Dale Wasson

Dale Wasson (center) with Johnny Horton (left) and Johnny Cash (right), late 1950s
Courtesy of Dale Wasson, Jr.

The Big Long Tall Drink of Water from Miami

The Story of Dale Wasson

In the mid 1950s, radio station WMIE was one of the driving forces for country music in Miami, Florida. Influential Miami country music personalities like Uncle Harve Spivey, Happy Harold Thaxton, and Cracker Jim Brooker were mainstays on the station. Another DJ on WMIE was Dale Wasson, musician, songwriter, and record shop owner in his own right.

Maurice Dale Wasson was born on November 21, 1931, in Peoria, Illinois, to Samuel Dale and Macie Evelyn Wasson. He had a younger brother, Floyd Duane, but his parents eventually divorced. His mother married again and gave birth to Wasson's half-sister Patricia. Wasson's family moved to Miami, where he grew up.

In the early 1950s, Wasson joined the US Marines and was sent overseas to fight in the Korean War. One of his comrades was a young man from Arkansas, Gerald D. Tomlinson. Like Wasson, he liked music and played guitar. He was soon nicknamed "Tommy" by Wasson and his comrades and became Johnny Horton's guitarist after his discharge. Tomlinson and Wasson remained good friends throughout the years.

After earning two Purple Hearts, Wasson was honorably discharged in 1953 and returned to Miami. Upon his return, he started his own record shop on the corner of NW 7th Avenue and 130th Street. At the same time, he became an announcer as well as a country DJ on WMIE and would host a show out of his record shop. He was also active as a musician and joined Happy Harold Thaxton's band, the Dixie Millers. This outfit performed regularly at different venues in the area. Like Wasson, Thaxton was a DJ at WMIE and also had an evening TV show in the 1950s that often featured Wasson. Thaxton would introduce him as "The Big Long Tall Drink of Water".

While working as a DJ with WMIE, Wasson got to know a lot of the big stars that stopped in Miami to promote their records or while being on tour. Johnny Cash and Johnny Horton paid a visit more than once. Wasson also became acquainted with such legends as Jimmy Dean and Grady Martin. In fact, he jammed with Martin while the latter was on tour with the Cash and Horton units. "After the show my mom, dad, a young Jimmy Dean, and band members were all up in Horton's hotel room. Playing music after the shows with each other was something they always looked forward to. One of them mentioned that Grady Martin was staying upstairs. Everyone at the time wanted to play music with Grady, who was starting to become famous as a musician" recalls Wasson's son Dale jr. Apparently, the jam session developed into an hours-long issue. "Mom was eight months pregnant with my brother and was very tired, so she told my dad to go on with them and fell asleep alone in Horton's room until they came back hours later."

Wasson was also active as an emcee at drive-in movie theaters. Back then, bands would perform before and after the actual movie. Sometimes, there were extra added attractions as well. These shows were hosted by Wasson. One time, South Florida resident Grandma Ella Carver, "The World's Oldest Flame Diver", appeared on such an event. While Wasson was said to have been an accomplished songwriter, no recordings by him are known to exist.

By the early 1960s, WMIE had been sold and changed programming, aimed at the Latin-American audiences that were coming into Miami from Cuba by then. Wasson sold his record shop around the same time and decided it was time to quit the music business. He moved his family to North Carolina, where he served the city of Asheville as a police officer. He eventually returned to Florida, living in Winter Park, where he continued to work in law enforcement.

Dale Wasson passed away on April 2, 2009, at the age of 77 years. He is buried at All Faiths Memorial Park in Casselberry, Florida.

See also
• Remembering Happy Harold - A Miami Country Music Pioneer

Sources
• Find a Grave entry
• I would like to thank Dale Wasson's wife Elizabeth and his son Dale jr. for contributing so much information and photo material about Dale Wasson.

James Fred Williams

James Fred Williams

The Spiritual Ambassador of Southwest Arkansas

James Fred Williams is an Arkansas based gospel singer and minister that has been around on the music scene for more than six decades. He has recorded at least four different discs, including a gospel EP for United Southern Artists in Hot Springs, Arkansas, in 1963, and two more platters for Curtis Kirk on his Tyler, Texas, based Custom label, in the 1970s. Recently, my southwest Arkansas correspondent Mark Keith interviewed Williams via telephone so European roots music fans now can learn of this artist.

James Fred Williams was born in 1940 in Magnolia, Arkansas. He remembers that radio played a major role in shaping his music taste. He would place his ear near the radio to listen closely to gospel music. It was of course gospel music and nothing else but gospel that became Williams' sole influence. Naturally, his first public appearance was in a little country Baptist church south of Magnolia and later on, he would sing in a choir as well.

Williams could be also heard on local radio throughout the years, including on KMSL (which later evolved into KZHE), where he had a Sunday evening show. Mark Keith worked at that station, too, and recalls: "He'd come on playing "Standing by the Bedside of a Neighbor" and when the instrumental break came on, he'd come in and talk over it and welcome people. He has a beautiful speaking voice and sounded so warm and friendly."

The Hope Star, January 19, 1963

Williams' first record came in 1963 for the Hot Springs based United Southern Artists label. He remembers that it was Carl Friend, the label's A&R manager, who organized the deal. Williams recorded four songs during a session in Hot Springs that were released on an EP record by the label. Two more records came into existence when Williams came in touch with Curtis Kirk, who had a studio and record label in Tyler, Texas. Four songs were recorded in Tyler and on that particular session, he was accompanied by the Ambassadors of Sweetwater, Louisiana. Kirk released them on his Custom label and Williams distributed those two releases to radio stations in Magnolia, Sweetwater, Shreveport, and Houston, among others.

A special record came along in 1979, when Williams cut his own "Stay with Me Jesus" backed by Brother Eli Taylor on organ. It was re-released the next year on the Love label. Original copies are nowadays quite worthy and sought after.

Williams still works as a minister in the Magnolia, Arkansas, area and does church programs. Mark Keith conducted an telephone interview with him in January 2025 which was the main source for this text.

Discography

United Southern GLP 101: James Fred Williams - Hold On to God's Unchanging Hand / Stay with Me Jesus / I Need the Lord / Every Child of God (1963)
Custom 185: James Fred Williams - If You've Got Jesus / I Feel the Spirit
Custom 191: James Fred Williams - He Will Take Care of His Own / Thank You Lord
No label No.#: Dea James Fred Williams - Stay with Me Jesus / God Is Taking Care (1979)
Love 3607: Dea. James Williams - Stay with Me Jesus / God Is Taking Care (1980) 

Sources

• 45cat
• Discogs [1] and [2]

• Thanks to Mark Keith for sharing his memories and providing information on James Fred Williams and interviewing him at my urging.

Jimmy Stayton on Chattahoochee

Jimmy Stayton - Your Heart Is My Prison (Chattahoochee CH 661), 1964
About 15 years ago, when I first heard Jimmy Stayton's "Hot Hot Mama", there was virtually no information available on him. This has changed in the last years as Steve Kelemen tracked Stayton down and interviewed him for the Rockabilly Hall of Fame in 2013. Since then, he has been recognized as Delaware's first rockabilly musician.

