Lost 50's Rockers From Florida

Here we have a collection of singers and musicians from a TV show called "The Velda Show" on WFGA-TV of Jacksonville Florida circa 1958. The names are unknown aside from one exception. It's assumed they were aall local amateurs, most of them are clearly young again with the same exception. The teens are reportedly from Paxon High School. It is possible some of them might have recorded for a small local label as singer Johnny Tillotson who would have a few minor hits appeared on the same show.

UNKNOWN GIRL SINGER ~ "I AIN'T GONNA WORRY";


This girl is doing a number in a Rockabilly hiccup style. While she seems a little nervous she does a good solid job here. If she is indeed a student she's clearly senior but it's eqaully possible she's a bit older and not a student at all and may actually be a semi-professional singer and she's good enough that some label might have recorded her. The song is a cover of a Gale Storm hit from a few years earlier. There is also a Mississippi Fred McDowell song with the same title from around the same time that would be covered by contemporary Skiffle bands but it's a different song.

GALE STORM ~ "I AIN'T GONNA WORRY";



~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
UNKNOWN BAND ~ "STEEL GUITAR BOOGIE";


The band here is almost certainly Johnny Tillotson's backing band judging by the "Johnny" logo on the bass drum. They are obviously not students. They are clearly an experienced band and they have no less than three solos. The song is basically riffing on Arthur Guitar Boogie Smith's 1949 insturmental hit "Guitar Boogie". Steel guitar player Bill Echols (1930-2001) would go on to a successful career as a session musician. The other players are unknown but the studio records from Johnny Tillotson's recording session for Cadence Records that year would probably name them assuming those records survive and he used them on the session. In fact as of this writing Johnny is still alive so he might know.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
UNKNOWN DOO WOP GROUP ~ "THE BOOK OF LOVE";

We can safely assume these guys were students. They're doing a version of the 1957 hit by the Black Doo-Wop group the Montones but it's pretty obvious their roots are not Black Doo-Wop but White vocal groups like the Four Freshmen and Four Lads and Country vocal groups like the Jordinaires and the Blackwood Brothers with their stiff four part harmonies showing no actual R&B influences and this song is probably outside their normal comfort zone. By 1958 a many of these White Vocal groups hwere trying their luck with Doo-Wop after the success the Crewcuts had had in doing so. While the older White style of harmonizing was still popular of the campuses of White schools and colleges for a little while yet however it's days as a Pop hit genre were over so it's unlikey these guys went anywhere. Note the sound cuts out halfway through.

THE MONOTONES ~ "THE BOOK OF LOVE";


Note the dramatic differences in the vocal styles between the original Montones version and the cover. It's not just that the Monotones is better, which is clearly is, but their vocal influences are completely different. One is classic R&B Doo-Wop the other is basically Barbershop Quartet. Note also that the top ten hits chart shown at the start of this video shows that not only "The Book Of Love" but also "Lollipop" and "Who's Sorry Now" were all on the charts and would also be covered on this show. These sort of opportunistic covers were not unusual at the time.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
UNKNOWN GIRL GROUP ~ "LOLLIPOP";


UNKNOWN GIRL GROUP ~ "ALL I HAVE TO DO IS DREAM";


This group do a cover of the Chordettes 1958 Pop hit "Lollipop" and the Everly Brothers hit "All I Have To Do Is Dream" although the melody being used on the latter is also taken from an early 50's pop piano instrumental hit I can't remember the name of. Once again their influences are more from the pre-R&R era white Pop acts like the Chordettes and McQuire Sisters than R&B girl groups like the Chantells.

THE EVERLY BROS ~ "ALL I HAVE TO DO IS DREAM";


THE CHORDETTES ~ "LOLLIOP";


~~~~~~~~~~~~~~~~~~~~~~~~~~
UNKNOWN GIRL SINGER ~ "WHO'S SORRY NOW";


This girl looks a bit older than the others and she sings this Connie Francis hit in the style of a 1940's torch singer where the original was done in a more smooth crooning style. Mind you it would have been hard to croon this one with that out of tune piano honky tonk piano backing. The Francis version was a hit in

CONNIE FRANCIS ~ "WHO'S SORRY NOW";


~~~~~~~~~~~~~~~~~~~~~
The main guest for this show was Johnny Tillotson who the same year would be signed to Cadence Records and would go on to hae some minor Pop hits into the early 1960's

JOHNNY TILLOTSON ~ "BLUE BLUE DAY";


JOHNNY TILLOTSON ~ "I'M GONNA WALK & TALK WITH MY LORD";


JOHNNY TILLOTSON ~ "SEND ME THE PILLOW THAT YOU DREAM ON";


JOHNNY TILLOTSON & UNKNOWN GIRL SINGER ~ "GIVE ME A LITTLE KISS";


The material here ranges from a R&R ballad, a C&W ballad, a Country Gospel song and a Pop duo. He's using the teens from the previous numbers as backing vocal groups but the girl he's doing the duet is not from the earlier songs and seems to be a professional who is used to working with him. Maybe he remembers her name. Tillotson would have hits into the R&R era but he was always more of a Pop Teen Idol than a Rockabilly singer.

