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Various - That'll Flat Git It! Vol.5 - Rockabilly From The Vaults Of Dot Records (CD)

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  • BCD15711
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1-CD with 48-page booklet, 31 tracks. Playing time approx. 65 mns. Rockabilly from the vaults of... more

Various - That'll Flat Git It!: Vol.5 - Rockabilly From The Vaults Of Dot Records (CD)

1-CD with 48-page booklet, 31 tracks. Playing time approx. 65 mns.

Rockabilly from the vaults of Dot Records, pure, 5-star, high octane Fifties rockabilly.
Back in 1992, we decided that Rockabilly sounded good on CD, so we had the idea that we should create the all-time definitive Rockabilly series, "That’ll Flat Git It!"
Above all, Rockabilly was music recorded for 45RPM singles, so we designed a Rockabilly series label-by-label instead of artist-by-artist, and we compiled it for listening pleasure. Just the great stuff, plus a few super rarities.

Every CD would be for the most part a 30 song jukebox of the finest Rockabilly ever recorded for all the great labels. We sourced the very best sounding tapes and took them to the best mastering engineers, and then we took the packaging to a new level. We adopted the catchphrase of the first Rockabilly dee-jay, Dewey Phillips, "That’ll Flat Git It!", and we hired Bill Millar, who'd compiled the still-classic label-oriented Rockabilly LPs in the 1970s and 1980s, to write the notes. We looked for previously unpublished photos, and tried to find all the artists who'd never been found before. The result is a truly definitive Rockabilly series that now runs to twenty-seven volumes.


THAT'LL FLAT GIT IT, VOL. 5

Virtually all of the independent record companies that began life in the late 40s and early 50s have disappeared. It's true that Atlantic Records is still around as an ongoing concern, and logos like Chess, Specialty and Sun still grace the occasional reissue, but, as the labels' original owners grew tired of the business or simply went bust, the catalogues were sold. Dot Records for instance has been absorbed and its identity lost in several corporate megadeals. During the 50s and early 60s, the label sold millions and millions of records, although--it must be added--the records on this compilation didn't do much for Dot's profit picture.

Dot Records was launched in January 1950 by Randy Wood as an offshoot of Randy's Record Shop, his mail order business in Gallatin, Tennessee, some 30 miles northeast of Nashville. Wood, born in McMinnville, Tennessee, left the U.S. Air Force in 1944 and put his savings into an appliance store. Two years later, he converted his business into a record store, and pioneered mail-order record sales via Gene Nobles' show on WLAC, Nashville. Wood entered the manufacturing business when Nobles discovered R&B singer Richard Armstrong. The two men co-operated on three labels: Randy's (on which Armstrong made his debut with Gene Nobles' Boogie ), Record Shop Special which featured bluesman Cecil Gant, and Dot.

Dot really hit its stride when Wood stumbled on the formula of having pop artists like Pat Boone cover R&B and country songs. As early as 1955, Dot had cornered almost 15% of singles sales, and Wood was being courted by ABC who wanted a record division (CBS had Columbia and NBC owned RCA). He held out for the big payday, though, which came in 1957 when Dot was bought by Paramount Pictures for $ 3,000,000. Wood stayed on as head of the company.

To his credit, Randy Wood was willing to try anything that he felt had an outside chance of making it. That eclectic approach secured a surprising number of left-field hits, and a good number of flops including LLOYD 'COWBOY' COPAS's Circle Rock. I don't know if Copas habitually broke wind after a skilletful of beans, but the cowboy image was something he fostered. He claimed, for instance, to have been born on a ranch in Oklahoma when, in fact, he came from Blue Creek, Ohio. In 1927 he played with the Hencacklers' String Band, by 1935 he was half of a duo with fiddler Vernon Storer, and in 1945 he joined Pee Wee King's Golden West Cowboys. The following year, he became King Records' first bigtime hillbilly act when he broke through with Filipino Baby, although by 1952, his career had slumped. In an attempt at resuscitation, he dropped the name 'Cowboy' and turned - at the age of 43 - to rock 'n' roll, sounding as if he'd invented the music. Circle Rock was written by (cue trumpets) Herb Alpert and Lou Adler, it was one of their earliest recorded compositions originally cut by the Salmas Brothers on Keen, for whom Alpert and Adler worked as staff songwriters.

Circle Rock didn't revive Copas's fortunes, but at the turn of the 60s Alabam (#1 C&W), brought him back to the attention of a younger audience. He was capitalising on this surprising renaissance when he perished in the 1963 plane crash that took the lives of Hawkshaw Hawkins and Patsy Cline.

Jerry Lott, a.k.a. THE PHANTOM, was born near Mobile, Alabama in 1938 and moved to Leaksville, Mississippi during infancy. He played country music until 1956 when Elvis Presley turned his head around. Love Me, recorded in Mobile in the summer of 1958, is one of those rare, lusty explosions which crackle with more energy than the national grid. "I'd worked three months on the other side (of the record)," he told Derek Glenister. "Somebody said, 'What you gonna put on the (flip) side?' I hadn't even thought about it. Someone suggested I wrote something like Elvis 'cause he was just a little on the wane and everybody was beginning to turn against rock 'n' roll. They said, 'See if you can spark rock 'n' roll a little bit'...so that's when I put all the fire and fury I could utter into it. I was satisfied with the first take, but everybody said, 'Let's try it one more time.' I didn't yell on the first take, but I yelled on the second, and blew one of the controls off the wall."