James H. Stayton was born August 4, 1939, in Milford, Delaware, near the US Atlantic coast. Milford was a small town with a population around 4,000 at that time and, as Stayton put in, "most of the music in those days was either country, swing, big band or maybe some jazz. I didn't think there was much of a choice." Country music became his first love and Hank Williams his first hero. He was presented with a guitar from his grandfather and Stayton practiced until his finger bled.

In the summer of 1954, Elvis Presley started the rockabilly craze from his Memphis base and it set out all across the southern states. In Delaware, this new brand of music was still unheard, however. In late 1954, Stayton visited his sister in Virginia, where rockabilly was already starting to get popular among young music fans. On a ferry trip there, Stayton heard Presley's version "Blue Moon of Kentucky" in a jukebox and was instantly converted to rockabilly. "I went into a record shop in Norfolk , Virginia, and asked if they had 'Blue Moon of Kentucky'. The owner said that they didn't have it so I told him 'to get on it' because Elvis was going be the biggest thing ever! After that they started to carry his Sun singles," Stayton told Steve Kelemen.

In 1955, Stayton met guitarist Morton Marker at a talent contest in Dover, Delaware. Marker and his sister were contestants there, too, and apart from that, Walker backed up Stayton on the show. Both had the same taste in music and decided to start as a band with Stayton on vocals and rhythm guitar, Marker on lead guitar and with the addition of drummer Honey Voshell, the group was complete, taking the name "Rocka-Bye Band" (suggested by their manager Reece Harrington). They had no bass player but sometimes used guest musicians on their shows.

Jimmy Stayton and the Rocka-Bye Band, 1956 (from left to right):
Morton Marker (lead guitar), Jimmy Stayton (vocals/rhythm guitar), Honey Voshell (drums)

They started playing shows in places all over Delaware and soon became popular with their brand of music. Rockabilly was still unheard till then and Stayton and his band were probably the first musicians to perform this music style publicly in Delaware. One of the first venues they played was the Milford Canteen, where they used to play in front of a packed house. From there, they went on to perform shows in Frederica, Smyrna, Camden, and Dover. They also started playing shows in other east coast states such as Pennsylvania, Maryland, New Jersey, and Virginia.

In late 1955 or early 1956, Stayton became acquainted with Sam Short, who ran a grocery store in Harrington, Delaware. Out of this store, he also operated the Blue Hen label that had released mostly country music since 1954. Rockabilly became the hottest thing in the country and Short decided to give it a try and recorded Stayton's band. A session was set up at WBOC-TV in Salisbury, Maryland, which produced "Hot Hot Mama" paired with a country flip side, "Why Do You Treat Me This Way". Released in the spring of 1956 on Blue Hen #220, the record was credited to "Jimmy Stayton with Morton & Honey" rather than the "Rocka-Bye Band" but it proved to be a good seller in their three state radius. Moreover, it was the first rockabilly record ever released in the state of Delaware - a pioneering disc in that area.

The success led to another recording session a few months later. On this occasion, Stayton had organized a recording studio in Baltimore, Maryland, and this session produced "You're Gonna Treat Me Right" and "Midnight Blues". By then, the group included Patsy Saunders on drums as Voshell had left following the release of "Hot Hot Mama", and the group became the "Country Cats". However, Saunders was not present at the second session and the line-up instead included a bassist. Stories differ how they picked them up - Morton Marker recalled they met him while playing the Sunset Park in Westgrove, Pennsylvania, and used him on several shows, while Stayton later remembered him as a studio musician.

However, both songs were prime examples of rockabilly with its sparse line-up and appeared in late 1956 in Blue Hen #224. Though they continued to perform successfully until 1958, no more recordings were made. That year, Stayton joined the US Army and was sent overseas to Germany. It meant the end of the Country Cats. Stayton got to know his future wife in Germany and upon his return, moved to California, where he attended college.

Music was still on his mind. While in California, he signed a recording contract with 20th Century Fox (Stayton later claimed that Robert Mitchum had a hand in it) and his debut on the label, "More Than You'll Ever Know" b/w "Losers Can't Win", was released in 1962. It was the first nationally distributed record for Staytion as Blue Hen had no proper distribution network (records were sold from the counter of Short's grocery store for example). However, the record did not reach the charts and shortly afterwards, Stayton returned to Delaware.

He was soon back at recording, again with Sam Short, and recorded for Short's and "Bailin' Wire" Bob Strack's Del-Ray label, which Stayton later co-owned, too. The A side was "The Hep Old Frog", a novelty comedy number that he had written back in California for a Hollywood-produced Hanna Barbera TV cartoon that never came into existence. It was paired with a Don Gibson-styled, very commercial country number, "The Only One (for Me)", on Del-Ray #212 in 1963. Another single followed on Del-Ray under the pseudonym of "Leappo the Frog" with more frog-themed novelty content.

Probably his last record came in 1964 for Ruth Conte's Chattahoochee label from Los Angeles. "Politickin's Here" was a humorous comment on politics and election campaigns, while "Your Heart Is My Prison" is another enjoyable country performance. My copy of the record has "Area Test Record" on its label written, whatever that means.

Stayton told Kelemen that he had enough of music at one point in his life and became a salesman at WKEN in Dover, an occupation he held for 15 years. He also was a DJ on that station for some time. Eventually, he formed a new band, the Country Sounds and returned to performing. He also wrote a new song, "The Ballad of Herman Brown" for Republican Herman Brown's 1968 election campaign.

In the 1990s, European rockabilly CD compilation started featuring Stayton's songs "Hot Hot Mama" and "You're Gonna Treat Me This Way". They had been forgotten for years and so had been Stayton. Collectors and researchers failed to track him down until 2013, when Steve Kelemen succeeded and conducted an interview with both Stayton and Morton Walker for the Rockabilly Hall of Fame. In the wake of his rediscovery, Knock Out Records released a CD of Stayton's recordings that also includes a lot of originally unissued material. Since then, Stayton and his band have been acknowledged several times as Delaware's first rock'n'roll recording artists.

Stayton nowadays resides in Hopkinsville, Kentucky, while Morton Marker lives in Glendora, California. Honey Voshell remained active as a musician in Delaware and opened a music shop in Felton, "The Drum Pad".

Discography

Blue Hen 220: Jimmy Stayton with Morton & Honey - Hot Hot Mama / Why Do You Treat Me This Way (1956)
Blue Hen 224: Jimmy Stayton and the Country Cats - You're Gonna Treat Me Right / Midnight Blues (1956)
20th Fox 310: James H. Stayton - More Than You'll Ever Know / Losers Can't Win (1962)
Del-Ray 212: Jimmy Stayton - The Hep Old Frog / The Only One (for Me) (1963)
Del-Ray 213: Leappo (The Frog) - Christmas in Frogville / Look Before You Leap (1963)
Chattahoochee 45-6x: Politickin's Here (Nobody Needs Automation) / Your Heart Is My Prison (1964)

Recommended reading

• Dead Wax: Christmas in Frogville

• Bear Family Records (Knock Out CD)

Sources

• Blue Hen Records (Greater Harrington Historical Society)

• Rockabilly Hall of Fame interviews (Wayback Machine)

• Jimmy Stayton on the Delaware Rock and Roll Society website

• Rockin' Country Style entry

• 45cat entry

Leon Fulgham & the Dealers on Bejay

Leon Fulgham & the Dealers - Poor Boy (Bejay 82479), 1979

Leon Fulgham's band, the Dealers, was founded in the late 1970s. Fulgham was a native of Fort Smith, Arkansas, and came from a large family. He worked as a used car dealer and operated Fulgham Used Car Center in Fort Smith. He played music with friends for years until he put together his own band, the Dealers. He was also known as the "Singing Car Dealer".