JOHNNY TILLOTSON ~ "TALK BACK TEMBLING LIPS";


JOHNNY TILLOTSON ~ "EARTH ANGEL";

Lost Toronto Bands; Sleeze

Back in the summer I stumbled across some photos of all-girl Toronto band from the 70's band called the Sleeze which had originally been posted on Facebook by a photographer who couldn't remember anything about them. Intrigued I reposted them asking if anybody knew anything about them and while nobody did plenty of people were fascinated (especially the gals in the Curse, B-Girls & Toronto) so I kept digging. I contacted the photographer who had worked for "The Agency" (Toronto's biggest music bookers in the 70's) but he didn't have any more info but he's still digging through his files though and promised to get back if he finds anything else. Then somebody found an article about the retirement of Lesley Soldat who had worked in radio which mentioned that she had been in such a band in the 70's so I tracked her down, sent her the pics and asked if that was indeed her band and she got back (probably after getting over her surprise and deciding I wasn't a total weirdo) and confirmed that it was.



So after a few more emails here's the story; Lesley was a model, artist & scenester in early 70's Toronto who decided to form a band with some friends circa 1971 in spite of not being an actual musician (yet). Once they figured things she would play bass she bought herself a second hand Fender Jazz Bass and went to work. There were a few lineup changes over the course of a few years. The orignal band was called Mama Rues Jive Band with members Lesley Soldat (bass), Christine Bissonette (drums), Dee McGraw, Martha Smith and Gail Moss. The line up for the band in the promo shot were; Lesley (bass), 16 year old Lucy Faiella (guitar), Charni (last name unknown at present) (keys & vocals) & Christine Bissonette (drums). Leslie explained that when she started the band she didn't actually play an instrument so until she could afford a bass she jammed on spoons which is somehow both Punk Rock AND Hillbilly (or Newfie) at the same time. By contrast Lucy who was only 16 had been playing guitar since she was eight. The pictures already posted show her new Strat but she already had a Tele and practiced 8 hours a day.


L-R; MOIRA CONNOLLY (vocals & guitar), LESLEY SOLDAT (bass), LUCY FAIELLA (guitar)

The rehearsal shots were an later lineup with Patti Burns (drums) and Moira Connolly on vocals. There was also a new keyboard player Pam Marsh who may not have been present at that date. Lesley says that Marsh & Faiella were more experienced musicians describing Lucy's guitar as "Red Hot" calling her the star of the band and described them as having a "Punk Rock attitude" even if the term wasn't commonly in use for a few more years. They predated the Runaways by a few years and gigged regularly for the next few years but mostly in Scarborough at clubs like the White Castle, Knob Hill & Running Pump although they did play Larry's a few times in it's early days as it switched from being a strip club.


LUCY FAIELLA

They never released anything although they did record some demos which are probably long gone and broke up some time in the mid-70's. The fact that they spent most of their career in Scarborough (when the subway stopped at Vic Park BTW and it was literally a different town), never released anything and broke up just before the Punk scene really started around 77 explains why they got forgotten until now.


PATTY BURNS

I told her if they had just stuck around a few more years they would have been part of that scene and those recordings would be collector's items now (so would the drummer's t-shirt, I would totally wear that) but what are you gonna do? Lesley went on to play with McKenna-Mendelson Mainline before moving into radio and becoming a painter. At least a couple of the other girls continued on in music in some way but she's lost track of them.


L-R; MOIRA CONNOLLY & LESLEY SOLDAT

After the initial post a couple of the gals did in fact get in touch or turn up. First we have a colour band pic sent by keyboardist Pam Marsh who stumbled onto the original post and sent it in. In this lineup we have left-to-right; Pam Marsh (keys), Lucy Faiella (guitar), Lesley Soldat (bass), Patti Burns (drums) as Pool Sharks in all their 1970's Scarborough glory.


L-R; PAM MARSH (keys), LUCT FAIELLA (guitar), LESLEY SOLDAT (bass), PATTY BURNS (drums)

Also guitarist Lucy got in touch and shared a couple demos of her next band she formed with drummer Patti called Lupa (name taken from their names Lucy and Patti) later adding singer Shirley Neuman and Windsor bassist Lynne Wilson (AKA Lynne Serridge) who had played in Detroit with the Quatro Sisters in their band Cradle after Suzi Quatro left for a solo acreer in the UK. Lupa recorded some demos around 1975. More importantly for everyone who wanted to know what they sounded like while the demos Sleeze recorded are probably long lost Lucy did forward these two Lupa demos being as close as we are likely to get as the original Sleeze demos are considered long lost and of poor sound quality anyway.


