Sharing discoveries made on excursions in and around West Alabama as well as other interesting tidbits. Updates will be made as time and newsworthy items become available.
Thanks to the great folks at Birmingham Record Collectors Travis Wammack and the Snakeman Band will be at the Gardendale Civic Center on Saturday December 6th. Gardendale is just north of Birmingham. Tickets are going fast, to get yours contact Don Campbell at 205-837-0596.
A native of Jacksonville, FL. Phil Cay began his recording career with Phil Cay and the Blue Notes in Birmingham in the late 1950's.
Above: Ray McStevension, Phil Cay, Dale Dunkin, Johny Bowman, Jimmie Davidson. According to Phil, this was the original Phil Cay and the Blue Notes, photo taken at the American Legion, Lakeshore Blvd. This photo was taken in 1958 and it was the first gig they played. They were discovered there by Henry Hartzog of Hart Records. They recorded over 15 records from 1958 to 1965.
The first record by Phil Cay and the Blue Notes was "Meet Me in the Barnyard", on Hart. This fun rocker featured Vince Oliver on sax and an ending of canned farm animal sounds.
Alabama Piano Legend Bobby Mizzell was born in Childersburg in 1937. Before he reached 21 he had his own radio show, had won a TV talent contest playing “Tommy Dorsey’s Boogie Woogie”, and had formed his own Kim record label. He also had recorded what is still considered by many to be one of the greatest piano rockabilly songs ever: “Knockout.”
Bobby joined with his close friend, Alabama’s Lee Woodard to put out classic songs such as “Heart And Soul”, and “Same Thing.” This record on the Birmingham Reed label was picked up by 20th Century Fox for national distribution.
After performing on the Birmingham TV groundbreaking “Country Boy Eddie” show Bobby moved to Beaumont, Texas in 1960. For the next five years he worked as an in-demand session piano player for a variety of recording artists. Then it was on to California where he mixed playing in Los Angeles night spots and working as a film editor, restoring classic films.
In December, 1985 Bobby played on Rick Nelson’s last recording session that included a super job on the song “You Got Me Gone.” Rick was so impressed that he asked Bobby to join him on tour. Other commitments prevented Bobby from taking the offer to join Rick Nelson on that ill-fated last tour.
By 1986 he was back rockin’ the piano. He restarted Kim records and released a string of piano pumping songs. He performed with one of his idols, Hadda Brooks, famous Boogie piano player. They became friends and she produced several of his recording sessions.
While Bobby is in his 70’s and has faced a battle with cancer, he still has found time to perform fundraising concerts near his home. He is well remembered as the Boogie and Blues piano player at the Tam O’Shanter club in Glendale and Magoos in Hollywood.
Bobby has many fans back in Alabama, including members of the Birmingham Record Collectors club. When word reached them about Bobby’s health problems one of the members, Ray Edwards called to ask if his record company could release Bobby’s music back in his home state to help out. Bobby’s son Richard provided two CDs plus one of the BRC members had a copy of a release from 1993. The result was a two CD set containing 45 Bobby Mizzell’s songs. Cargo Records provided all of the CDs, cases, and booklets at no cost and all of the money taken in goes directly to Bobby.
The CD’s are available at the new record store in Gardendale, Birmingham Records, for just $15.00 each, or may be ordered by calling the store at 205-837-0596. They will also be available at the BRC Record Show, August 18th & 19th at the Cedars Club, 2 blocks east of I-65 at the Green Springs exit, just south of downtown Birmingham.
Way back in the 1990s I predicted that digital music would turn out to be a fad and that people who truly love music would eventually return to buying vinyl. I was sort of right. I don't think digital music will be going away at this point but I am happy to see that the other part of my prediction is coming true. For me, CDs and downloads are handy for checking out historical collections and identifying songs I really like. I will then go out and try to get a vinyl copy to actually listen to. It seems that more and more people feel the same way.
Over the past several years there have been plenty of news stories about
the vinyl resurgence. And while many independent labels never stopped
releasing vinyl, major labels who had abandoned the format are now
pressing limited vinyl releases as well.
