Hell Be Coming Home Again Oh Carolina Mark Templeton Band Bluegrass
Nib Anderson - meet artist discography
David Ball -- see artist contour
(Produced by Rusty York)
These guys were from Spartansburg, South Carolina, though they went to the Precious stone/Queen City studios in Cincinnati to record this album. Unfortunately, the liner notes don't include whatsoever of the ring member'south names, so they are more of a mystery band than many others... The repertoire is all cover songs, late 'Sixties, early 'Seventies country hits, with a fiddling dip into more pop territory, such every bit their version of James Taylor's "Fire And Rain." Anyone know more about these folks?
(Produced by Mike Harbin)
A dissever LP featuring two southern rock/roadhouse bands from Charleston, Due south Carolina. The anthology is a gift of the Bowery honkytonk, a Myrtle Beach landmark founded back in 1944 as a land music venue, and best known as the place where the grouping Alabama cut their teeth every bit the firm band back in the mid-1970s. As near equally I tin can figure "The Bowery Coiffure," which performs on Side I was an informal agglomeration of the bar'south employees (and possibly some patrons?) while the grouping on the flipside, Loose Modify, aspired to more than official stature equally a working band. Loose Chage was a showcase for gal vocalizer Kerry Smith, backed past guitarist George Davis, Richard Rosenblum (drums) Mike Stephens (bass), and Jerry Vann on keyboards and atomic number 82 vocals. It's worth noting that the Bowery finally ditched their Confederate flag logo (seen on this album'south comprehend) though just in the late 2010s -- and even then they still incorporated the stars-'n'-bars into a new logo featuring a bald eagle with ane fly sporting the American flag and the other the Amalgamated design. I approximate that's Due south Carolina for yous... As far as I know this was Loose Alter's only record, although all the guys in the band also backed North Carolina folk vocalist Emerge Spring on an album in 1983, and Jerry Vann had some limited success as a state songwriter in the belatedly 'Seventies, with i of his songs, "Reachin' Loftier For Rainbows," making it onto ane of Mel McDaniel'southward early albums.
(Produced by Don Johnson & Grover Miskovsky)
An African American female artist... singing Dixie? With the "stars and confined" Amalgamated flag superimposed over her own motion picture? Huh. Well, apparently this sort-of country set up was an effort by the conservative-oriented Ms. Bowie to thread the needle between "respectable" Southern pride groups similar the CSA/UDC (aka the United Daughters Of The Confederacy) and the more malicious, violent aspects of Amalgamated symbols and Ceremonious War nostalgia. The inspiration for this album came from the unearthing of a Amalgamated soldier's long-forgotten corpse at an old battle site in Virginia, and the controversial proposal to cock a Amalgamated-oriented "tomb of the unknown soldier" monument in South Carolina where the human's remains would be interred. I suppose you could argue this reconciliation was a worthy goal, but I doubt the music has aged well -- the politics certainly haven't. There'due south not a lot of info out in that location about Ms. Bowie'due south career; about half the songs on this album were written by producer Grover Miskovsky and Lyle ("Slats") McPheeters, a novelty artist who recorded a few topically-oriented singles back in the 1970s, including "The Carol Of Bobby Riggs," a clunky, bizarre defense force of the notoriously anti-feminist tennis pro, who got his butt handed to him by Billie Jean King. And so there'due south that, too.
(Produced by Leon Malphrus & Henry Briggs)
The Ridgeland, Southward Carolina squad of Henry Briggs and Leon F. Malphrus charged the ramparts of Nashville back in the late 'Sixties, leasing their super-twangy melody, "Miss Pauline" to Decca Records after recording it on an indie, Comet Records. An affable song with enough of bounciness, their version went nowhere, although a goofy-sounding cover version by Biff Collie (recording under the pseudonym of Baton Bob Bowman) hit the charts in '72, peaking at #55. Turns out that was all she wrote, as they say, though Briggs and Malphrus kept at it, and a few years afterward they went private label to release this fine set up of Southern twang. Of the dozen tracks on this album, eight were originals, with classics by Johnny Greenbacks, Hank Cochran and Dallas Frazier filling in the gaps. Briggs was an appealing performer, with an unpolished vocal fashion reminiscent, perhaps of Roger Miller or Bobby Bare. Canadian rodeo rider Cody Bearpaw also recorded a version of "Miss Pauline" in 1978, and Mr. Maphrus (1931-2012) wrote some more songs in the '70s, but basically these guys headed back home to Ridgeland, SC later their fling with fame. (One interesting aside: Maphrus'due south previous claim to fame was getting busted past the feds in 1964 equally part of a multi-state moonshine ring, centered in Pensacola, Florida... now that'due south land!)