The band consisted of Fulgham on rhythm guitar, bass, and lead vocals, Harold Van on steel guitar, Louis Lyles on vocals, lead guitar and fiddle, Ramona Lyles on bass, piano, and vocals, and Billy Wise on drums. Occasionally, Fulgham's wife Maxine appeared with the band on vocals. All of the members were said to hail from the Fort Smith area.

Leon Fulgham and the Dealers, 1979
(taken from the band's LP "First Time Around")

In 1979, Fulgham and the Dealers went into Ben Jack's recording studio in Fort Smith to cut eleven songs. They probably performed those songs frequently at their shows and included a good cover of Jimmie Martin's bluegrass tune "Free Born Man", the bluesy "Poor Boy", or "The Devil and the Cowboy". All eleven songs were issued on the Bejay LP "First Time Around" and those last two songs, which were Fulgham's own compositions, were also released on a 45rpm disc by Bejay the same year.

Although many of his siblings already passed away, it seems that Leon Fulgham is still alive. His used car dealership has been closed down, as far as I can tell.

If somebody has more information on Leon Fulgham, please leave a comment or send me an e-mail through the formula at the top right of this website.

See also
• Ben Jack on Bejay
• Bobby Whittaker on Bejay
• Red Yeager on Bejay
• David & Darlene Robinson on Bejay

Sources
• Discogs
• 45cat entry
• Jimmy Fulgham Find a Grave entry

Walter (Arkie) Bittle

Walter "Arkie" Bittle & the Flying Saucers

Arkansas Country Boys Went Rock'n'Roll in Indiana

Many Arkansans moved west in the 1930s and 1940s, many moved east to Memphis in the 1940s, 1950s, and 1960s but few musicians moved to the northern states during that period. Walter Bittle was one of them. He lived in Indiana in the 1950s, where he cut a rare and little known rockabilly gem, "Jitterbug Drag". Like so many fellow rockabillies, Bittle later abandoned secular music and turned to the gospel.

Walter Thomas "W.T." Bittle, also known as Arkie Bittle or Reverend Walter Bittle, was born on January 13, 1931, in Prim, Arkansas, a rural area north of Heber Springs near Greers Ferry Lake. His parents, H. Gordon and Blanche D. Bittle, also gave birth to two daughters Georgia and Wanda as well as another son in 1935, Bittle's brother Loy Emery. At that time, the family was residing in an isolated place called Woodrow down the road from Prim.

Life was hard in the 1930s for rural Arkansans and Bittle worked on the farm and in the timber industry very early on. However, music was his passion and he learned to play guitar as a child. Bittle enjoyed playing and singing with family and friends; country and gospel music were likely his main influences. At age 17, he and his brother-in-law Wayne Harlan took part in a talent contest in Heber Springs and won.

By the advent of the 1950s, Walter and Loy Bittle were working with guitarist Glynn Hipp, who was also born in Woodrow but already in 1927, and played clubs along Highway 67, today known as the Rock and Roll Highway. They performed at such venues as the Oasis and the Wagon Wheel. Bittle joined the US Marine Corps in 1952 and served his country during the Korean War. Upon his discharge around 1954, Bittle took up music again with brother Loy and Hipp. They moved north to the Marion, Indiana, area, possibly in search of better working and living conditions than what they were used to in the rural South. On the personal side, he married Esther Shook in October 1954 in Marion.

Billboard September 17, 1955

Although they had started as a country music trio, Rock'n'Roll was the thing by then and naturally, the trio began performing in that style. Later in 1955, Bittle had assembled a band known as the "Sunny Slope Boys" and this group was heard over WMRI in Marion, Indiana, and the station's "Hoosier Barn Dance". The group also played on TV and in several local clubs. A year later, the Sunny Slope Boys had morphed into the Flying Saucers, adapting a more popular name for rock'n'roll audiences. By then, Loy Bittle had dropped out of the act. The group included Arkie Bittle on vocals and rhythm guitar, Hipp on lead guitar, Ray Smith on bass, and Bobby Johns on drums.

Arkie Bittle and Glynn Hipp, mid 1950s
(taken from the front cover of Collector CLCD 4495)

In 1956, Claud J. Nash, Sr., set up his own independent record label, Claudra Records, and Bittle and his group were the first to record for it. Hipp had written a rockabilly piece called "Jitterbug Drag" and together with Nash's song "I Kissed You in a Dream", was recorded under primitive circumstances as the songs sound like being cut in a kitchen. Nash released them on Claudra #CL-200 in 1956.

A second disc appeared the following year featuring "Teen Age Blues" and "Glynns Hopp", both composed by Hipp. While the A side was a vocal number sung by Bittle, the B side showcased Hipps skills on the guitar. It seems that Hipp was the driving force of the band - he was not only a talented guitarist but also wrote most of the song material. In addition, some  band members of the Flying Saucers also played on other Claudra releases.

In 1958, Bittle dropped out of the group as he became a born again Christian. Hipp took over the band and renamed it "The Jokers", which later also included Larry Kinser on vocals and Harry Miracle on vocals and guitar. The band continued to perform well into the 1960s and had two records out - one on Claudra and another one on Cliff Ayers' Lincoln label from Fort Wayne (Ayers also owned the Emerald label that released several rock'n'roll discs).

In the meantime, Bittle had begun preaching in Indiana churches and the 1960s saw Loy Bittle becoming a converted Christian as well. Loy became a deacon at Marion General Baptist Church in Marion in 1964 until his return to Arkansas. Walter Bittle returned to Heber Springs as well, where he established Sunny Slope Church in the 1960s. Loy began his work as a deacon there in 1968. In 1973, Walter Bittle received a theological degree from the Oakland City University of Indiana. Bittle also claimed to have written the song "I Hold a Clear Title to a Mansion", although different sources suggest this gospel hymn dates back to the early 20th century. He also claimed to have a recording of his (first) version and that the song was stolen from him. Bittle tried to regain the legal rights to no avail. The song has been recorded under different titles by several gospel artists.

Dutch collector Cees Klop gathered a couple of Glynn Hipp recordings and released those on his White Label and Collector reissue albums, beginning in the early 2000s. Also "Jitterbug Drag" was released on a few European CD reissues in the 2000s, probably unbeknownst to Bittle.

Walter Bittle passed away on October 21, 2016, at the age of 85 years. His brother Loy died a few years later in 2021. Glynn Hipp stayed in Indiana, where he already passed away in 1995 at the age of 67 years.

Sources

• Find a Grave Entries for Walter Thomas Bittle and for Glynn Hipp as well as for Claude Jackson Nash, Sr. and Claud Jackson Nash, Jr.

