressing made through Houston Recorders. It seems to have been their only release. 

Devon's brother Luther Lenwood "Luke" Jones was born February 11, 1945, and spent his service with the US Army in Germany. Coming from a musically inclined family, Luke and Devon played in the family band that performed locally in clubs and lounges. Luke Jones had at least two records out during his lifetime. One of them was on the Lou Anna label in 1979, recorded at Precision studio in Picayune, Mississippi. The disc coupled "This Feeling Deep Inside Is Killing Me", written by nearby Catahoula Parish singer Ray Prince, and a Johnny Cash cover, "Folsom Prison Blues". The other one was on Roseland Records, a small imprint from Bridge City, a New Orleans suburb. Luke Jones eventually moved to Northport, Alabama. He passed away from cancer on January 25, 2024, in Natchitoches.

Devon Jones nowadays resides in Keithville, south of Shreveport.

Discography

Velvet Ear 45-41072: Devon & Nancy - Set You Free / He'll Walk Right Out on You (1972)
Lou Anna 101: Luke Jones & the Drifters - This Feeling Deep Inside Is Killing Me / Folsom Prison Blues (1979)
Roseland 1001: Luke Jones & the Roseland Drifters - The Best I Have / House of Blue Lovers (1982)

Sources
• Luke Jones 45cat entry
• Luke Jones Find a Grave obituary
• Official records accessed through Ancestry.com
• White Pages

Jimmy Stewart on Step Rock

Jimmy Stewart & the Southern Country - Whose Heart Are You Breaking Now (Step Rock SRS 101), 1972

This is some slow, typical 1970s local country music. The Step Rock label was based in Sherwood, a little north of Little Rock but I couldn’t find any other releases but this label. The actual record label mentions that the songs were recorded at Rogers-Brown Studios, which was probably Brown's Recording Studio, operated by Maxine and Bonnie Brown of The Browns fame.

Jimmy Stewart is a common name and there were many recording artists of that name. One of the songs was written by Jackie Stewart and I first thought this might have been Jimmy’s wife. However, after a little online research, I did find a guy named James Alvin Stewart, whose brother was named Jackie Stewart. In addition, James Alvin was born in 1942 in Lonoke, Arkansas, and passed away in 2023 in Cabot, Arkansas, and both towns are less than 20 minutes away from Sherwood, the label’s location. So that might be our man but still, I’m not sure.

Today’s selection is “Whose Heart Are You Breaking Now”, which was written by a man named Huey P. Long (probably not Louisiana governor Huey Pierce Long, who was killed in 1935).

See also

• Step Rock discography on Arkansas 45rpm Records

Sources

• James Alvin Stewart obituary

• Find a Grave entry

Buddy Durham on Emperor

Buddy Durham - Precious Memories (Emperor 430-EM-H-5-60 Hymn Album 5), 1960

Fiddler Buddy Durham is probably best known today for his work with country and rockabilly artist Hardrock Gunter. But Durham had a career of his own, though he is not as good remembered as his fellow WWVA  Jamboree cast member. Durham was not only a musician but owned his own record label, through which he released numerous EPs and 45s.

Buddy Durham

James B. "Buddy" Durham was born in June 22, 1920. His birthplace is disputed. While Drew Beisswenger states that Durham was born in Dallas, Texas, in his book "North American Fiddle Music", author Ivan M. Tribe called him a "Mississippi-born" in his "The Jamboree in Wheeling" book. However, Durham took up music professionally at a very early stage. When he was eight years old, he joined the Durham family band that appeared across the United States on such stations as WLS in Chicago, WSM in Nashville, or WBZ in Boston. His sister Juanita would have a career on her own as well.

He was working in Texas radio but also could be heard on stations in other states, appearing on such shows as the Renfro Valley Barn Dance. In 1954, he came to Wheeling, West Virginia, and became a cast member of WWVA's Jamboree for the next ten years. His wife Marion appeared with him as well until 1959, when she became pregnant.

In 1954, Durham and Hardrock Gunter, who was working the WWVA Jamboree as well during that time, recorded "Fiddle Bop", which was first released on Cross Country and then on Sun Records in Memphis. In 1955, Durham set up Emperor Records, a label that mainly served as an outlet to release his own recordings. Over the next years, he issued countless, short fiddle renditions of traditional tunes, own compositions, gospel songs, or popular standards on single and extended play 45s. In between, he recorded for Cross Country and Ridgecrest as well.

