Tag Archives: New York

Vocalion 15461 – Bessie Coldiron “The Sunflower Girl of W B A P” – 1926

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As Old Time Blues’ parade of long-forgotten Texas recording artists marches ever forward (and backward), we turn our attention to a popular singer who was neither a Texan nor recorded in Texas, but nonetheless made an inextricable contribution to the musical heritage of the state.  Much of the research regarding the Sunflower Girl comes courtesy of Fort Worth’s own illustrious and mononymous Dismuke (of the eponymous Radio Dismuke).

Bessie Coldiron, the Sunflower Girl, in an advertising postcard from KGKO, sister station of WBAP, circa 1939.

Though she was billed as the “Sunflower Girl from Kansas”, Bessie Coldiron was born Bessie Ellen Warrington in Oklahoma on June 4, 1902.  Her father died before she was ten years old, and she grew up in Kansas City with her mother, two brothers, and two sisters.  There, on March 3, 1923, she married Ray Orville Coldiron, a carpenter from Nebraska.  Though residents of Kansas, the Coldirons paid a visit to Fort Worth, Texas, at the end of 1925, during which her singing was noticed by “Hired Hand” Harold Hough (who may have been a relative of hers), announcer at WBAP.  He liked what he heard and invited her to try-out for a spot on the radio, singing songs and accompanying herself on the piano.  Her musical proclivities proved popular with listeners, and thus she began a five month engagement with the Fort Worth radio station as the “Sunflower Girl of WBAP”.  Afterwards, she embarked on a tour of the Majestic-Orpheum vaudeville circuit in the spring and summer of ’26.  Following its conclusion, Bessie returned to Texas and WBAP, but not before she went to the Brunswick-Balke-Collender recording studio in New York City for her first record date.  There she cut four sides on September 16, 1926, and four more one week later, of which all but two were released on the Vocalion label.  She would record again the following June, this time for Columbia in Chicago, cutting four sides in two consecutive days.  All of them were issued this time around, rounding out her scant recording career at five records.  But she continued to enjoy popularity on the radio, appearing sporadically on WBAP and her sister station KGKO until at least the beginning of the 1940s.  It would seem that Coldiron had departed from the station by 1941, as she does not appear in the WBAP-KGKO-WFAA “Family Album” published that year.  In 1930, she was reported as living with her husband in St. Louis, but Bessie and Ray were divorced by 1940, by which time he had already taken a third wife.  Bessie Coldiron died on February 28, 1990, in Hayward, California.  Her ex-husband, incidentally, died in Fort Worth in 1988.

Vocalion 15461 was recorded on September 16, 1926 in New York City.  These sides, from Coldiron’s first session, were originally “test” recordings, but were mastered and released.  Bessie Coldiron accompanies herself on piano on both sides.

First, Bessie sings the utterly wholesome George Olsen creation, “She’s a Cornfed Indiana Girl”.

She’s a Cornfed Indiana Girl, recorded September 16, 1926 by Bessie Coldiron “The Sunflower Girl of W B A P”.

On the flip-side, she sings a charming rendition of “What’s the Use of Crying?”.  I have a set of lyrics to this song written out by my great-grandmother in the front of a textbook from when she was a school girl in Bryan, Texas; perhaps she’d heard it sung by the Sunflower Girl.

What’s the Use of Crying?, recorded September 16, 1926 by Bessie Coldiron “The Sunflower Girl of W B A P”.

Victor 19427 – Vernon Dalhart – 1924/1925

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Producing many of the earliest “country” music hit records in the wake of Fiddlin’ John Carson’s unexpected success, Texas-born, city-bred Vernon Dalhart has been the subject of some controversy as to his merits and authenticity, but if Jimmie Rodgers be the “father” of country music, and Uncle Dave Macon the grandfather, then surely the polished, classically trained Vernon Dalhart must be some great-uncle.

Vernon Dalhart, pictured in the Victor catalog.