• Rockin' Country Style Entries for Walter Arkie Bittle and for Glynn Hipp

• 45cat entry

• Claudra Records on Discogs

• Obituary

• Clear Title to a Mansion (Bluegrass Messengers)

• Robert Cochran: "Our Own Sweet Sounds - A Celebration of Popular Music in Arkansas" (University of Arkansas Press), 2005, page 53

Johnny Hughes on UBC

Johnny Hughes - Pretty Little Girl (UBC 1017), 1960

Pre-teenage Johnny Hughes cut three records for the Fort Smith, Arkansas, based UBC label in 1960 and 1961. We feature his debut release from December 1960, "Johnny Blue" b/w "Pretty Little Girl". The exact artist credit on this disc reads "(12 Year Old) Johnny Hughes", which places his birth date around 1948.

And indeed, further research substantiated this date. John Lee Hughes was born October 23, 1948, in Midwest City, Oklahoma, a suburb of Oklahoma City. He was born to Floyd A. and Thyra Juanita Hughes and had a couple of siblings. The family later moved to the Capitol Hill neighborhood of Oklahoma City, where Hughes started his career as a singer. He attended several music schools to train his voice and also took up the guitar.

By 1959, Hughes began making appearances in the city and surrounding areas and his mother Juanita began acting as his manager. A year later, Hughes was popular enough that UBC Records from Fort Smith, Arkansas, became interested in the young boy and signed a recording contract with him. Hughes' recordings for UBC were teenage rock'n'roll and aimed at the flourishing teen market, although he was likely a bit too young for that target group. His debut session was likely cut in Oklahoma City, as Bobby Boyd, who also owned the Boyd label there, produced today's disc. "Johnny Blue" b/w "Pretty Little Girl" was released at the tail end of 1960 and according to former radio KOMA's Wax Museum curator Larry Neal, "Johnny Blue" became a local hit in Oklahoma City. 

Johnny Hughes in 1963

UBC had possibly high hopes to build Hughes as a kiddie star. After his debut, UBC also released "After Tonight" b/w "Junior High Doll", which was recorded in Nashville with the Jordanaires, and "Doll Baby" b/w "Grounded", both in 1961. Some of Hughes recordings were written by some of the top names in the business. For example, "Johnny Blue" was penned by Jerry Crutchfield and Gerald Nelson, and "Junior High Doll" was composed by Mae Axton (co-author of "Heartbreak Hotel") and Lew Williams (rockabilly recording artist for Imperial).

Billboard May 22, 1961, pop review

UBC had possibly high hopes to build Hughes as a kiddie star. Although "Junior High Doll" became another strong seller in Oklahoma City, Hughes' records never brought him the desired breakthrough and he was dropped from the UBC roster soon after. He teamed up with another young singer, Debbie Ray, who also hailed from Midwest City, and appeared with her on several occasions in the region. Hughes' mother organized an audition at Rainbow Studios in Hollywood, California, and a contract was signed for a session in 1963, although no records are known to have been released.

Hughes remained in the music business and led a band known as the Fender Benders from 1965 up to 1968. This group played extensively across the state of Oklahoma. He later worked as a trim carpenter but unfortunately, it escapes me what Hughes did music-wise after the 1960s. Johnny Hughes passed away May 7, 2004, at the age of 55 years in Norman, Oklahoma.

If you have more information on Johnny Hughes, please feel free to leave a comment or share your memories via e-mail with us.

Discography

UBC 1017/18: (12 Year Old) Johnny Hughes - Johnny Blue / Pretty Little Girl (December 1960)
UBC 1024: Johnny Hughes - After Tonight / Junior High Doll (May 1961)
UBC 1034: Johnny Hughes - Doll Baby / Grounded (1961)

Sources

• Find a Grave entry
• 45cat entry

• Johnny Hughes - Junior High Doll YouTube video (info in comment section)

Ted Creekmore

Ted Creekmore was a longtime country music performer and band leader on the Tulsa music scene. Beginning in the early 1960s, he recorded several 45s well into the 1970s on local Oklahoma labels.

Ted W. Creekmore was born on July 23, 1932, in Oklahoma to Charlie Elzo and Dovie Ann Creekmore. Both of his parents were born in Arkansas but had relocated to Oklahoma by the mid 1920s. Creekmore had a total of seven siblings - four brothers and three sisters. In 1953, he married Margaret Jenkins, with whom he raised three sons. Creekmore was musically inclined and at some point, took up music as a hobby and began appearing around Tulsa and surrounding areas.

He had assembled his own band by the early 1960s and started recording for Joe Norvell's Norjo record label in 1962, releasing "It's Your Turn to Cry" b/w "I Just Got Love Bug Bit". The latter was released on Collector Records' "Rock & Roll with Piano, Vol. 7" in 2002 and on Buffalo Bop's "Rock-a-Billy Boys" in 2003 in Europe. Creekmore had another release on the label with "Arizona Ways" / "I Don't Know How to Make You Know".

In 1964, Creekmore's band accompanied Tulsa DJ Bob LaFitte on his recordings for the local Plainview, Arkansas, Tagg record label and followed up with own recordings on the Pride and Sheridan labels in the mid to late 1960s as well as on Alvera in 1977. In addition to his recordings, Creekmore and his band played dances and TV shows all over Oklahoma, Kansas, and Arkansas. His sons Danny and Robert both became talented drummers and son Kenny became proficient at guitar and bass. Danny worked with his father's band from 1970 until 1986, relocating to Florida eventually.

Creekmore's wife Margaret passed away in 1981. A few years later, he married his second wife Joyce and eventuelly married Treva Keener, who would accompany him for the rest of his life. Creekmore was still playing with a band in 2005, although his radius was limited to Tulsa and surrounding cities by then.

Ted Creekmore passed away on April 4, 2010, at the age of 77 years in Tulsa.


Ted Creekmore (lead singer) and John Chick on the "John Chick Show", broadcast on KTUL-TV from the Tulsa State Fair, early 1970s

See also
• Johnny Mystery on Tagg

Sources
• Find a Grave entry
• Creekmore Family Facebook group
• Discogs
• Rockin' Country Style entry
• 45cat cat entry

Doug & the Inn-Truders

The instrumental number "What's Up" by Doug and the Inn-Truders had grabbed my attention some 15 years ago and still does. I enjoy the song now as much as I did back then - but who were Doug and the Inn-Truders? A renewed search yielded some more information, which I tried to compress into this post.

The Inn-Truders were a Wichita, Kansas, based rock'n'roll band. We find mention of the band as early as July 1964, so the Inn-Truders were probably founded in the first half of that year. At least some of the band members were still high-school pupils. Although the exact line-up is unclear, it seems that early members were leader Douglas "Doug" Terbush on guitar, Art Martinez on guitar and Gregg Dunn on drums. 

Doug and the Inn-Truders, 1964

Already by July 1964, the band had entered STA Recording studio in Wichita to lay down two tracks: the aforementioned instrumental "What's Up" and the vocal number "Starring My Broken Heart". Both songs were released on the local Aircap label (#BM-101). At that time, their sound was guitar-based but they soon began including horns. At some point in 1964, sax player Rick Meyer joined the group and over the years, further sax and trumpet players were added to the line-up, including Roger Walls on trumpet.

The Inn-Truders became a popular band locally and played venues for years around Wichita. Rick Meyer remembers playing at the Joyland, the Seneca Lounge, and the Cotillion. They were also part of numerous "Battle of the Bands" contests that were popular back then. Neal McGaugh, a band member of another local group called the Outcasts, remembers the Wichita band scene:

"When the battles moved to the Cotillion, that's when all the big rivalry started--'65, '66.  We always ended up battling big horn bands, The Red Dogs, Doug and the Inn-Truders.  We didn't get too far against them.  We didn't have the kind of music that the judges liked."