LUCY FAIELLA

The first is "Brush Cut" which was a Sleeze song written by the teenage Lucy about their manager who she was pissed at. Thus it's a reasonable facsimile of Sleeze's basic Punky approach although the sound quality is not great and both insist that the Sleeze version was far angrier and more aggressive. It shows them as a proto-punk band like early Flamin Groovies, it has a good groove and some blazing guitar and strong drumming. Lucy insists it's really missing Leslie's aggressive bass though and the Sleeze version was stronger.

LUPA ~ "BRUSHCUT";


The second "Hold On" was a 70's rock ballad Lucy was less happy with. By this point their manager was probably trying to mold them into a Canadian Fanny who were getting some buzz at the time (although it didn't last). It's OK and would have made a decent album track and it does have not one but two classy guitar solos but if their manager thought this type of 70's FM radio fare was going to get them their break he was a) completely missing the coming trends as this sort of 70's stuffiness was about to be blown out of the water by the coming hordes of Glam/Glitter, Punk & Power Pop and b) didn't understand what he actually had here. At any rate Lucy was not impressed and they broke up too.

LUPA ~ "SHIRLEY J";


Various members did go on to other thing with drumer Patty and singer Moira starting an all-girl Hair Metal Apple Viper in the 80's which gigged regularly. Lucy and Lupa singer went on to play as country rockers Lynne & the Rebels until Lynne moved on to Windsor and went on to record a couple Country albums in the early 90's.

LYNNE & THE REBELS ~ "IS IT OVER";


Lesley as stated worked until recently in the industry side of things with consoderable success. As one might expect they all ended up getting married. Original members Martha Smith and Gail Moss died years ago.


LUCY FAIELLA

Speaking of Scarborough I actually grew up a few blocks away from the White Castle on Kingston rd (which is not be confused with the American hamburger chain) where the Sleeze played a lot of gigs. Of course it wasn't a club anymore by then. I think it's condos now because of course it is.


THE WHITE CASTLE TAVERN PROBBALY IN THE 1950's

The Knob Hill was on Eglington rd and was a notorious dive bar that had strippers during the day and at night became the place in 1970's and 80's Scarborough to see bands like Teenage Head, Max Webster, Moxy, Toronto, Goddo, Arson and Lee Arron and was commonly referred to a the Knobby. In the 90's it became a strip club under the name Caddy's in the 90's and was finally demolished in 2020. Anybody who went to the Knobby, Larry's or the White Castle more than once is now considered immune to COVID and most other infectious virises.


THE KNOB HILL BEFORE


AND AFTER

Incidentally if any remaining members of the Sleeze should read this (Hi BTW) you may want get in back in touch. As for everyone else who showed an interest; meet Lesley Soldat and Lucy Failela and thanks to everyone who chipped in with clues, this was a fun piece of musical detective work now we just have to find those demo tapes🎸

CRADLE ~ "LAST LAUGH";




APPLE VIPER

Happening This Thursday Aug 15

THE PARKDALE REBELS ~ "THE PARKDALE WALTZ";


THE PARKDALE REBELS ~ "REBEL RUMBLE" (live at CIUT);


THE JANZEN BOYS ~ "LONG WAY HOME";


THE JANZEN BOYS ~ "ONE FOR THE ROAD";


JOHN BORRA ~ "HOMBRE & DOLORES";

The Real Outlaw Country

BEYONCE' ~ "JOLENE";



I have no interest in Beyoncé, and don't care about her C&W album but I have been fun to watch for those fragile white dudes offended about a black R&B artist doing country like this has never happened before. Besides the usual professional trolls at FOX like Greg Gutfield who has done multiple segments referring to it as "cultural appropriation" (seriously, stop giving Republicans dictionaries) this week has seen the unasked for return of a washed up eighties Country singer John Schneider who not satisfied with the usual angry washed up white guy bleating has kicked off a boycott. Also not satisfied with boycotting the album itself (which OK, fine, don't buy it) he's inspired his own pitchfork wielding mob to barrage Country radio stations with demands to cancel Beyonce. This sort of hicktovism was successful back in the 2000's in cancelling the Dixie Chicks who had been genuine Country stars. Country radio is incredibly conformist and a bare handful of white guys actually do have the power to ban literally any artist at the drop of a hat, they also buried Faith Hill's pop crossover album in the 2010's. However, whether they could actually be bothered to take the time to ban an album they aren't planning to give much airtime to anyway is another matter.