Marion Try Slaughter II was born on April 6, 1883, in the east Texas town of Jefferson, the son of Bob and Mary Jane Slaughter.  When he was ten, his father was killed by his uncle in a dispute, and he later moved with his mother to Dallas.  In his teenage years, he spent some time as a cowhand in west Texas for a summer job.  Aspiring to sing opera, Try studied at the Dallas Conservatory of Music, then set out for New York to strike it big.  Deeming “Try Slaughter” an unsuitable name for an operatic tenor, he instead adopted the name of two west Texas towns for his stage name: “Vernon Dalhart”.  Soon, he began recording professionally for Edison and other record companies, mostly singing popular songs of the day.  In the dawning days of “country” music on records, Dalhart got wind of Henry Whitter’s 1923 recording of “The Wreck on the Southern Old 97”, and brought the tune to the attention of the Edison company.  He recorded the song for Thomas Edison on May 14, 1924, and then set about doing it again for Victor.  Victor bigwig Nat Shilkret agreed to record the song on the condition that Dalhart produce a suitable number for the “B” side.  He obliged in the form on “The Prisoner’s Song”, adapted from an old folk song he had heard from his cousin Guy Massey.  For the session, Dalhart was paired with Victor staff whistler and guitarist Carson Robison and violinist Lou Raderman.  Billed on the label as “mountaineer’s songs”, the resulting record sold a reported seven million copies, notwithstanding Dalhart’s remakes on other labels.  The runaway success relaunched the singer’s career as a “hillbilly” singer, and, teamed with Robison, he continued to find success singing disaster songs and weepy ballads like “Death of Floyd Collins” until the end of the decade.  Following a series of disagreements regarding royalties and Dalhart’s replacement of fiddler Murray Kellner with his friend Adelyne Hood, Robison broke away from the act to strike out on his own.  In the decade that followed, Robison’s success grew while Dalhart’s waned.  By 1930, his stream of successful songs had gone dry, and he recorded only sporadically through that decade.  He made his final recordings in 1939, with a group called the Big Cypress Boys, drawing their name from a bayou back home in Jefferson, Texas.  Afterward, he retired from professional performance and began coaching voice in Bridgeport, Connecticut, before going on to a number of non-musical odd jobs until his death from a heart attack on September 14, 1948.

Two different versions of Victor 19427 were made, the first was recorded acoustically on August 13, 1924, which was re-made electrically on March 18 of the following year, both session in New York City.  For both versions, Dalhart is accompanied by Carson Robison on guitar, Lou Raderman on violin, and his own harmonica.  Both the acoustical and electrical versions are posted herein, in that respective order.  In the interest of unnecessarily full disclosure, the media featured in this post is sourced from three different copies of the record, one for the acoustical takes, one for the electrical takes, and one for the labels (as neither of the transferred copies have particularly presentable labels).

On the first side of his big hit record, Dalhart rather joyfully sings of disaster and death on Henry Whitter’s “Wreck of the Old 97”, one of the most popular railroad songs ever made.  Regardless of questions of Dalhart’s authenticity as a folk singer, I would posit that these songs are indubitably a part of Americana.

Wreck of the Old 97, recorded August 13, 1924, and March 18, 1925 by Vernon Dalhart.

Following Dalhart’s introduction, “The Prisoner’s Song” became one of the biggest hits of the 1920s, inspiring numerous covers, dance band arrangements, organ solos, and translations into Spanish, Italian, Polish, and other languages.  Dalhart himself recorded the song a number of times, and it remained widely known and recorded into the 1950s.  In spite of Dalhart’s copyrighting the song in his cousin’s name, some accounts suggest that the finished product was mostly a result of Nat Shilkret’s re-arrangement, and Shilkret in later years spoke of the song as “the one that guy stole from me.”

The Prisoner’s Song, recorded August 13, 1924, and March 18, 1925 by Vernon Dalhart.

Montgomery Ward M-4244 – Gene Autry – 1931

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Gene Autry, pictured in his Sensational Collection of Famous Original Cowboy Songs and Mountain Ballads, 1932.

It would not be exaggeration in the slightest to call Gene Autry a true American hero.  From humble roots, he got his start in the show business covering Jimmie Rodgers’ hits for other record labels, but soon proved his own merit as a prolific songwriter and talented musician.  Before long, he broke into Hollywood in a series B-Westerns and rose not only to become one of America’s earliest “superstars”, but the idolization of millions of adoring fans.  His shrewd business sense made him a multi-millionaire by the time of his retirement at the age of only fifty-seven, and surely one of the only twentieth century entertainers to have a town named after him.