The Inn-Truders were active at least until 1967. Their "What's Up" was featured on the 1983 White Label LP "Minnesota Rock-a-Billy-Rock, Volume 3" (although they were not from Minnesota). As of 2015, Art Martinez was still active as a musician. Doug Terbush resides in Rio Rancho, New Mexico, nowadays.

Sources

• 45cat

• Discogs

• Wichita Rock Music History Project (Facebook Page)

• Pat O'Connor: Moody's Skidrow Beanery (Rowfant Press), 1999

B.J. Johnson

B.J. the D.J.
The Story of B.J. Johnson

Many country music fans will recognize the hit song "B.J. the D.J.", made famous in 1963 by Stonewall Jackson. But few know that this songs was inspired by a real person, namely B.J. Johnson from Mississippi, a singer, DJ, and songwriter for more than twenty years.

Byron J. Johnson was born on September 3, 1928, to Bruner and Lula Magdelen Johnson in a community in Hancock County, Mississippi, known to locals as "the Kiln" (the n being silent). Named after the kiln ovens that could be found in that area during the early 19th century. From the 1860s up to the late 1920s, the Kiln was home to many timber mills, which brought the community a fast growing. But then, the Great Depression hit hard, affecting also the Johnson family. The timber industry was practically non-existent in the Kiln in the 1930s and it harmed the community so hard that at one point, the Kiln was a ghost town. Many of the residents moved to nearby cities like Picayune or, to earn a living, worked as moonshiners. If the Johnson family remained there or if they moved is not known but Johnson later made his home in Picayune for sure.

He was drafted during World War II and served his country in the US Army. By the mid 1950s, Johnson had discovered he could make a living with country music and could be heard on a local radio station. He met up with another local performer, Vern Pullens, whom Johnson connected with Houston, Texas, label owner Bennie Hess. While Pullens recorded solo for Hess' Spade label, Johnson got the chance to record two duets with Pullens as well, "What Am I to Do" and "Country Boys Dream", which were released by Hess on Spade #135 in May 1957.

Billboard January 4, 1960, C&W review

While these first two songs were penned by Pullens, it soon became obvious that Johnson was a talented songwriter, too. He connected with another Houston based producer, Pappy Daily, who had founded Starday Records in 1953 but by 1957, had left the operation and formed his own label, D Records. Johnson had a total of three released on D, the first one being "You Were Only Fooling" (written by Johnson) and "True Affection" (co-written by fellow ex-Spade artist Ray Doggett), released on D #1031. It was the latter that secured Johnson a place in rockabilly fans' hearts, although it was upbeat country music at best.

Two more singles followed on D, "Our Love Is Not Worth Living For" b/w "It's Wrong for Me to Love You" (#1058, both co-written with Vern Pullens) in the spring of 1959 and a reissue of their Spade single. The following year, Johnson began his long-lasting association with Hack Kennedy's Big Howdy record label from Bogalusa, Louisiana - located half an hour from his home base of Picayune. Throughout the years, Johnson recorded three discs for the label but also worked with Kennedy as a record producer and songwriter. 

Besides his career as a recording artist, producer, and songwriter, Johnson continued to work as a DJ and a live performer. He could be heard regularly on Bogalusa's Pearl River Valley Jamboree during the 1950s and appeared at the 1966 Jimmie Rodgers Memorial Day in Lucedale, Mississippi. He had such a busy schedule during these years that Nashville songwriter Hugh X. Lewis, a friend of Johnson's, wrote the song "B.J. the D.J." inspired by Johnson's life (although, in contrast to the song's tragic ending, Johnson was not killed in a car accident). Though, the words of the song aptly described Johnson's hectic and dangerous lifestyle, rushing from job to job without sleep. Recorded by Stonewall Jackson in 1963 for Columbia and took it to #1 on Billboard's Hot Country Songs chart.

One could assume this brought Johnson into the spotlight as well but this was not the case. He sometimes went by the name of B.J. the D.J. Johnson and started to record his singles in Nashville but they were still released on local Mississippi and Louisiana labels. He cut a slew of discs during the 1960s and 1970s for such labels as Big Howdy (1960/1967/1969), Carma (1961-1965), Nugget (1963-1964), JB (ca. 1965), Circle G (ca. 1967), River City (1972), Myrna (1973), Mississippi Sound (1976), and Lynn. His 1964 Nugget single "Let the Party Be Over" was one of his more successful releases. It was listed by Billboard in its October 31, 1964, issue as a chart potential/"bubbling under" contender.

Billboard April 14, 1973

Johnson's activities apparently ceased in the late 1970s. B.J. Johnson passed away on December 15, 1997, at the age of 69 years in Picayune. He is buried at West Union Memorial Cemetery in Carriere, Mississippi.

See also
• The Pearl River Valley Jamboree
• Who is Vern Pullens?
• Penny Records
• The Spade Records Story

Sources
• Find a Grave entry
• 45cat entry
• Discogs
• B.J. the D.J. song history (Wikipedia)

Cecil Buffalo on Sho-Boat

Cecil Buffalo and the Prophets - The Big Red (Sho-Boat 102), 1964
Cecil Buffalo was obviously a big football fan, as the majority of his recorded output were football themed. He had a short music career while studying in Little Rock and was associated with J. Paul Scott, who wrote several Arkansas football related songs.

Cecil Miles Buffalo, Jr., was born on November 28, 1944, in Little Rock, Arkansas, to Cecil Miles, Sr., and Melba Rose Buffalo. Buffalo had two sisters, Connie Jean and Shearon. In the early 1960s, he enrolled at the University of Arkansas at Little Rock and eventually earned an Art degree.

While being a student at UA, Buffalo had a short-lived career in music, as he began recording for local Arkansas labels in 1964. The Arkansas Razorbacks football team was as popular and successful as ever at that time and the same year, Buffalo and a band known as "The Prophets" recorded "The Big Red" (about the Razorbacks' 1964 win over Texas) and "The Wild Hogs". Both songs were written and produced by J. Paul Scott, who was responsible for several Razorbacks themed songs and even a whole Razorbacks album. In fact, Buffalo and the Prophets were present at the actual game, performing another J. Paul Scott song "Jon Brittenum, Quarterbackin' Man".

By then, Buffalo was probably living in Hot Springs, Arkansas. "The Big Red" b/w "The Wild Hogs" were released on the Sho-Boat label (#102), which had ties to the city as well - although I'm not quite sure if the label was actually based in Hot Springs. He had another record out on Marshall E. Ellis' Zone label from Memphis, comprising "Crazy Eyes" and "Don't Hold Your Breath Till I Cry" (#Z-1075, 1964).

Probably the following year, Buffalo recorded one more of Scott's songs, "Razorback Number One", which was coupled with a garage instrumental by a local band called the "Five Sounds". Both recordings were released first by the GalARK label and then by Lakeside Records from Hot Springs. All three of his recordings were also featured on the LP "The Big Red Album" on Bobby Crafford's Razorback label.

