Pause for some Commercials from the 50's and 60's

You may or may not remember these. I do some but, not all of them.

TTFN
CYA Later Taters
Thanks for watching.

Donnie/ Sinbad the Sailor Man

The Monotones~ "Book Of Love"

InSenseAround
Uploaded on Jul 4, 2011

The members of the Monotones were: *Lead Singer: Charles Patrick (born September 11, 1938) *First Tenor: Warren Davis (born March 1, 1939) *Second Tenor: George Malone (January 5, 1940 -- October 5, 2007) *Bass Singer: John Smith (May 13, 1938 -- November 26, 2000) Second Bass Singer: John Ryanes (November 16, 1940 -- May 30, 1972) his brother, baritone Warren Ryanes (December 14, 1937 -- June 16, 1982)

Hailing from Newark NJ. (pronounced Nork)

Book Of Love peaked at #5 on the Billboard Top 100 in 1958

There was a clip in "green and white" on youtube that had more cutaways to the audience than anything. They also edited out a verse. So, I made it black and white, and edited the bits together to make a whole performance. The original lofi audio was from the TV studio and had claps mixed in, so I flew in the original track and compressed it a little. I made this because there were no real videos of this great band performing this great tune. The song was inspired by a Pepsodent toothpaste commercial.
"You'll wonder where the yellow went, when you brush your teeth with Pepsodent".
http://www.youtube.com/watch?v=iPsoxm...

I do not own the rights to any of this, just a fan. (Frank O' The Mountain 2011)

The Monotones were a six-member African American doo-wop vocal group in the 1950s. They are considered a one-hit wonder, as their only hit single was "The Book of Love", which peaked at #5 on the Billboard Top 100 in 1958.

The Monotones formed in 1955 when the seven original singers — all residents of the Baxter Terrace housing project in Newark, New Jersey^[1] — began performing covers of popular songs. The members of the Monotones were:

Lead singer Charles Patrick (born September 11, 1938)^[2]

first tenor Warren Davis (born March 1, 1939)

second tenor George Malone (January 5, 1940 – October 5, 2007)^[3]

bass singer John Smith (May 13, 1938 - November 26, 2000)

second bass singer John Ryanes (November 16, 1940 – May 30, 1972)

his brother, baritone Warren Ryanes (December 14, 1937 – June 16, 1982)^[4]

Charles Patrick's brother James was originally a member, but he left soon after the group's formation.
They all began singing with the New Hope Baptist Choir, directed by Cissy Houston, who was related to the Patrick brothers.^[5]

The group launched their career with a 1956 appearance on Ted Mack's Amateur Hour television program, winning first prize for their rendition of The Cadillacs' "Zoom".^[3] Soon afterwards, Charles Patrick was listening to the radio and heard a Pepsodent toothpaste commercial with the line "wonder where the yellow went."

From there he got the idea for the line, "I wonder, wonder, wonder who!, who wrote the book of love", later working it up into a song with Davis and Malone.^[6] In September 1957, they recorded "Book Of Love", which was released on the Mascot label in December that year.

The small record company could not cope with its popularity, and it was reissued on Chess Records' subsidiary Argo label in February 1958. It became a hit, eventually reaching #3 on the Billboard R&B chart and #5 on the pop charts.^[1]

The record sold over one million copies.^[7] It also reached #5 in Australia;^[5] in the UK, the hit version was a cover version by The Mudlarks.

The Monotones recorded a series of novelty follow-ups including "Zombi", and "The Legend of Sleepy Hollow", but they were not successful.

The Monotones disbanded in 1962. Surviving members met to revive "Book of Love" several times after the break-up. John Ryanes died in 1972, aged 31, and his brother Warren died in 1982.

By 1994, the Monotones consisted of Frankie Smith, George Malone, Carl Foushee, Bernard Ransom, Bernard Brown, and Victor Hartsfield.^[1]

Frankie Smith died in 2000, and George Malone in 2007.^[6]

Don McLean, in his 1971 song "American Pie", made reference to "The Book of Love" as a symbol of the innocence of 1950s rock and roll culture.^{[citation needed]}

In 1988, "Book Of Love" was used as the Theme Song for The Newlywed Game when Paul Rodriguez took Bob Eubanks' place.

In 1990, Ben E. King and Bo Diddley featuring Doug Lazy recorded a revamped rap version of the song "Book of Love" for the soundtrack of the movie Book of Love.

 Source: Wikipedia

TTFN

CYA Later Taters

Thanks for watching.

