Zero to 180 – Three Minute Magic

Discoveries of a Pop Music Archaeologist

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Notable Steel Guitarists Who Recorded for King Records

The steel guitar, it needs to be said, was the “special sauce” in early country music of the 1940s and ‘50s. From the soaring glissando and celestial, ringing harmonics to the scorching, breakneck single-note runs and big stacked chords, whose warm, electrified sound (uniquely) spanned the audio spectrum, the steel guitarist in early country music set the stage for the ‘guitar shredding’ in rock music that followed in the 1960s into present day.

What is particularly striking to me is how modern and futuristic the (pre-pedal) steel guitar sounds in contrast to the other more earthbound-sounding instruments utilized in country music for improvised melodic counterpart, such as the fiddle, mandolin, piano, or even the electric guitar (prior to the advent, that is, of effects pedals – no disrespect to Merle Travis, Chet Atkins, George Barnes, Les Paul, Hank Garland, Thumbs Carllile, Roy Lanham, or any of the early guitar greats).  Given the dexterity and level of musicianship required to make sense of the multiple guitar necks in a variety of tunings, it follows that steel guitarists were often some of the most “musical” members of the band, special case in point being Jerry Byrd, whose masterful musicianship – largely obscured, until now – added considerable luster to dozens of King recordings made primarily at Cincinnati’s King Studios between the years 1949 through 1955 that are ripe for rediscovery.

It is no mystery that musician credits on King’s 1940s and ’50s releases are virtually non–existent, but how disappointed I was (initially) to discover that the recording session notes compiled by Michel Ruppli are equally bereft within its first 100 pages, i.e., the early country era — this explains why King’s glorious steel guitar history has largely been unknown.  Fortunately, a group of country music history scholars from Europe — whose numerous detailed discographies are posted under the banner of one of its members, “PragueFrank” — have shed enormous light on the identities of the talented musicians who worked for King Records at a time in early country and western when Nashville’s Music Row was in its infancy.

Thanks to the collective research efforts of the PragueFrank team (whose membership includes Michel Ruppli), Zero to 180’s diligent staff have been able to compile – for the first time ever – a comprehensive and chronological breakdown of each steel guitarist’s contributions to King’s country music catalog by “filtering out” only those recordings that feature the undeniable artistry of each of these stylists, who are listed below in order of first appearance, generally speaking.

  • Billy Strickland
  • Noel Boggs
  • “Joaquin” Murphey
  • Ralph Miele
  • “Jiggs” Lemley
  • Acie Peveto
  • Eddie Martin
  • “Slim Idaho”
  • Andy Schroder
  • “Boots” Woodall
  • Roy Honeycutt
  • Jewell Ayres
  • Billy Bowman
  • “Speedy” West
  • Herb Remington
  • Claude Brown
  • Bobby Koefer
  • Red Embry
  • Marian Hall
  • Don Helms
  • Bud Isaacs

As with Zero to 180’s previous examination of Jerry Byrd’s stint as bandleader of WLW’s Pleasant Valley Boys and all the subsequent side work at Cincinnati’s Herzog and King Studios — a research collaboration with Walter Stettner of Austria — this piece supplements the collective efforts of PragueFrank’s research team by making, in some cases, new determinations of responsibility for musician credits based on the aural evidence and/or other relevant factors, thereby extending the historical record.

Note: Given the considerable (some might say, overwhelming) number of recordings listed below, a special list has been prepared that targets those King releases in which the steel guitar is showcased for optimal impact:

PDF LINK

Steel Guitar on King –
Optimal Tracks

Steel Guitar on King Records:

Discographies for Each Steel Guitarist

click on song titles for streaming audio
(where available)

The steel guitarist from Goldsboro, North Carolina, who went on to front his own band in the late 1940s under the name, Billy Strickland And His Hillbilly Kings, and later become a King recording artist himself, played on eight early King sides for Grandpa Jones that were recorded (location unknown) circa December of 1944, including a re-recording of King’s first A-side, “The Steppin’ Out Kind,” a song originally waxed incognito by Jones and Merle Travis (as the “Sheppard Bros.“), who were both under contract to WLW at the time:

Billy Strickland on steel guitar

Released October 1945

PragueFrank’s research team believes Billy Strickland‘s next appearance for King to have been as one of the backing musicians ( “probably,” along with guitarist, Roy Lanham) on Cowboy Copas‘s debut recording session — c. July, 1945 at Cincinnati’s Herzog Studio — that yielded eight sides, including two early hits for King, “Tragic Romance” and “Filipino Baby” (both tracks, according to Cash Box, “plugged” by Nashville’s WSM, whose “Grand Old Opry” Saturday evening program featured Copas in February and March of 1946).