It seems that Buffalo maintained music as a sideline and took a day job to earn a living. He later owned Buffalo Oil Company in Hot Springs. I found another mention of him in the 1970 Catalog of Copyrights with his composition "Scooter Joe".

Cecil Buffalo passed away on August 17, 2010, in Hot Springs. He is buried at Edgewood Memorial Park in North Little Rock.

Discography

Sho-Boat 102: Cecil Buffalo and the Prophets - The Big Red / The Wild Hogs (1964)
Zone Z-1075: Cecil Buffalo - Crazy Eyes / Don't Hold Your Breath Till I Cry (1964)
GalARK 2001: Cecil Buffalo and the Prophets - Razorback Number One / The Five Sounds - Clumsy Dragon (ca. 1965)
Lakeside 2001: Cecil Buffalo and the Prophets - Razorback Number One / The Five Sounds - Clumsy Dragon (ca. 1965)
Buffalo BR 809: Cecil Buffalo, Jr. - Rootin' the Razorbacks On / Razorbacks, Razorbacks

Sources

• Discogs

• Arkansas Democrat Gazette: Obituary

• Find a Grave entry

• 45cat entry

• Orville Henry, Jim Bailey: "The Razorbacks: A Story of Arkansas Football" (University of Arkansas Press), 1996, page 222

• George Schroeder: "Hogs! A History" (Fireside), 2005, page 53

Happy Wilson

Happy Wilson and his Golden River Boys at WAPI
(Birmingham, Alabama), ca. mid 1950s
featuring Ted Crabtree on steel guitar, "Prof." Huel Murphy on piano,
Marion Worth on vocals, and Wilson on rhythm guitar

Happy Wilson

The Golden River Boy from Birmingham

In the 1940s and 1950s, Happy Wilson was a mainstay on Alabama's country music scene. Heard over radio and TV, on record, and through live performances, he gained popularity in the Heart of Dixie since the late 1930s. One of his band members, Sidney Louie "Hardrock" Gunter from Birmingham, Alabama, is better remembered today than Wilson as Gunter became a favorite among rockabilly fans due to his 1950s country boogie and rockabilly recordings. Though, Wilson became widely known and connected in the Nashville scene of the 1950s and 1960s, working as a publisher and producer.

Eugene Burnett Wilson was born on June 29, 1919, in Haleyville, Winston County,  in the north of Alabama, to Acey Eugene and Ollie Wilson. Wilson had a younger brother, Asa Eugene (born in 1926), and an older brother James Huel, who died as an infant in 1917. Haleyville was a small but rising town in the 1920s and the life of the Wilson family was simple. By 1930, Wilson's parents had divorced and he was living with his mother alone.

Wilson was interested in music at an early age, especially in folk music, and was fascinated by the new possibilities that radio had to offer. He loved listening to old-time folk musicians on the radio. His father took him to a wandering music teacher that had settled in Haleyville for the summer and Wilson enjoyed some music lessons. He learned drums and guitar, eventually sticking with guitar and singing.

In the mid 1930s, at the age of 15, Wilson started appearing on local radio. He began working with several bands on different radio stations like it was common for country musicians of the 1930s and 1940s. He appeared with the Happy Valley Gang over WBRC (Birmingham, Alabama), with Tex Dunn's Virginia Hillbillies over WBRC and WAPI (both Birmingham), with the Bar-X Cowhands on WSGN, with Red & Raymond and the Boys from Old Kentuck over WSB (Atlanta, Georgia), and finally with his own band, the Golden River Boys, on WALA (Mobile, Alabama). One of the earliest members of the Golden River Boys was Birmingham native Hardrock Gunter, a guitarist and singer who went on to have a solo career in the 1950s.

By the early 1940s, Wilson and his mother were living in Birmingham, Alabama. Shortly before World War II broke out, Wilson was part of a two-weeks tour with Roy "Tucson" Corrigan and the Three Musquiteers. With the advent of the war, Wilson was drafted into the US Army. During his four-year serve, he often entertained fellow soldiers and was part of shows. Though, he also took part in battles and became highly decorated with the Purple Heart, the Combat Infantry's Badge, Good Conduct Ribbon, and the Belgian Croix de Guerre. He reached the rank of a Staff Sergeant.

Following his discharge, Wilson took up music again and reformed the Golden River Boys in 1946. Throughout the second half of the 1940s and the early 1950s, Wilson became a mainstay in Alabama's country music scene, appearing on his long-time radio station WAPI as well as on its sister station WAFM and even had a popular TV show on WAFM-TV. That show started in 1950 and was the first country music television show in Alabama.

In 1947, Wilson got the chance to record his music for the first time. He and the Golden River Boys recorded four songs in Birmingham late that year, which were released on the small, local Vulcan label. Through 1948, his popularity continued to grow and in early 1949, the major Decca label invited him for a recording session to Nashville on February 7 at the Castle Studio. Four more tracks were cut that day, which saw release in February and July 1949. The line-up of the Golden River Boys included at that time Ted Crabtree on steel guitar, Billy Tucker on fiddle, Sammy Pruitt on guitar, Jim O'Day on bass, and Wilson on guitar and vocals.

Billboard August 20, 1949

Around the same time, Wilson was making a name for himself as a songwriter, too - at least a bit. Little Jimmy Dickens' recorded "A-Sleepin' at the Foot of the Bed", which Wilson co-wrote with Luther Patrick and was based on his childhood experiences. The song peaked at #6 on Billboard C&W charts. In 1953, Webb Pierce recorded Wilson's "I Haven't Got the Heart" and eventually, Hank Thompson cut his "Mark of a Heel" in 1971.

Sales if Wilson's discs must have been not too promising as there was no second session for Decca but on September 19, 1950, Wilson was back in the same studio - this time for MGM. "Haunted House Boogie" and "Mister Big" were the only results that day and both were released on MGM #K10877 in January 1951. Unfortunately, this remained his only effort for the label, although Jack Rivers covered "Haunted House Boogie" for the same label.

Since August 1950, Wilson had an additional TV show for WAFM-TV with his old buddy Hardrock Gunter entitled "The Happiness Boys". Gunter had been a member of Wilson's band since its reformation in 1946 but also worked solo on and off. Gunter had already rejoined the Golden River Boys earlier in 1950 and had signed a recording contract with Manny Pearson's local Bama label in Birmingham. On his first session, he was backed by the Golden River Boys, who were hiding under the name of "The Pebbles" on that occasion. One of the songs recorded was "Birmingham Bounce" (rel. April 1950, Bama #104), which was a good seller for Gunter and prompted Decca to let Red Foley cut a cover version, which became a #1 country hit.

Billboard January 27, 1951, MGM ad for Wilson's
latest release "Haunted House Boogie"

Wilson and his first wife Odean were living in Birmingham with Wilson's mother in 1950 but divorced in January 1951. Following his divorce, Wilson toured with western actor Lash LaRue and played minor roles in his films for a short time around 1951. At that time, he made his home in Marietta, Georgia. Two years later, in May 1953, Wilson married Mary Ann Ward, who was 11 years younger than him and an amateur singer on WAPI and WAPI-TV.

By the mid 1950s, Wilson's wife was performing with him and the Golden River Boys as "Marion Worth". They could be heard over WABT in Birmingham but still performed on WAPI as well. In 1955, Wilson celebrated his 20th anniversary with WAPI and therefore, organized a two-hour long radio broadcast it the Agricultural Building at the Alabama State Fairgrounds that was attended by 3,000 people.