Gene was born Orvon Grover Eugene Autry in Tioga, Texas, on September 29, 1907, son of Delbert and Elnora Autry.  The family moved a few miles north to the towns of Achille and Ravia, Oklahoma, when Gene was a child, and when not preoccupied with song he spent time in his youth helping out on his father’s farm.  In 1941, the nearby town of Berwyn was renamed “Gene Autry” in his honor.  Autry took up the guitar at the age of twelve on a model from the Sears-Roebuck catalog.  After high school, he got a job working as a telegrapher for the Frisco Line.  He often played his guitar and sang to pass the time during slow hours on the job, a habit which gained him the attention of a notable passer-through: Will Rogers.  Rogers liked Autry’s music, and recommended that he go to New York to make records.  Autry did just that in the fall of 1928, but he was turned down by Victor A&R man Nat Shilkret on the grounds that the company had only just signed two similar artists (one of whom may have been Jimmie Rodgers, who had only begun his recording career the previous summer).  Shilkret suggested that Autry seek work on the radio instead, and that he did.  Upon his return home to Oklahoma, Autry began singing on KVOO in Tulsa as “Oklahoma’s Yodeling Cowboy”.  He made his triumphant return to New York the very next fall, and this time he found success.  With Frankie and Johnny Marvin accompanying, he cut two sides for Victor in duet with frequent collaborator Jimmy Long.  Thereafter, he began recording prolifically for a variety of record labels, beginning with a session for Gennett, the masters of which were sold to Grey Gull and Cova’s QRS label.  He then signed on with Columbia for a short time, mostly appearing on their budget labels singing dimestore imitations of Jimmie Rodgers’ songs.  In 1930, he joined the cast of the National Barn Dance on Sears-Roebuck’s radio station WLS in Chicago.  The same year, he began his long association with the American Record Corporation, appearing on their many dimestore labels and still covering Rodgers, but increasingly producing his own original material.  It was that arrangement that brought him his first big hit in 1931: “That Silver Haired Daddy of Mine”.  Meanwhile, he continued to record occasionally for Victor and Gennett until going exclusive with the ARC in 1933.  The following year, while singing on the radio with Smiley Burnette, he was “discovered” by Hollywood big-shot Nat Levine and selected to appear in an uncredited role in the Ken Maynard western picture In Old Santa Fe.  And the rest, as they say, is history.

Montgomery Ward M-4244 was recorded in two sessions in New York City, the first on February 12, 1931, and the second on March 31 of the same year.  Side “A” was originally issued on Victor 23548 (which sold 1,901 copies) and “B” on Victor 23589 (which sold only 1,537).  Autry accompanies himself on guitar on both sides, and his joined on steel guitar by his friend Frankie Marvin on the first.

The rollicking and raunchy “Do Right Daddy Blues” is a distant cry from Autry’s typically mild and genial cowboy songs of later years, instead more resembling one of Jimmie Rodgers’ “Blue Yodel” songs with their characteristic braggadocio and hint of machismo.  Two takes of this number exist, though this one—take “1”—was the only issued originally; the second take was released as part of Bluebird/BMG’s 2004 compilation East Virginia Blues, in their When the Sun Goes Down series examining the “secret history” of rock ‘n’ roll.  Autry also recorded a version of the song for the American Record Corporation’s dimestore labels (Perfect, Banner, Romeo, etc.) two months later, and he followed up with a different version for Victor’s short lived Timely Tunes offshoot and sequel titled “Don’t Do Me That Way” (and subtitled “Do Right Daddy Blues No. 2”) at the same session in which he recorded the “B” side of the record presented herein.  The song was later picked up by western swinger Leon Chappelear, who recorded it first as “New Do Right Daddy” in 1937, and again as “I’m a Do Right Daddy” in 1951.

Do Right Daddy Blues, recorded February 18, 1931 by Gene Autry.

On “High Steppin’ Mama”, Autry shows us just how much inspiration he drew from Jimmie Rodgers in his early career, presenting a song that sounds like it could have come straight from the Blue Yodeler himself—equally in content as in style.

High Steppin’ Mama, recorded March 31, 1931 by Gene Autry.

Victor 19171 – Wendell Hall – 1923

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One of the foremost exponents of the ukulele craze in the 1920s, Wendell Hall—the Red Headed Music Maker—enjoyed a fruitful career beginning with his introduction of the wildly popular “It Ain’t Gonna Rain No Mo'”, and could perhaps be viewed among the earliest artists to “cross over” from popular to hillbilly style music.

Wendell Woods Hall was born on August 23, 1896, the youngest of three sons born to minister George and church organist Laura Hall of St. George, Kansas.  His family moved to Chicago around the turn of the century, and there young Wendell got his start in music.  He was drafted into the U.S. Army in 1917, but fell ill during the flu epidemic the following year and did not see combat; instead, he spent some time entertaining his fellow troops following his recovery.  Following his return home, he found work as a song plugger for the sheet music industry.  Before long, he struck out on the vaudeville circuit singing and playing the xylophone, but soon—like his contemporary Cliff Edwards—switched to the more inexpensive and portable ukulele.  On occasion, he was known to double on guitar or tiple.  He began publishing popular songs in the early 1920s, and by 1923 he’d arrived in New York to embark on a successful career as a radio and recording artist.  He made his debut on September 28, 1923, in a session for Gennett records, cutting the first of several versions of his big hit “It Ain’t Gonna Rain No Mo'”.  The following month, he re-did the number for Edison and Victor, beginning a successful engagement with the latter which produced a string of popular records and lasted until 1933, interrupted by brief stints for Brunswick in 1925 and ’26 and for Columbia in 1927.  Hall’s rural-flavored novelty songs often blurred the line between popular and “hillbilly” music, and he frequently collaborated with the country guitarist, whistler, and fellow Kansan Carson J. Robison, who made his first records with Hall.  With the smash success of “It Ain’t Gonna Rain No Mo'” and other successful records behind his belt, Hall introduced and marketed a signature “Red Head” model of ukulele, manufactured by the Regal Musical Instrument Company, and instructional booklets on “Wendell Hall’s Ukulele Method”.  He remained a popular radio artist into the 1930s after the Great Depression had killed off his record career, but began to falter as the ukulele fell from favor later in the decade.  Nonetheless, he remained an active musician and music publisher, and made a brief comeback in the early 1950s.  Wendell Hall died on April 2, 1969 in Mobile, Alabama, and was buried in Manhattan, Kansas.

