Victor 21361 – Ernest Rogers – 1928/1927

Posted on February 23, 2020 by R. Connor Montgomery

Ernest Rogers in the 1940s, pictured on the dust jacket of his The Old Hokum Bucket, 1949.

We have heard once before from that Atlanta newspaper man and down-home song spinner—and one of my personal heroes—Ernest Rogers, when he graced us with his memorable rendition of the old vaudeville song “Willie, the Chimney Sweeper”. Now, he’s with us once again, this time with perhaps even better material (though that old dope head Willie is hard to beat). As I have already biographed Mr. Rogers somewhat thoroughly in the aforementioned article, I urge you to look there for the basic facts.

During his own life, Ernest Rogers was best known as a newsman, rather akin to the South’s answer to Walter Winchell as host and lead reporter of the Atlanta Journal‘s daily “Radio Headlines” program on Atlanta’s pioneering radio station WSB (“Welcome South, brother”). Today however, it is his musical proclivities—namely the five records he made for Victor in 1927 and ’28—that have won him his most enduring fame, yet his activities in the field were far from limited to making records. Rogers copyrighted his first song while still a student at Emory University in 1919. When radio was in its infancy, Rogers joined the staff of Atlanta’s WSB, his crooning and guitar-picking making a hit with listeners at a time when, in Rogers’ own words, “anybody who could sing, whistle, recite, play any kind of instrument, or merely breathe heavily was pushed in front of the WSB microphone.” In 1922, at the same time he was busy making his name on the radio, his composition “Tune in With My Heart”—celebrating the newly emerging medium—was recorded by popular baritone Ernest Hare. Rogers made his own recording debut three years later, waxing a memorable—and probably the first—rendition of the vaudeville folk song “Willie the Weeper” coupled with his own composition “My Red-Haired Lady”. Later in 1925, Francis Craig’s Atlanta-based territory band recorded Rogers’ waltz song “Forgiveness”, featuring the singing of a young James Melton in his first recording, helping to bring the tenor singer to prominence. The year of 1927 began Rogers’ association with Victor Records, which proved to be both his most fruitful record engagement and his last. In his first Victor session on the seventeenth of that February, he began with a duet with WSB announcer and director Lambdin Kay titled “Mr. Rogers and Mr. Kay”—probably in the style of the popular comic song “Mr. Gallagher and Mr. Shean”—which was never released. He followed with a remake of “Willie the Weeper”, retitled “Willie, the Chimney Sweeper” but nearly identical to his earlier recording. The following May, he traveled to Camden, New Jersey, to make six more sides, starting out with a similar re-do of “My Red-Haired Lady”. “The Flight of Lucky Lindbergh” celebrated the intrepid aviator’s historic journey only two days after he had landed safely in Paris. On “Let Me Be Your Man in the Moon”, Rogers yodeled nearly three whole months before Jimmie Rodgers made his first record. Finally, on February twenty-third of the following year, he completed his recorded legacy in a session that mirrored his first Victor session, making two sides of which only one was issued. Out of a total of twelve recorded sides to his name (including the two unissued), nine were original compositions. Though his recording career had thus ended, Ernest Rogers’ musical interests were far from their conclusion. He continued to publish songs in the decades that followed. Popular hillbilly artist Lew Childre recorded “My Red-Haired Lady” several times during his career [though having not heard the song, I cannot verify that it is indeed the same one]. In his later years, Rogers’ career as a newspaperman had taken precedence over his music-making, but he nevertheless never ceased from entertaining with his homespun ditties when the opportunity presented.

Victor 21361 was recorded in two separate sessions; the first side was recorded on February 23, 1928 in Atlanta, Georgia, the second was recorded on May 23, 1927, in Camden, New Jersey. It was released in July of the same year, and remained in Victor’s catalog until 1931.

Providing stiff competition to his “Willie, the Chimney Sweeper” for the title of Ernest Rogers’ best remembered song—surely thanks in no small part to its reissue on Tompkins Square’s Turn Me Loose—is his “The Mythological Blues”. Rogers first composed the humorous song during his time at Emory University in 1919—the same year in which he founded the Emory Wheel—but it went unrecorded until his final session nearly ten years afterward. With its lyrics contrasting ancient Greek and Roman mythology with the modern times of the Jazz Age (“of all the sights saw Jupiter spot ’em, seein’ sweet Venus, doin’ Black Bottom; oh take me back ten-thousand years when they played the Mythological Blues”) it makes for a marvelous swan song.