All country covers and rock oldies... The characterization was from Columbia, South Carolina, where I imagine Eddie Brown was a hopeful lounge vocalist... He's backed by the Rob Crosby group, which didn't include land instruments such as dabble or steel guitar, but did list woodwinds and both "drums" and "percussion," none of which is a good sign for twangfans.
(Produced past Eddie Howard)
An orthopedic surgeon from Seneca, South Carolina, Dr. George Ray Bruce led his band, The Quarterwinds, for several years, making at least 1 anthology in the early 'Eighties. Information technology's not all country, though there's definitely some twang in the mix -- along with "Danny Boy" and whatnot, he plays state classics such every bit "Me And Bobby McGee" and "Welcome To My World," along with more gimmicky hits such every bit Willie Nelson's "On The Road Again" and "The Rose." Dr. Bruce was a beach band musician and jazz trumpet histrion (uh-oh) and is joined hither by other locals, including keyboardist and arranger John Allen, Linda Allen (tambourine), Bob Dennis (lead guitar), Tony Ledford (rhythm guitar), Roger Roach (drums) and Roger Rock on bass. The group was however belongings downwards their residency at a place in Greeneville called Ye Olde Fireplace when they cut this disc; despite the hopeful album title, this seems to have been their just record.
Mike Calliham "Mike Calliham And The Rough Riders" (Black Stallion Records, 1985) (LP)
(Produced by Johnny Elgin)
Outlaw/drinkin' man'due south land from a guy with a real Hank Junior vibe ...and the hat to prove information technology! Mike Calliham (1952-2018) was a lifelong resident of Greenwood, South Carolina who did some touring nationally, but mostly seems to accept stayed in his hometown, playing local gigs. This disc is a mix of covers and originals, with three songs penned by Calliham: "Common cold Morning Rain," Whiskey Have My Mind" and "I'll Finish Drinkin' When George Does." (Ever prissy to find another George Jones tribute vocal and add it to the list.) He too covers Bobby Bare, Guy Clark and Johnny Paycheck, along with ii tunes from the Hank Junior catalog. The backing ring includes Rusty Barkley (pb guitar), Dale Ledford (bass), Tommy Mooney (drums), Tommy Phillips (steel guitar) and Furman Watson (atomic number 82 guitar), and while this was recorded in Nashville, I'm pretty certain these guys were all South Carolina locals. Although this may take been Calliham's only recording, there are occasional show notices for performances in the 1990s and as late equally 2013.
(Produced by Bill Huffman & Jack Clark)
A couple of old-timers from South Carolina playing sentimental and old-schoolhouse country tunes. Carl (Dillard) plays piano while Frank (Martin) handles the vocals, with bankroll by an uncredited ring called The Rhythm Masters... They embrace a few oldies like "Born To Lose" and "Wild Side Of Life," though the brief liner notes mention that five of these tracks are their ain originals, including (I'thou guessing) the title track. A real mystery disc here... any info would be welcome!
(Produced past David Boggs & Jack Logan)
A boy ring from Belton, South Carolina, the Carolina Chaparrals were kids ranging from ages viii to fourteen, and may accept been brothers, although it'south difficult to tell, since none of them are identified by proper name on this album. They seem to have been proteges of the Wilburn Brothers, and made at to the lowest degree a few appearances with the Wilburns' road show. The liner notes also mention that they'd made some appearances with the Kendalls, which confirms this as a 'Seventies album, though the exact year remains elusive; they sang a parody of the Johnny Cash hit, "A Boy Named Sue" (in their version, "A Sioux Named Boy") to it was probably in the outset half of the decade. Many of the songs appear to be originals, but alas, there are no credits, so that angle is a flake mysterious as well.
