Vocalion 04560 – Light Crust Doughboys – 1938

Posted on November 30, 2018 by R. Connor Montgomery

“Now listen ev’rybody from near and far, if you wanta know who we are—we’re the Light Crust Doughboys from Burrus Mill!”

For more than eight decades and counting, the national song of the greatest state on earth has been played by the Light Crust Doughboys of Fort Worth, Texas, from their beginnings with Bob Wills and Milton Brown, they were among the earliest groups to pioneer the jazzed up hillbilly music we now call western swing.

The Light Crust Doughboys from Burrus Mill on the air in the early 1940s. From left-to-right: Zeke (Muryel Campbell), Cecil Brower, Bashful (Dick Reinhart), announcer Parker Willson, Abner (Kenneth Pitts), Snub (Ramon DeArman), Junior (Marvin Montgomery), and Knocky Parker. Pictured in the WFAA-KGKO-WBAP 1941 Combined Family Album.

The venerable Light Crust Doughboys got their start in 1931, when W. Lee O’Daniel, a manager of the Burrus Mill and Elevator Company in Saginaw, Texas, set out to hire musicians to promote the company’s product on the radio waves. Meanwhile, the Wills Fiddle Band, consisting of fiddler Jim Rob Wills, guitarist Herman Arnspiger, and singer Milton Brown, were eager to secure a corporate sponsor as the Great Depression tightened its grip. They had previously worked under the employ of an electric lamp company as the “Aladdin Laddies”, and Wills convinced O’Daniel and Burrus to sponsor the act in 1931. Newly christened the “Light Crust Doughboys”, after the flour Burrus produced, they made their radio debut under O’Daniel’s management around the beginning of 1931, with announcer Truett Kimsey establishing their famous introduction: “the Light Crust Doughboys are on the air!” Soon after, O’Daniel canceled the show because he didn’t like their “hillbilly” music. Fortunately, they’d already built a sizable base of fans, and public outcry forced O’Daniel to reinstate their program. The original lineup of Doughboys made one record—against O’Daniel’s wishes—for RCA Victor as the “Fort Worth Doughboys”, but it wasn’t long before the members parted ways. Milton Brown got fed up with O’Daniel’s management (he required that they also work factory jobs for Burrus) and left to form his own Musical Brownies, while Bob Wills was fired for consistent unreliability the following year, so a new group of musicians assumed the mantle of Doughboys. By the time the band recorded again in 1933, this time for Vocalion, only Arnspiger remained from its original roster, and new members included Leon Huff and Ramon DeArman. Come 1935, W. Lee O’Daniel was fired from Burrus Mill, and founded his own flour company with a new radio band to match, but the Doughboys stayed put.

All throughout the Great Depression years, thousands of listeners tuned their radios to listen in on the Light Crust Doughboys on stations across the Southwest. On the side, they continued to record successfully for Vocalion (and later Okeh and Columbia, once the label was discontinued in 1940), and even appeared in movies such as the Gene Autry picture Oh, Susanna! In 1936, they hired tenor banjo player Marvin (“Smokey”) Montgomery, who would become a mainstay of the group, composing many of the pieces they played, and eventually becoming the band’s de facto leader. As was so often the case, when World War II rolled in, many band members went off to fight, and Burrus canceled their show in 1942. After the war was through however, the band was reinstated in 1946, fronted by singer and fiddle player Jack Perry, though it never recovered its prewar popularity, and only lasted a few years. Yet an end for the Doughboys wasn’t to be, for in the 1960s, Marvin Montgomery revived the group, and he continued to be involved with the group until shortly before his death in 2001. Management of the group was assumed by Art Greenhaw in 1993, and the Doughboys shifted their focus more toward gospel music. To this day, though the Burrus Mill and Elevator Company is long gone, the Light Crust Doughboys remain the “official music ambassadors of the Lone Star State,” by decree of the state’s legislature.

Vocalion 04560 was recorded in Dallas, Texas on November 30, 1938. The Light Crust Doughboys are Buck Buchanan and Kenneth “Abner” Pitts on fiddles, Muryel “Zeke” Campbell on steel guitar, “Knocky” Parker on piano, Marvin “Junior” (later “Smokey”) Montgomery on tenor banjo and tenor guitar, Ramon “Snub” DeArman on guitar, and Jim Boyd on string bass.