Around the same time, Wilson and his wife had connected with Slim Lay, a Huntsville, Alabama, DJ. They appeared with Lay's show and Wilson took a job as a DJ with Huntsville station WBHP. In 1956, Wilson, Lay, and fellow DJ Dewey Webb went into partnership to set up Dash Records. The debut release comprised Slim Lay's "Asiatic Flu" and "Trouble Along the Cable" (on which Lay was joined by Wilson) on Dash #100. More releases were planned but the the trio had to close down the label after legal action from another Dash record company from California.

In 1959, Wilson's wife released her first record. It comprised "Are You Willing, Willie" and "This Heart of Mine" (the latter written by Wilson) and was issued by Cherokee Records of Huntsville. This label seems to have been associated with Wilson as well, as all of the songs released were published through his Golden River Publishing company.

The top side of Worth's single "Are You Willing, Willie" reached #12 on Billboard's C&W charts and was the first of several moderate hits that Worth enjoyed. The disc was also taken over by the Guyden label, which released a follow-up, "That's My Kind of Love", wich went even higher and peaked at #5 in 1960. Wilson and Worth moved to Nashville to work on Worth's career. Wilson and Lay secured her a record contract with Columbia Records, where she enjoyed several more hits in the next few years. She also joined the Grand Ole Opry in 1963.

In the meantime, Wilson had built up a career in the music business as well. While he had been a popular performer in Alabama, he concentrated on music publishing, producing, and other issues of the business in Nashville. Although he worked with Central Songs since 1961, he also worked part-time as a DJ on WENO in Madison, Tennessee, as early as 1963. He left Central Songs and became director at Tree Enterprises in 1968. For some time, he even headed Capitol Records' country music department.

Wilson retired from the music business in February 1973 after 38 years of devoting his life to music. However, his retirement did not last long as he returned to working in October that same year, forming Broadland Music, Inc. with Canadian artist Gary Buck.

Happy Wilson died way too early on August 24, 1977, in Nashville through an automobile accident. He was 58 years old. He is buried at Elmwood Cemetery in Birmingham. In 1981, Wilson was inducted into the Country Music Disc Jockey Hall of Fame.

Discography

Vulcan 5000: Happy Wilson and his Golden River Boys - I Know My Buddy's Sleeping There / Fancy Rythm (1946)
Vulcan 5001: Happy Wilson and his Golden River Boys - This Heart of Mine / Joe Rumore with Happy Wilson and his Golden River Boys - I Butted In (1948)
Decca 46153: Happy Wilson and his Golden River Boys - Go Down to the Graveyard / Forty Miles at Sea (1949)
Decca 46171: Happy Wilson and his Golden River Boys - How Long / Comes a Time (1949)
MGM K10877: Happy Wilson - Haunted House Boogie / Mister Big (1951)
Dash 100: Slim Lay - Asiatic Flu / Slim Lay and Happy Wilson - Trouble Along the Cable (1956)

See also
• Alabama Hayloft Jamboree
• Cornhuskers Jamboree

Sources

• Find a Grave entry

• Free State of Winston (Winston County Online Database)

• Hillbilly-Music.com entry

• Entries for Happy Wilson on 45cat and 45worlds/78rpm

• Entry for Happy Wilson and Slim Lay on 45cat 

• SecondHandSongs

• Praguefrank's Country Music Discographies entry

• "Broadcasting, Telecasting (Volume 48)", 1955, page 95

• various Billboard news items

B. Bumble & the Stingers on Rendezvous

B. Bumble & the Stingers - Apple Knocker (Rendezvous R-179), 1962
I recently acquired a couple of records by B. Bumble & the Stingers. I mainly bought them because of the band's catchy name. I wasn't familiar with neither their story nor their music and for years, I had assumed them to be some kind of a mid-west rock'n'roll band. Little did I know! I was surprised when I found out B. Bumble & the Stingers was the name of an ever-changing line-up of California studio musicians.

B. Bumble & the Stingers was the brainchild of black studio musicians Rene Hall, Earl Palmer, and Plas Johnson. All of them hailed from Louisiana but had relocated to California by then and were busy studio musicians of the early 1960s. Due to their hectic studio schedule, they weren't able to tour but nevertheless opted to release recordings to earn make some money along the way. Their first studio project was a rocked up version of the Glenn Miller classic "In the Mood", which was released as by the Ernie Fields Orchestra on Rendezvous Records in 1959, hitting the #4 spot on Billboard's Hot 100 and it also charted in the R&B field. 

Billboard May 1, 1961

Encouraged by this success, Rene hall came up with the idea of B. Bumble & the Stingers, recording a rock'n'roll version of Nikolai Rimsky-Korsakov's classical piece "The Flight of the Bumble Bee" with probably Hall and Tommy Tedesco on guitar, Ernie Freeman on piano, Plas Johnson on saxophone, Red Callender on bass, and Earl Palmer on drums with Kim Fowley producing the session. The piece was based loosely on Jack Fina's arrangement "Bumble Boogie" from 1947 (which had become a #7 hit credited to Freddy Martin & Orch.). Released early in 1961 as "Bumble Boogie" with "School Day Blues" on the flip (Rendezvous #140), the song made the #21 spot on Billboard's Hot 100. The successful principle to rock up classical pieces was set.

As it became obvious, a touring band was needed to handle gigs and promotional appearances. As none of the studio musicians were available, a teenage band from Ada, Oklahoma was engaged to go on tour. This group comprised Fred Richards, Don Orr on drums and R.C. Gamble, who acted as B. "Billy" Bumble on piano. Later incarnations also included Terry Anderson and Jimmy King on guitars.

Their follow-ups to "Bumble Boogie", again recorded with the same group of session musicians, failed to repeat the success. "Boogie Woogie" b/w "Near You" (Rendezvous #151, June 1961), barely made it to the Hot 100, reaching #89 for just one week. Subsequent releases failed to chart altogether and Rendezvous Records started to lose interest in the project.

Producer Kim Fowley had worked out a rock'n'roll arrangement on Tchaikovsky's "March of the Wooden Soldiers" from the Nutcracker Suite, which he copyrighted. Due to Rendezvous' owner Rod Pierce's lack of interest, Fowley took the piece to H.B. Barnum, a pianist who recorded it with his band on Del Rio Records as "Nut Rocker", credited to "Jack B. Nimble and the Quicks". Rod Pierce got word of that release, thought the "original" B. Bumble & the Stingers could do better, and sensed a hit. The group was called back into the studio (with Ernie Freeman being unavailable due to a hangover and spontaneously replaced by Al Hazan).

Released with "Nautilus" on the flip side in early 1962 (Rendezvous #166), the song became a #23 hit for B. Bumble & the Stingers. It became even more popular in the UK, reaching the top of the charts there on the Stateside label. In the wake of this success, Del Rio re-released the original version through Dot as "The Original Nut Rocker". The touring version of the band flew over to the UK for a tour to promote "Nut Rocker" as well as one of its follow-ups, "Apple Knocker", which went nowhere, however.