Record collectors, who have remained somewhat of a counter culture constant for the past 60 years or so have become the main movers behind vinyl's resurgence. Many have formed collector clubs that host record shows and share their musical obsessions through radio shows, fanzines and blogs.
Collector labels like Sundazed and Norton among many others, have reissued rarities and made a huge catalog of vinyl available for those who don't have the luck, commitment or funds to get original copies.
Sadly, many independent record stores were not able to make it
through the dark days when practically everyone carted their vinyl
collection out to the trash. Many who did survive have struggled but the tide is finally turning in their favor.
Since 2007, we have Record Store Day, an annual event designed to celebrate
independent record stores with limited edition vinyl releases of all
kinds. And a whole new generation of USB turntables make it easy to create personal digital versions from vinyl to email to friends or play on that morning jog with the iPod.
Another funny thing is happening - people are actually opening new record stores and two have appeared in Alabama this year. Again collectors are at the forefront of this trend. In April, vinyl collector Keith Glass opened Mobile Records at 140-B S. Sage Avenue in Mobile.
On Monday, July 2nd Jack Wilson and Ray Edwards will be opening their store Birmingham Records
at 1103 Main Street in Gardendale. At 8:30 that morning there will be a grand opening complete with refreshments and the Mayor of Gardendale officiating at the
ribbon cutting. So get there early to enjoy a doughnut and the ribbon cutting before you go shopping for some groovy treasures.
Those who are fortunate enough to have met him know that Larry Parker is always glad to autograph a copy of one of his records. Above his signature he writes "Rock & Roll Forever" and you'd better believe he means every word!
He'll be debuting newly reformed Larry and the Loafers at Workplay in Birmingham on Friday November 11th. Treat yourself to tickets for Hangout with Larry and the Loafers on line at http://www.workplay.com/
In 1960 Larry Parker's band, Larry and the Loafers took an unusual approach to grabbing their place in rock and roll history. They scored a hit on Birmingham radio before they ever recorded a record. It was called Panama City Blues and it premiered on WIXI AM-1480 radio in Irondale where Larry was working as a DJ.
Soon other radio stations began calling to find out where they could get a copy of the record all the kids were calling in to request. Faced with this fortunate predicament Larry immediately negotiated a Reed Records release with Homer Milam but it was still over a month before copies of Panama City Blues were available. In an October 2011 interview, Larry talks about how this first version of Panama City Blues came about.
Larry had a hit song and now he needed some trousers for his group of young rock and roll stars. The Birmingham Liberty factory was making some pegged pants called Skeets that were just the thing for outfitting Larry and the Loafers. Larry needed some skeets and Liberty needed a commercial that would inspire their teenage customers. So Larry and the Loafers recorded "Skeets are Neat" that became a hit on its own. Check it out on YouTube and don't miss Larry in his custom-made Skeets with gold and sliver threads!
Over his career Larry has has recorded on Heart Records, Ed Boutwell Studios in Birmingham, with musicians Ronnie Eades, Barry Beckett, Glen Lane, and the ‘Roulettes’, Bill Lowery and Master Sounds Studio in Atlanta where he wrote and recorded “Let’s Go to the Beach” (co-written by Emery Gordy who later produced for the group Alabama and played with the Atlanta band ‘St. John and the Cardinals’, and Fame Recording Studio in Memphis with producer Sonny Limbo where he joined the ‘Hombres’, Booker T. Jones, and the ‘Memphis Strings’ and recorded “Sunshine” and “Paper Man”. His songs have been reissued on a number of collector compilations including The Best Of Greasy Rock 'N' Roll, Teenage Time and The Big Itch.
It's nearly that time again. This is one of the best record shows going and it happens in every August in Birmingham. LPs, 45s galore and some 78s as well as CD collections on ACE and other labels. Also a great opportunity to guzzle some of Birmingham's own extremely delicious Buffalo Rock ginger ale.