Billy Strickland (it is believed) on steel guitar

Billboard #4 “folk” jukebox hit
(see below)

In 1947, Billy Strickland played steel guitar, according to PragueFrank researchers, on a single session for Moon Mullican that took place at Cliff Herring’s Forth Worth, Texas studio in June of 1947. “I Left My Heart In Texas,” tragically, ended up been usurped in popularity by its flip side, “Sweeter Than The Flowers” (see Acie Peveto – below):

Billy Strickland on steel guitar

Released Nov. 1947

Four years later, Billy Strickland would sign (ever so briefly) to King Records — a pact that produced just four sides, all of them recorded August 17, 1951 at Cincinnati’s King Studios. It is worth noting that of the four songs Billy Strickland recorded for King, two of them were co-written by King A&R producer, Henry Glover, along with Hope Harlow, a.k.a. Kay Adelman, who co-wrote “Hillbilly Wolf” with Strickland in 1949 (whose master tapes would be purchased that same year by DeLuxe Records):

Billy Strickland on steel guitar

Released Oct. 1951

Noel Boggs, as notes music scholar, R. Guy S. Cundell in his 2019 doctoral thesis, was “one of the select group of steel guitarists whose innovation dictated the course of the development of the instrument in western swing.” A promising young musician with plenty of radio experience while still a teen, Boggs (originally from Oklahoma City) turned pro when he joined Hank Penny‘s western swing band just month shy of high school graduation, according to Cundell. Boggs’s earliest recordings with Hank Penny at the Gayoso Hotel in Memphis, Tennessee would take place five years or so before the western swing bandleader’s first sessions as a King recording artist in 1945.

photo courtesy of Discogs

For an October 8, 1945 recording session at Pasadena radio station KXLA, Penny’s backing band featured Noel Boggs (steel) and Merle Travis (electric guitar). One of the twelve tracks recorded at this session, “Steel Guitar Stomp,” would provide King with one of its earliest national hits in August of 1946:

“Filipino Baby” by Cowboy Copas +
“Steel Guitar Stomp by Hank Penny:

Early King success competing with major labels

One year later, Noel Boggs would return to King (by way of subsidiary label, DeLuxe) for another recording session – but this time as a member of Jimmie Widener‘s band (along with future jazz guitar notable, Jimmy Wyble), who played on four September, 1946 recording sessions at Universal Recorders in Los Angeles, according to Kevin Coffey‘s liner notes in Shuffle Town: Western Swing on King 1946-1950. These four sessions would yield sixteen sides (eight of those initially unissued):

Noel Boggs on steel guitar

Released 1949

The following month, Spade Cooley‘s ensemble (already under contract to almighty Columbia Records) recorded incognito as the backing band for Red Egner, when the vocalist recorded eight sides for King in Los Angeles. Given that Noel Boggs was a long-standing member of Cooley’s outfit beginning in June of 1946 (after Earl “Joaquin” Murphey’s departure in the wake of the classic May 3, 1946 session that produced “Oklahoma Stomp”), it is almost certain that Boggs is the steel guitarist on the October, 1946 Red Egner recordings, particularly when you listen to streaming audio of the sole 78 side in YouTube’s vast catalog:

  • “You Never Miss The Water Till The Well Runs Dry“
  • “Turn My Picture Upside Down“
  • “I Can’t Forgive Myself (For Not Forgiving You)”
  • “Brown Eyed Baby“
  • “Baby I’m So Doggone Tired“
  • “You Didn’t Want Me (When You Had Me)”
  • “Hide Your Face“
  • “Swing Billy A-La-Mode“

Noel Boggs on steel guitar

Released Mar. 1947

Boggs next appeared on King Records supporting Moon Mullican at the historic March 15, 1949 session in Los Angeles supervised by Henry Glover that yielded his biggest jukebox hit, “I’ll Sail My Ship Alone,” along with three other songs recorded — one of the earliest country sessions produced by a person of color:

Noel Boggs on steel guitar

Released Dec. 1949

Earl “Joaquin” Murphey‘s inventive and highly individualistic, jazz-influenced steel guitar graces the earliest solo recordings of Jimmie Widener, guitarist and tenor banjoist for Bob Wills, Spade Cooley, and Tex Williams. Widener’s March 26, 1946 session for King at Hollywood’s Universal Recorders — bolstered by the twin fiddles of Tex Atchison and Harold Hensley — netted the four songs listed below. Widener’s earlier releases were issued on King, though his later work (see above) came out on DeLuxe for reasons that are not clear. According to the obituary published in the UK’s Independent newspaper, Hollywood, California is “Joaquin” Murphey’s birthplace, you might be surprised to learn.

Earl “Joaquin” Murphey on steel guitar

Released May 1946

Co-written by Merle Travis

Hank Penny Band with Carolina Cotton

Ralph Miele with folded arms

Riverside Rancho

(1946)

photo courtesy of Carolina Cotton

Ralph Miele succeeded Noel Boggs as steel guitarist for Hank Penny, who recorded at least five sessions with Miele that all took place in Hollywood at Radio Recorders (save one at Universal Recorders) in 1946:

– Jan. or May 1946 session

This Hank Penny recording date with Ralph Miele also included Jimmie Widener on rhythm guitar:

Ralph Miele on steel guitar

Released Sep. 1946

– c. Sept. 1946 session

Jimmie Widener rejoined Ralph Miele for this Hank Penny recording date at Hollywood’s Radio Recorders:

Ralph Miele on steel guitar

Released Jun. 1947

78 in the National Museum of American History collection

– Sep. 1946 session

These four songs from this Hank Penny studio date (Universal Recorders) with Ralph Miele include Jimmie Widener, once again, on guitar. Cash Box‘s July 14, 1947 review expressed praise for “Steel Guitar Polka” — “all instrumental affair shows the crew in top styling” — while the following month, the song would find itself “on the way up” Cash Box‘s ‘Hillbilly, Folk & Western Juke Box’ chart for the week of August 25, 1947:

Ralph Miele on steel guitar

Released Jul. 1947

– Oct. 1, 1946 session

These four songs from this Hank Penny studio date (Radio Recorders) with Ralph Miele include guitarist Jimmy Wyble:

Ralph Miele on steel guitar

Released Mar. 1947

– Oct. 11, 1946 session

One of the recordings from this Hank Penny studio date (Radio Recorders) with Ralph Miele, “Won’t You Ride In My Little Red Wagon” — flip side of “Steel Guitar Polka” — would similarly find itself “on the way up” Cash Box‘s ‘Hillbilly, Folk & Western Juke Box’ chart in September (and even into November) of 1947.

Ralph Miele on steel guitar

Released Jul. 1947

– October 30, 1946 session

Ralph Miele’s swansong with King appears to be Carolina Cotton‘s sole session for King at Radio Recorders — as part of Hank Penny‘s large ensemble (renamed “Carolina’s Cotton Pickers“) — that produced eight recordings (four of them unissued), including the double A-side “Mocking Bird Yodel” b/w “I Love To Yodel“:

Ralph Miele on steel guitar

Released in Canada

LINK to “Three Miles South Of Cash“
Carolina Cotton live duet with Bob Wills
Bobby Koefer (most likely) on steel guitar

“Jiggs” Lemley

image courtesy of Discogs

Herman Gene “Jiggs” Lemley of Parkersburg, West Virginia played steel guitar on Hawkshaw Hawkins‘ earliest known recordings (according to PragueFrank’s researchers) — July 6, 1946 at Herzog Studio — a Saturday night session that yielded four songs:

Special note: Hawkshaw’s second King single release “The Time Will Come” b/w “I Got The Blues” has been designated by 78 RPM as a “unicorn” (i.e., doubt exists as to whether the record was actually issued), qualified by this explanatory note:

Both sides were recorded on Hawkins’ first King session on July 6, 1946 (matrix # 2046 & 2047) in Cincinnati, OH, and are listed in the King catalog as a single, but there is no evidence of an actual single release on the web.

These two tracks would later be included on 1963’s posthumous release, The Legend Lives On: From Our Vaults (Vol. 3).