Billboard July 18, 1960

Apart from his own works, he also recorded local talent such as the Wright Brothers, Lucky Rogers, Rudy Thacker, the Cook Brothers, Curly O'Brien, Ken Lighter, and others. Hardrock Gunter released his rockabilly novelty "Whoo! I Mean Whee!"on Emperor and he collaborated with Durham again on "Hillbilly Twist", which was released in the US first on Emperor, then on Starday and on Sparton in Canada. Durham would use the WWVA studio for recording probably all of the Emperor cuts.

Durham left the WWVA Jamboree in 1964 the same year, recorded a square dance album for Columbia. Durham passed away on March 14, 2005, at the age of 84 years. He is buried at Hendersonville Memorial Gardens in Hendersonville, Tennessee, near Nashville. The British Archive of Country Music released a 20-track CD in 2012 with the best of Durham's recordings.

Recommended reading

• Rockin' Country Style entry

• Gospel Jubilee entry

• SecondHandSongs

• British Archive of Country Music

Sources

• Tony Russell: "Country Music Originals - The Legends and the Lost (Oxford University Press), 2010, p. 3

•  Drew Beisswenger: "North American Fiddle Music: A Research and Information Guide" (Routledge)

• Ivan M. Tribe, Jacob L. Bapst: "The Jamboree in Wheeling" (Arcadia Publishing), 2020, p. 43

• 45cat entry

• Hillbilly-Music.com entry

• Find a Grave entry

• Praguefrank's Country Music Discographies

Ray Prince

Ray Prince
Forgotten Louisiana Songster

Ray Prince was a local Louisiana singer, guitarist, and songwriter, who entertained audiences from the 1960s until his death in the early 2020s. In the 1960s, he was associated with legendary producer Eddie Shuler and although he submitted a few of his song works, he never recorded commercially.

Thomas Ray Prince was born on March 6, 1928, to Joseph Wilson Prince, Sr., and Josie Dees Prince in the small hamlet of Trout, LaSalle Parish, Louisiana. His mother was born in 1903 in Alabama and was said to have been a distant relative of another Alabama native: Hank Williams. Prince had an older sibling, which sadly died as an infant in 1924, a sister Rita and a younger brother Joseph Wilson Jr., who became a reverend eventually.

Prince was drafted during Word War II. Along the way, Prince took up music and learned to play guitar. By the early 1960s, he had established himself as a local singer and became a steady performer on Don Wiley's Catahoula Country Music Show in Catahoula Parish. Prince also played the local churches during the 1960s and 1970s.

Catahoula News, December 19, 1963

Prince was a talented and very busy songwriter, sometimes working with his mother. It is said he wrote several hundreds songs during the decades, though the majority of them have never been registered or properly documented. Story goes that Prince and his mother Josie were the original composers of "Wings of a Dove", a smash country and pop hit for Ferlin Husky in 1960. "Ray told me that story several times. He said that he and his mother wrote the song and sent it to a Nashville publishing company from an ad that was in a country music magazine. I absolutely believe him, I never knew of Ray to lie about anything. Back in the day Nashville publishing companies were known for stealing songs," Rodney Hutchison, a local Catahoula Parish resident, recalls. This story have been brought up by different people who knew Prince. The songwriting credit on Husky's record release went to Bob Ferguson, who claimed to write it in 1958.

Prince regularly worked with another local singer, Rip Cannaday. Both men contacted producer Eddie Shuler, owner of Goldband Records in Lake Charles, Louisiana, in the mid 1960s to pitch their songs to him and maybe even to land a recording contract of their own. However, nothing happened. Shuler took four of Prince's songs and registered them with BMI (adding his name as a co-writer), though no recordings by him or other artists surfaced. Those songs included "Diddly Daddily Doo", "I'm Putting Her Picture Away", "Not Much Love Anymore", and "Sands or Arabia". However, one of his songs was recorded - by Luke Jones, a local Natchitoches Parish country singer.