Date/Time: Saturday, August 20, 2011 (9AM-5PM) and Sunday, August 21, 2011 (10AM-4PM) Location: The Cedars Club, 301 Green Springs Ave S, Birmingham, AL 35205 Admission: $3.00
The G.G. record label out of Birmingham is an obscure one that recorded R&B, country and rock & roll songs by local artists. Several G.G.s have turned up in on-line auctions fetching decent prices that are undoubtedly due, at least in part, to their rarity. Definitely because G.G. recorded some good music that has endured long past the lifespan of the label.
Of the four G.G. groups I've been able to locate, all have made it onto collector-type compilations. Bill Lancaster's "Too Young To Get Married" is on Boppin Hillbilly Volume 20; Bill Perry and Harold Price Orchestra With The Bel-Aires "Hoppin Boppin & Rockin" on Black Which-A-Way Rhythm; Thunderbirds with Art Harris "Love is a Problem" on Dazzling Group Sounds Vol. 7 and Roosevelt Levins with Art Harris "Oriental Nights Boogie" on the More Rare Rock White Label LP.
Oriental Nights Boogie is a rockin' instrumental that features boogie piano with some mambo and a little snake charmer thrown in. I have turned up little information on Roosevelt Levins, but a record of birth and death dates of December 27, 1935 - November 29, 2001 seems to fit. Like The Thunderbirds, he recorded with Art Harris and his orchestra.
Paul Ozburn of the Birmingham Record Collectors remembers The Thunderbirds' "Rock Boom Boom", getting airplay on Birmingham radio in the 1950's. It's charming for many reasons but the horn parts really grab me. The song is included on the CD Harmony Classics, Volume 4: 28 Killer Doo-Wop Rockers and is the flip side of "Love is a Problem" (see below). Special thanks to Paul for the picture and sound clip!
Medicine County
Mar 30th, 2010
Transdreamer Records
Holly Golightly and her multi-instrumentalist backing band, Lawyer Dave, will launch their spring 2010 tour at The Nick in Birmingham on Tuesday, April 6th (see website for more info here:The Nick).
The duo will be promoting their third full length release, Medicine County, out March 30th on Transdreamer Records. The album was recorded during an unusual period of downtime that resulted in a new batch of 100 proof songs. Holly's inspirations include pre-electric blues and county, brisket, ribs and dusty front porch sunsets. Check out tracks from the new album and more at MySpace: http://www.myspace.com/hollygolightlyandthebrokeoffs
If you can't make it to the show in Birmingham, check the schedule and see if they'll be hosting a foot-stompin' good time near you.
6 Apr 2010 20:00 - The Nick Birmingham, Alabama
7 Apr 2010 20:00 - Sticky Fingerz Chicken Shack Little Rock, Arkansas
8 Apr 2010 20:00 - The Prophet Bar Dallas, Texas
9 Apr 2010 20:00 - Emo’s Alternative Lounge (Indoor) Austin, Texas
10 Apr 2010 20:00 - Mango’s Houston, Texas
12 Apr 2010 20:00 - Plush Tuscon, Texas
13 Apr 2010 20:00 - The Casbah San Diego, California
14 Apr 2010 20:00 - Spaceland Los Angeles, California
16 Apr 2010 20:00 - The Blank Club San Jose, California
17 Apr 2010 20:00 - Cafe Du Nord San Francisco, California
19 Apr 2010 20:00 - Doug Fir Lounge Portland, Oregon
20 Apr 2010 20:00 - Capitol Theatre Backstage Olympia, Washington
21 Apr 2010 20:00 - Media Club Vancouver, British Columbia
22 Apr 2010 20:00 - The Funhouse Seattle, Washington
23 Apr 2010 20:00 - Red Room Kennewick, Washington
24 Apr 2010 17:30 - BLVD *EARLY SHOW* Spokane, Washington
25 Apr 2010 20:00 - Neurolux Boise, Idaho
27 Apr 2010 20:00 - Hi Dive Denver, Colorado
28 Apr 2010 20:00 - The Waiting Room Omaha, Nebraska
29 Apr 2010 20:00 - The Record Bar Kansas City, Missouri
30 Apr 2010 20:00 - The Firebird St. Louis, Missouri
1 May 2010 20:00 - Hi-Tone Cafe Memphis, Tennessee
In early 1950, Hardrock Gunter was on his way to record his first record for the Birmingham based Bama label at piano player, Huel Murphy’s house. He was working out in his mind a way to introduce and showcase the musicians in his band, something like the great tune “Momma Don’t Allow”, popular at the time with both blues and country bands. By the time he got there he’d written “Birmingham Bounce” which the band recorded in Huel’s living room. After that fellow Bama artist, John Daniels, took the recording around to people he knew in Nashville, and reported back that they had a hit song, but not a hit recording. So Hardrock Gunter and his Pebbles (Huel Murphy, Billy Tucker, Ted Crabtree, Bobby Summers, Jim O'Day) recorded the song again at the WBRC radio station’s studio and it was released as Bama 104. Click here to listen to Birmingham Bounce.