“Jiggs” Lemley on steel guitar

Released Aug. 1946

Hawkshaw’s 1st single release

Hawkshaw Hawkins would forego steel guitar on his next couple of sessions for King, although he appears to have brought back “Jiggs” Lemley for a December, 1947 session at King Studios which produced a total of twenty sides that all saw release on King. “Dog House Boogie” not only reached #6 on Billboard‘s ‘Most Played Juke Box Folk Records’ for the week ending September 4, 1948 (below) but proved to have surprising staying power on the juke box chart, keeping its grip throughout October, November, and into January of 1949, impressively enough:

“Jiggs” Lemley on steel guitar

Released Jul. 1948

Co-written by steel guitarist bandleader, Boots Woodall

King‘s Two Top Ten Jukebox Hits:
Moon Mullican (#3) & Hawkshaw Hawkins (#6)

As a steel guitarist for Moon Mullican‘s backing band, The Showboys, Acie Peveto first recorded for King at the October, 1946 recording session at Cliff Herring’s Fort Worth, Texas studio that produced 19 sides. Released in December of 1946, “New Jole Blon” became a #2 folk juke box hit by the following March (below) and enjoyed a long run on the Billboard chart that lasted through June.:

Acie Peveto on steel guitar

Released Dec. 1946

In June, 1947, Acie Peveto returned to Cliff Herring’s Forth Worth studio to lay down steel guitar for Moon Mullican on three tracks, including the massive juke box hit, “Sweeter Than The Flowers,” which peaked at #3 on Billboard‘s ‘Most-Played Jukebox Folk Records’ chart for the week ending September 4, 1948 (below):

Acie Peveto on steel guitar

Released Nov. 1947

King‘s Two Top Ten Jukebox Hits:
Moon Mullican (#3) & Hawkshaw Hawkins (#6)

Three years later, Acie Peveto would play his last known session for Moon Mullican at a recording date — December 8, 1950 at King Studios — that was almost certainly produced by Henry Glover, who co-wrote one of the four recorded tracks, “Too Many Irons In The Fire“:

Acie Peveto on steel guitar

Released Mar. 1951

Eddie Martin

still image from the 1946 short film, “Silver Spurs“

Thanks to a tip from guitarchaeologist, author, and musician, Deke Dickerson, I now appreciate what a glaring omission it would have been not to have included in this Steel Guitar Who’s Who, Eddie Martin, seen here in the 1946 short film, “Silver Spurs” as part of the backing ensemble for Merle Travis and Betty DeVere wielding a stunning triple neck console instrument of his own streamline design. Martin recorded four sides for King circa October, 1946 that were almost certainly waxed at Hollywood’s Radio Recorders:

Eddie Martin on steel guitar

Released Dec. 1946

Eddie Martin recorded four final sides as a King artist circa May, 1947 — two of them issued in 1949 on the King label, while all the other two sides would see release in 1951 on Federal, as part of its “Hillbilly Series“:

  • “New Song Of The Islands“
  • “In An Old Hawaiian Garden“
  • “Moonrise Over Pali“
  • “Ua Like No Alike“

Eddie Martin on steel guitar

Released 1951

‘Slim Idaho‘ — who succeeded Acie Peveto in Moon Mullican‘s backing band, The Showboys — appears to have made his earliest recording appearance circa January, 1947 at Cliff Herring’s Forth Worth studio on a session for King that produced four songs, including “Jole Blon’s Sister,” which reached #4 on Billboard‘s ‘Most-Played Juke Box Folk Records’ chart (below). An innovative player who “popularized the long single-note run,” so says Discogs, Aderhold (of Anderson County, South Carolina) was killed at the age of twenty-four while riding his motorcycle en route to a live performance:

‘Slim Idaho‘ on steel guitar

Released Jul. 1947

Billboard

Jul. 26, 1947

The February, 1947 recording session for Cowboy Copas at King Studios that produced four songs, including “In My Merry Oldsmobile,” included ‘Slim Idaho‘ on steel guitar — also assisted by Jethro Burns on lead guitar, and Homer Haynes on rhythm guitar:

‘Slim Idaho‘ on steel guitar

Released Dec. 1947

Slim Idaho is name checked by Copas at the 1:11 mark

Also included on this steel guitar-drenched instrumentals LP

Audio Lab (1962)

In February of 1947, according to PragueFrank researchers, ‘Slim Idaho‘ played steel guitar on Moon Mullican‘s next recording date — allegedly at Herzog rather than King Studios, which should have been operational by this point — a session for King that yielded exactly one song:

‘Slim Idaho‘ on steel guitar

Released Apr. 1947

‘Slim Idaho‘ returned to King Studios on March 28, 1947 to lay down steel guitar on four more sides for Cowboy Copas (with assistance once again from Homer and Jethro, as well as guitarist, Hank Garland). “Signed Sealed And Delivered” — which reached #2 on Billboard‘s ‘Most-Played Jukebox Folk Record’ chart for the week ending March 27, 1948 (below) — was still a popular jukebox selection three months later.:

‘Slim Idaho‘ on steel guitar

Released Aug. 1947

There are no musician credits available for Cowboy Copas‘s next recording session at King Studios in April of 1947, however, Zero to 180’s ears definitely hear Hank Garland‘s distinctive guitar lines (once again) playing on “Texas Red” and so wonders – based on the sound of it – whether ‘Slim Idaho‘ is also playing steel guitar on these four songs, including the first recorded version of “Tennessee Waltz,” which not only did well on Billboard‘s ‘folk’ chart (#3) but also crossed over into pop (#16):

‘Slim Idaho‘ (to my ears) on steel guitar

Released Mar. 1948

Typo is part of the charm

Musical misspellings on Zero to 180

Before he became a “reluctant” bandleader (taking over Cecil Brower’s Kilocycle Cowboys in 1950), steel guitarist/bassist Andy Schroder had earlier been a member of The Hi-Flyers, a Texas outfit whose recordings span the middle 1930s through the early 1940s. In September or October of 1946, Schroder joined banjoist Ocie Stockard — esteemed alumnus of both Milton Brown and Bob Wills’ western swing ensembles — for a single recording session (along with fiddler, Cecil Brower, among others) that yielded four sides for King, including “Twin Guitar Polka,” the subject of a Zero to 180 piece from 2014:

Andy Schroder on steel guitar

Released Feb. 1947

Steel guitarist bandleader, “Boots” Woodall, of Paulding County, Georgia recorded a single session with his Radio Wranglers at King Studios on January 24, 1947 that spawned four sides:

“Boots” Woodall on steel guitar

Released May 1947

Photo of Boots Woodall at WSB in Atlanta –
image courtesy of Steel Guitar Forum

The earliest recording session for Luke Wills (brother of legendary Texas bandleader, Bob) took place February 19, 1947 at Hollywood’s Broadcast Recorders, and included Roy Honeycutt (of Broken Arrow, Oklahoma) on steel guitar, who played on all four sides issued by King:

Roy Honeycutt on steel guitar

Released Jun. 1947

PragueFrank researchers report that Pee Wee King’s Golden West Cowboys – including steel guitarist, Jewell Ayres (as well as guitarist, Harold Bradley) – provided musical backing for Cowboy Copas & Grandpa Jones at a WSM Castle Studio recording session in September of 1947:

Jewell Ayres on steel guitar

Released Sep. 1947

Jewell Ayres can also be heard on five songs recorded November, 1947 by Cowboy Copas at WSM’s Castle Studio, with musical backing once again by Pee Wee West’s Golden Cowboys, according to PragueFrank:

Jewell Ayres on steel guitar

Released Jan. 1949

We know that Redd Stewart was backed by Pee Wee King’s Golden West Cowboys on some King sessions. Listen to the steel guitar on Stewart’s debut King session of January 30, 1949 — is it possible that Jewell Ayres is responsible for the fine steel work on these two tracks:

Jewell Ayres (possibly) on steel guitar

Released Apr. 1949

Paul Howard and His Arkansas Cotton Pickers recorded their first of two sessions for King with Bob Wills alumnus, Billy Bowman (of Washington, Tennessee), on steel guitar. Is it true, as PragueFrank’s research team asserts, that this session took place at E.T. Herzog Recording Studio on “15 September 1948” several months before the end of the 1948 Recording Ban (vs. “January 26, 1949” – the date listed in Michel Ruppli’s King session notes)? According to Kevin Coffey, this session also marked the recording debut of A-team Nashville session bassist, Bob Moore:

  • “Texas Boogie”
  • “Torn Between True Love and Desire“
  • “Hora Sta Cotton Picker“
  • “Twelve O’Clock Waltz“