First, Pitts, Montgomery, and DeArman sing and meow Marvin Montgomery’s “Pussy, Pussy, Pussy”, a perfectly innocent little ditty about a young girl who’s looking for her pet cat—honest! This song proved quite a hit in coin machines and even attracted the attention of Fats Waller. The Doughboys followed it up the next year with “We Found Her Little Pussy Cat”, and in fact the song proved popular enough that it remains in the Doughboys’ repertoire even in the modern day.

Pussy, Pussy, Pussy, recorded November 30, 1938 by the Light Crust Doughboys.

Next, they take it slow and easy on an instrumental performance of Joe Sullivan’s “Gin Mill Blues”, served as straight up, if rather barrelhouse jazz for the most part, with only a dash of “hillbilly” flavor, highlighting the talent of pianist Knocky Parker.

Gin Mill Blues, recorded November 30, 1938 by the Light Crust Doughboys.

Paramount 12296 – Charlie Jackson – 1925

Posted on November 10, 2018 by R. Connor Montgomery

Papa Charlie Jackson, as he appeared in the Paramount Book of Blues, circa 1927.

The time has come to pay tribute to one of the greatest and most prolific “songster” musicians to record, as well as one of my own personal favorites: the incomparable Papa Charlie Jackson.

“Papa” Charlie Jackson was born in New Orleans, purportedly on November 10, 1887 and by the name William Henry Jackson. The Paramount Book of Blues described his character as “witty—cheerful—kind hearted,” and armed with a commanding voice and banjo-playing skills to match, he started out playing in tent shows and vaudeville, eventually winding up in Chicago. Rather than the more common guitar or five-string banjo, Jackson opted for the somewhat unconventional six-string banjo-guitar, though he occasionally switched to a standard acoustic guitar. In Chicago, Jackson performed at various local establishments and busked on Maxwell Street. Signed to Paramount Records in the summer of 1924, Jackson became the first male blues artist on the label’s roster—as well as one of the earliest male blues artists to record for anybody—and quickly one of its most successful regardless of sex. In addition to his solo records, Jackson recorded in duet with Ida Cox, Ma Rainey, Blind Blake, and Hattie McDaniel on separate occasions, and provided banjo and vocals for jazz bands such as Freddie Keppard’s Jazz Cardinals and Tiny Parham’s “Forty” Five. A few of his songs, notably “Shake that Thing” and “Salty Dog”, achieved huge success. From 1924 until 1930, Jackson recorded around seventy hokum, blues, and folk songs for Paramount, not counting those where he was an accompanist or instrumentalist. Well into the Great Depression and after four years of recording silence, Jackson concluded his recording career with two sessions for Okeh in 1934 yielding two records, followed by one unconfirmed 1935 session for Bluebird backing Big Bill Broonzy. Falling thereafter into a period of total obscurity, Charlie Jackson died in Chicago on May 7, 1938.

Paramount 12296 was recorded around August of 1925 in Chicago, Illinois by Charlie Jackson, singing with accompaniment by his own banjo-guitar.

First up, Papa Charlie sings a little hokum on the classic “Mama Don’t Allow It (And She Ain’t Gonna Have it Here)”, a variant of the timeless “Mama Don’t Allow”, usually attributed to Cow Cow Davenport. Here the composer is credited as William Henry Jackson.

Mama Don’t Allow It (And She Ain’t Gonna Have it Here), recorded c. August 1925 by Charlie Jackson.

Next, Jackson sings his own “Take Me Back Blues”, one of his many compositions. Evidently a popular number, he later followed this tune up with “Take Me Back Blues No. 2” in 1929, issued on Paramount 12797, that time on an ordinary acoustic guitar and with considerably less energy.

Take Me Back Blues, recorded c. August 1925 by Charlie Jackson.

Updated with improved audio on June 30, 2024.

Victor V-40311 – Stuart Hamblen – 1930

Posted on October 20, 2018 by R. Connor Montgomery

Texas-born singer, songwriter, and storyteller Stuart Hamblen made his greatest hit with gospel songs in the 1950s, but many years earlier he got his start as pioneering singing cowboy, and helped push along the birth of “country and western” music in the days when the genre was narily yet zygotic.

Stuart Hamblen, pictured on a 1930 Victor flyer.