Victor 19171 was recorded in New York City on October 12, 1923.  It was released on the twenty-third of the following month.  It reportedly sold more than two million copies, and Hall later re-recorded both sides electrically on July 29, 1925, to keep them technologically up-to-date.  This record was transferred at 76.59 RPM, as is widely accepted for acoustical Victor records of this era.

Firstly, the Pineapple Picador sings his biggest hit composition, that old chestnut “It Ain’t Gonna Rain No Mo'”.  Hall later followed up with the “Second Installment” in 1925 and “Part 3” in 1933.  The simple but humorous ditty proved enormously popular with artists in a wide range of genres.

It Ain’t Gonna Rain No Mo’, recorded October 12, 1923 by Wendell Hall.

Actually recorded first at the session, Hall sings his “theme” song “Red Headed Music Maker” on the “B” side, interpolating “Red Hot Blues”.

Red Headed Music Maker, recorded October 12, 1923 by Wendell Hall.

Decca 5018 – Stripling Brothers – 1934

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The two Stripling Brothers have had the Old Time Blues limelight shined at them once before, when they played for us their tour de force breakdown “The Lost Child”, but, with that article dedicated primarily to the honor of the great record man Joe Bussard, I have yet to delve deeply into the duo’s history.  Fortunately, the time has now come to rectify that oversight.

The story of the brothers Stripling began in Alabama, in the county of Pickens, on the eighth of August, 1896, with the birth of Charlie Melvin Stripling.  His brother Ira Lee followed him into the world almost two years later on June 5, 1898.  As a youth, Charlie learned to fiddle from a neighbor called “Uncle Plez”—properly Pleasant C. Carroll, born circa 1850—who imparted the old-time traditions of the middle nineteenth century on the young man.  Soon, brother Ira took up the guitar to back Charlie up, ordering a six dollar instrument from a catalog.  Soon the pair was taking on fiddle contests and conventions, competing for cash prizes.  Not content with his meager earnings as a sharecropper, Charlie Stripling set out to win the first prizes to help bring the bacon home to his wife and six kids, and so was bent on becoming the finest fiddler in the region.  Like quite a few fiddler of his time, he supplemented his old-time repertoire with more modern “fox-trot” melodies to please a less geriatric audience.  The team played dances and functions around the area, and began performing on Birmingham radio station WAPI.  When the Brunswick-Balke-Collender Company ventured down south to Birmingham late in 1928, the Striplings cut their first record for the company’s Vocalion label.  Subsequently, the pair went on to record quite prolifically for regional old-time artists of their day, traveling to Chicago the following year to make a further sixteen sides for Vocalion.  Five years later, they traveled all the way to New York to record for the newly founded Decca company, making a total fourteen more sides.  When Decca came to New Orleans in 1936, the Striplings had their fourth and final session, rounding out their discography with another fourteen sides.  By the end of their recording career, the Stripling Brothers netted a total of twenty-one records, with four sides unissued by Decca.  Though the vice grip of the Great Depression took the brothers off of records, and Ira retired from music to dedicate his time to managing the store he owned, Charlie Stripling continued fiddling for the rest of his life.  He was joined sometimes by his sons Robert and Lee, and later formed a band when his sons went off to war, but he never made another record.  Charlie Stripling died on January 19, 1966.  He was survived for a little more than a year by Ira, who passed on March 11, 1967.

Decca 5018 was recorded on September 10, 1934 at the Pythian Temple on 135 West 70th Street in New York City, and is the Stripling Brothers’ first released record on the Decca label.  As with all of the Striplings’ records, the instrumentation consists of Charlie on fiddle and Ira on guitar.

First, the brothers break it down on the lively “Possum Hollow”.

Possum Hollow, recorded September 10, 1934 by the Stripling Brothers.

Next, they play that ubiquitous fiddle melody, the waltz known as “Wednesday Night”.

Wednesday Night, recorded September 10, 1934 by the Stripling Brothers.