CHARLEY PRIDE ~ "KISS AN ANGEL THIS MORNING";


As for John Schnieder, while he is being billed in news reports as a "Country singer" he actually owes his (past due) fame to being one of the dudes in the eighties from "Dukes Of Hazzard" who raced around in a car named after Robert E Lee decorated with a Rebel Flag. That show was a huge hit and piggie-backing off of that he made a play at being a Country singer and it's true that he even scored a few hits. However at the time most actual Country artists and critics dismissed him as a pretty-boy poser coasting on his TV fame kind of like a Nashville Frankie Avalon or Fabian. Assuming Frankie Avalon or Fabian were Confederate apologists. And assholes. So the next time the dumber Duke Boy whines that Beyonce, who is an actual singer, hasn't paid her dues he should sit this one out. You may remember that General Lee car that had a horn that blared "Dixie"? That car was literally more musically relevant than John Schneider.

Setting aside the usual silliness it's been fascinating to watch mediocre white dudes gnashing their teeth and rending their garments over the insult of a Black R&B star disrespecting sacred Country music. No less a figure than Dolly Parton herself has proclaimed herself a fan of Beyonce's cover as has Willie Nelson and Carlene Carter, a member of Country royalty as a member of the Carter Family and step-daughter of Johnny Cash. Maybe, just maybe they know more about Country music than John Schneider let alone Greg Gutfield or Steven Crowder. Maybe they also know more about the history of black Blues and R&B artists recording Country music.

People have rightly pointed out that Charley Pride had a long successful career as a Country singer but Pride was always a Country singer from the start and never recorded any Blues or R&B. He probably could have done so but was always concerned about maintaining his hard won credibility with his white Country audience so he never did. But you know what black Blues, Jazz or R&B artists went Country?

RAY CHARLES ~ "I'M MOVING ON";


Ray Charles, The Supremes, Bobby Womack, Louis Armstrong, Andre Williams & rural Blues singer Scott Dunbar did entire albums of Country songs. Ray Charles actually did more than one. Whitney Houston's biggest hit was a Dolly Parton cover (which Dolly loved). The Pointer Sisters had a song ("Fairy Tale"), which actually won a Country Grammy in 1974. Singer/guitarist Chris Thomas King appeared in the film “Oh Brother Where Art Thou” (2001) and played on the Grammy winning soundtrack. Blues singer Pink Anderson had previously recorded "In The Jailhouse Now" (1961) one of the songs on that soundtrack. Hootie & the Blowfish frontman Darius Rucker has had a successful career. Charlie Parker admired Hank Williams songwriting, Chuck Berry admired Country pickers like Merle Travis, Sugarfoot Garland & Arthur Smith. Howlin' Wolf was a big Jimmy Rodgers fan and said his trademark howlin' moan was inspired by Rodger's famous yodel. Louis Armstrong even played on a few Rodgers singles. Singer and pianist Big Al Dowling played on several Wanda Jackson songs (I interviewed her once and she mentioned him with affection), the late Blues singer John Jackson told me he grew up on Jimmy Rodgers & Uncle Dave Macon records ("All us Black folks loved them"), Ice-T once told me he liked Johnny Cash ("He once shot a man in Reno just to watch him die, that's Gangsta"), Cash was also super popular in Jamaica where he had a vacation house. As an odd historical note during Reagan's invasion of Grenada the US Army's psychological warfare unit set up a Radio Free Grenada and showed up with a stack of Reggae, Ska and Calypso records only to be amazed to get calls requesting Johnny Cash songs. In the 1930's Folklorist John Lomax made field recordings in the Bahamas including a string band doing an early version of the classic Murder Ballad "Delia's Gone" that had been recorded by several singers and would later be recorded by Johnny Cash among others.

THE NASSAU STRING BAND ~ "DELIA'S GONE";


Records made in the 1920's and 40's in Africa by such guitarists as the Kumasi Trio (from Nigeria), Jean Kalafayi (Congo), Midian Ncube (Zimbabwe) and John Bhengu (South Africa) showing the influences of American Country and Blues records that had been circulating in Africa since the 20's. Jim Reeves and Slim Whitman were very popular in South Africa, mostly with whites but they were familiar to black listeners as well. Leadbelly recorded cowboy songs including the classic "Old Chisholm Trail" originally recorded by Harry McClintock. The Pointer Sisters once played the Grand Ole Opry and so did James Brown, James Freaking Brown. They weren't even the first as early as the 20’s Black harmonica player DeFord Bailey was a regular at the Opry and toured with Uncle Dave Macon.