Donnie/ Sinbad the Sailor Man

Sebastian Prooth~ "Rock and Roll Heaven"

Uploaded on Aug 20, 2006

Rock and Roll Heaven -- A music video tribute to the rock music heroes who have passed away. The soundtrack is "Rock and Roll Heaven" (Stevenson/O'day) is a new demo recording, sung by Ronnie Kimball, with reworked lyrics from the 1970's Righteous Brothers hit.

Artists featured in the video are: john lennon, jimi hendrix, roy orbison, don mclean, american pie, music video, rockers, otis redding, freddie mercury, janis joplin, jim morrison, marc bolan, george harrison, Bon Scott, Buddy Holly, Sonny and Cher, Johnny Cash, Denny martin, Bob Marley, Elvis Presley, Ray Charles, Jeff buckley, Kelly Clarkson, The Beatles, Wendy O Williams, Rob Palmer, Sonny Bono, Kurt Cobain

Video conceived, produced, compiled and edited by Sebastian Prooth. A Melting Clock Production, August 2006. Please visit the producer's website at www.sebrt.com

The Righteous Brothers I believe made this Song Back in the Seventies.

TTFN

CYA Later taters

Thanks for watching.

Donnie/ Sinbad the Sailor Man

Chuck Wood~ "I Really Got The Business"

Chuck Wood~ "I really Got The Business"

Couldn't find Much on Chuck Woods



TTFN
CYA Later Taters
Thanks for watching.

Donnie/ Sinbad the Sailor Man

B. J. Thomas~ "Rock and Roll Lullaby"

 

Uploaded on Oct 26, 2006

B.J. Thomas performing "Rock And Roll Lullaby"

 Billy Joe "B. J." Thomas (born August 7, 1942, Hugo, Oklahoma) is an American popular singer. He is known for his hits of the 1960s and 1970s, which appeared on the pop, country and Christian charts.

B. J. Thomas
Birth name	Billy Joe Thomas
Born	August 7, 1942 (age 70) Hugo, Oklahoma, U.S.
Genres	Country, pop, contemporary Christian
Occupations	Singer
Instruments	Vocals
Years active	1966–present
Labels	Scepter, Myrrh, Columbia
Website	www.bjthomas.com

Career

Thomas was raised in and around Houston, Texas, graduating from Lamar Consolidated High School in Rosenberg. Before his solo career, Thomas sang in a church choir as a teenager then joined the musical group The Triumphs.^[1]

During his senior year he made friends with Roy Head of Roy Head and The Traits. The Traits and the Triumphs held several Battle of the Bands events in the early 1960s featuring Head and Thomas.


In 1966, B. J. Thomas and The Triumphs released the album, I'm So Lonesome I Could Cry (Pacemaker Records). The album featured a hit cover of the Hank Williams song, "I'm So Lonesome I Could Cry". It sold over one million copies, and was awarded a gold disc.^[2] In the same year, Thomas released a solo album of the same name (Scepter Records).

Thomas achieved mainstream success again in 1968, with the single "Hooked on a Feeling", which featured the sound of an electric sitar, first released on the album On My Way (Scepter Records).

"Hooked on a Feeling" became Thomas's second million-selling record.^[2] The 1969 film Butch Cassidy and the Sundance Kid featured Thomas performing the Burt Bacharach/Hal David song "Raindrops Keep Fallin' on My Head", which won the Academy Award for best original song that year, became the number one song on the Billboard Hot 100 in January 1970. Sales of this disc also exceeded one million copies, with Thomas being awarded his third gold record.^[2]

The song was also released on an album of the same name. Other hits of the 1970s were "Everybody's Out of Town", "I Just Can't Help Believing" (Billboard No. 9 in 1970, covered by Elvis Presley), "No Love At All", "Mighty Clouds of Joy", and "Rock and Roll Lullaby".

Thomas' earlier hits were with Scepter Records, with which he was associated for six years. He left Scepter Records in 1972 and spent a short period, in 1973 and 1974, with Paramount Records, during which time he released two albums, Songs (1973) and Longhorns & London Bridges (1974).

In 1975, Thomas released the album Reunion (ABC Records, which had absorbed the Paramount label), which contained "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" (the longest titled No. 1 hit ever on the Hot 100). It was Thomas' first big hit since 1972 and secured him his fourth gold record.^[2]

On MCA Records he and Producer Chris Christian recorded what would be his last Top 40 hit single "Don’t Worry Baby" on his last pop album which also included the A/C hit "Still the Lovin' Is Fun".
In 1976, Thomas released Home Where I Belong also produced by Chris Christian on Myrrh Records, the first of several gospel albums to be recorded by Thomas.