The Mythological Blues, recorded February 23, 1928 by Ernest Rogers.

On the flip, Rogers sings “I’ve Got the Misery”, but it sure sounds to me like there’s every known indication that he’s got the blues. This side shines with some of Rogers’ poetry at its most eloquent: “Well, the fire in the stable destroyed the town; but it’s the fire in your eyes that truly burns me down.”

I’ve Got the Misery, recorded May 23, 1927 by Ernest Rogers.

Paramount 12637 – Ramblin’ Thomas – 1928

Posted on February 14, 2020 by R. Connor Montgomery

Out of the marshlands of northwestern Louisiana, where the Sabine River demarcates the edge of Texas, came Willard Thomas, a rambling character whose mournful singing and sliding steel guitar would epitomize the sound of a world where the blues was all around.

Willard Thomas was born in Logansport, Louisiana, right on the Texas border, around 1902, one of at least eight children of farmers Joel and Laura Thomas. His father played fiddle and Willard and his two brothers, Joel Jr. and Jesse, took up the guitar. Thomas purchased a guitar from the Sears-Roebuck catalog, which came with a metal slide for playing Hawaiian steel guitar. Making good use of the hardware, he taught himself to play slide guitar in a rather idiosyncratic style, though also proving to be a fairly versatile player. Like many bluesmen in the region, Thomas took up in Deep Ellum in Dallas, alongside the likes of Blind Lemon Jefferson, Coley Jones, and Huddie Ledbetter. He made his way around San Antonio and Oklahoma, where he no doubt encountered other musicians, such as “Texas” Alexander., and reportedly even associated with King Solomon Hill in Shreveport, with whom he shared some elements of musical style. At some point along the way, he picked up the nickname “Ramblin'” Thomas, attributable either to his style of living or his style of playing, if not both. Perhaps at the behest of Blind Lemon Jefferson, who had a session around the same time, Dallas music seller R.T. Ashford arranged for Thomas venture to Chicago, Illinois, in February of 1928 for a session with Paramount Records, netting a total of eight titles of which all were released. He returned to Chicago that November for another seven titles, including a memorable rendition of the blues staple “Poor Boy Blues” (a.k.a. “Poor Boy, Long Ways From Home”), and possibly accompanied fellow Texas blues singer Moanin’ Bernice Edwards on another two. Finally, he made four recordings for Victor in their field trip to Dallas in February of 1932, one of which—”Ground Hog Blues”—bears considerable resemblance to Jimmie Rodgers’ “Blue Yodel No. 10 (Ground Hog Rootin’ in My Back Yard)”, recorded three days earlier at the same sessions; Jesse Thomas would later claim that Rodgers’ Blue Yodel was inspired by his brother’s song. Willard Thomas reportedly died of tuberculosis around 1944 or ’45 in Memphis, Tennessee. Outside of his recording career, most details surrounding Thomas’ life remain shrouded in obscurity. Brother Jesse “Babyface” Thomas also performed fairly prolifically over a lengthy career, recording first in Dallas in 1929, then reemerging after World War II as the “Blues Troubadour” on a number of different labels.

Paramount 12637 was recorded in February of 1928 in Chicago, Illinois, featuring Willard Thomas singing and accompanying himself on slide guitar. Be advised before listening that this rare record is in pretty sorry shape. I’ve tried to get it as listenable as I can with the resources available to me, but it’s about the worst sounding record I’ll ever post on Old Time Blues (I have some dignity, you see). If your ears can’t stomach the noise, I wouldn’t blame you—you can go on over to YouTube and look it up in better quality (I recommend this transfer).

First, Thomas plays and sings his mournful slide guitar opus, “So Lonesome”, the first title recorded at his first session and one of his best remembered songs.

So Lonesome, recorded February 1928 by Ramblin’ Thomas.

On the flip, Thomas sings another outstanding blues of a rather deep shade: “Lock and Key Blues”, his third recorded side.

Lock and Key Blues, recorded February 1928 by Ramblin’ Thomas.

Updated with improved audio on February 21, 2023.

Montgomery Ward M-8493 – Roy Shaffer – 1939

Posted on December 6, 2019 by R. Connor Montgomery

Though once a widely known and popular personality on radio stations around St. Louis, with a brief recording career that produced only eight discs, cowboy singer Roy Shaffer since drifted into near total obscurity; in fact, the article hereafter appears to be the only substantial biography of him ever published.