Carl Stuart Hamblen was born on October 20, 1908 in Kellyville, Texas, four miles west of Jefferson, the son of itinerant Methodist preacher Dr. J.H. Hamblen. As a boy, he spent much of his time traveling with his father on his evangelical pursuits, eventually taking the young Stuart to Hamlin, Texas, out Abilene way. There he encountered the lore of the western cowboy, and his songs, as well as that of black field hands. He attended McMurry College with intentions to become a teacher, but instead was drawn to music. In 1926, Stuart Hamblen began singing on KFYO in Abilene, by some accounts making him radio’s first singing cowboy. Three years later, he won a talent contest in Dallas, and used the cash prize to secure passage northward to Camden, New Jersey, home of the Victor Talking Machine Company, where he aimed to make some records, following much in the footsteps of his antecedent Carl T. Sprague.

On June 6, 1929, Hamblen made his recording debut with four sides for Victor, singing and strumming his guitar to “The Boy in Blue”, “Drifting Back to Dixie”, “When the Moon Shines Down Upon the Mountain”, and “The Big Rock Candy Mountains, No. 2”. Thereafter, the young man went west, to California, where he became “Cowboy Joe” on Los Angeles’ KFI. Meanwhile, he made a further ten sides for Victor through 1931, culminating with his own popular compositions “My Brown-Eyed Texas Rose” and “My Mary”, both later popularly covered by the likes of the Light Crust Doughboys, Milton Brown, and others. By the middle of the 1930s, Hamblen had formed a western band called his “Covered Wagon Jubilee” (or simply his “Gang”), which at one point included guitarist Wesley Tuttle, and with whom he recorded again, first making a pair of unreleased sides for the American Record Corporation in 1934, before signing with Decca for another nine that year and the next, of which all but one were released. Those proved to be his last records for nearly a decade, none of which ever seemed to sell very well, and he focused primarily on his radio work. From the late 1930s through the ’40s, Hamblen also appeared in several motion pictures, several of which starred Gene Autry, Roy Rogers, and John Wayne. In 1938, he ran for Congress in California, as a Democrat. During World War II, he wrote and sang some patriotic songs, and recorded again for Russian spy Boris Morros’ American Recording Artists (ARA) label in 1944.

At the height of his singing cowboy fame, Stuart Hamblen built up quite a reputation as a hard drinker, gambler, and all-around hellraiser. He’d get drunk, shoot out streetlights, and get sent to jail, only to have his sponsors bail him out so he could be on the radio the next day. But that changed when Billy Graham came to Los Angeles on his first Crusade in 1949. Hamblen’s wife persuaded him to attend the revival, and the reverend turned his life around. Hamblen experienced a religious awakening, and announced the very next day on his radio program that he was “hitting the sawdust trail.” From then on out, he dedicated his work to sacred music, composing “It is No Secret (What God Can Do)” and “This Ole House”, and recording far more prolifically—and successfully—than ever before, with sessions for Columbia, RCA Victor, and Coral. He also prominently supported the temperance movement, and, after his radio show was canceled because he refused to do advertise beer, he renewed his political ambitions in 1952 with a presidential run on the Prohibition Party ticket, garnering 72,949 votes. He also remained associated with Billy Graham, who credited much of his success to Hamblen’s timely conversion. Hamblen was inducted into the Nashville Songwriters Hall of Fame in 1970, and was honored with “Stuart Hamblen Day” Los Angeles on February 13, 1976 and later with “Stuart Hamblen Days” in Jefferson, Texas. Following a battle with brain cancer, Stuart Hamblen died at the age of eighty on March 8, 1989.

Victor V-40311 was recorded in Hollywood, California on August 21, 1930. It was released on October 17th of that year, and sold a total of 1,826 copies. Hamblen is accompanied by his own guitar, as well as unidentified players on steel guitar and fiddle.

Hamblen sounds rather like Ernest Tubb (who would not make a record for another six years) as he sings and yodels his own composition “Sailor’s Farewell”.

Sailor’s Farewell, recorded August 21, 1930 by Stuart Hamblen.

On the reverse, he sings a cowboy’s tale of heartache on another original composition: “By the Sleepy Rio Grande”.

By the Sleepy Rio Grande, recorded August 21, 1930 by Stuart Hamblen.

Okeh 8794 – Little Hat Jones – 1929

Posted on October 5, 2018 by R. Connor Montgomery

Decades before the latter day country music hero, the state of Texas produced another music maker called George Jones: the outstanding early blues guitarist and singer who went by the name “Little Hat”.