 The album went platinum, and Thomas became the biggest contemporary Christian artist of the period.^[3]

During the 1980s, his success on the pop charts began to wane, but many of his singles reached the upper regions on the country singles charts, including two 1983 chart toppers, "Whatever Happened to Old-Fashioned Love" and "New Looks from an Old Lover" (see 1984 in music), as well as "Two Car Garage", which reached No. 3 on the country singles chart. In 1981, on his 39th birthday, Thomas became the 60th member of the Grand Ole Opry.^[4]

Thomas scored another hit, recording "As Long As We Got Each Other," the theme to Growing Pains with Jennifer Warnes. A later version, used for the show's fourth season, was recorded with the British singer Dusty Springfield. Thomas first released this track on his 1985 album Throwing Rocks at the Moon (Columbia Records).

Thomas has also authored two books including the autobiography Home Where I Belong, and starred in the movie Jory. Several commercial jingles, to include Coca-Cola, Pepsi, and Bell phone systems, have featured his singing voice and music.

On December 31, 2011, Thomas was the featured halftime performer at the 2011 Hyundai Sun Bowl in El Paso, Texas.

Source:/ Wikipedia

TTFN CYA Later Taters

Thanks for watching.

Donnie/ Sinbad the Sailor Man

The Coasters~ "Young Blood"

Uploaded on Jan 27, 2010

The Coasters, Youngblood. released March 1957 (Atco records)
recorded from original vinyl.

Lyrics:
I saw her standin' on the corner
A yellow ribbon in her hair
I couldn't stop myself from shoutin
Look a-there Look a-there
Look a-there Look a-there

Young blood, young blood, young blood
I can't get you out of my mind

I took one look and I was fractured
I tried to walk but I was lame
I tried to talk but I just stuttered
What's your name What's your name
What's your name What's your name

Young blood, young blood, young blood
I can't get you out of my mind

What crazy stuff She looked so tough
I had to follow her all the way home
Then things went bad; I met her dad
He said, "You'd better leave my daughter alone"

I couldn't sleep a wink for tryin'
I saw the rising of the sun
And all night my heart was cryin'
You're the one, you're the one
You're the one, you're the one

Young blood, young blood, young blood
I can't get you out of my mind

 The Coasters are an American rhythm and blues/rock and roll vocal group that had a string of hits in the late 1950s. Beginning with "Searchin'" and "Young Blood," their most memorable songs were written by the songwriting and producing team of Leiber and Stoller.^[1] Although the Coasters originated outside of mainstream doo wop, their records were so frequently imitated that they became an important part of the doo wop legacy through the 1960s.

The Coasters
The classic Coasters lineup
Background information
Origin	Los Angeles, California, United States
Genres	Rhythm and blues Rock and roll
Years active	1955–present
Labels	ATCO (1955-1966) Date, King (1966-1972)
Associated acts	The Robins
Website	Official website
Members
J.W. Lance Primotivo Candelara Eddie Whitfield Dennis Anderson
Past members
Carl Gardner Billy Guy Bobby Nunn Leon Hughes Adolph Jacobs Young Jessie Will "Dub" Jones Cornell Gunter Albert "Sonny" Forriest Earl "Speedo" Carroll Thomas "Curley" Palmer Vernon Harrell Ronnie Bright Jimmy Norman Alvin Morse Carl Gardner Jr

History

The Coasters are a doo-wop group that started in October 1955. The original members of the Coasters were Carl Gardner, Billy Guy, Bobby Nunn, Leon Hughes (who was replaced by Young Jessie on a couple of their early Los Angeles recordings), and guitarist Adolph Jacobs.

Jacobs left the group in 1959.^[2] The Coasters' were formed out of the group The Robins, a Los Angeles based rhythm and blues group, which included Carl Gardner and Bobby Nunn.

The songwriting team Jerry Leiber and Mike Stoller had started Spark Records, and in 1955 produced "Smokey Joe's Cafe" for the Robins^[1] (their 5th single with Leiber-Stoller). The record was popular enough that Atlantic Records offered Leiber and Stoller an independent production contract to produce the Robins for the Atlantic label.

Only two of the Robins—Gardner and Nunn—were willing to make the move to Atlantic, recording their first songs in the same studio as the Robins had done (Master Recorders).

 In late 1957 the group moved to New York and replaced Nunn and Hughes with Cornell Gunter and Will "Dub" Jones. The new quartet was from then on stationed in New York (although all had Los Angeles roots).
The Coasters' association with Leiber and Stoller was an immediate success. Together they created a string of good-humored "storytelling" hits that are some of the most entertaining from the original era of rock and roll.^[1]

Their first single, "Down in Mexico," was an R&B hit in 1956 and appears (in a re-recording from 1970—still with Gardner singing the lead) on the soundtrack of Quentin Tarantino's Death Proof. The following year, The Coasters crossed over to the national charts in a big way with the double-sided "Young Blood"/"Searchin'." "Searchin'" was the group's first U.S. Top 10 hit, and topped the R&B charts for 13 weeks, becoming the biggest R&B single of 1957 (all these were recorded in Los Angeles).

