ACKNOWLEDGMENTS
Many generous people contributed their time, ideas, information, and illustrations to this project. If I have inadvertently omitted a few of their names, the oversight was unintentional.
First, I thank my old friends Rusty York and Bonnie Lou Okum, to whom this book is dedicated. Both are talented performers and pleasant people whose company I have enjoyed for years. I thank them for their patience and continued assistance.
Two other contributors were equally generousZella Nathan, wife of founder Sydney Nathan, and Steven D. Halper, Sydneys nephew and the son of founding co-investors Saul and Dorothy Halper. Without their help and encouragement, I could not have started the book. They opened their homes and scrapbooks to me, and I deeply appreciate their trust and generosity.
I also thank librarian Brian Powers and musician Elliot Ruther for their efforts to restore Kings luster. Brians own research is important, and throughout this project I have appreciated his enthusiasm, good humor, and advice. Elliot has helped organize events that have placed King Records back in the news, and he continues to promote Cincinnatis important place in the nations musical history.
As usual, my deep appreciation and thanks go to my wife and line editor, Cheryl Bauer, for her expert eye, and to Melissa Basilone and John Pearson, my Arcadia Publishing editor and publisher, respectively. All three made the job a pleasure.
Others who helped include Lee Hay of WVXU Radio, Frank Weimann, Steve Lake, Darren Blase, Rick Kennedy, Toby Aydelott, Bob Snyder, Fred Masotti, Charles Spurling, Carl Edmondson, Bob Armstrong, Mike Banks, Shad OShea, Donna Newman, Deborah Delmore, Dick Swaim, Steve Rosen, David Meyers, and Liz Dufour and Ron Wild, my former colleagues at the Cincinnati Enquirer .
Finally, I am indebted to Annette Meurer and Barbara Hudson of Joseph-Beth Booksellers for their continued support of my booksand those of so many other writers.
BIBLIOGRAPHY
Brown, James, and Bruce Tucker. James Brown: The Godfather of Soul . New York: Macmillan, 1986.
Dawson, Jim, and Steve Propes. What Was the First Rock n Roll Record? Boston: Faber and Faber, 1992.
. 45 RPM: The History, Heroes & Villains of a Pop Music Revolution. San Francisco: Backbeat Books, 2003.
Gentry, Linnell. A History and Encyclopedia of Country, Western, and Gospel Music . Nashville, TN: Clairmont Corporation, 1969.
Kennedy, Rick, and Randy McNutt. Little LabelsBig Sound: Small Record Companies and the Rise of American Music . Bloomington, IN: Indiana University Press, 1999.
McNutt, Randy. Guitar Towns: A Journey to the Crossroads of Rock n Roll . Bloomington, IN: Indiana University Press, 2002.
. We Wanna Boogie: An Illustrated History of the American Rockabilly Movement . Hamilton, OH: HHP Books, 1989.
Ruppli, Michel. The King Labels: A Discography. Westport, CT: Greenwood Press, 1985.
Whitburn, Joel. Top Pop, 19551982 . Menomonee Falls, WI: Record Research, 1983.
. Top Country Singles, 19441988 . Menomonee Falls, WI: Record Research, 1988.
. Top R&B Singles, 19421988 . Menomonee Falls, WI: Record Research, 1988.
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HILLBILLY BOOGIE
Lloyd Cowboy Copas, a native of Adams County, Ohio, sang on WLWs Boone County Jamboree and on WSMs Grand Ole Opry with Pee Wee Kings Golden West Cowboys. King Records signed him in 1945. The next year, he hit nationally with Filipino Baby. (Authors collection.)
Alton and Rabon Delmore, the influential Delmore Brothers, cut Hillbilly Boogie and Freight Train Boogie for King Records in 1946. Their expert songwriting and musicianship helped establish the labels fresh hillbilly sound. (Courtesy of Deborah Delmore.)
The Alabama natives were working as staff musicians at WLW when Syd Nathan signed them and gave their music a harder edge. By then, they were not newcomers to the music business. They had already played on the Grand Ole Opry and recorded for Bluebird and other labels. In 1949, they wrote and recordedin King Records own studiotheir biggest hit, Blues Stay Away From Me. (Authors collection.)
Alton (left) and Rabon Delmore were versatile enough to sing, write, and entertain on WLW. They joined fellow station employees Grandpa Jones and Merle Travis to round out the Browns Ferry Four, a gospel group that later recorded for King. The c. 1944 advertisement below, one of King Records earliest, shows a small sketch of the factory in Evanston and announces new country recordsthen called hillbillyfor Grandpa Jones, the Carlisle Brothers, Bill and Evalina, Hank Penny, and others. Note the stereotypical long-bearded hillbilly character and the smiling jukebox. In the early years of King Records, Nathan actively sought help from the jukebox industry to bring his records before the public. His slogan was If its a Kingits a hillbilly. Soon he would campaign to change the name to country music. (Right, authors collection; below, courtesy of Zella Nathan.)
Syd Nathan achieved a successful and complete career redo, the first of many for him, on the veteran Delmore Brothers. Alton (left) and Rabon started on Columbia Records in 1931, cutting four sides, and then joined the Grand Ole Opry in 1932. They performed on the air for seven years. They switched to RCA-Victors Bluebird label for the next nine years, cutting 20 sides a year. In 1940, when they were well-known performers, they moved to Decca Records, recording 25 sides that year. By the time they were accompanying shows on WLW Radio in Cincinnati, their recording career had declined. But Nathan had faith in them. He signed them to a long-term contract with his new King Records in 1944. After they hit with King, they went to work for Memphis radio station WMC. (Authors collection.)
Country singer Bob Newman sang with the Georgia Crackers of Columbus, Ohio, before signing as a solo artist with King Records. In 1950, King Records released his Cry Baby Blues and One and One Is Two, Baby. He later became known for truck-driving records. (Authors collection.)