Billy Bowman on steel guitar

Released Apr. 1949

According to the PragueFrank research team, future Capitol recording artist, ‘Speedy‘ West (of Springfield, Missouri), played steel guitar at the March 9, 1949 Hank Penny session at Hollywood’s Radio Recorders that produced four songs, including “Blood Shot Eyes” and “Hillbilly Be-Bop“:

‘Speedy‘ West on steel guitar

Released Jul. 1949

‘Speedy‘ West returned to Radio Recorders a few months later to play steel guitar for Cowboy Copas on the July 23, 1949 recording session that produced “Hangman’s Boogie” and three other songs:

‘Speedy‘ West on steel guitar

Released Oct. 1949

King ad in Billboard

Oct. 22, 1949

True Or False?

Q = Speedy West & Jimmy Bryant – the “flaming guitar” duo – once recorded for King.

A = True!

According to PragueFrank researchers, ‘Speedy’ and Jimmy both played on the July 9, 1952 session at Radio Recorders for Moon Mullican that produced “Jambalaya” and three other songs:

‘Speedy‘ West on steel guitar

Released Oct. 1952

A King Chronology

1949-1955

Thanks to the great wages being paid in 1948 for appearances on Powel Crosley‘s “new” television station, WLW-T, as well as “clear channel” radio powerhouse, WLW — three times the rate being paid by Red Foley, the Grand Ole Opry’s most popular vocalist at the time and emcee of The Prince Albert Show (not to mention all the lucrative side work at both Herzog and King Studios) — Cincinnati became home base for a group of musicians that were considered the first country music “A Team” of studio session players, who were led by steel guitarist, Jerry Byrd. Even after his defection to Nashville in 1951 in the wake of WLW’s significant budget cuts, Byrd continued to record for a number of King artists over the next four years at Cincinnati’s King Studios.

Cash Box

Nov. 28, 1953

Grand Ole Opry 28th Anniversary issue

With a reputation as a master of tone and touch, Jerry Byrd’s blazing virtuosity and soaring, celestial sound elevated the level of musicianship around him with steadfast consistency, as evidenced by not only the durability of these recordings but also the frequency of his appearance at King sessions, as detailed below. Jerry Byrd’s impeccable style and rich, Hawaiian-influenced sound are so recognizable, that it is, indeed, possible to identify Byrd’s steel guitar playing within just a few seconds of its entrance:

Hawkshaw Hawkins

February 17, 1949 at King Studios

As the opening notes of “I’m Kissing Your Picture Counting Tears” and “Life Lost Its Color” make clear, the steel guitar playing on these four songs recorded by Hawkshaw Hawkins in Cincinnati is undoubtedly the work of Lima, Ohio’s own, Jerry Byrd:

Jerry Byrd on steel guitar

Released Nov. 1949

Grandpa Jones

April 15, 1949 at King Studios

According to the musician credits provided by PragueFrank’s research team, the core members of the illustrious “pre-Nashville A Team” — Jerry Byrd (steel guitar), Zeke Turner (lead guitar), Louis Innis (rhythm guitar), and Tommy Jackson (fiddle) — provided instrumental support on Grandpa Jones‘s April 15, 1949 session at King Studios, with Byrd’s steel guitar especially evident on these two tracks:

Jerry Byrd on steel guitar

Released Oct. 1949

Zeb Turner

April 27, 1949 at King Studios

Tip of the hat to Steel Guitar Forum‘s Walter Stettner for pointing out that Jerry Byrd and the String Dusters’ provided stellar support work on all three of Zeb Turner‘s 1949 sessions recorded at King Studios. PragueFrank does not list any musician credits for these three sessions — nor does Michel Ruppli in his King Records sessionography — however, Stettner informs us that besides Jerry Byrd (steel), Zeb Turner (guitar and vocals) is joined by Zeke Turner (guitar), Tommy Jackson (fiddle), and “possibly” Louis Innis (bass).

Jerry Byrd on steel guitar

Released Jun. 1949

Clyde Moody

April 29, 1949 at King Studios

Dave Sax’s liner notes for Ace UK’s King Hillbilly Bop ‘n’ Boogie compilation led me to Clyde Moody as a potential artist whose recordings were once graced by Jerry Byrd and/or his fellow String Dusters. Sure enough, by employing the time-honored approach of listening-by-ear, Zero to 180 has been able to discern at least one recording session that features the unmistakable sound of Byrd and his musical brothers in arms.