"Yakety Yak" (recorded in New York), featuring King Curtis on tenor saxophone, included the famous lineup of Gardner, Guy, Jones, and Gunter, became the act's only national #1 single, and also topped the R&B chart.

The next single, "Charlie Brown," reached #2 on both charts. This was followed by "Along Came Jones," "Poison Ivy" (#1 for a month on the R&B chart), and "Little Egypt (Ying-Yang)."

Changing popular tastes and a couple of line-up changes contributed to a lack of hits in the 1960s. During this time, Billy Guy was also working on solo projects, so New York singer Vernon Harrell was brought in to replace Guy for stage performances.

Later members included Earl "Speedo" Carroll (lead of The Cadillacs), Ronnie Bright (the bass voice on Johnny Cymbal's "Mr. Bass Man"), Jimmy Norman, and guitarist Thomas "Curly" Palmer. The Coasters signed with Columbia Records's Date label in 1966, reuniting with Leiber and Stoller (who had parted ways with Atlantic Records in 1963), but were never able to regain their former fame.

 In 1971, The Coasters had a minor chart entry with "Love Potion No. 9," a song that Leiber and Stoller had written for the Coasters but instead gave to The Clovers in 1959. In Britain, a 1994 Volkswagen TV advertisement used the group's "Sorry But I'm Gonna Have To Pass" track, which led to a minor chart placement in that country.

In 1987, the Coasters became the first group inducted into the Rock and Roll Hall of Fame, crediting the members of the 1958-era configuration. The Coasters also joined the Vocal Group Hall of Fame in 1999.
Several groups used the name in the 1970s, touring throughout the country, though Carl Gardner, one of the original Coasters, held the legal rights to it.

Gardner continued to tour with the Coasters and made many attempts to stop bogus groups with no connection to the original group using the name. In late 2005, Carl's son Carl Gardner, Jr. took over as lead with the group when his father retired. The Coasters' current lineup consists of Carl Gardner, Jr., J.W. Lance, Primo Candelara and Eddie Whitfield.^[3]

As of 2011, Leon Hughes and Adolph Jacobs are the only surviving members of the original Coasters. Some of the former members suffered tragic ends. Saxophonist and "fifth Coaster" King Curtis was stabbed to death by two junkies outside his apartment building in 1971. Cornelius Gunter was shot to death while sitting in a Las Vegas parking garage in 1990.

Nate Wilson, a member of one of Gunter's offshoot Coasters groups, was shot and his body dismembered in 1980.^[4]

Former manager Patrick Cavanaugh was convicted of the murder after Wilson threatened to notify authorities of Cavanaugh's intent to buy furniture with stolen checks.

 While Cavanaugh was convicted of the murder and given the death sentence in 1984, his sentence was commuted to life in prison. He died in 2006, in Nevada's Ely State Prison. Cavanaugh was 60.^[5]


The Coasters continue to appear regularly on "oldies" shows and PBS specials as old favorites and are available for bookings.^[4]

The Hits list below is from Joel Whitburn's Top R&B Singles and from the Pop positions published in Bill Millar's book "The Coasters" (1975).

In late June, 2007 Carl Gardner's autobiography "Carl Gardner: Yakety Yak I Fought Back - My Life with The Coasters" was published at AuthorHouse.

On August 28, 2007 the Coasters' Leiber-Stoller produced recordings for Date/King 1966-1972 was released on a Varèse Vintage (Varèse Sarabande) CD, titled "Down Home" (302 066 844 2) - and on December 12, 2007 the complete Atco recordings 1954-1966 were released on a Rhino Handmade 4CD-set, titled "There's A Riot Goin' On: The Coasters on Atco" (Rhino RHM2 7740).

 Source: Wikipedia

TTFN

CYA Later Taters

Thanks for watching.

Donnie/ Sinbad the Sailor Man

Bob Wills & His Texas Playboys~ "Tater Pie" (1950)

Uploaded on Oct 3, 2010

Recorded April 27, 1950 in Hollywood CA.

Vocals by Jack Loyd, Johnny Gimble, and Jimmie Widener.

Fiddles by Wills, Keith Coleman, and Johnny Gimble.

Billy Bowman on steel guitar.