While Cannaday recorded several albums throughout the decades, Prince never recorded commercially. However, Cannaday taped many home recordings of him and Prince singing songs together, sometimes even with Prince's mother Josie. Some of these tapes were recently submitted to the Southern Music Research Center through the efforts of Marshal Martin.

Prince was married to Esther Bradford, meeting her late in his life. Esther also sang, and she can be heard on some of Prince's home recordings as well. Prince spent all his life around Harrisonburg, Louisiana, and continued to play churches and at nursing homes even as an elderly man. Ray Prince passed away on January 4, 2021, at the age of 92 years in Pollock, Louisiana. He is buried at Belah Cemetery in Trout, La Salle Parish. Many people in both Catahoula and LaSalle Parishes still remember Prince very fondly.

See also

• Catahoula Country Music Show

Sources

• Find a Grave entry

• BMI search

• Offical records accessed through Ancestry.com

Westport Records (Kansas City)

Westport Records

The Wagon Wheel Label from the Port of the West

Kansas City had never the reputation as a big recording center but in the late 1940s, the 1950s and early 1960s, there were a lot of country and rock'n'roll artists in the city. Clubs and bars gave artists countless oportunities to entertain audiences on stage, radio stations like KCMO and its live programs boosted local talents popularity and small record labels were willing to release locally recorded music. One of those labels was Westport Records, which issued a string of more than 20 singles between 1954 and 1962.

Westport Records was formed in 1954 by Dave Ruf and his brothers as an outlet to record both their children's family band known in Kansas City as the Westport Kids. The first single released by the new label was Westport 125 by the Westport Kids called "Right Or Wrong" / "Hold Me My Darling". Westport started out as a country label, recording also such artists as local radio performers Milt Dickey and Jimmy Dallas. The label's headquarters was located in West Port, once an indepentend town but by the 1950s already a city district of Kansas City.

Westport Kids promo card

Rockabilly singer Alvis Wayne came to the label in September 1956. He became the label's most successful artist, though he never visited Kansas City. Wayne was Texas based and recorded all his sessions in Corpus Christi and Houston. The recording contract was set up by Tony Wayne, who was Alvis Wayne's mentor and background musician along with the Rhythm Wranglers. Alvis Wayne's first record on Westport was "Swing Bop Boogie / Sleep Rock-a-Roll Rock-a-Baby", which got only little airplay in Texas and sold about 2,000 copies. Wayne's next record, also recorded in a little studio on Corpus Christi, was Westport's and also Wayne's biggest record. "Don't Mean Maybe Baby" was issued in 1957 and got good reviews by Cashbox and charted in South Texas at #1, leaving behind Elvis Presley. Though, the national top 100 charts were still far far away.

Billboard March 9, 1959

Wayne's last record on Westport came out in September 1958 on Westport 140, the slightly pop oriented "Lay Your Head On My Shoulder" / "You're the One". During the years of 1956, 1957 and 1958, Westport had continued to release singles by Milt Dickey, one record by Alvis Wayne's back-up band Tony Wayne & the Rhythm Wranglers, the Westport Kids, Big Bob Dougherty, and Jimmy Dallas. The label releaed another rockabilly single in early 1959 with Lee Finn's "High Class Feelin'" / "Pour Me a Glass of Wine" (#141), which became a local hit in Kansas City.

The company's last issue came out on Westport 145 by Gene Chapman, probably in 1962. After that, the label was closed down by the Ruf brothers. Westport never gained a national hit, just releasing singles for the local market and having fair success with it during the 1950s. The total output were only about 22 singles in seven years. There has been two unofficial CD reissues with the complete Westport catalogue so far.

See also

• Tony Wayne on Westport

• Alvis Wayne on Westport

• Jimmy Dallas on Westport

Sources

• 45cat entry and 45cat/78rpm entry

• various Billboard issues

Doyal Ruff on Melody

Doyal Ruff and Nancy Eason - Jackson (Melody M 45-101)

Here we have a cover of the Johnny Cash-June Carter hit "Jackson", which was originally released in February 1967 on Columbia and peaked at #2 in Billboard's Hot Country Songs. Doyal Ruff was a local Georgia singer and musician, who entertained audiences for decades.

