At one of my regular haunts the other day, I happened upon this exceptionally fine copy of what may be considered the great country singer Riley Puckett’s best record. As it happens, some of Puckett’s relatives in Georgia are close family friends of mine, so I thought it might be nice to whip up a quick post for this fine disc.
George Riley Puckett was born in 1894 in Dallas, Georgia. He was struck blind after a doctor threw salt in his eyes attempting to treat an infection. Around the time of his early performances, he was dubbed “The Bald Mountain Caruso.” Rising to become one of the most popular country musicians of the era, Puckett recorded both solo and with a number string bands, most notably Gid Tanner’s Skillet Lickers, from 1924 until 1941. He died of blood poisoning in 1946.
On Bluebird B-5587, Riley Puckett plays guitar and sings two of his finest songs, accompanied by the Skillet Lickers’ Ted Hawkins on mandolin. Both sides were recorded March 29, 1934 at the Texas Hotel in San Antonio, Texas.
On side “A”, Riley soulfully sings and yodels Carson Robison’s humorous tale of salvation on the wonderful “I’m Gettin’ Ready to Go”.
I’m Gettin’ Ready to Go, recorded March 29, 1934 by Riley Puckett.
On the “B” side, Puckett delivers a marvelous performance of one of his most famous songs, “Ragged but Right”.
Ragged but Right, recorded March 29, 1934 by Riley Puckett
Featuring the Houston-based band of Lloyd Finlay, this record has the distinction of being one of Victor’s first field recordings in the state of Texas. According to the files available on the Discography of American Historical Recordings, the first Victor recording session in Texas took place the day before the one that created this record, on March 17, 1925, when Finlay’s orchestra made their first recording. Victor would not make it back to the Lone Star State until April of 1928. That makes this record one of special interest to me, as one of my primary focuses in collecting is the musical history of Texas. These Lloyd Finlay records also hold the distinction of being the debut recordings of the Houston-born pianist and future singer Seger Ellis, who would go on to become Okeh Records’ answer to popular crooner Gene Austin.
Lloyd Calvin Finlay was born on November 9, 1883, in Sioux Falls, South Dakota, one of five children to George William and Ella (née Laughlin) Finlay. His father was a traveling nursery salesman from Wisconsin whose work brought him all around the northern Midwest. Lloyd Finlay studied violin and began venturing southward from the land of his birth shortly after the turn of the century to make a living as a musician, settling for a time in Oklahoma, where he married Nebraska-native Grace Coldiron—a pianist herself—before continuing onward until he hit water, settling permanently in Houston, Texas. There, he found employment conducting theater orchestras. By the onset of the First World War, Finlay was musical director at the Majestic Theatre at Texas Avenue and Milam Street. During the days of the “Roaring Twenties”, Finlay was well-regarded as a society bandleader and musician in the Houston territory, and was in-demand for local events. His repute reportedly extended as far as New York City, where vaudevillians were purported to remark that “Houston, Texas, [was] the town to play, they got Lloyd Finlay’s orchestra there.” When the Victor Talking Machine Company brought their recording equipment to Houston on their first field trip into Texas—second only to Okeh, who has recorded in Dallas less than half a year earlier—Finlay’s orchestra was the first to be recorded. On the seventeenth, eighteenth, and nineteenth of March, 1925, Lloyd Finlay’s twelve-piece ensemble—featuring local musician Seger Ellis on piano—waxed seven sides, of which all but one were released. Unfortunately, none of his three records proved to be a hit, and likely only saw regional distribution. By 1930, Finlay had separated from his wife, and was living in a boarding house. Around 1933, Finlay departed the Majestic and began directing the orchestra at the Metropolitan Theatre at 1018 Main Street. Thereafter, he went to work managing the Tower Theater at Westheimer and Waugh, a position which he held for the remainder of his life. At the age of fifty-three, Lloyd Finlay died from complications during a surgery to remove his gall bladder on May 10, 1937, at St. Joseph’s Infirmary in Houston.