Marshall Chapman - see creative person discography
(Produced past The Contenders & Dave Robert)
An in-between project formed in Nashville by 2 members of South Carolina'south cult-fave, Uncle Walt's Band... Walter Hyatt and Champ Hood worked with Steve Runkle and other musicians in the Music Urban center orbit to record this anthology, though they reunited with David Ball later on that twelvemonth to re-form Uncle Walt later that same year, then this album wound up being a i-off outcome.
Terry Crisp "Burnt To A Crisp" (Factor Breeden Studios, xix--?) (LP)
Like a lot of land folk, pedal steel whiz Terry Crisp came from a musical family: originally from S Carolina, he was related to fiddler Ray Crisp, who worked with Ray Price and Kitty Wells, every bit well every bit Brett Well-baked, who was also a steel thespian. Terry Crisp started his professional career in 1969 and steadily worked his manner into the Nashville elite, backing mega-stars such as George Jones, Reba McEntire, Ricky Skaggs and Travis Tritt. He as well did a lot of pocket-sized-time, private-press session piece of work, every bit a go-to picker at the Cistron Breeden Studios in Nashville, where he recorded this LP. Information technology's an instrumental showcase album, with stuff like "Kitten On The Bar" (his own take on the archetype "Kitten On The Keys") "Orange Blossom Special," a Buddy Emmons tune ("At Ease") and a twangified version of the Jimi Hendrix adaptation of "Somewhere Over The Rainbow." Non sure when this came out -- early '80s, perhaps?
(Produced by Fred Carter, Jr.)
This characterization was from S Carolina, though I'one thousand not sure if Elliott was also... Anyway, he had a bunch of hotshot studio pros backing him up -- Hoot Hester, Buddy Emmons, Charlie McCoy, Fred Carter, Jr., Vic Jordan, and a bunch of other usual suspects Nashville types. Also an interesting song selection, with what looks like lots of originals: two by Bill Price, one past Fizz Rabin, a Mel Tillis song, and capped off by one George Elliott original, "Y'all Never Seen Me Cry."
Leon Everette - see artist discography
(Produced past Arthur Smith & Charles Andrews)
Although his proper noun might not be immediately recognizable, his music is... Born in South Carolina, songwriter Tommy Faile was an quondam-school Southern country'due north'bluegrass musician who crosed the state line and fabricated his home in Charlotte, working in the bands of Snuffy Jenkins and Arthur "Guitar Boogie" Smith, although he's best known for writing the mega-archetype, trucker recitation song, "Phantom 309." Faile includes his own version of the song on here, along with several other originals, and a few covers, including his version of "The Fable Of The Brownish Mountain Lights," a novelty number about a will-o-wisp phenomenon in a part of rural North Carolina. Not sure who backed Faile on this anthology, merely information technology'south a pretty good bet that at least one fo the pickers was Arthur Smith himself... Faile as well released a slew of indie-label singles in the 1950s and '60s, though equally far equally I know they oasis't been nerveless anywhere... nevertheless.
Tommy Faile "Full Moon Spell" (Sapphire Records, 1984) (LP)
(Produced by David Floyd)
Tommy Faile "No Fool Like An Quondam Fool" (Sapphire Records, xix--?) (LP)
(Produced by Tommy Faile & David Floyd)
(Produced by Calvin Gilmore & Jim Rhodes)
A souvenir anthology of one of the many mom'due north'pop "opry"-style diversity shows that dotted the landscape over the years... This one was out of Surfside Beach, Due south Carolina and featured bandleader Calvin Gilmore forth with a group that includes Steve Templeton, Janet Smith and others. This one seems to be more of a "band" record, rather than a compilation - many of the same artists play on various tracks. I also think Gilmore may have gone on to become a gospel artist...
