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As a person known as a music freak of
sorts and as a record collector to boot (which
I was once upon a time but no longer con
sider myself to be on an active basis), 1 get
asked from time to time to name my favor
ite records. Okay, folks: Here they are: Ort’s
Ten Favorite Single Records Of All Time,
in no particular order... and both you and I
are welcome to them. Here’s the first install
ment.
1) “One Hand Loose” / “Bottle To The
Baby” — Charlie Feathers (KING 4997).
This is a good place to start. Charlie
Feathers is, to many people’s minds, where
This is the ultimate distillation of Swamp
Pop, a genre of music confined to South Loui
siana and adjacent East Texas.
As you can imagine, Hulin is of Acadian
descent; last 1 knew, he was still playing
nighdy atT. K.’sClub in St. Mamnville, La.,
close to Lafayette. Dubbed as “The Voice
With A Tear,” he utterly founded the genre
of the tear-jerker Cajun record. Since then,
there have been many local hits of the type,
several reaching hit status without getting air
play out of the immediate area. It’s a whole
‘nother world down there, folks, and T. K.
Hulin proves it. This was his biggest hit; it
boneshakers
Wednesday...
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. FLASHBACK TO THE 70S & 80S
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Hard.
Special Correspondent and
Occasional Beer Editor For The Flagpole.
WILLIAM ORTEN CARLTON = ORT.
Rock And Roll actually began: No, not in
his very blue-collar living room in South
Memphis nor on his parents’ subsistence
farm near Holly Springs, Miss., where he was
bomed (correct) in 1932: In Charlie’s own
head.
“Charlie don’t read and write no En
glish," his one-time drummer said about
him; John Seawright (fellow Flagpole col
umnist and fount of knowledge) told me
that the other night.
Charlie don’t need to:
His name is a household
word among rockabilly
collectors worldwide,
even behind the now-
rusted Iron Curtain.
Charlie once played a
show in Belgium and no
ticed that while many
folks couldn’t speak per
fect English, they could
still sing along with many
of his songs which had sold only 35,000 or so
copies when out. 1955 or thereabouts
"Damn. How these folks done leamt my
songs?" he asked himself. He is the stuff of
which legends are made; his King singles
(four rockers and four slower country num
bers issued haphazardly on four singles) are
among his best. Trick is, both sides I’ve se
lected here are hot rockers released on one
45: Thus it is my favorite. I'll write more
about Charlie in another column, but for
now let me say that this man is a Living
Legend and helped shape the direction of
the careen of both Elvis and Buddy Holly:
It was Feathen who originated hiccuping
vocals and storming rockabilly guitars back
about 1953. ‘Nuff said.
2) “I’m Not A Fool Anymore” /
“Teardrops, More Teardrops” — T. K.
Hulin (L K. 1111/2, reissued: SMASH
1830).
• §§g|
sold 100,000 copies in Louisiana and Texas I
alone within two weeks 1 wrote a column on I
it a few months ago, it crops up here again I
Thanks to the late Boyd S. Fulcher of Ideal I
AmusementCo., I acquired the record in 1962, I
it has coursed through my mind ever since. I
3) “Maybe” / “Whispering Grass” — The I
Ink Spots (DECCA 3258, partly reissued I
as MCA 60029). I
This group was one of the fint (if not the I
first) black vocal groups I
to achieve widespread I
mainstream success I
Without them, far I
fewer black musicians I
would have been heard I
on “white" radio, and I
rock and roll could not I
possibly have gotten I
started when it did I
Their first outings I
were novelty jump num- I
ben, and they were lost I
in the shuffle Then lead singer Jerry Daniels I
was replaced by Bill Kenny, who possessed a I
high, crystal-clear tenor voice. Ballads were I
tned, and Kenny’s singing, coupled with basso I
profundo ad-libbed “talking" choruses by I
Orville “Hoppy” Jones, propelled the group I
overnight to hitmaker status Jones died sud- I
denly on Oct. 25, 1944, marking the end of I
the group’s major influence, but nearly 50 yean I
later thar catalogue still meno airplay on both I
Big Band and J an radio sranons These are two I
of their best ballads, ongmally released back- I
coback on one 78 in 1940, still available on I
several MCA reissues, and both so beauoful I
and timeless that they will make you cry. I
This column is only one-third done I
Technically I’m out of room; OK, I’ll stretch . I
it two more weeks: You asked for it, you got I
it. Ill hit you with mote next issue. Sayonara!
(10.)
01994 William Orten Carlton.
— d>
“Damn.
How these
folks done
learnt ray
songs?”
Deep.
Throbbing.
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Thursday, june 9...