One of about three known photographs of Little Hat Jones. Published in The Naples Monitor, November 22, 1962. Courtesy University of North Texas Libraries, The Portal to Texas History. Copyrighted image used under fair use doctrine (17 U.S.C. § 107).

George Jones, Jr., (misidentified by many outdated sources as “Dennis”) was born on his formerly enslaved grandfather’s farm in Bowie County, Texas—in the farthest northeastern corner of the state bordering Arkansas—on October 5, 1899, the only child of George Sr. and Lela (Holloway) Jones. He dropped out of school after the sixth grade to help his ailing father on the farm after a loss of the season’s crop of cotton. Jones claimed to have started out playing piano at church, but switched instruments after his mother “done gone and found an old guitar for [him] to pick.” Influenced by Blind Lemon Jefferson, he learned to play in a peculiar fast, melodic, and uniquely rural style rather reminiscent of fellow Texas bluesmen such as Mance Lipscomb, albeit rougher and more formulaic, often employing monotonic (or “dead thumb”) bass, and marked by occasional injections of a boogie-woogie beat. His habit of starting out a song at a breakneck tempo and slowing down before beginning to sing, intentional or not, added a certain sense of tension to his recordings. Probably around the age of seventeen, after his father and the farm recovered, Jones started making money with his music, but continued to make his living by means of various employment as a laborer throughout all of his life. A tall and thin man standing about six-foot-three, Jones was nicknamed “Little Hat” by his boss (who reportedly even made out Jones’ paychecks to that name) while working a construction job in Garland, Texas, because of the cut-down brim on his work hat. For at least a period from the late 1920s to early 1930s, Jones took up residence in San Antonio, where he worked on a road building crew. When the Okeh record company made a field trip down to the Alamo City in 1929, Little Hat Jones cut his first recordings as an accompanist to fellow Texas bluesman Alger “Texas” Alexander, who had been recording with Okeh since ’27. On the fifteenth of June of that year, Jones recorded eight sides backing Alexander and a further two solo. He was behind the microphone again six days later to cut four more solo sides, and again four more when Okeh returned to San Antonio the following year, netting a total of five records issued under his own name. Some of his songs provide glimpses into his personal life; “Cherry St. Blues” takes its name and subject from the San Antonio street on which Jones lived while in San Antonio, and includes the line “I want Eddie Duncan to be my brother-in-law,” referring to the family with whom he lodged at the time. Though he never again recorded commercially after 1930, Little Hat Jones continued to play at juke joints and booger roogers in and out of the state of Texas alongside the likes of J.T. “Funny Paper” Smith and, reputedly, Jimmie Rodgers and T. Texas Tyler, and he may also have spent some time working as Texas Alexander’s accompanist off the record. Jones claimed that Okeh invited him to record further in New York, but, perhaps as a result of the worsening Depression, those plans evidently fell through. On March 13, 1936, he married Miss Janie Traylor and settled down in Naples, Texas, where he remained for the rest of his life, working odd jobs for various employers. In 1964, Jones was interviewed by local newspaper man Morris G. Craig of the Naples Monitor and recorded—still in fine form if a little rusty on the guitar—playing several more songs, including a re-recording of his 1929 “New Two Sixteen Blues” and a rendition of Jimmie Rodgers’s “Waiting for a Train”. By the end of his life, Jones was living in Hughes Springs, Texas, where he found work the nearby Red River Army Depot. Little Hat Jones died of complications resulting from bowel cancer on March 7, 1981, in the Municipal Hospital in Linden, Texas, and is buried in the Morning Star Cemetery in Naples alongside his wife Janie, who had predeceased him by six years. His grave marker was placed by the University of Liverpool’s Institute of Popular Music. Some twenty years posthumously, Jones’s music gained fame outside of record collecting and blues circles from the inclusion of his “Bye Bye Baby Blues” on the soundtrack of Terry Zwigoff’s 2001 motion picture Ghost World. For many years, Little Hat Jones was misidentified by blues researchers as Dennis Jones of Caldwell County, Texas. Evidently, there was a real musician by that name, albeit not the same one as our Jones.

Little Hat Jones recorded Okeh 8794 on June 21, 1929 in San Antonio, Texas, his second record date, a week after his first recordings accompanying Texas Alexander. It was released in 1930.