Roy Shaffer and Gang appearing on KWK, St. Louis. Roy pictured third from left. Circa 1940s.

Roy was born Jesse Lee Shaffer on December 6, 1906, one of several children of Luther and Anna Shaffer of Mathiston, Mississippi. After growing up on the farm, he left home to pursue the life of a singing cowboy. According to one account, he got his start in the famous 101 Ranch Wild West Show, and made his debut appearance on the radio in 1926. By the middle of the 1930s, he was living in New Orleans and appearing on WWL, billed as the “Lone Star Cowboy” (making him one of quite a few, including native Texan Leon Chappelear, to adopt that sobriquet), an engagement which purportedly brought him as many as 7,462 fan letters in one day. He also reportedly claimed, at various times, the pseudonyms of the “Rambling Yodeler” ,”Tennessee Kid”, “Mississippi Tadpole”, “Louisiana Bullfrog”, and “Reckless Red”. During that stint, M.M. Cole of Chicago published a book of his songs, and he made his first phonograph records, cutting four sides for Decca in their field trip to New Orleans in 1936. Also around that time, he married Cajun girl Edith Falcon, who would later join in in the act, billed as “Eddie Shaffer”. He returned to the studio once more in 1939 to record a further twelve songs, this time for RCA Victor’s Bluebird label, in Chicago. These included a rendition of the classic cowboy song “Bury Me Out on the Prairie”, the popular “Great Speckled Bird”, and covers Chris Bouchillon’s “Talking Blues” and Blind Lemon Jefferson’s “Match Box Blues”. Those two sessions accounted for the entirety of Shaffer’s known commercial recording work, but his greatest success was evidently found on the radio; in 1939, Rural Radio magazine reported that Shaffer had appeared on fifty-nine radio stations, “both the smallest and the largest,” though he was reported as “off-the-air” and living in Istrouma, Louisiana, in 1938. By 1940, he was in St. Louis, where he remained for the majority of his career, and employed by the Carson-Union-May-Stern furniture store to appear on their radio programs on several different local stations. He made appearances on WEW from 1939 into ’41 with his “Hillbillies”, after which he began appearing on KWK with his “Gang”, a gig he still held in the middle-to-late part of the decade; he was also on KSD in 1942 with his “Missouri Ramblers”. By the early 1950s, he was on KWRE in Warrenton, Missouri. He also made off-air appearances, attending and participating in rodeos and giving live programs for his fans, often at events put on by Carson’s Furniture Store. In the 1950s, he owned and operated a “hillbilly park” in Mexico, Missouri. He was still active on the radio in St. Louis as late as 1956. Roy Shaffer died in March of 1974 in Greenville, Mississippi, at the age of sixty-eight. Several of Shaffer’s recordings were later reissued on BMG’s East Virginia Blues: The Secret History of Rock and Roll and JSP Records’ Classic Field Recordings: Landmark Country Sessions from a Lost Era, but those have done little to rise the artist up and out from the depths of obscurity.

Montgomery Ward M-8493 was recorded on June 26, 1939, at RCA Victor’s Studio C in Chicago, Illinois by Roy Shaffer, singing with guitar. It was also released on Bluebird B-8234.

In his casual delivery of Chris Bouchillon’s seminal “Talking Blues”, Shaffer oozes southern charm like hot butter through sourdough toast. “If you want to go to heaven, let me tell you how to do it; just grease yourself in a little mutton suet…”

Talking Blues, recorded June 26, 1939 by Roy Shaffer.

Flip the record over and he gets low-down on his arrangement of Blind Lemon Jefferson’s classic Texas folk blues standard “The Match Box Blues”—one of my personal favorites.

The Match Box Blues, recorded June 26, 1939 by Roy Shaffer.

Victor V-40008 – “Peg” Moreland – 1928

Posted on October 29, 2019 by R. Connor Montgomery

Known to radio listeners across the Southwest from the 1920s to the 1940s as the “King of the Ditty Singers”, Dallas’ own “Peg” Moreland was surely among the most prolific pre-war folksingers from the State of Texas, yet most unfortunately he has since fallen behind that so-common veil of obscurity.

“Peg” Moreland, from 1930 Victor supplemental.