Born on June 24, 1935, in Dallas, Georgia, Ruff started his career with singing bluegrass music on an East Point, Georgia, radio station with Grover Hilliard (1931-2024). It was the start of a rather professional career in music but family obligations forced him to limit his music activities. He eventually became a locksmith at the State of Georgia Capital in Atlanta. He and his wife Mary Jo raised two children, a daughter and a son.

Though maintaining a daytime job, he continued to play music in North Georgia for the next four decades. He founded a group, the Melody Boys, which performed bluegrass and country music. With Nancy Eason, Ruff cut this disc probably in the late 1960s or early 1970s and it seems that it his own private label. I cannot tell at which pressing plant it was manufactured and I don't have an exact release date either.

Around 1994, Ruff changed the name of his group to the Melody Makers and switched to gospel music. Musicians included his son Donnie on bass, Ruff's co-worker Dallas "Lightin'" Day on lead guitar, and Walhalla, South Carolina, native Charles Wesley "Sonny" Lusk on vocals. The band continued to perform around Dallas and Cartersville at least until 2011.

Doyal Ruff passed away on September 10, 2018, in Cartersville, Georgia, at the age of 83 years.

Doyal Ruff and the Melody Makers perform in Dallas, Georgia, in January 2011

Sources

• Obituary

• Internet Archive (incl. download for "Swing Low")

Bill Johnson alias Sky Johnson

Bill Johnson

Bill Johnson's "A Wound Time Can't Erase" was not only one of the most successful songs sung by Stonewall Jackson, it was also one of his most beautiful hit tunes. Johnson, as the composer of the song, remained in the shadow of Jackson's success. Before he made his way to  Nashville, Johnson was an active performer in the Miami music scene.

Born William Donald Johnson, he was a steel guitarist, singer, and songwriter. By 1954, he had begun performing locally around Miami. He was part of Tommy Spurlin & the Southern Boys until around 1956, leaving when the band decided to take their style more towards rock'n'roll. He was also part of Happy Harold Thaxton's local live stage show "Old South Jamboree" as the house band's steel guitarist.

December 12, 1959
Source: Volker Houghton

Johnson made a lot of connections during these years. Kent Westberry, Snuffy Smith, Wayne Gray, Charlie McCoy, Bill Phillips, and many more were working in the area and some of them eventually found enduring success in Nashville. He started writing songs with guitarist Wayne Gray, who in turn performed with Kent Westberry's Chaperones locally, including "Cute Chick" and "Initials in the Tree". Johnson made his way to Nashville already in 1957. There, he recorded as "Sky Johnson" for the small Cactus label his own composition "A Wound Time Can't Erase" and the George Dumas song "If My Love Had Wings". Dumas was a half-brother of the aforementioned Tommy Spurlin and played bass with the Southern Boys.

Released on Cactus #1501 around summer 1957, it was soon picked up by the bigger independent label Dot (#15620) and also saw release in New Zealand on London and in Canada on Quality. Though, the single did not make the charts. It was not until 1961 when Stonewall Jackson covered the tune that it got recognition. His version was released late that year on Columbia and it entered the charts the following January, peaking eventually at #3.

Jackson would record another song of Johnson's, "How Many Lies Can I Tell", in 1969. Marty Robbins had another hit with Johnson's "The Best Part of the Living" in 1971, which reached #6 on both the American and Canadian country charts. Johnson has a total of 26 songs registered with BMI, although only "A Wound Time Can't Erase" and "The Best Part of the Living" became hits.

Sources

• 45cat entry (Sky Johnson)

• BMI search

• Kent Westberry: "I've Got a Song to Write" (Dorrance Publishing Co.), 2020, page 5

Jimmy Ganzberg on Jet

Jimmy Ganzberg with the Sound of the Crowns - Rebel Yell (Jet No.#), 1958
Among the numerous Indianapolis rock'n'roll artists, Jimmy Ganzberg is one of the lesser known nowadays. He recorded a couple of 45s for a local label, Jet Records, and is still active musically to present day.

Born James Leroy Ganzberg around 1940 in Indianapolis, he attended Arsenal Tech High School and afterwards studied music at Indiana University. He became a proficient piano player during his early years and, in the late 1950s, achieved popularity in Indianapolis for his wild, Jerry Lee Lewis styled playing and showmanship. He regularly appeared on local TV show "Teen Twirl".