Billboard July 14, 1962, spotlight review

Of course, the difference between the studio take and live performances were recognizable due to the different line-ups. The studio musicians were professionals, playing on hundreds of recordings a year, while the live members were not (though they probably weren't bad either). It was, in most cases, Rene Hall, who taught them the arrangements of the songs. Though, a difference was there. B. Bumble & the Stingers played the Cavern Club in Liverpool on October 19, 1962, during their UK tour. Spencer Leigh cited David Boyce, an eyewitness to the group's appearance there, in his book "The Cavern Club": "I remember standing in Frank Hessy's the night B. Bumble & the Stingers were on at the Cavern as they wanted to borrow a double-bass. They were travelling around on trains and they had no equipment with them. The drummer had a snare drum and the pianist played the Cavern piano." Leigh further cited Billy Hatton, another witness: "The most disappointing band I ever saw at the Cavern was B. Bumble & the Stingers, but it wasn't all their fault. They featured a piano on 'Nut Rocker'. There was an old upright piano against the wall at the Cavern and no one had tuned it. It wasn't even miked up. The sound wasn't right and you could tell that they weren't into it. I said to the guitarist: 'Do you want someone to stand by the piano with a microphone?' and he said 'No, he's got such a strong left hand, he'll be all right.' They didn't even have a bass player. [...]" 

Billboard May 22, 1961
This was a fake bio of the band, likely made up by Rendezvous Records for better promotion

A few more recordings were made and released on Rendezvous but none of them reached the charts. The band's last disc was released in November 1962, comprising "Baby Mash" b/w "Night Time Madness" (Rendezvous #192). R.C. Gamble, the "live" B. Bumble, to continued to tour under this name for some time and a few more records appeared, produced by Rod Pierce and Kim Fowley, on such labels as Dymo, Wax, and Triad. It is likely that these recordings were made by studio musicians, although the line-up might have differed from the original studio band. Gamble stopped touring as B. Bumble at some point and eventually worked with bands like Spiro and Cornbread in the eastern Oklahoma area.

"Nut Rocker" unexpectedly had a second career in 1972, when Stateside re-released it and the song went straight to the Top 20 again. UK Ace Records released a CD with the complete output plus unreleased recordings of the band in 1995, entitled "Nut Rockers, Bumble Boogie, Apple Knocker, and all the classics". Some of the original touring equipment, donated by Gamble's family, is now in the possession of the Fort Smith Museum of History in Fort Smith, Arkansas.

Recommended reading:

• Ace Records' B. Bumble & the Stingers CD on Bear Family Records
• Facebook Fanpage

Sources

• Blackcat Rockabilly

• Nostalgia Central

• 45cat entry

• Spencer Leigh: The Cavern Club: "The Rise of the Beatles and Merseybeat" (McNidder and Grace), 2015

Sonny Meador on Meadowbrook

Sonny Meador - Sweetheart, Can't You Hear Me Crying (Meadowbrook MS-1245), unknown year

Here we have some nice bluegrass music from the state of Arkansas. I wouldn't say bluegrass from the Natural State is exceptionally rare but you don't find such a record from that area too often.

Sonny Meador was probably Elmer Lee Meador, who was born on June 24, 1912, in Bluff City, Ouachita County, Arkansas. He married Goldie Barksdale, with whom he had four children. Meador also fought during World War II in the US Navy.

By the time he began to record, he was already in his sixties, as his three 45rpm singles for the Meadowbrook label probably all came from the early 1970s. One disc contained a song entitled "I'm Going Back to Nevada County". Bluff City is part of Nevada County and located in the southwest of Arkansas, which leads me to the conclusion that Meador was strictly a local artist. Meador died May 27, 1996, at Baptist Hospital in Arkadelphia at the age of 83 years. He is buried in his hometown at Bluff City Cemetery.

There was John Merlino's Meadowbrook label from Detroit but I doubt that the label Meador recorded for is the same company. It was rather his own private venture to release his music. I further suspect that two of his records were pressed by Rimrock.

Discography

Meadowbrook 101: Sonny Meadow - Sometimes I Smile / I'm Going Back to Nevada County (1973)
Meadowbrook 1245: Sonny Meador - Too Old to Handle It But It's On My Mind / Sweetheart, Can't You Hear Me Crying
Meadowbrook 1246: Sonny Meador - It's a Mighty Lonesome Road / You Made Me What I Am Today

Sources
• Find a Grave entry
• 45cat entry
• Obituary

Wayne Gray

Wayne Gray - Spaceman's Guitar

Wayne Gray ranks among the many talented and busy road guitarists of the 1960s and 1970s country music scene. Like so many songwriters and musicians from that era, he came out of Miami, where he made his first steps in the music business as a rock'n'roll musician.

Wayne A. Gray was born around 1944 and by the time he was 14 years old, he had mastered the guitar. It was at that time, in 1958, that Kent Westberry, about five years Gray's senior, put together a rock'n'roll band named "The Chaperones" and called Gray to work as an electric lead guitarist in that band. Other founding members of that group were Snuffy Smith on bass and Louie Stewart on drums, although the line-up changed over the years. 

A teenage Wayne Gray on stage with
Kent Westberry's Chaperones
(Florida, ca. 1958)

Westberry and the Chaperones auditioned for Harold Doane, who ran his ART recording studio and record label in Miami. Their debut release, "My Baby Don't Rock" b/w "No Place to Park", with Gray providing thumping lead guitar work, appeared in the summer of 1958. At the same time, they also worked with singer and promoter Ronald Killette, who worked under the stage name of Buck Trail. Killette also had a record label, Trail Records, and he invited the Chaperones to back him up on some rockabilly recordings he wanted to release on Trail. Those included "Honky Tonk on Second Street", "Knocked Out Joint on Mars", and "The Blues Keep Knocking". It was also with Killette that Gray first appeared as a songwriter on "Young Sweethearts" (recorded by Killette and some of his female artists).

By 1959, many of the young Miami rock'n'roll musicians opted for Nashville and Gray was no exception. Reportedly, he recorded and released the instrumental "Spaceman's Guitar" for Gold Circle Records around that time, although no copies were found so far. Shortly after his move to Nashville, Gray teamed up with Jackie Leo Fautheree, who was originally from Texas and the brother of guitarist-singer Jimmy Lee Fautheree, and they wrote "Cradle of Love". The song was recorded by Johnny Preston for Mercury and, released in February 1960, became a #7 Billboard 100 hit and even #2 in the UK. During his career, Gray would register a total of 59 songs with BMI.

In the early 1960s, fellow Miami rocker Charlie McCoy moved to Nashville but following an unsuccessful tour with singer Johnny Ferguson, McCoy was broke and moved in with Gray for a while. Gray soon found work in Nashville as a guitarist. By 1967, Gray was a member of Tex Ritter's touring band, the Boll Weevils. He also wrote some songs for Ritter - just like another member of the band: Kent Westberry. In the 1970s, Gray worked in Tommy Cash's band as a guitarist and by 1981, he worked with Buddy Lee Attractions. He also recorded solo in 1984 for the Condor label, releasing two singles.

I'm not aware of Wayne Gray's activities after 1984. If someone knows more about his later career, please feel free to leave a comment or contact me via the contact form.

Sources
• 45cat entry
• Discogs
• Bill Williams: "Charlie McCoy - His Monumental 10 Years" (Billboard), 1974