THE POINTER SISTERS ~ "FAIRY TALE";


None of this should really come as a surprise. Most of these artists were themselves Southerners raised on radio at a time when there were few if any radio stations catering to black listeners outside of a few cities like New Orleans and Memphis and Country radio was the only game in town. Beyond that, serious musicians and music nerds love hearing new things and are never afraid or offended by music from other cultures even if they don't end up as fans. If you can't handle that then you don't actually like music or art at all. You certainly don't deserve it. So how about you leave it to those who do and you just stay in your lane, banning books.

PINK ANDERSON ~ "IN THE JAILHOUSE NOW";

Upcoming 2024 Shows; Feb.17!

Celebrate or work out your Post Valentines Blues with the Surf & Turf Sounds Of Canada's Oroginal Surf Punks, Mark Malibu & The Wasagas vs Toronto's newest Girl Garage Gang The Kewpie Dolls plus the mysterious Surf Garage sounds of Vox Confidential. At the Dakota 242 Ossington, doors at 10.




MARK MALIBU & THE WASAGAS ~ "ASTROBOT";


MARK MALIBU & THE WASAGAS ~ "PET CEMETERY";


MARK MALIBU & THE WASAGAS ~ "SEVEN YEAR SURF ITCH";



THE KEWPIE DOLLS;

Professor's Kitzell's Time Machine; In Search Of The Weems String Band

The first generation of recording artists of Jazz, Blues, Gospel and Country music recorded during the 1920's are vitally important to the evolution of their modern descendents as well as their more unruly Rock & Roll cousins but at the same time they can seem as far removed and lost in time as the Dead Sea Scrolls. As dusty and cobweb encrusted as a forgotten box of 78's themselves. Part of this is just the sound of the records themselves, some with as much scratch, pop and hiss as the broadcast from the Apollo 11 astronauts. Then there's the way 78's actually feel in your hand, heavy but fragile. Mostly there's the fact that for some of these artists are complete enigmas about whom virtually nothing is known, even some important names. Blind Blake, one of the most important of the early Blues guitarists, is still almost a total mystery.



Blake was one of the most important early Blues guitarists and yet he is ghostly figure with only one known photo and the official bio from Paramount Records claiming he was from Jacksonville, Florida while modern researchers have claiming his accent suggests the Sea Islands off the Atlantic Coasts of Florida, Georgia and South Carolina while another scholar found what appears to be his death certificate claiming his birthplace as Virginia. His reported death around 1934 is a mystery as well with contemporary Rev Gary Davis claiming he had been killed by a streetcar while Big Bill Broonzy reported he had died in the streets of Chicago in a winter snowstorm having had a heart attack brought on by obesity and dying of exposure. The latter seems at odds with the known photograph which shows Blake as not being fat at all and it's more likely Broonzy confused Blind Blake with Blind Lemon Jefferson who reportedly did die in pretty much that fashion in 1929 and who actually was fat. That's where things stood until modern researchers unearthed his death certificate reporting he died rather more prosaically of pneumonia and tuberculosis in Glendale, Wisconsin, not far from Paramount Records, in 1934. Then there's Gospel singer Washington Phllips, who recorded several singles of such a uniquely ethereal quality that to this day scholars fight over what instrument he even played. The only grainy photo of him clearly shows him holding two zithers in a promo pic but for decades most scholars have insisted that actually played the Dolceola, an obscure small keyed instrument. His birth remains unknown but for many years it was reported that he had died in an insane asylum in 1938 until modern research turned up records of him dying in 1954 of injuries after a fall.



If some black Blues and Gospel artists are mysteries, many white Old Time Country artists are equally so. One such obscurity is the Weems String Band, who have fascinated scholars and folklorists even though they only recorded one known single in 1928. That single was a version of the well known tune "Greenback Dollar" backed with a likely improvised original "Davy" which basically sounds like the same song albeit with lyics which might be offensive if we fully could make them out. Not on the surface a promising selection but Old Time fiddle nerds have fixated on the unique playing style of the two fiddle players who used fingering positions normally used by classical violinists backed with a bowed cello suggesting some formal training but combined with a clanging banjo and yelping vocals calling out a repetitive chorus resulting in a sound that sounds both crude and driving yet delicate and restrained. After recording their one recording session they disappeared for years. Meanwhile as the Weems String Band receded into the mists of the Appalachia Mountains for decades their one odd single attracted the attention of devoted fans of Old Time Country and record collectors including the artist R Crumb who used the then only known photo of the band for an illustration on one of his collection of "Pioneers Of Old Time Country Music" trading cards in the 80's. The information then given told little more than the names of four of the members and that they hailed from Perry County, Tennessee, with the band including brothers Dick and Frank Weems on fiddles, brother Jesse on bowed cello and cousin Alvin Conder on banjo and vocals with two unknown younger members on guitar and banjo. And for another twenty years that's where things sat.