Sure enough Birmingham Bounce took off immediately and became a regional hit. Paul Cohen, A&R director for Decca Records, took an interest and tried to buy the master to reissue on Decca, which had national distribution. But the Bama release was selling well and Bama’s owner, Manny Pearson, refused the offer. So Decca released a Red Foley cover version that became a #1 country hit in 1950. In the wake of Foley’s hit, record dealers returned Hardrock’s Bama release in droves. A total of 21 cover versions of Birmingham Bounce then went on to be recorded by other artists including Tommy Dorsey, Lionel Hampton, Amos Milburn, Pee Wee King and Tex Williams.
Sidney Louie “Hardrock” Gunter, Jr. was born on February 27, 1925 in Birmingham Alabama, the eldest of Ola Mae and Sidney L Gunter Sr.’s three children. A high-spirited youngster, he was more interested in music than school subjects, and often ended up standing in the hall as punishment for his frequent cases of the giggles. His earliest musical influence was the hobo balladeer, poet and story-teller, the Texas Drifter who would broadcast a local radio show during his stints in Birmingham. Gunter recalls how he would adopt the drifter anthem “Big Rock Candy Mountain” for his radio sponsor, 7-Up: “In the Big Rock Candy Mountains there's a land that's fair and bright; Where the handouts grow on bushes and you sleep out every night; Where the boxcars are all empty and the sun shines every day; On the birds and the bees and the cigarette trees; Where the 7-Up springs where the bluebird sings; In the Big Rock Candy Mountains”.
Sidney’s third guitar, a Kalamazoo made by Gibson, arrived one Christmas and he got his first lesson from Buck Weaver, a close friend of the Texas Drifter, who also worked as a gasfitter with Sidney's dad. Sidney quickly set about mastering both the guitar and every nuance of his hero Hank Penny, also a native of Birmingham. Hank Penny’s Western Swing band was a novelty in Birmingham and Sidney was enthralled by everything about Hank, especially his slick Western costume and his flair for comedy. Hank had adapted the Vaudeville comedy routines of Weber and Fields and created the character of “That Plain Ol' Country Boy”. Years later, they would become friends and Hank would remember Sidney as the boy with the guitar in a toe sack who would come to see his band – and ask if he could get up and play with them.
By the time he was 13 Sidney had formed his first band, The Hoot Owl Ramblers. Sidney would play lead guitar, sing Hank Penny songs and tell stories with the band backing him up on rhythm guitar, homemade bass, harmonica and fiddle. They performed at local talent shows and became very popular. Inspired by Hank Penny’s “Plain Ol’ Country Boy” character Sidney performed as “Goofy Sid”, both solo and with the Hoot Owl Ramblers. In 1939, Goofy Sid had won an Irondale talent show for thirteen weeks running. Around that time Happy “Tex” Wilson phoned the show’s promoter, Mrs. Sy Wages, looking for talent for an act he was putting together and she recommended young Gunter for the job. Happy Wilson was a native of Haleyville, Alabama and had just returned to his home base in Birmingham from Hollywood where he’d been appearing in Ray Corrigan’s Three Musketeers movies. Sidney enthusiastically accepted Wilson’s offer and at the age of 14, would make his first professional appearance with Happy Wilson’s Golden River Boys in Atlanta.