(Produced by Bobby Holliday & Mitch Humphries)
Similar endless American kids, guitarist Bobby Holliday was totally blown away when he saw the Beatles play on The Ed Sullivan Show in 1964, then quickly scored an electric guitar, recruited some kids from his Greenville, S Carolina loftier schoolhouse, and put together a rock'n'roll ring. The group went through a lot of names and lineups, but is best remembered every bit The Bojax, and under this proper noun they cut a few well-regarded "nuggets"-style garage rock singles that are ofttimes anthologized, even though the group never bankrupt through nationally. The Bojax eventually bankrupt upwards in 1971 when Holiday headed out to California to pursue a recording career. Eventually he returned to Greenville, and among his subsequent musical projects was a stint playing acoustic and country-oriented material, recording two solo albums with a distinctly rural feel. Like a lot of southerners, Holliday moved hands between rock and country influences and was pals with successful local artists such as The Marshall Tucker Band and Jim Stafford; later on in life he headed for Nashville and worked as a staff author for Ronnie Milsap'southward publishing company, a gig that culminated in a couple of his songs getting placed on an album by the late '90 popular-country band SheDaisy.
(Produced by Bobby Holliday & Mitch Humphries)
(Produced past Don Dickson & Steve Haigler)
I'g not really sure if this is a country record, though I've seen it listed equally one... Southward Carolina's Billy Jeffords (1948-2016) was known as a "embankment music" creative person, and tilted more than towards stone for most of his career. A sometime golden gloves boxer and jack of all trades, Jeffords worked almost of his career in a partnership with his blood brother Jackie who wrote or co-wrote a hefty clamper of the songs on this anthology. The siblings later recorded together every bit The Jeffords Brothers (in a rock'n'pop fashion) and Billy Jeffords likewise performed and recorded under the pseudonym Dip Ferrell, of Dip Ferrell & The Truetones.
(Produced by Rod Abernathy & Steve Haigler)
I gotta confess, equally a true kid of the 'Seventies, even I am surprised at how stiff a hold South Carolina'due south finest, the Marshall Tucker Band, still have on me. 1 of the near commercially successful Southern Stone acts, these guys softened their sound enough to crack the formula to get into the Pop charts, and tunes such as "Fire On The Mountain" and "Can't You See" remain every bit constructive now as they were when they first came out. At that place'southward a bunch of stuff they did on the more rock/boogie/groove end of the spectrum that doesn't really practise much for me, but I exercise like their twang tunes, even subsequently all these years. I besides like some of their lesser singles and album tracks such every bit the Jerry Jeff Walker-ish "Desert Skies" and "This Ol' Cowboy," which I think hearing on the radio, but didn't realize were from MTB... This is a nice sampler of their piece of work, a dozen-plus tracks concentrating on their all-time years, and a skilful introduction to ane of the all-time pop-twang bands of the era.
Oh, the indignities. That one of the starting time female African-American country stars should accept such a humiliatingly obvious album title... And that it came out on the Plantation label, no less. Anyway, with a background singing gospel and soul with her family band in South Carolina, Linda Martell is said to take been the first African-American woman to play the 1000 Ole Opry... She made a few appearances on Hee Haw in the early on '70s, as well... Many years before her country career, she recorded an R&B single with a group called the Anglos... and this album is her legacy equally a country gal.
Judy McCravy "Introducing Judy" (JBP/Joe Beard Productions) (LP)
(Produced by Bill Green & Joe Beard)
I'm not entirely sure where this gal was from, or when this record was made, but it's definitely a country outing, with covers of hits such as "Stand By Your Man," "Rocky Top," "Silvery Threads And Gilt Needles," Kris Kristofferson'southward "I Mean solar day At A Fourth dimension" and "I Fall To Pieces," besides as some gospel standards such equally "Astonishing Grace" and "I'll Fly Away." She's backed by Jon Carleton (steel guitar, banjo, mandolin), Joe Bristles (keyboards, arrangements), Dave Stype (banjo), and Billy McCravy (bass) equally well as some trumpet and saxophones... The liner notes doesn't say where she's from, alas, though it'due south possible she was from Spartanburg, South Carolina, or thereabouts. Any additional info is welcome.
Ray 'Steel Cowboy' McNeely "...Sings Just For Friends" (Rawhide Records, 1980-?) (LP)
(Produced by Ray McNeely, John Westbrooks & Phil Griffin)
Former-school state classics from a guy from Greenville, South Carolina with a super-cool nickname. The local musicians bankroll him include Chris Payne (atomic number 82 guitar), Larry Neely (steel), Donnie Wilson (piano) and Jimmy Rumsey (fiddle). The songs are all cover tunes, including chestnuts such equally "Six Days On The Road" and newer hits like "But Good Ol' Boys," which was a hit for Moe & Joe in 1979. He likewise covers three Marty Robbins songs and gives Robbins a shout-out in the liner notes, both for his songwriting and for his NASCAR racing.