The Texas Playboys

 

Bob Wills' bus during a parade in Tulsa

After forming a new band, The Playboys, and relocating to Waco, Wills found enough popularity there to decide on a bigger market.

They left Waco in January of 1934 for Oklahoma City.

Wills soon settled the renamed Texas Playboys in Tulsa, Oklahoma, and began broadcasting noontime shows over the 50,000 watt KVOO radio station.

Their 12:30-1:15 p.m. Monday–Friday broadcasts became a veritable institution in the region.

Nearly all of the daily (except Sunday) shows originated from the stage of Cain's Ballroom. In addition, they played dances in the evenings, including regular ones at the ballroom on Thursdays and Saturdays.

Wills added a trumpet to the band inadvertently when he hired Everet Stover as an announcer, not knowing that he had played with the New Orleans symphony and had directed the governor's band in Austin.

Stover, thinking he had been hired as a trumpeter began playing with the band with no comment from Wills.

Young sax player Zeb McNally was allowed to play with the band, although Wills initially discouraged it.

With two horns in the band Wills realized he would have to add a drummer to balance things and create a fuller sound.

He hired the young, "modern style musician" Smokey Ducas.^[12] By 1935 Wills had added horn, reed players as well as drums to the Playboys.

The addition of steel guitar whiz Leon McAuliffe in March 1935 added not only a formidable instrumentalist but a second engaging vocalist. Wills himself largely sang blues and sentimental ballads.

With its jazz sophistication, pop music and blues influence, plus improvised scats and wisecrack commentary by Wills, the band became the first superstars of the genre.

Milton Brown's tragic and untimely death in 1936 had cleared the way for the Playboys.

Session rosters from 1938 show both "lead guitar" and "electric guitar" in addition to guitar and steel guitar in the Texas Playboys recordings.^[25]

Wills' 1938 recording of "Ida Red" served as a model for Chuck Berry's decades later version of the same song - "Maybellene".^[26][27]

About this time Wills purchased and performed with an old Guadagnini violin that had once fetched $7,600 for $1,600, the equivalent of about $24,000 in 2009.^{[12] [28]}

In 1940 "New San Antonio Rose" sold a million records and became the signature song of The Texas Playboys.

The song's title referred to the fact that Wills had recorded it as a fiddle instrumental in 1938 as "San Antonio Rose". By then, the Texas Playboys were virtually two bands: one a fiddle-guitar-steel band with rhythm section and the second a first-rate big band able to play the day's swing and pop hits as well as Dixieland.

The "front line" of Wills' orchestra consisted of either fiddles or guitars after 1944.^[29]

Film career

In 1940 Wills, along with the Texas Playboys, co-starred with Tex Ritter in Take Me Back to Oklahoma.^[30]

Other films would follow. In late 1942 after several band members had left the group, and as World War II raged, Wills joined the Army, but received a medical discharge in 1943.^[31][32][33]

Wills also appeared in The Lone Prairie (1942), Riders of the Northwest Mounted (1943), Saddles and Sagebrush (1943), The Vigilantes Ride (1943), The Last Horseman (1944), Rhythm Round-Up (1945), Blazing the Western Trail (1945), and Lawless Empire (1945). According to one source, he appeared in a total of 19 films.^[21]

Swing Era

After leaving the Army in 1943 Wills moved to Hollywood, moving into a rented house in September,^[34] and began to reorganize the Texas Playboys. He became an enormous draw in Los Angeles, where many of his Texas, Oklahoma and regional fans had also relocated during the Great Depression and World War II in search of jobs.

Monday through Friday the band broadcast from 12:01 to 1:00 p.m. PT over KMTR-AM (now KLAC) in Los Angeles. They also played regularly every Friday, Saturday, and Sunday night at the Mission Beach Ballroom in San Diego.^[35]

He commanded enormous fees playing dances there, and began to make more creative use of electric guitars to replace the big horn sections the Tulsa band had boasted. For a very brief period in 1944 the Wills band included 23 members.,^[32] and around mid year he toured Northern California and the Pacific Northwest with 21 pieces in the orchestra.^[36]

Billboard reported that Wills outgrossed Harry James, Benny Goodman, "both Dorsies, et al." at Civic Auditorium in Oakland, California, in January 1944.^[37]

While on his first cross-country tour, he appeared on the Grand Ole Opry and defied that conservative show's ban on using drums of any sort.

In 1945 Wills' dances were outdrawing those of Tommy Dorsey and Benny Goodman,^[32] and he had moved to Fresno, California. Then in 1947 he opened the Wills Point nightclub in Sacramento and continued touring the Southwest and Pacific Northwest from Texas to Washington State. While based in Sacramento his radio broadcasts over 50,000 watt KFBK^{[disambiguation needed]} were heard all over the West.^[38]

Famous swing orchestras in California realized that many of their followers were leaving to dance to Bob Will's Western swing. Because he was in such demand, some places booked Wills any time he had an opening, regardless of how undesirable the date.