Victor 19644 was recorded on March 18 and 19, 1925, in Houston, Texas; it was released later in the same year, and remained “in-print” for less than a full year.. Besides Finlay on violin and Seger Ellis on piano, the personnel for this record is unknown. This record was transferred at 76 RPM, as is often accepted for acoustic Victor records.
The first side, recorded March 19, is “Jews-Harp Blues”, and features a solo by the titular instrument beginning around two minutes in. Finlay’s orchestra displayed a tight and polished, if rather old-fashioned sound compared to other early Texas-based jazz groups on records, like hot playing of Jimmie Joy’s or the wild and reckless abandon of Jack Gardner’s.
Jews-Harp Blues, recorded March 19, 1925 by Lloyd Finlay and his Orchestra
The flip-side features “Fiddlin’ Blues” (apparently also known as “Fido Blues”), recorded the previous day, March 18, and likewise prominently features the virtuosity of Finlay’s eponymous instrument.
Fiddlin’ Blues, recorded March 18, 1925 by Lloyd Finlay’s Orchestra
WordPress automatically creates this “Hello World” post, I suppose I could delete it, but I’d rather use the opportunity to introduce the material I intend to post on this new website, and introduce a marvelous piece of recorded history from my collection…
This Okeh custom pressing, titled Hello World 001, was made in 1930 for the owner of KWKH radio in Shreveport, Louisiana, one W.K. Henderson. The first side, by Henderson himself, was recorded on February 18, 1930 in Shreveport, Louisiana, and the second, by country artist Blind Andy, was recorded March 5, 1930 in New York. Henderson recorded three other talks that day, but none were released.
William Kennon Henderson, Jr., was born in Bastrop, Louisiana in 1880 and made his fortune as owner and president of the Henderson Iron Works and Supply Company. Henderson became interested in radio in 1923, when he was requested by Shreveport radio station WGAQ to help fund a replacement of their low-powered transmitter. In 1925, he bought the station and renamed it KWKH, the callsign representing his initials. Broadcasting across many states with his 50,000 watt station, Henderson made a name for himself with his rural brand of humor and his heated, profanity-laced political rants against chain stores, large corporations, the Federal Radio Commision, and the establishment in general. Henderson was a long time friend and associate of governor Huey Long, who appeared as a guest on the station occasionally, along with some of his allies. Long also aided Henderson in keeping government regulation away from his controversial broadcasts. Henderson also founded an alliance of small business owners dubbed the Modern Minute Men (MMM), which at one point claimed around 32,000 members nationally and raised almost $375,000 for Henderson.
Despite his attempts to exploit loopholes, Henderson was an enemy of the fledgling Federal Radio Commission for his repeated and numerous violations of their policies, including his obscenity laced monologues and his reliance on “canned music”. In 1931, Governor Long had a falling out with Henderson, and the Federal Radio Commission ordered an inquiry into the affairs of KWKH. That combined with hard times brought on by the Great Depression saw him to declare bankruptcy and sell the station in 1932. On his death bed in 1945, Henderson said, “I was right, you know… I guess I was fighting for free speech and free enterprise.” KWKH would later gain new fame for their “Louisiana Hayride” program beginning in 1948, which eventually featured a young singer by the name of Elvis Presley in the 1950s.
Recorded by Okeh in Shreveport, Louisiana, W.K. Henderson tones down his act considerably for the record’s first side, “Hello World”, a diatribe from Henderson about other stations interfering KWKH’s frequency of 850 kilocycles by WABC in New York, a “chain outfit,” WLS in Chicago, that “Sears-Rareback outfit,” and WENR, and the entity responsible for the interference, the Federal Radio Commission.
Hello World, recorded February 18, 1930 by W.K. (Old Man) Henderson.
On the flip-side, recorded March 5, 1930 in New York City, noted country and gospel artist Andrew Jenkins performs “Hello World Song (Don’t You Go ‘Way)”, a well-done country song set to the tune of his older composition, “The Death of Floyd Collins”. Blind Andy warns listeners not to invest their money in the stock market and offers other bits of timely advice from the agenda of W.K. Henderson.
Hello World Song (Don’t You Go ‘Way), recorded March 5, 1930 by Blind Andy.
Having shared that piece of history, I leave you with a final word…
