“Haulin’ Freight”: 1959 (not 1951)

An Ebay sales listing from January, 2016 validates my hunch that truck driving classic “Haulin’ Freight” by Bob Newman was recorded twice — first, in 1951, and then again in 1959 with some of the rough “barrelhouse” edges smoothed out via overdubs.  The more contemporary version would be issued again in 1963, according to PragueFrank.

Interestingly enough, “Haulin’ Freight” was co-written by King’s indispensable A&R man, Henry Glover and would be included in 2012 retrospective, The Henry Glover Story.

King Truck Driver Songs LPMichel Ruppli’s 2-volume reference – The King Labels:  A Discography – lists a recording session from  October 9, 1951 that includes “Haulin’ Freight.”  However, in parentheses next to the song title, Ruppli directs you to K4264, which is an undated entry sometime in 1959 that lists 2 truck driving songs – “Lonesome Truck Driver’s Blues” & “Haulin’ Freight” – and simply says “dubbed from King masters.”

But listen for yourself – here’s the original 1951 version:

“Haulin’ Freight”     Bob Newman     1951

Now listen to what King Records fabricated in 1959 using the original version “dubbed from the masters” and augmented by – what I can only assume to be – a new rhythm section and lead guitar (excerpt from Charlie Coleman‘s classic country radio show):

[Pssst:  Click on the triangle above to play “Haulin’ Freight” by Bob Newman]

But how they’d do it?  Is that the original vocal?   It sounds like they might have kept the original piano track, but I’m not even certain about that.  Would love to know who played on the 1959 version, my favorite of the two, despite the great guitar lines on the original.  Funny how I’ve been wrestling with this issue for years (and with Charlie Coleman above), but only just now did I figure out the deeper meaning behind “dubbed from the masters.”

Just for fun, go ahead and play both versions at the same time and note how dissimilar they sound.

Bob Newman 45aBob Newman 45b

“Stop and Go Boogie”: It’s the Spaces in Between

Thanks to Dave Sax, whose liner notes from King Hillbilly Bop ‘n’ Boogie provide the back story on Louis Innis, a member of the “dream band” at King Records who had cut his first tune with the label in late 1947.   Prior to joining King, Innis had been a member of WLW’s house band, The Plantation Boys, playing bass on Hank Penny’s first King session.  Innis would later “gain his own radio and television shows at WLW, as well as on the Indiana Hayride at WFBS, Indianapolis.”

According to Sax, “This ‘dream band’ for both King & Mercury [Innis (bass/rhythm guitar); Zeke Turner (guitar); Jerry Byrd (steel); Tommy Jackson (fiddle)] is heard on many sides here including ‘Stop and Go Boogie’ which was intended as a backing track for ‘Rag Man Boogie,’ a song scheduled for Hawkshaw Hawkins’ March 1950 session”:

“Stop and Go Boogie”     The Brewster Avenue Gang     1950

The liner notes explain further – “Hawk never did get around to singing the song, and it seems that it was decided that Red Perkins should record it instead, which he did in July.  When the hoped-for track arrived at Ace in this form, Ace’s Tony Rounce suggested that the musicianship and interest might still merit its inclusion as a bonus track.  Master guitarist’s Zeke Turner’s crisp sound is well evident here and becomes a part of the King hillbilly sound for several years.”

Rag Man Boogie

Songwriting credits go to label owner Syd Nathan & Henry Bernard – alter ego for songwriter/arranger/producer/talent scout/trumpeter, Henry (Bernard) Glover, one of the first African-American music industry executives, whose professional reputation was cemented in the 1940s & 50s working for King.  Even though Glover left King in 1958 to join Morris Levy’s Roulette label, he would later re-join King briefly to serve as label head until its acquisition by Starday.

Henry Glover & Levon Helm:  A Shared History

It’s really true:  Henry Glover and Levon Helm went into business together, co-founding a new label, RCO, in 1975.   I Estivate, Therefore I Am states that Glover and Helm’s friendship goes back a couple decades:

“Glover’s relationship with Helm dates back to the late 1950s, when Helm was hanging in Canada with Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson as Ronnie Hawkins’ backup band. Glover, who as a consummate A&R man knew talent when he saw it and had become friendly with Helm, convinced the Hawks, as they were known, to go out on their own (initially recording them as the Canadian Squires), then as Bob Dylan’s backup band and ultimately, The Band.   Years later, after The Band dissolved, Helm asked Glover to shepherd his first solo project into existence, which was this RCO All-Stars album.”

Levon Helm & Henry Glover at Woodstock, Spring 1977

Henry Glover & Levon Helm

Wikipedia, furthermore, asserts that Glover “partly arranged with Garth Hudson, Howard Johnson, Tom Malone, John Simon and Allen Toussaint the horn section on The Band’s concert, The Last Waltz, and thus subsequent album, The Last Waltz.”