R CRUMB ILLUSTRATION

In 2000 brought the news that the photo that was used as the basis for the Crumb illustration with the two younger players on either side who had not actually been on the recording session. When Crumb was informed of this he updated the drawing to remove the two younger players in an illustration published in the "New Yorker" magazine in 2001. The internet age allowed for more amateur sleuthing starting with a posting on the website Banjo Hangout in 2008 asking for info on the band and it turned out there were actual folks from Perry County who dropped in including a claimed descendant who reported that the other two members shown on the card were Atlas "Dodge" Conder and Ray "Doc" Hinson who was Dick Weems' stepson the latter of whom was as of 2008 still alive and so could fill out more missing pieces.

THE WEEMS STRING BAND ~ "GREENBACK DOLLAR";


The version of the Weems Stringband that made their only single was indeed a four piece of the three Weems Brothers and Conder who piled into their Model T Ford and travelled to Memphis to do a recording session for Columbia records in 1927. They had apparently planned on recording a few instrumental fiddle jams which was their prefered genre and common fare in rural county fair hoedowns which could go on for hours. However once they got to the studio the producer turned them away saying they were not interested in instrumentals which did not sell very well and if the band wanted to record (and get paid) they had better come back with some proper songs. Therefore the Weems boys and Conder trudged back to their hotel room and pieced together a version of the basic lyrics to the standard "Greenback Dollar" and another tune, did the session, collected their $100 fee and went home. The fairly structure-free, repetative nature of the two songs suggests these songs could have indeed gone on for several more minutes in a hoedown as do the fragmentary and largly incomprehensible lyics which basically consist of the chorus called out periodically to keep things moving.

The resulting record was released the next year which given how fast record companies worked back then suggests it wasn't exactly a top priority and while it wasn't a hit but seems to have done well enough that Columbia Records made an attempt to lure the Weems boys back for another session. However record keeping in 1928 was fairly lax and Columbia apparently lost track of the band and reportedly thought they were from Arkansas and after a half-hearted attempt to contact them gave up. Given that 1929 brought the stock market crash and the Great Depression which led to a steep decline in the recordings of both Blues and Country artists they probably didn't search too hard.


UPDATED ILLUSTRATION

After that the Weems boys continued on playing locally for many years eventually adding the younger Atlas "Dodge" Conder and Ray "Doc" Hinson to the band. Hinson was not born until 1933 so the existing photo of the band which includes him apparently in his teens must have been taken sometime in the forties over a decade after the recording session. Alvin Conder reportedly played at the Grand Ole Opry in some capacity although there is no record of the Weems String Band playing there so he must have played backing up another singer or band.

The Weems boys got their musical background from their father WT Weems who ran the local general store and post office in the village of Mouse Landing which sounds like the sort of place Frodo Baggins would do his shopping. However besides the store WT was also known as an expert fiddler and he passed that on to his sons which begs the question that has puzzled Old Time Fiddle conisures, namely did he teach the boys their unique classically inspired fiddle style and if so where did he pick it up? That is still a question unanswered and likely to remain so.


ORIGINAL PHOTO

In 2008 Ray Hinson was described as "getting up in years" but still happy to talk about the old days of the Weems band and it's a pity that no researcher bothered to make the trek to Perry County and interview him as he was likely the last surviving member of Old Time Country and Blues musicians immortalized by R Crumb and a last link with the early days of C&W music. The only partial updating of the record was a 2013 short video doc made by the Arts Center Of Cannon County which also includes some info on patriarch WT Weems and a few more photos. (although be aware that some of the photos used appear to be random and may not have any actual connection with the Weems Band, the video doesn't specify)

"THE WEEMS STRING BAND" (2013 doc);


Speaking of amateur sleuthing on a whim I decided to do some of my own and discovered the graves of some of the Weems band along with a few other details. In fact the Weems clan were locally prominent enough to have their own cemetery which I found a record of here; https://www.tngenweb.org/records/perry/cemeteries/weems
And another here; http://files.usgwarchives.net/tn/perry/cemeteries/weemscem47gcm.txt

Weems Cemetery is on State Highway Spring Creek area of Perry County being described as well maintained and having over sixty headstones along with possibly several dozen unmarked graves. The gravestones date back as far as the 1890's although there are a couple from the 1860's and the graveyard was still being used sporadically as of 2001. The Weems name shows up twenty seven times and includes bandleader Dick Weems who is shown as having been born in 1888 making him 40 at the time of the recording and dying in 1965 aged 77. There is a Frankie Weems having died in 1933 with no birth date given however as we now know that famous photo which must have been taken in the late forties at the earliest as it includes Ray Hinson who was born in 1933 then this can not be the Frankie we are looking for. However some more searching led to another graveyard at the Howard Methodist United Church north of HWY 412 at the mouth of Cypress Creek. This site can be seen here; https://www.tngenweb.org/records/perry/cemeteries/howard.htm