If all goes to plan, you get the second take here. Apart from introductory screaming, it's faster, noisier and more hysterical than the first (which appeared on Anchor's 'Cotton Pickin' Rock' anthology in 1978). "I'm telling ya," Lott continued, "it was wild. The drummer lost one of his sticks, the piano player screamed and knocked his stool over, the guitar player's glasses were hanging sideways over his eyes..."

Lott took the master to Hollywood. On a Satanic impulse, he followed Pat Boone to church and persuaded him to listen to the tape. The Devil was surely working overtime that Sunday. It was Boone's idea to call Lott 'The Phantom' and he even agreed to issue the record on his own label, Cooga Mooga (a euphemism for God, as in 'Great Googa Mooga'). In the event, Lott signed a contract with Boone's management and never met anyone at Dot, who released Love Me in 1960. In 1966 this screaming bundle of testosterone sustained paralytically severe injuries when a car in which he was travelling tumbled 600 feet down a mountainside near Spartanburg, South Carolina. There were no more records on Dot or Cooga Mooga (although a mediocre fragment has surfaced on a White Label collection).

Article properties: Various - That'll Flat Git It!: Vol.5 - Rockabilly From The Vaults Of Dot Records (CD)

Various - That'll Flat Git It - Vol.5 - Rockabilly From The Vaults Of Dot Records (CD) CD 1
01 Circle Rock COPAS, Lloyd
02 Love Me PHANTOM
03 Carry On NEWMAN, Jimmy 'C'
04 Lonesome For A Letter CLARK, Sanford
05 Big Door BROWN, Gene
06 Skinny Minnie DENTON, Bob
07 Doggonit SPELLMAN, Jimmy
08 Step It Up And Go WISEMAN, Mac
09 Oh My Baby's Gone SHARPE, Ray
10 Rock-Sock The Boogie FLOWERS, Pat
11 I'm Low, Low, Low CLINGMAN, Loy
12 Call Me Shorty GILLEY, Mickey
13 Pucker Paint WOLFE, Danny
14 You're Late Miss Kate DEE, Jimmy
15 It's All Over SULLIVAN, Niki
16 Boogie Woogie Bill TUCKER, Billy Joe
17 You Heard Me Knocking ADAMS, Billy
18 Mary Lou BURDETTE, Lew
19 I Like This Kind Of Music RINGO, Jim
20 Trapped Love COURVALE, Keith
21 Playboy DENTON, Bob
22 Chicken Shack DYKE, Leroy Van
23 Ballroom Baby LORY, Dick
24 That's The Way I Feel SHARPE, Ray
25 Johnny, Johnny, Johnny JONES, Kay Cee
26 It Ain't Me CAMPI, Ray
27 Come On Baby GILLEY, Mickey
28 Put Me Down LUCAS, Matt
29 Let's Flat Get It WOLFE, Danny
30 Henrietta DEE, Jimmy
31 Love Me (alt) PHANTOM
That'll Flat Git It CD-Album-Series with Rockabilly Music Classic Rockabilly on CD Back... more
"Various - That'll Flat Git It!"

That'll Flat Git It CD-Album-Series with Rockabilly Music

Classic Rockabilly on CD

That'll Flat Git It!Back in 1992, we had the idea that we should create the all-time definitive Rockabilly CD-Album-Series, That'll Flat Git It! -  Above all, Rockabilly was music recorded for 45RPM singles, so we designed a CD-Album-Serie label-by-label instead of artist-by-artist. And we compiled it for listening pleasure. Just the great stuff, plus a few super rarities.

Every of these That'll Flat Git It CDs would be for the most part a 30 song jukebox of the finest Rockabilly ever recorded for all the great labels. We sourced the very best sounding tapes and took them to the best mastering engineers. On top we took the packaging to a new level.

We adopted the catchphrase of the first Rockabilly dee-jay, Dewey Phillips, 'That'll Flat Git It!', and we hired Bill Millar, who'd compiled the still-classic label-oriented LPs in the 1970s and 1980s, to write the notes. We looked for previously unpublished photos, and tried to find all the artists who'd never been found before.

The result is a truly definitive Rockabilly CD-Album-Serie 

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Tracklist
Various - That'll Flat Git It - Vol.5 - Rockabilly From The Vaults Of Dot Records (CD) CD 1
01 Circle Rock
02 Love Me
03 Carry On
04 Lonesome For A Letter
05 Big Door
06 Skinny Minnie
07 Doggonit
08 Step It Up And Go
09 Oh My Baby's Gone
10 Rock-Sock The Boogie
11 I'm Low, Low, Low
12 Call Me Shorty
13 Pucker Paint
14 You're Late Miss Kate
15 It's All Over
16 Boogie Woogie Bill
17 You Heard Me Knocking
18 Mary Lou
19 I Like This Kind Of Music
20 Trapped Love
21 Playboy
22 Chicken Shack
23 Ballroom Baby
24 That's The Way I Feel
25 Johnny, Johnny, Johnny
26 It Ain't Me
27 Come On Baby
28 Put Me Down
29 Let's Flat Get It
30 Henrietta
31 Love Me (alt)