The manager of a popular auditorium in the LA Basin town of Wilmington, California: "Although Monday night dancing is frankly an experiment it was the only night of the week on which this outstanding band could be secured."^[35]

During the postwar period, KGO radio in San Francisco syndicated a Bob Wills and His Texas Playboys show recorded at the Fairmont Hotel. Many of these recordings survive today as the Tiffany Transcriptions,^[1] and are available on CD.

They show off the band's strengths significantly, in part because the group was not confined to the three-minute limits of 78 RPM discs. They featured superb instrumental work from fiddlers Joe Holley and Louis Tierney, steel guitarists Noel Boggs and Herb Remington, guitarists Eldon Shamblin and Junior Barnard and electric mandolinist-fiddler Tiny Moore.

The original recorded version of Wills' "Faded Love", appeared on the Tiffanys as a fairly swinging instrumental unlike the ballad it became when lyrics were added in 1950.

On April 3, 1948, Wills and the Texas Playboys appeared for the inaugural broadcast of the Louisiana Hayride on KWKH, broadcasting from the Municipal Auditorium in Shreveport, Louisiana.

Wills and the Texas Playboys played dances throughout the West to more than 10,000 people every week. They held dance attendance records at Jantzen Beach in Portland, Oregon; Santa Monica, California, and at the Oakland (California) Auditorium, where they drew 19,000 people in two nights.^[39]

Wills also broke an attendance record of 2,100 previously held by Jan Garbner at the Armory in Klamath Falls, Oregon, by attracting 2,514 dancers.^[39]

WIlls and the Playboys also played small towns on the West Coast. Actor Clint Eastwood recalled seeing Wills when he was 18 or 19 (1948 or 1949) and working at a pulp mill in Springfield, Oregon.^[40]

Appearances at the Bostonia Ballroom in San Diego continued throughout the 1950s.^[41]
Still a binge drinker, Wills became increasingly unreliable in the late 1940s, causing a rift with Tommy Duncan (who bore the brunt of audience anger when Wills's binges prevented him from appearing). It ended when he fired Duncan in the fall of 1948.

Later years

Having lived a lavish lifestyle in California, Wills moved back to Oklahoma City in 1949, then went back on the road to maintain his payroll and Wills Point. He opened a second club, the Bob Wills Ranch House in Dallas, Texas.

Turning the club over to managers later revealed to be dishonest left Wills in desperate financial straits with heavy debts to the IRS for back taxes that caused him to sell many assets including, mistakenly, the rights to "New San Antonio Rose." It wrecked him financially.

In 1950 Wills had two Top Ten hits, "Ida Red Likes the Boogie" and "Faded Love". After 1950 radio stations began to increasingly specialize in one form or another of commercially popular music.

Wills did not fit into the popular Nashville country and western stations, although he was usually labeled "country and western". Neither did he fit into the pop or middle of the road stations, although he played a good deal of pop music, and was not accepted in the pop music world.^[42]

He continued to tour and record through the 1950s into the early 1960s, despite the fact that Western swing's popularity, even in the Southwest, had greatly diminished. Bob could draw "a thousand people on Monday night between 1950 and 1952, but he could not do that by 1956. Entertainment habits had changed."^[43]

On Wills' return to Tulsa late in 1957, Jim Downing of the Tulsa Tribune wrote an article headlined "Wills Brothers Together Again — Bob Back with Heavy Beat". The article quotes Wills as saying, "Rock and Roll?

Why, man, that's the same kind of music we've been playin' since 1928!...We didn't call it rock and roll back when we introduced it as our style back in 1928, and we don't call it rock and roll the way we play it now. But it's just basic rhythm and has gone by a lot of different names in my time. It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important."^[44]

The use of amplified guitars accentuates Bob's claim, some Bob Wills recordings from the `30's and `40's sound similar to rock and roll records in the `50's.

Even a 1958 return to KVOO, where his younger brother Johnnie Lee Wills had maintained the family's presence, did not produce the success he hoped for. He appeared twice on ABC-TV's Jubilee USA and kept the band on the road into the 1960s.

After two heart attacks, in 1965 he dissolved the Texas Playboys (who briefly continued as an independent unit) to perform solo with house bands. While he did well in Las Vegas and other areas, and made records for the Kapp Records label, he was largely a forgotten figure — even though inducted into the Country Music Hall of Fame in 1968.