THE WEEMS STRING BAND ~ "DAVY";


This cemetery is smaller, having about eighty marked graves and an unknown number of unmarked graves. It is not as well tended. Among the marked graves are three more Weems headstones including another Frankie Weems listed as being born on September 20 1879 and dying September 10 1967 which certainly fits with our timeline. Neither cemetery has any stones for Jesse Weems or Alvin Conder so they must have been buried somewhere else unless they are among the unmarked graves mentioned here. We can probably safely assume they're not still around. While Alvin isn't here the Conders (who were referred to as cousins to the Weems) are well represented with seven graves although all but one of these predate the twenties suggesting they moved away at some point. Ray Hinson's mother Virginia is also here, born in 1907 and dying in 1976. The Howard Church does not have any Conder or Hinson graves listed. However remembering that that one of the younger band members who joined later was named Atlas Conder there is a Joseph Atlas Beasley listed (1902-1917) and as Atlas is not exactly a common name and many of these people were clearly related (there are another fourteen Beasleys listed here while back at the Weems cemetery there is another grave which includes three names) he could be yet another cousin who the younger Atlas was named after. Atlas himself became a successful car dealer running the local Dodge dealership which is presumably where he got his name. Back at the Perry Cemetery we do also have a grave for patriarch WT Weems who was born on October 18 1849 and died February 20 1917 aged 68, unfortunately several years too soon to have been recorded himself so whatever fiddle secrets he had he took to the grave.  


WEEMS CEMETERY

As for Ray Hinson I quickly discovered he only died in 2021 aged 88 still living in Perry County. His obit mentions that the Weems String Band kept going at least into the fifties although not as a recording act. After retiring from the music business he ran a housing construction company until he retired in the 1990's, he was also heavily involved in the civic society of Perry County being elected to the school board and church committees for which he also sing in their choir until just before his death. He was described as a great story teller which makes it a shame that nobody thought to interview him as possibly the last surviving link with the pre WW2 era of Old Time Country and rural music as well asthe last suviving subject of R Crumb's iconic trading card collection.


RAY "DOC" HINSON

Cabaret Voltaire Vs Taylor Swift

Of all the possible artists Taylor Swift could have collaborated with Cabaret Voltaire would not have been on the list but this month the team up nobody asked for finally happened. Sort of, as in the UK Swift fans who purchased the vinyl copy of the Swift single "Speak Now" were puzzled and for some appalled to find that due to a mix-up (obscure Cabaret Voltaire référence!) the track was actually a version of the Cab's single "Yashar" dating back to 1983.

CABARET VOLTAIRE  ~  "YASHAR";


UK paper "The Guardian" describes Cabaret Voltaire as "an obscure electronic band" which does not do them justice. formed in the late 70's inn Sheffield, England the Cabs were one of the founders of the first wave of Industrial Music as well as being the genre's most successful and longest lasting icons. Along with Throbbing Gristle the Cabs not only gave the genre not only a name but also a sound (dark, atmospheric, electronic drones with plenty of white noise) and a esthetic (drab, grey, thrift shop, anti-fashion and generic graphics) but even an ideological theory consisting of various threads of Anarchy, art movements Dada, Futurism, Situationism, Constructionism, Pop Art, musical movements Punk Rock, Free Jazz, Avant Garde Classical and thinkers Marshall McLuhan, John Cage, Antoine Artuad, William Buroughs and Alistair Crowley and bands the early Velvet Underground and Roxy Music, Frank Zappa, Tangerine Dream, Kraftwerk, John Coltrane, Ornette Coleman, Albert Ayler, Syd Barrett, Karlheinz Stockhausen and various Kraut Rock bands.  

CABARET VOLTAIRE  ~  "EMPTY WALLS";


Since the 90's what is now known as Industrial Music is basically Metal dance music but the original wave of Industrial bands as laid down by bands like Cabaret Voltaire, Throbbing Gristle, Clock DVA, SPK, Severed Heads, Test Department, Einsturzende Neubauten the more obscure Robert Rental, Jass, Graph and even the early versions of the Human League, OMD and ABC were definitely not danceable and at times barely listenable to most people, and by design. The original Industrial Music bands were hardly bands at all in the traditional sense. Few of them could play any musical instruments, at least not very well. Instead they experimented with cheap analog keyboards, tape collage sound effects, disembodied voices mixed with occasional actual guitar, bass, drums and sax, buried under piles and piles of feedback, white noise and distortion. As Dick Clark would no doubt say (while plugging his ears and running from the room); "It's got no beat and you can't dance to it". After a few years of wild experimentation most of the survivors drifted into Techno Pop (Human League, OMD, ABC) or dance and trance music (Clock DVA, Severed Heads, SPK and the Throbbing Gristle offshoots Psychic TV and Chris & Cosey) with Cabaret Voltaire falling into the latter camp by the late 80's.