Best known as a longtime member of Gene Vincent'south trailblazing rockabilly band, the Blueish Caps, Southward Carolina guitar picker Johnny Meeks (1937-2015) went on to work in nondescript groups such equally the Tune Toppers and the Champs. He apparently slid into the cheapie-label vortex equally well, cutting this album for the Custom label, which seems to include several originals besides as a cover of Henson Cargill's striking, "Skip A Rope." Although these upkeep-line albums were sometimes packed with not-quite-equally-advertised cloth, this does seem to Johnny Meeks playing and singing on all the tracks, and the material is really, truly nifty stuff. The chunky, simplistic manner he brought to the Blue Caps ring is intact hither, calculation a primitive, old-schoolhouse rock'n'whorl heft to the state tunes and a country twang to the more pop-oriented ballads. By and large, this is a twangfest, and although there are no composer credits on the album, it seems probable that the originals were all written past Meeks, who wrote several hits for Vincent. Besides, in that location's no info on the session musicians used here, which is a pity... Mostly the arrangements are pretty minimal, but there's some dainty pedal steel on a few tunes, and it could take been someone like Red Rhodes doing a pick-up gig... Anyway, Meeks afterward did some country session work, including a gig picking on Michael Nesmith'due south 1972 land-rock record, Tantamount To Treason. This solo anthology, though, was pretty sweet, and much better than you might imagine.
Junne Miller "Foolin' My Heart" (Quintet Recording Visitor, 19--?) (LP)
Best known every bit a rockabilly-adjacent hillbilly singer, Joseph ("Junne") Miller'due south cut a single in 1960 called "How Bad Tin can Bad Luck Be" that had a rumbling, Johnny Cash-meets-Moon Mullican experience, and has been anthologized on numerous retro collections. Miller is an elusive effigy, just seems to have been from Winston-Salem, S Carolina, or thereabouts. Although "Bad Luck" sure sounds country to my ears, Miller wrote it in 1957, when he was role of a parcel tour called "Kelly Sears College Of Rock And Coil," where he got height billing. He is mentioned in the obituary of a relative, having predeceased them one-time before Dec, 2018, only no info on Miller himself. This LP is equally obscure -- I've only seen it offered for sale once -- and seems to be Miller's simply other record, outside of the "Bad Luck" single.
Dunno much about this fellow... Haden Reed (1937-2006) was apparently from Summerville, South Carolina and had been recording state tunes since at least 1974, when he placed an advertisement in Billboard for his single, "The Woman Of My World," which he self-released and sold from his home. Mr. Haden passed away in 2006, only other than that he'due south a bit of a mystery. Anyone out there have more info?
On this album, Reed was billed every bit "The Black Hank Williams Sr.," so make of that what you will... As with his other LP, this doesn't give a release year or whatsoever info about the musicians, although a print ad (in Popular Mechanics, no less!) provides u.s.a. with the 1981 date. (PS - thanks to Ken at Wildwood Records for the info almost this i!)
(Produced by Pecker Compton & Jim Williamson)
In the mid-1970s, state superstar Merle Haggard presided over a corporate echo of Fuzzy Owens' old Tally characterization, using the banner to put out a couple of albums featuring Haggard pals and proteges. In this case, it was the solo debut of bluegrass prodigy Ronnie Reno, who became a member of Haggard'southward ring in '73 and stayed with him for the better part of a decade. Ronnie was the son of '50s truegrass legend Don Reno, and worked in his dad'southward band equally a kid, and then did a stint with the Osborne Brothers before giving Nashville a shot. At this point in his career, he was writing and pitching songs, some of which Haggard recorded, and here he crafts a pleasant if not totally amazing fix of soft-toned '70s country, including three of his ain originals and a couple of Hag's lesser-known numbers, as well as a countrypolitan cover of the Beatles' "Hard 24-hour interval'due south Night." There's surprisingly piddling bluegrass influence here (none, really) which makes this anthology a curious footnote to a long career: Reno went dorsum to the high lonesome sound, forming the Reno Brothers band with his younger siblings many years later.