“Peg” was born Arnot Jackson Moreland (though he switched his first and middle names later in life) on October 29, 1892, on a farm in Rienzi, Texas, a no-longer-extant community in Hill County, one of at least eight children of Samuel Jackson and Mollie (née Arnot) Moreland. From a young age, Moreland memorized folk songs he picked up from his southwestern environment. Not long after 1900, the family moved west to Canyon, Texas, where Pa Moreland operated a grocery store until his untimely death in 1908. There, the young Moreland played piano, clarinet and saxophone in the Canyon Municipal Band. Jackson served in the National Guard for three years prior to the First World War, attaining the rank of corporal, and was later justice of the peace in Randall County for three years beginning in 1921. At some point between 1917 and 1925, Moreland lost his right leg in a railroad accident, presumably during his work as a brakeman on the Santa Fe, the replacement for which gained him the nickname “Peg”. He moved to Dallas with his family in 1924. With guitar in hand and a head full of folk ditties, Moreland began singing on Dallas’ venerable radio station WFAA in 1925. Moreland sang in a light and pleasant tenor croon—akin to other popular radio folksingers like Bradley Kincaid—and played guitar in a snappy, syncopated, ragtime-esque flatpicked style. His repertoire—said to consist of over two-thousand “ditties”—was not too dissimilar from that of Georgia’s Riley Puckett, with material ranging from cowboy ballads, to old minstrel and parlor songs.

For a short time, Moreland went west to work as a railroad mail clerk on the Arizona run before returning to WFAA in 1927. In July of 1928, Moreland traveled to Chicago, Illinois, to record for the Victor Talking Machine Company; in his first session, he cut five sides, followed by three more two days later. While he was there, he spent a brief time performing on the WLS National Barn Dance as “Tex” Moreland before returning home to Texas. The next year, Victor came to him, conducting a field trip to Dallas, during which he recorded another three sides. He later attended Victor field trips to Memphis and Atlanta, in 1929 and ’30, respectively, resulting in a further eight sides. All of the sides he recorded, nineteen in total, were released, some on split releases shared with the likes of Harry “Mac” McClintock and Blind Jack Mathis. After 1930, Peg Moreland made no further commercial recordings, but his radio career was far from over, and he also performed frequently in local vaudeville and functions. He remained a fixture on WFAA, its associate station KGKO, and other stations around Texas and Oklahoma, at least as late as the Second World War. Moreland never married and lived with his mother and brothers until her death in 1943. Late in his life, Moreland lived in hotels around the city of Dallas, including the New Oxford and Lawrence. “Peg” Moreland died on January 11, 1973 in Dallas, Texas, of a coronary. His death certificate still listed his occupation as “entertainer” and WFAA as his employer.

Victor V-40008 was recorded on July 5 and 3, 1928, respectively, at 952 North Michigan Avenue in Chicago, Illinois—Moreland’s first session. “Peg” Moreland sings and accompanies himself on the guitar. It was released the following January, and sold a total of 23,808 copies, making it one of the top sellers in Victor’s “Native American Melodies” (V-40000) series.

Peg first sings one of my favorite home-spun ditties: “Stay in the Wagon Yard”. The song tells the humorous tale of a farmer who comes to town to bring his crop to market. He leaves the wagon yard to “see the ‘lectric lights and watch the cars come in,” only to be taken on a drunken spree by some city dudes. He warns his fellow farmers to “buy a half-pint and stay in the wagon yard.” Probably best known by Grandpa Jones’s rendition, Moreland’s recording was the first of several contemporaneous versions, including ones by Georgia fiddlers Lowe Stokes and Earl Johnson, as well as Alabama folkster Lew Childre. The Fresno State Traditional Ballad Index lists Arthur Tanner—who sang on the Stokes recording—as the probable writer, though this seems unlikely, seeing as Moreland, from Texas, made his recording of the song more than a year prior. It seems more likely that Stokes and the gang, who followed Moreland’s verse almost to the letter with the exception of omitting the last stanza, heard it from Moreland’s record, though where Moreland learned the song I couldn’t say; he was not a songwriter himself and denied ever producing any original songs, instead drawing fully on traditional material. In addition to Moreland’s Texan heritage, the line “I’m a deacon in a hard-shell church down near Possum Trot” could suggest a Texas origin, assuming it refers to the predominately black farming community near the Louisiana border, though there are places by that name in several other states. It is worth noting that Earl Johnson’s 1930 recording adds several verses not heard in Moreland’s or Stokes’s records. Quite a few recordings have been made since, and the song’s popularity with old-time string bands endures to this day.