A 1969 stroke left his right side paralyzed, ending his active career.
The May 26, 1975 issue of TIME (Milestones section) read: "Died. Bob Wills, 70, "Western Swing" bandleader-composer; of pneumonia; in Fort Worth.

Wills turned out dance tunes that are now called country rock, introducing with his Texas Playboys such C & W classics as Take Me Back to Tulsa and New San Antonio Rose".^[45]

Source: Wikipedia

TTFN 

CYA Later Taters

Thanks for watching. 

Donnie/ Sinbad the Sailor Man

P.S. Everybody Needs Traffic! Get Top Tier North American Traffic Here!
 

Bob Wills and His Texas Playboys~ "Time Changes Everything" (1940)

Uploaded on Dec 6, 2008

From the film, Blazing the Western Trail, with Charles Starrett as the Durango Kid, with music by Bob Wills and The Texas Playboys, with Tommy Duncan as Lead.

James Robert Wills (March 6, 1905 – May 13, 1975), better known as Bob Wills, was an American Western swing musician, songwriter, and bandleader. Considered by music authorities as the co-founder of Western swing,^[1][2][3] he was universally known as the King of Western Swing.

Wills formed several bands and played radio stations around the South and West until he formed the Texas Playboys in 1934 with Wills on fiddle, Tommy Duncan on piano and vocals, rhythm guitarist June Whalin, tenor banjoist Johnnie Lee Wills, and Kermit Whalin, who played steel guitar and bass.

The band played regularly on a Tulsa, Oklahoma radio station, and added Leon McAuliffe on steel guitar, pianist Al Stricklin, drummer Smokey Dacus, and a horn section that expanded the band's sound. Wills favored jazz-like arrangements and the band found national popularity into the 1940s with such hits as "Steel Guitar Rag", "New San Antonio Rose", "Smoke on the Water", "Stars and Stripes on Iwo Jima", and "New Spanish Two Step".

Wills and the Texas Playboys recorded with several publishers and companies, including Vocalion, Okeh, Columbia, and MGM, frequently moving. In 1950, he had two top ten hits, "Ida Red Likes the Boogie" and "Faded Love", which were his last hits for a decade.

Throughout the 1950s, he struggled with poor health and tenuous finances, but continued to perform frequently despite the decline in popularity of his earlier music as rock and roll took over. Wills had a heart attack in 1962 and a second one the next year, which forced him to disband the Playboys although Wills continued to perform solo.

The Country Music Hall of Fame inducted Wills in 1968 and the Texas State Legislature honored him for his contribution to American music. In 1972, Wills accepted a citation from the American Society of Composers, Authors and Publishers in Nashville.

He was recording an album with fan Merle Haggard in 1973 when a stroke left him comatose until his death in 1975. The Rock and Roll Hall of Fame inducted Wills and the Texas Playboys in 1999.

Bob Wills
Background information
Birth name	James Robert Wills
Also known as	"Jim Rob" and "Bob"
Born	March 6, 1905
Origin	near Kosse, Texas, United States
Died	May 13, 1975 (aged 70) Fort Worth, Texas, United States
Genres	Western swing
Years active	1929–1969
Labels	Vocalion, OKeh, Columbia, MGM, Liberty
Associated acts	Light Crust Doughboys, The Texas Playboys
Notable instruments
fiddle

Biography

Early years

He was born on a farm near Kosse, Texas,^[4] in Limestone County near Groesbeck, to Emma Lee Foley and John Tompkins Wills.^[5] His father was a statewide champion fiddle player^[6] and the Wills family was either playing music, or someone was "always wanting us to play for them," in addition to raising cotton on their farm.

In addition to picking cotton, the young Jim Bob learned to play the fiddle and the mandolin. Both a sister and several brothers played musical instruments, while another sister played piano. The Wills family frequently held country dances in their home, and there was dancing in all four rooms. While living in Hall County, Texas they also played at 'ranch dances' which were popular in both North Texas and eastern New Mexico.^[7]

Wills not only learned traditional music from his family, he learned some Negro songs directly from African Americans in the cotton fields near Lakeview, Texas and said that he did not play with many white children other than his siblings, until he was seven or eight years old. African Americans were his playmates, and his father enjoyed watching him jig dance with black children.^[8]

"I don't know whether they made them up as they moved down the cotton rows or not," Wills once told Charles Townsend, author of San Antonio Rose: The Life and Times of Bob Wills, "but they sang blues you never heard before."^[9]

New Mexico and Texas

The family moved to Hall County in the Texas Panhandle in 1913,^[10] and in 1919 they bought a farm between the towns of Lakeview and Turkey.^[11] At the age of 16 Wills left the family and hopped a freight train. "Jim Rob", as he became known, drifted for several years, traveling from town to town to try to earn a living, at one point almost losing his life when he nearly fell from a moving train, and later being chased by railroad police.^[12][13]

In his 20s he attended barber school, got married, and moved first to Roy, New Mexico then returned to Turkey in Hall County (now considered his home town) to work as a barber at Hamm's Barber Shop. He alternated barbering and fiddling even when he moved to Fort Worth after leaving Hall County in 1929. There he played in minstrel and medicine shows, and, as with other Texas musicians such as Ocie Stockard, continued to earn money as a barber.