It seems that Ganzberg had no own band but relied on other local outfits. He first recorded in 1959 for Charles E. Howard's Jet label, a local Indy company that had only small distribution. "Hang-Out" b/w "White Saddle Shoes" were recorded with local black saxophonists Jimmy Coe and Pooksie Johnson, Ganzberg's usual guitarist Jerry Lee Williams (who also dabbled in record production) plus additional unidentified musicians. His second Jet single, also released in 1959, came from the same session and comprised "Jo-Ellen" and "Ring and Wedding Veil".

At third single was released in 1960 featuring "Twilight and Tears" and "Rebel Yell", which were recorded on a different occasion with the Sound of the Crowns featuring Larry Goshen on drums. The band had been formerly known as the Crowns and played for some time with Jerry Lee Williams as well. None of Ganzberg's singles broke out of the regional market and he ceased from recording in the following years.

Ganzberg eventually moved to Alabama and is a member of the Alabama Rockabilly Hall of Fame. He toured the country with the Alabama Blues Brothers Band as a keyboarder since 1998. A few of his recordings have been reissued due to the rock'n'roll revival, for example on the 1980 Wendi LP "Dig That Rock & Roll from Indiana" from Australia and the 1997 Buffalo Bop CD "Strictly Instrumental, Vol. 3" from Germany.

Sources
• Jimmy Coe Discography
• Rock'n'Roll Schallplatten Forum (German)
• Indiana Music Makers
• Discogs
• 45cat entry

Delmore Brothers in Memphis

Good Times in Memphis
The Delmore Brothers in Bluff City

The 1940s and early 1950s saw a lot of country music talent passing through the city of Memphis. Although it became well-known as the "home of the blues" and the "birthplace of rock'n'roll", country music had been always present in the city. Since the late 1920s, it had been a center for the major label's field recordings for blues, jazz, gospel, and old-time folk music as well. 

I have featured several Memphis country artists before, including Doc McQueen, Shelby Follin, Clyde Leoppard's Snearly Ranch Boys, Joe Manuel, among others, but the Delmore Brothers were probably the most popular and successful (commercial-wise) among those performers. Alton and Rabon Delmore were heard over Memphis radio on and off during the 1940s, spreading their blues and boogie-branded kind of country music across the Mid-South.

From the Hills of Alabama...
The Delmores hailed from northern Alabama, from Elkmont, to be precise, where Alton was born on December 25, 1906, and Rabon on December 3, 1916. The brothers grew up listening to folk and gospel music (her mother composed shaped-note gospel songs) and started singing as a duo at local fiddlers contests. The new medium of radio seemed to be perfect for their soft voices and their rising popularity led to a first record release on Columbia in 1931 ("Got the Kansas City Blues" b/w "Alabama Lullaby", #15724-D).

...to the Grand Ole Opry in Nashville
This first record went nowhere, much due to the economic depression and the Columbia label's demise, but they landed a job on WSM's Grand Ole Opry in 1933. Although the Opry was just one of several barn dance shows back then, WSM's strong signal beamed their voices into the listeners' homes within a wide radius. They started recording for RCA Victor's Bluebird label the same year and stayed with the label into the early 1940s. Many of their sides were also released on the warehouse chain Montgomery Ward's in-house label, therefore enjoying even wider distribution, and some saw distribution in Canada, Australia, South Africa, and even India.

The Delmores had a bluesy style and concentrated on their own material instead of covers or standards. Their popularity grew and by 1936, the Delmore Brothers were the most popular Opry act. They began a shorter stint with Decca in 1940 which ended due to World War II. Following a disagreement with the management, they left the Opry and, like it was common for many country entertainers back then, roamed the country in search of radio station work. They came to Cincinnati, Ohio, in 1943, where they began broadcasting on powerhouse WLW and signed with Syd Nathan's independent King record label - their first record was released in late 1944.

Memphis Down in Dixie
Rabon left the act for a short time, working a defense job, and Alton continued to perform solo on WLW. Near the end of World War II, the station refused to hire Rabon again (probably due to his alcohol abuse) and the brothers left Cincinnati. After a short stop in Indianapolis, they ended up in Memphis. There, they began appearing on WMC, one of the city's oldest radio stations that carried a lot of other country performers as well, including Slim Rhodes' Mountaineers and Gene Steele. 