Stay in the Wagon Yard, recorded July 5, 1928 by “Peg” Moreland.

Moreland’s rendition of the popular folk song “The Old Step Stone”—commonly known by the title “Goodbye to My Stepstone” or some variation on that—was his first recorded side. The song in its original form is believed to date back to 1880, when it was published as “Old Doorstep” by one J.O. Webster.

The Old Step Stone, recorded July 3, 1928 by “Peg” Moreland.

Updated with improved audio on March 21, 2021.

Bluebird B-8899 – Ernest Tubb – 1936

Posted on October 27, 2019 by R. Connor Montgomery

Ernest Tubb at about twenty-two years old, pictured in the 1937 Bluebird Records catalog.

That time has rolled around once again to fondly remember my dear cousin, Ernest Tubb. The last time we heard from E.T., he was performing his biggest hit: “Walking the Floor Over You”. Now let us turn back the clock a few years to his earliest recording sessions, long before he had the fame and acclaim that, once found, would last him the rest of his career.

Ernest Tubb made his recording debut in a room at the Texas Hotel in San Antonio on the twenty-sixth of October, 1936, accompanying the widow of his idol Jimmie Rodgers on a song she wrote in a tribute to her late husband. He received no credit for his role in the production on the record’s label, which simply read “with accompaniment played on Jimmie Rodgers’ own guitar.” Mrs. Rodgers had loaned Tubb Jimmie’s instrument—as well as the Blue Yodeler’s tuxedo to wear in publicity shots—and helped him secure a contract with the RCA Victor Company, for whom her husband had recorded for the entirety of his six year career to help him get started in his musical career, after he had contacted her and the two became friendly. Tubb began his recording career in earnest the following day, waxing six sides, all in the style of his hero, complete with yodeling and guitar work lifted straight from Rodgers’ records.. He began with his own tribute to the Singing Brakeman he so adored: “The Passing of Jimmie Rodgers” and “The Last Thoughts of Jimmie Rodgers”—both penned by Rodgers’ songwriting partner and sister-in-law Elsie McWilliams—which constituted the first record issued to his name. He followed up with four more sides, which did not see release until six years later. Despite the lack of success brought by his first disc, Tubb was behind the Victor mike again less than half a year later to cut another two sides, this time with his friend Merwyn J. Buffington joining him on second guitar. The resulting disc, without the words “Jimmie Rodgers” on the label to ensure its success, sold even more poorly than the first, and Tubb did not return to record for RCA Victor again. For the remainder of the 1930s, Tubb continued to struggle as an artist, frequently working day jobs to support himself as gigs on Texas radio stations and honky-tonks failed to pay the bills. In 1939, a tonsillectomy damaged his yodeling ability (though he did yodel on rare occasions in subsequent years), forcing him first to shift his focus to songwriting before returning to singing with a new, less blue yodeling style all his own which ultimately found him immense, lifelong success and a longstanding contract with Decca Records to go with it, but he never forsook his adoration for his hero Jimmie Rodgers.

Bluebird B-8899 was recorded between 1:00 and 2:15 in the afternoon of October 27, 1936 at the Texas Hotel in San Antonio, Texas. It was released on January 9, 1942, after he had started making hits for Decca. Ernest Tubb sings his own compositions, accompanying himself on the late Jimmie Rodgers’ custom Martin 000-45 guitar.

First, Tubb borrows heavily from the Blue Yodeler on “Married Man Blues”, with a guitar introduction lifted from Rodgers’ “Blue Yodel No. 5” and an opening verse directly from his “Whippin’ That Old T.B.”.

Married Man Blues, recorded October 27, 1936 by Ernest Tubb.

Next, he does “Mean Old Bed Bug Blues”, an original composition distinct from the song of the same name sung by the likes of Bessie Smith and Furry Lewis. In my opinion, this is perhaps Tubb’s best Bluebird side—though “Since That Black Cat Crossed My Path” is another top contender. Though Tubb very seldom recorded with only his own guitar as accompaniment, he proves on these sides to have been nearly as proficient on the instrument as his idol, Jimmie Rodgers. Though far from a hit record, the song was later covered by Hawshaw Hawkins in 1946.

Mean Old Bed Bug Blues, recorded October 27, 1936 by Ernest Tubb.