CABARET VOLTAIRE  ~  "SHAFT";


Before that however they made the best records of the genre. Formed by Stephen Mallinder, Richard Kirk and Chris Watson, their discography falls into different phases with the first era from about 1975 to 1980 including several singles and the first two albums featuring anti-classics "Nag Nag Nag", and "Mussolini Headkick" which codified the cacophonous wall of noise of the first wave. The second era ran through most of the 80's and focused on dense, atmospheric sound collages which eventually led to some obscure dance club hits including "Yashar" and by the end of the decade resulting in a few straightforward dance club albums which were only moderately successful. In the early 90's they broke up but they reformed a few years later recording a couple of brilliantly intricate albums of electronics and sampling as well as remixing several of their early songs. Founding member Richard Kirk died in 2021.

CABARET VOLTAIRE  ~  "MUSSOLINI HEADKICK";


Cabaret Voltaire is one of those bands I can actually remember discovering. Growing up in the pre-internet 80's it was still possible to stumble on to music you had never heard before and knew nothing about. Sometime around 1985 or 86 I found a secondhand obscure British compilation from 1979 which featured some straightforward Punk bands like the UK Subs, a Sex Pistols offshoot and Irish band the Outcasts, in fact that's why I bought it in the first place. But side two featured early Industrial bands Thomas Leer, Robert Rental and Throbbing Gristle ("United", one of their Techno Pop songs). And then there was the last track, Cabaret Voltaire's "Mussolini Headkick", one of their early singles full of white noise, grinding machinery and disembodied voices. I had never heard anything quite like it and at the time my reaction was pretty much; "What even is this and how is this even a song"? But after a couple of listens I found it oddly fascinating and eventually fell in love with them especially when I heard the Wall Of Noise anti-classic "Nag Nag Nag" which was a better Jesus & Mary Chain (who I was also already a fan of) than actual Jesus & Mary Chain.  

CABARET VOLTAIRE  ~  "NAG NAG NAG";


The song Swifties found themselves subjected to was "Yashar" from their mid period rather than from their early abrasive cacophony but the reaction was mostly horror with terms like "weird", "creepy" and "cursed" but a few of them at least have come to enjoy the tracks calling it "definitely a vibe" so maybe a few of them will discover some new audio worlds. Surviving Cabs member Stephen Mallinder pronounced himself amused by the whole affair.

CABARET VOLTAIRE  ~  "NO ESCAPE";


This is actually not the first time Taylor Swift has had a close encounter of the Industrial kind. A few years ago due to some other technical mix-up (obscure reference call back!) as a few years ago a Taylor Swift track was uploaded onto Spotify which when downloaded turned out to be a couple minutes of white noise. Being a Taylor Swift track it still managed to briefly rocketed to the top of the charts. At the time I recall posting that somewhere in a darkened, cobweb encrusted warehouse Cabaret Voltaire, Throbbing Gristle, SPK and the ghosts of Lou Reed and John Cage are sitting around saying "What the fuck"?

CABARET VOLTAIRE VS QUEEN ~  "WE WILL NAG YOU";


Besides music the Cabs were also pioneers of making videos using Dada techniques of collages and cut-ups of found footage and I've long been using Cabaret Voltaire tracks for my video mashups. Including this one which takes a remix of "Nag Nag Nag" and a short art film by Canadian filmmaker David Rimmer (who also died this year) which gives a good idea of the sonic chaos of early the Cabs.

CABARET VOLTAIRE  ~  "NAG NAG NAG" (remix);


Another I'm quite fond of was one I did for a remix of another early track using another Dada film.

CABARET VOLTAIRE  ~  "IF THE SHADOWS COULD MARCH";


To close out here's another one for which I took the original version of the above song and remixed it myself by slowing it down and mixing it with some found silent film footage.

CABARET VOLTAIRE  ~  "IF THE SHADOWS COULD MARCH" (slowed down remix);


For any Swifties still reading (Hi BTW) here's a remix of "Yashar" the Cabs themselves did at the end of the 80's when they were becoming more of a dance band which you should find less annoying. Enjoy.

CABARET VOLTAIRE ~ "YASHAR" (REMIX);