In May, 2015’s piece about Guitar Crusher, it was pointed out that Seymour Stein, along with fellow Sire Records co-founder, Richard Gottehrer, had done production work on a Columbia recording in 1967, having formed Sire Productions the year before. As Billboard would note in its chronology of the music industry executive who signed Madonna from his hospital bed while recovering from a heart infection, Stein had served his first music label apprenticeship at Cincinnati’s King Records for two years, beginning in 1957. Syd Nathan‘s operation would prove to be a “farm league” for a number of other industry notables, as pointed out in Jon Hartley Fox’s King of the Queen City: The Story of King Records:
King Records was a good training ground where one could get a thorough, hands-on education in all facets of the recording industry. One of the label’s enduring legacies is the large number of producers, A&R men, and sales or marketing executives who ‘trained’ under Nathan. Among the King alumni who enjoyed successful careers at other labels are Seymour Stein (Sire, Sire-London, and Elektra), Hal Neely (Starday and Starday-King), Henry Glover (Old Town, Roulette, Starday-King), Ralph Bass (Chess), Jim Wilson (Starday and Sun), Alan Leeds (Paisley Park), Ray Pennington (Step One), and nearly a dozen others.
As it turns out, the same year Seymour Stein produced a Guitar Crusher single for “Big Red,” Stein also organized a 12-inch release for Columbia Records (under the “Sire Productions” name) that consists entirely of country releases from the King Records vault, albeit (groan) “electronically re-channeled for stereo.” That’s right, 1967 would see the release of a Columbia album (in name only) 18 King Size Country Hits, with extensive liner notes by Stein himself that promise the LP to be “one of a projected series of albums, each containing eighteen all-time Country and Western hits spanning the past quarter century.”
Many of the songs on this LP were million sellers when first issued, according to Stein
This album, sadly, would seem to be the only one released (I can only assume Columbia felt sales to be insufficient enough to warrant future volumes). It’s not for lack of trying though, as Stein very helpfully provides some historical context on the factors that helped King succeed in the marketplace:
Cincinnati, at the period just before America’s entrance into World War II, was the center of activities for many of the great Country and Western artists of that era, in much the same way that Nashville is today. The reason for the Queen City’s dominance over the ‘hillbilly’ world was ‘Midwestern Hayride,’ the country’s favorite C&W radio show, which was aired weekly from Cincinnati over WLW, key station in the Crosley broadcast chain. Among the show’s stars were the Delmore Brothers, Grandpa Jones, Hank Penny, Wayne Raney, and Homer and Jethro. Lloyd ‘Cowboy’ Copas had a popular Country show also over WKRC in Cincinnati. With the exception of the Delmore Brothers, none of the stars of ‘Midwestern Hayride’ had achieved any amount of success on records. Most had never recorded despite their popularity among the Midwest and South.
Billboard would report the following news item in its July 8, 1967 edition:
“Col. to Release Two R&B, Country LP’s From King“
NEW YORK — Columbia Records will issue two albums of all time best sellers from the catalog of King Records. One package will contain country material and the other rhythm and blues. The deal, considered unusual, was okayed by Bill Gallagher, Columbia Records vice-president, after discussions with Seymour Stein of Sire Productions. Stein, who regards the deal as a tribute to the achievement of Syd Nathan, president of King, produced the packages from masters in the King archives.
Each of the albums contains 18 performances. The country package, titled 18 King Size Country Hits, includes “Signed Sealed and Delivered” by Cowboy Copas, “Blues Stay Away From Me” by the Delmore Brothers, “Mountain Dew” by Grandpa Jones, “Money, Marbles and Chalk” by the writer Pop Eckler, and sides by the Carlisle Brothers, Jimmy Osbourne, Wayne Raney, Moon Mullican, Hawkshaw Hawkins and Reno and Smiley.
The second package, titled 18 King Size Rhythm and Blues Hits, contains such classics as “Fever” by Little Willie John; “Work With Me Annie” by Hank Ballard and the Midnighters; “Hearts of Stone” by Otis Williams and the Charms; “Honky Tonk” by Bill Doggett; “Sixty Minute Man” by Billy Ward and the Dominoes, and additional sides by James Brown and the Flames, Otis Redding, the Five Royales, Ivory Joe Hunter, Freddy King, Bullmoose Jackson, Wynonie Harris, and Earl Bostic.
The packages will also be distributed by the Columbia Record Club.”
Could the 1949 recording, “Money Marbles and Chalk” – fittingly, the album’s final track – be the only one ever released by Pop Eckler, who wrote songs for Rex Allen, Red Sovine, and Wink Martindale, as well as King labelmates, Grandpa Jones and The Stanley Brothers?
“Money, Marbles and Chalk” Pop Eckler 1949
Eckler would pen “Money, Marbles and Chalk,” also covered at the time by Chet Atkins and Stubby and the Buccaneers, as well as later by Patti Page (1957) and King colleagues, Reno & Smiley (1961), while Link Trotter would give it a go in 1973.Stein would have this to say about Eckler:
Pop Eckler was never a famous recording artist, but as composer of one of the greatest Country ballads, this album would be incomplete without his own rendition of “Money, Marbles and Chalk.” The tune was also a pop hit for Patti Page.