The Delmores at WMC in Memphis

The Delmores' act at that time also included harmonica player Wayne Raney, who hailed from Wolf Bayou, Arkansas, and was living in Memphis by then. Raney had worked in Covington, Kentucky, south of Cincinnati across the Ohio River but somehow, the threesome had never met. In Memphis, Raney decided to approach them and went over to the Delmores' house in West Memphis. After a good jam on the front porch, he was in. As a trio, they also worked personal appearances around Memphis and across the Mississippi in West Memphis and surrounding Arkansas areas. Their blues drenched sound fitted perfectly to Memphis and was completed by Raney's harmonica. Sometimes, they were augmented by another harmonica wizard, Lonnie Glosson. The Delmores began experimenting with boogie elements, too, a trend in country music that just had started, and in May 1946, "Hillbilly Boogie" (King #527) was released. It was the beginning of a series of country boogie songs that foreshadowed the development of rockabilly. However by late 1946, the brothers left Memphis for the first time because they had "burned the area out" and started another trip of radio station hopping. 

By November 1947, they were back in Memphis at WMC but left again only to return for some time in 1948. In 1949, they were working in Fort Smith, Arkansas, when their "Blues Stay Away from Me" climbed the Billboard country & western charts and eventually hit the #1 spot. They were back in Memphis in the early 1950s, rubbing shoulders with another, younger brother act - Ira and Charlie Loudermilk, better known as the Louvin Brothers, who had come to Memphis as part of Eddie Hill's band in 1946 or 1947.

According to Charlie Louvin, as cited by Charles K. Wolfe in his book "In Close Harmony", the Delmores were performing on smaller stations in Blytheville, Arkansas (probably KLCN), and some in West Memphis, during this time (though they would live in Memphis). "Alton and Rabon had the identical, the same setup as Ira and I. One teetotaller and one who couldn't stay sober" Louvin recalled. One time the Louvins and the Delmores were playing a ballpark stage with Raney and Glosson: "At the time, Arkansas was dry, and Rabon, he absolutely had to have a drink, so Ira said he'd ride with him. They went all the way back to Memphis, ten or twelve miles, to get some booze. Even with Ira drinkin' a little bit, Rabon scared him to death coming back through West Memphis at a very high rate of speed."

Billboard June 1, 1946

Billboard November 22, 1947

Leaving Memphis
The Delmores left Memphis for good around 1951 and hopped from station to station, ending their career in Houston, Texas. There, Alton decided to go full-time into songwriting while Rabon had been unreliable either way due to his alcoholism. In addition, he was diagnosed with cancer and an operation in 1952 could not bring any improvement of his health. He passed away the same year a day after his 36th birthday on December 4.

Ira and Charlie Louvin were heavily inspired by the Delmores sound and they would even record a Delmore Brothers tribute album some years later. During their Memphis days, the Delmores also inspired other future stars. Elvis Presley was probably used to listen them and lots of other, future rockers and country singers would. Alton fell into oblivion after his brother's death and went out of the music business, bitter and disillusioned. He moved back to Alabama and gave it one last shot in 1959, recording his sole solo record, "Good Times in Memphis" b/w "Thunder Across the Border" for Ernie Tucker's Linco label across the border in Fayetteville, Tennessee. He passed away on June 8, 1964.

See also
• Good Times in Fayetteville - Ernest Tucker and the Preservation of Rock'n'Roll
• Wayne Raney - King of the Talking Harmonica

Sources
• Country Music Hall of Fame
• Hillbilly-Music.com entry
• Alton Delmore 45cat entry
• Jeffrey J. Lange: "Smile When You Call Me a Hillbilly" (University of Georgia Press), 2004, page 236
• Charles K. Wolfe: "In Close Harmony - The Story of the Louvin Brothers" (University Press of Mississippi), 1996, p. 100-102
• Charles K. Wolfe: "Classic Country - Legends of Country Music" (Routledge), 2001, p. 115
• Alton Delmore: Truth Is Stranger Than Publicity" (Country Music Foundation Press), 1977