Doin' The Waddle
Ann Smith, Buna Music BMI
Doin' The Waddle
Ann Smith, Buna Music BMI
From Bo Berglind's Eddie Cash article found HERE.
Eddie Cash : We recorded at the Fernwood Studio, downtown on the Main Street. Bill Harris wrote one side called "Thinkin' Man" and he got the idea from a Marlboro slogan. Then I wrote the other side "Livin' Lovin' Temptation". On the session we used Jackie Hartwell (g), Gerald Hunsucker(rg), Prentiss McPhail (eb), Tommy Bennett (p), Dennis Smith (d) and Martin Willis (ts). We had female vocal group The DeLons, which also appeared on Thomas Wayne's recording of "Tragedy".
The picture on the record was a mural they had at the photography studio. I went in the studio over in Sauk Center at Cuca. He was in a hurry that day and I wasn’t happy with the record. That guitar wore out. Whetever I would go, they would call up the tavern and book me. Word of mouth. A couple came over to Monroe to pick me up ; they insisted I come out to Jersey. That was a long way to go. Lefty Frizzell played out there and so did Car Smith around the time I did. I’ll tell you I was shakin’ in my knees that night. A six piece band comes walking off the stage and I’m up there all alone. A big crowd, there was a big crowd. They made me feel good. Then I stayed out there for a hundred bucks in 1960 for the fun of it. I pissed off a lot of musicians, too, when I was out there. « you ain’t gonna be cuttin’ prices, » they said. They were probably getting fifty or sixty a night and, well, I could put prices ‘cause I was one man. I pratically got beat up. The mob was in control of the clubs out there, too. I just wish somebody would have copied me. No one copied me ! I heard so many guys say when I was playing « Well, I’l show that Boyd off ! They never did. I think what killed ‘em was that snare drum, that fooled ‘em. That was tricky. Bass drum, the foot, no problem. I made a gizmo that attached to my knee that would hit the snare drums. Why couldn’t anyone copy me I don’t know. There was a guy from over in Jefferson, I tried to help him, but he couldn’t get that rhytm. I said you got to get that rhythm, sing or something. He died a few years ago, nice fellow. There was a one man band from Dodgeville who played the bass drum only. I played lead on the guitar, too, and the mouth organ. It was hard work standing in one spot, but I didn’t mind it. After a while it was just like shifting a car. I started playing the mouth organ when I was fve or six and it took me about twenty-five years to get that thing together. See how I really started out was playing with my neighbor who was an accordion player. He was very young and very good. We started out playing in the night clubs. First thing you know they found out his age and he was out. I already played the mouth organ and I thought that would take care of the accordion. I played nothin’ but country songs. Played at a drive-in over by Madison before the movies would start ; it was the Badger Big Sky Drive In. Played all over down through La Crosse, Bear Valley, Monroe, Dodgeville, New Clarus, Ridgeway, Mt. Vernon, all down through there. Mostly taverns, but hospitals, and wedding dances, too. I did have a good rhythm and made it easy for them to dance. Five piece one man band !
58 777 Steve Bair : Bad Boy / You Are the One
--- 778 Earl Reed and his Rhythm Rockers : Drink Wine / Mama
--- 779 Earl Reed and his Rhythm Rockers : Flat Foot Sam / Playing With My Heart
59 780 Cherokee Rhythmaires Vocal by Billy Parsons What I Get For Lovin' You / My Everything
59 781 A.G.I. : Dear Mama / From Now on Til Never
62 785 Steve Bare Daisy Mae / Smooth
62 778 Sunny Harris Friendship Seven / Sad Sacks
"In late 1958, future country star Bobby Bare fell in with Bill Parsons, an old friend from Coalton, Ohio, who was trying to get on record. 24 year-old Parsons had just come back from army service in Germany and was working in small Ohio night-spots for $10 a night. Parsons and a 40 year old half-Irish, half-Cherokee drifter named Orville Lunsford had penned "All-American Boy", a talking blues parodying Elvis' rise to fame and his subsequent call to duty. Parsons actually had greater faith in another song "Rubber Dolly", a trite rocker adapted from a folk song, and set up a session at the King Records studio in Cincinnati on 4th November, 1958.
Be-kayMost of them had very few releases and for some, this was their first and last...
CHICAGO – In introducing its Coin Operators Phonograph Performance Society (COPPS) concept around the country in some 48 separate meetings, Seeburg officals were bombarded by operators questions and comments. Here’s a sampling :Several numerical series were used, 3000 is the Discoteen series, 5000 the Rhythm series, 7000 C&W series... And few more probably. In these series, earliest records are all credited to the Seeburg Spotlite Band (members were certainly "artsts bound commercially to other labels"...).
Q. Why are Seeburg records leased –not sold ?
A. Two reasons. First, according to present copyright law, one a company sells a record, it can be recorded by other companies. Operators would lose their exclusivity. Seeburg is restricting use of its records to juke box operators. The material can’t be played anywhere else. Second – since the record is not sold, it is legally a « transcription, » and Seeburg can utilize artists bound « commercially » to other labels.
Rhythm Guitarist, singer and M.C. Country and Western swing. Young, dependable and sober. Single, gave all equipment, and new car. At liberty Sept. 13, 1954, for work with 3 or more (will consider trio). Exeperienced and a real hustler. Want radio, TV, night club or personal appearance work. Must be flat rate pay. Write or phone Mark Cleary, 5 Park St. Billerica, Mass. Phone Billerica 8582. (Billboard, September 18, 1954)Young, dependable and sober Mark was bitten by the rock 'n' roll bug after seeing Elvis live at his first Massachusetts show (in Foxboro in September '56) and started a rock 'n' roll band, playing weddings and local bars. Soon he was discovered by a local gay undertaker who was willing to pay for a recording session and the Bop Cat label was born. The label owner lacked connections in the music industry, but he knew he had a hit in the second Bop Cat release "Bop Cat Rock" issued in July 1957.
Apparently, diskery honchos never read the Billboard small print...
Small Record co. In Boston, with first release (R&R) « moving fast , » needs a major label to « take over » or a public relations man, agent, promoter, distributor, an individual party or group who have connections, to promote this label and first single nation-wide. Will consider selling master. Bop-Cat Records, 70 Beacon St., Somerville, Mass. Billboard August 5, 1957