Len Ridley "On The Banks Of Old Chattooga" (Sounding Board Records, 1980) (LP)
(Produced past Otis Forrest)
An amateur singer from Taylors, South Carolina who specialized in erstwhile-time stuff, Len Ridley was apparently a mobile home salesman who played at bluegrass festivals and other gigs in and around Greenville... The liner notes for this album were by Raymond Fairchild, so y'all know it's the real deal.
Gregg Russell "Stars" (Wintersong Records, 1978) (LP)
(Produced by David Wings)
A live album capturing a eating place show in Southward Carolina "recorded live under the trees, Harbour Town, Bounding main Pines Plantation, Hilton Caput Island." Includes covers of nominally land stuff such equally "Grandma's Plumage Bed," "State Roads" and "Rocky Superlative," also as "Dear Potion Number Nine."
(Produced by Jesse Evatte)
This South Carolina band worked for the George Jones "Possum Holler" restaurant concatenation, circa 1977-78... The liner notes talk about their work "in the concluding few years" since then, so I'one thousand guessing this is an early '80s anthology. The championship runway is a Glenn Sutton song, recorded by numerous artists, with additional songs by Wayne Kemp, Bobby Braddock, and some other intriguing songwriters. Dunno if any of these guys really went on to do much in the music biz, only they had a prissy whirl at grabbing the brass band on this disc...
I'thousand not sure how much of a country twang album we should consider this one, but S Carolina songwriter Tim Smith gives a shout out to John Prine and critiques the glitzier side of fame in "Ain't Gonna Wearable No Rhinestones (Ode To Glen Campbell)" so it is kind of in the mix. This was in part a family effort -- all the songs are Tim Smith originals, except for one by his brother, atomic number 82 guitarist Steve Smith, along with another they wrote together. The residue of the band includes fiddler Bobby Fullbright, Leon Nelson (rhythm guitar), Melvin Odom (bass and guitar), Julie Smith (backing vocals), Janis Trakas (vocals), and Tony Trakas on banjo. I'm not sure if whatever of these folks played in other bands or on other records, only all the better if you're looking for a strictly local set.
Ane of several bands using the name "Southern Crescent" in the early 'Eighties. Founded in 1980, this group from Greenville, Due south Carolina made a go of information technology in the 'Eighties, releasing two albums and touring regionally before deciding to scale dorsum and become a ring-for-hire, rather than trying to arrive big on the stadium scene. Their albums are more country and Southern rock-oriented, though later they became more aligned with the "beach music" mellow stone sound of the area. The other Southern Crescent's were a bluegrass band from Virginia, and a similar group from Atlanta, Georgia. Go effigy.
The Stoney Creek String Band "Half Alive At Dino'south Lounge" (Scratched Records, 198--?) (LP)
(Produced by Neb Medlin & The Stoney Creek String Band)
This ragged, twangy band from Greenville, South Carolina took their cues from folks similar Gram Parsons and Clarence White, with bar-ring bluegrass covers of land-rock classics such as Emmylou Harris' "Amarillo," Little Feat's "Willin'," and Steve Goodman's "City Of New Orleans," forth with various bluegrass and old-schoolhouse country oldies. 1 of the band's driving forces seems to take been mandolin picker John Oeland, who likewise contributed the anthology's one original tune, "Her Vocal," along with some spirited though chunky solos. In general, these guys weren't what you'd call slick, virtuoso performers, merely they definitely were into it and generated a pretty fun vibe. Side One of the album was recorded live at a Greenville bar called Dino'southward Lounge, which was the band'due south main stomping ground -- Side 2 is a studio set. Too featured are banjo plunker Ken Army camp and gal vocaliser/bassist Gail Cook. She sounded a little rough around the edges but enjoyable as a soloist, and definitely had a niggling bit of a musical crush on Emmylou... though didn't we all, back in the twenty-four hour period? A nice case of a lively local band having a lot of fun. The band was together through the mid-1980s, and equally far as I know this was their merely album.