Early on Saturday morning Happy arrived with another musician named Jack Baggett to pick Sidney up for their first show. While Sidney was loading his equipment into the trunk of the car, the heavy steel trunk lid came loose and hit him on the head. He re-secured the lid, then turned to Happy and said, “Give me that banjo.” Happy and Jack started laughing and then Happy exclaimed, “My goodness his head’s hard as a rock”. Sidney was kidded and called “Hardrock” all the way to Atlanta. The nickname would become his trademark from that day on.
In those days, Birmingham had 5 or 6 radio stations that would broadcast local country acts between 5:30 and 7:30 AM every day. Local bands including Happy Wilson and Hank Penny as well as touring acts would play 15-minute live sets. And there was plenty of work for Happy’s band which was booked 6 nights a week. Monday through Friday they would play at school houses in small coal towns throughout Alabama and then back to Birmingham to play a weekly dance at the Narrows Inn, just south of the city, on Saturday nights.
After World War II started, Happy and other band members were drafted into the Army, and Hardrock joined in 1943. Before the war was over Hardrock would lose his Kalamazoo guitar at the Battle of the Bulge and 80 pounds in a German P.O.W. camp. He was discharged in 1945, as a first lieutenant. After that he remained in the reserve and later became one of the youngest Army majors at the age of 27. The Golden River Boys got back together in 1945 and made a few records for the local Vulcan label. In 1948 Hardrock became their booking agent and manager but quit the band to pursue solo work.
During his long and multifaceted career Hardrock had a TV show in 1949 (he was the first country DJ on TV) on Birmingham’s first TV station WABT; was a DJ on WJLD (Birmingham) and WWVA (Wheeling); he released scores of songs on a variety of labels that include Sun, Decca, King, Starday as well as on his own Gee Gee label and has been anthologized on Charly and Rollercoaster Records collections. During the 1950’s he recorded rockabilly standouts “Jukebox Help Me Find My Baby”, “Whoo I Mean Whee”, “Rock-A-Bop Baby” and “Boppin’ To The Grandfather’s Clock”.
In their book, What was the first Rock N’ Roll Record? Jim Dawson and Steve Propes identify Birmingham Bounce as one of the earliest rock and roll songs; important because it used “rockin’” in the line “everybody starts rockin’ and shufflin’ feet, when a drummer lays down that solid beat”. Hank Penny was working as a radio DJ in Hollywood at the time and said he “played Birmingham Bounce so much you could hear the other side”.
But Hardrock wasn’t done making history just yet. His follow-up Bama release “Gonna Dance All Night” was the first song to use the blues vernacular term for sex, “rock and roll”, to describe music. (The song’s original title “Gonna Rock and Roll, Gonna Dance All Night” was vetoed by Manny Pearson for religious reasons.) Sam Phillips of Sun Records saw the band perform and asked Hardrock to record Gonna Dance All Night in Memphis. But Hardrock was so busy at his radio station job that he recorded a version for Phillips in Birmingham released as Sun 201 in 1953.
Years later country music scholar, Bob Pinson would ask Hardrock for a copy of Gonna Dance All Night on Bama for his collection. When Hardrock dug out the record and took a look at it he got the chills. He realized that due to Bama’s haphazard numbering system Birmingham Bounce was number 104 (sometimes mistaken for Bama 9) and the catalog number of the next Bama release, Gonna Dance All Night, was 201. Sun released its catalog in sequential order numerically and by a highly unlikely coincidence, Gonna Dance All Night was also Sun 201. It was 8 releases ahead of Elvis Presley’s first Sun release “That’s All Right/Blue Moon of Kentucky”. And while Sam Phillips had intentionally set out to revolutionize popular music by merging country and rhythm and blues into rock and roll, Hardrock Gunter never thought about it at all, he just did it.
This article is based on interviews with Hardrock Gunter and the biographical article by Al Terry.
Many special thanks to Hardrock and to Randy Gunter of the Gunter Agency for their help with this article. You can watch the video of Randy Gunter's interview with Hardrock here:
To learn more about Hardrock Gunter, visit his website at HardrockGunter.Com
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