First up, Jones plays and sings the outstanding “Rolled From Side to Side Blues”, borrowing its name from a stanza within his debut recording “New Two Sixteen Blues”, which he reused in this song. It’s a wonder that guitar didn’t catch fire—just listen to those descending runs!

Rolled From Side to Side Blues, recorded June 21, 1929 by Little Hat Jones.

On the reverse, he combines the classic railroad song with the blues for lost love on his eponymous “Little Hat Blues”, most certainly my favorite of Jones’ recordings, and in my opinion one of the great masterworks of country blues (though that “Bye Bye Baby” is a dilly, no doubt).

Little Hat Blues, recorded June 21, 1929 by Little Hat Jones.

Updated on November 25, 2025, and with improved audio on June 15, 2024.

Vocalion 03139 & 03206 – Bob Wills and his Texas Playboys – 1935

Posted on September 24, 2018 by R. Connor Montgomery

Bob Wills, pictured in the 1940 Okeh Country Dance and Folk catalog.

Fresh from Cain’s Dance Academy in Tulsa, Oklahoma, it is Old Time Blues’ pleasure to bring you a program with Bob Wills and his famous Texas Playboys!

Bob Wills (then known as Jim Rob) made his first recordings for Brunswick/Vocalion in 1929, a pair of fiddle solos accompanied by guitarist Herman Arnspiger, but none were released and remain unheard. It would be three years before Wills recorded again, this time with Milton Brown as a member of the original Light Crust Doughboys. Still that lone 1932 session only yielded two recordings which didn’t sell too well under the Depression conditions, and both Wills and Brown parted ways with the Doughboys soon after. It wouldn’t be for another three years that Wills began his recording career in earnest. By that time, he had taken his fiddle band to Tulsa to make a name for himself as leader of the “Texas Playboys” at Cain’s Ballroom, and along the way had added a horn section and drums to the ensemble. When the American Record Corporation came to Dallas in 1935, the Playboys returned to Texas. On September 23, 1935, Wills and his Texas Playboys recorded eight titles, starting with “Osage Stomp”, borrowing from the Memphis Jug Band’s “Memphis Shakedown” and “Rukus Juice and Chittlin'”, followed by twelve more the following day. On the third day, Wills returned to the studio solo to cut four fiddle solos backed on guitar by Sleepy Johnson. This time, as the record industry was beginning to recover with the beginning of the swing era, his records sold many more copies, and the Texas Playboys traveled to Chicago almost exactly one year later for another three sessions. producing thirty-one more sides, including the famous “Steel Guitar Rag”. Soon the Playboys skyrocketed to national fame, drawing larger crowds than Benny Goodman or Tommy Dorsey with hits like “New San Antonio Rose”, and making a string of successful motion picture appearances, ultimately winning him the title “King of Western Swing” (that Spade Cooley never deserved it if you ask me).

Vocalion 03139 and 03206 were recorded in Dallas, Texas on September 24, 1935, the second day of the Texas Playboys’ first session. In the band are Bob Wills, Jesse Ashlock, and Art Haynes on fiddles, Robert “Zeb” McNally on alto saxophone, Sleepy Johnson and Herman Arnspiger on guitars, Leon McAuliffe on steel guitar and guitar, Johnnie Lee Wills on tenor banjo, Al Stricklin on piano, Thomas “Son” Lansford on string bass, and William “Smokey” Dacus on drums.

To start us out, the Playboys swing a hot instrumental: “Black and Blue Rag”, with Bob addressing his Playboys by name as they take their instrumental solos.

Black and Blue Rag, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

On the back of 03139, Bob sings the vocal himself on the Mississippi Sheiks’ blues standard “Sittin’ On Top of the World”.

Sittin’ On Top of the World, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

Tommy Duncan joins the show on “I Ain’t Got Nobody”, giving a wild Emmett Miller-style yodeling performance.

I Ain’t Got Nobody, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

Finally, Duncan sings again on the Playboys’ rendering of the popular song of one year prior, “Who Walks in When I Walk Out”, surely one of the hottest, wildest, most driving western swing performances ever recorded. It’s also the first time we hear Bob holler those immortal words “take it away, Leon!”

Who Walks in When I Walk Out, recorded September 24, 1935 by Bob Wills and his Texas Playboys.