 He wore blackface makeup to appear in comedy routines, something that was common at the time. "He was playing his violin and singing." There were two guitars and a banjo player with him. "Bob was in blackface and was the comic; he cracked jokes, sang, and did an amazing jig dance."^[14]

Since there was already a "Jim" on the show, the manager began calling him "Bob."^[14] However, it was as "Jim Rob Wills," paired with Herman Arnspiger, that he made his first commercial (though unissued) recordings in November 1929 for Brunswick/Vocalion.^[15]

Wills was known for his hollering and wisecracking. One source for this was when, as a very young boy, he would hear his father, grandfather, and cowboys give out loud cries when the music moved them.^[16]

When asked if his wisecracking and talking on the bandstand came from his medicine show experience, he said it did not. Rather, he said that it came directly from playing and living close to Negroes, and that he never did it necessarily as show, but more as a way to express his feelings.^[17]

While in Fort Worth, Wills added the "rowdy city blues" of Bessie Smith and Emmett Miller to a repertoire of mainly waltzes and breakdowns he had learned from his father, and patterned his vocal style after that of Miller and other performers such as Al Bernard.^[18]

Wills acknowledged that he idolized Miller. Furthermore, his 1935 version of "St. Louis Blues" is nearly a word-for-word copy of Al Bernard's patter on his 1928 recording of the same song.^[19]

The fact that Wills made his professional debut in blackface was commented on by Wills' daughter, Rosetta: "He had a lot of respect for the musicians and music of his black friends," Rosetta is quoted as saying on the Bob Wills and the Texas Playboys Web site. She remembers that her father was such a fan of Bessie Smith, "he once rode 50 miles on horseback just to see her perform live."^[9]

 (Wills is quoted as saying, "I rode horeseback from the place between the rivers to Childress to see Bessie Smith...She was about the greatest thing I had ever heard. In fact, there was no doubt about it. She was the greatest thing I ever heard."^[20]

In Fort Worth, Wills met Herman Arnspinger and formed The Wills Fiddle Band. In 1930 Milton Brown joined the group as lead vocalist and brought a sense of innovation and experimentation to the band, now called the Light Crust Doughboys due to radio sponsorship by the makers of Light Crust Flour.

 Brown left the band in 1932 to form the Musical Brownies, the first true Western swing band. Brown added twin fiddles, tenor banjo and slap bass, pointing the music in the direction of swing, which they played on local radio and at dancehalls.^[21]

Wills remained with the Doughboys and replaced Brown with new singer Tommy Duncan in 1932. He found himself unable to get along with future Texas Governor W. Lee "Pappy" O'Daniel, the authoritarian host of the Light Crust Doughboy radio show. O'Daniel had parlayed the show's popularity into growing power within Light Crust Flour's parent company, Burrus Mill and Elevator Company and wound up as General Manager, though he despised what he considered "hillbilly music."

 Wills and Duncan left the Doughboys in 1933 after Wills had missed one show too many due to his sporadic drinking.

Wills recalled the early days of what became known as Western swing music in a 1949 interview.^[22] "Here's the way I figure it. We sure not tryin' to take credit for swingin' it." Speaking of Milt Brown and himself working with songs done by Jimmie Davis, the Skillet Lickers,^[23] Jimmie Rodgers, and others, and songs he'd learned from his father, he said that "We'd pull these tunes down an set 'em in a dance category.

It wouldn't be a runaway, and just lay a real nice beat behind it an the people would get to really like it. It was nobody intended to start anything in the world. We was just tryin' to find enough tunes to keep 'em dancin' to not have to repeat so much."

Wills is also quoted as saying, "You can change the name of an old song, rearrange it and make it a swing." "One Star Rag," "Rat Cheese under the Hill," "Take Me Back to Tulsa," "Basin Street Blues," "Steel Guitar Rag," and "Trouble in Mind" were some of the songs in his extensive repertory.^[24]

^{Source: Wikipedia} 

<sup>TTFN CYA Later Taters
Thanks for watching.

Donnie/ Sinbad the Sailor man</sup>