(Produced by Al Bennett & Hal Duncan)
A half secular, half gospel album from the Greer, South Carolina family duo of Carroll Thomas and his daughter Linda, who sings and plays pianoforte, with backing by Luke Brandon (1925-2012) on bass and lead guitar, Donnie Hale thumping the drums, and Stony Stoneciper (1932-2018) on pedal steel. Side One is secular, Side Two is gospel: all the songs are Thomas originals, except for an instrumental version of "What A Friend We Have In Jesus," which closes out the album. Although the Thomases were from South Carolina, they apparently traveled to eastern Tennessee to record this album: the Cumberland label was located in Oliver Springs, Tennessee while Brandon and Stonecipher were both well-regarded local pickers with deep roots in the Knoxville country scene.
Beak Trader "Sings His Songs" (Jim Dandy Records, 1963-?) (LP)
Due south Carolina songwriter Nib Trader (1922-2003) struck gold with his archetype weeper, "(Now And And then) At that place'southward A Fool Such As I" which Hank Snow took to the Top Five in 1953, and which was later on recorded as a pop hit by Elvis Presley. Mr. Trader never actually matched that success, nor did he do much equally a performer in his own correct. A decade afterwards, encouraged past Charlotte, Due north Carolina television personality Doug Mayes, Trader put together a dozen songs for this album, where he'due south backed by a pickup band called the Castaways: Jim Waters, Carroll Dills, Tom Cook, Nib Roberts, and Bob Durham. As far as I tin can tell, Doug Mayes organized the recording session, though the exact details are probably long lost to the mists of time. The Jim Swell label was a custom service based in Newberry, S Carolina, run every bit a sideline by local businessman Jim Davis, who issued virtually a dozen singles past various local artists, in improver to this one LP by Mr. Trader. (Thanks to the Hillbilly Land web log for info about the label...)
A housewife and church organist from Greenville, South Carolina, Carolyn Watts recorded at least 3 albums and called herself a "land and western organist," although this seems to have been her simply explicitly country record. She played a Conn Palatial Rhapsody 627 organ, churning out versions of hits like "Folsom Prison house Blues," "Games People Play," "Gentle On My Listen," "Greenish, Greenish Grass Of Home" and "Carmine, Don't Take Your Honey To Boondocks." In that location'southward no date on this album, but looking at the repertoire, I'd guess somewhere around 1969-70. Plain the anthology was pop enough that she made a 2nd pressing, using a different label name; on one of her other albums, gospel artist Otis Forrest was listed as producer.
Yes, merely which of the Carolinas are nosotros talking about?? Well, since this was recorded in Spartanburg, right near the border, there's a skillful hazard these bands were from both states, or at least played gigs on either side. With band names like Animation and Revolution in the list, clearly this was not all state, but groups such as Bighorn (with a vocal called "Carolina Cowboy") and Lightnin' Due west add a little hope for us twangfans. Back in the 'Seventies, AM station Discussion was Spartanburg'due south grooviest pop station; in later years they shifted into a format into perhaps more befitting their chatty-sounding callsign: sports talk.
(Produced past Dave Craig & Art Ridley)
Hosted by producer-emcee Dave Craig, the "Carolina Country Music Time" bear witness ran on Spartanburg, Southward Carolina's WSPA TV station throughout the 1970s, with local talent and national stars passing through. This album is all locals, including singers such as Kay Crowe, Donnie Duncan, Bud Holcomb, Don Holcomb, Jimmy Pittman, Daryle Rice, and Eddie Shelton performing a repertoire that looks pretty heavy on original textile. They were backed past two firm bands with interchangeable memberships, the Country Masters and the Tune Twisters, led past guitarist Phil Lister. Over the years, many local artists appeared on the prove, including several who went on to perform on the national stage. This was patently the get-go album released under the testify'southward banner... Generally, the vibe is pretty mellow and countrypolitan oriented, with a few clunkily pretentious, poetical songs and some vocals performances that are kind of iffy. But there are likewise some strong performances on here, and maybe even a few gems... Definitely worth a spin if y'all want to hear what these depression-rent local shows were like.
Source: http://www.slipcue.com/music/country/countrystyles/regional/states-south-carolina_01.html
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