Jerry Byrd on steel guitar

Released on

Hawkshaw Hawkins

September 2, 1949 at King Studios

According to the PragueFrank research team, Jerry Byrd provides steel guitar for Hawkshaw Hawkins on these three songs (with guitar contributions from both Hank Garland and Zeke Turner), including “Back To The Doghouse” – a riposte to “Dog House Boogie” – penned by Henry Glover.

Jerry Byrd on steel guitar

Released May 1950

Zeb Turner

October 28, 1949 at King Studios

Thank you to Walter Stettner for helping to fill in history’s gap by identifying Jerry Byrd as the steel guitarist on these four songs recorded by Zeb Turner:

Jerry Byrd (isn’t it obvious?) on steel guitar

Released Jun. 1950

Cowboy Copas & Grandpa Jones

November 4, 1949 at King Studios

Jerry Byrd and Hank Garland, according to PragueFrank researchers, were both present at the November 4, 1949 recording date that was supervised (in all likelihood) by Henry Glover, who co-wrote “Feudin’ Boogie“:

Jerry Byrd on steel guitar

Released Feb. 1950

Red Perkins

November 25, 1949 at King Studios

This late-breaking tip (Nov. 2023) from Waltner Stettner identifies a 1949 recording session that took place the day after Thanksgiving very possibly under the watchful eye of Henry Glover, who co-wrote “I’m So Happy I Could Cry,” a song whose title ‘answers’ “I’m So Lonesome I Could Cry,” while the opening steel guitar lines perform a nice hat trick of exuding that authentic Herzog-era Hank Williams sound from the very first note, thanks to Jerry Byrd (and Walter Stettner, for providing MP3 audio below).

Jerry Byrd (without a doubt) on steel guitar

Released Mar. 1950

Clyde Moody

December 1, 1949 at King Studios

Seems pretty obvious to my ears that Jerry Byrd played steel guitar on all four songs recorded at this Clyde Moody recording session:

Jerry Byrd (clearly) on steel guitar

Released Mar. 1950

Zeb Turner

December 15, 1949 at King Studios

Both Walter Stettner and my own ears have convinced me that Jerry Byrd played on all three Zeb Turner recording dates from 1949, including this session that was almost certainly supervised by Henry Bernard Glover, who co-wrote “Huckleberry Boogie” with Titus Turner:

Jerry Byrd (almost certainly) on steel guitar

Released Jun. 1950

Cowboy Copas

January, 1950 at King Studios

Zero to 180’s own research team has identified (by ear) a Cowboy Copas recording session at King Studios in January of 1950 that features the steel guitar stylings of Jerry Byrd on these five tracks:

“Blues In The Moonlight“

Billboard ad

Jun. 3, 1950

Listen for the special effect on Jerry Byrd’s steel guitar

York Brothers

January 24, 1950 at King Studios

Thanks to the ears of Steel Guitar Forum‘s Walter Stettner – and subsequent affirmation from the PragueFrank research team – we now know that all four of the Pleasant Valley Boys backed Leslie (vocals) and George York (vocals and guitar) at King Studios on thirteen songs recorded between 1950 and 1951 at three separate sessions. The five songs recorded by the York Brothers at King Studios on January 24, 1950 were almost certainly produced by Henry Glover, who wrote “Gravy Train“:

Jerry Byrd on steel guitar

Released Apr. 1950

Hawkshaw Hawkins

March, 1950 at King Studios

Tip of the hat to Steel Guitar Forum‘s Walter Stettner for pointing me to an unreleased instrumental that was included on Ace UK’s 2002 compilation CD, King Hillbilly Bop ‘n’ Boogie. Dave Sax’s informative liner notes (below) shed light on The String Dusters’ moonlighting work at King, as well as Louis Innis’ legacy as a bandleader and musician:

Excerpt –

Proficient on bass, fiddle and guitar, [Louis Innis‘s] first contact at King had come several years earlier when he was a member of the Plantation Boys at WLW, playing bass on the first Hank Penny session. Later he would gain his own radio and television shows at WLW as well as on the Indiana Hayride at WFBN, Indianapolis. Even before rejoining King, Innis had taken part in sessions on bass or rhythm guitar with his associates Zeke Turner (guitar), Jerry Byrd (steel) and Tommy Jackson (fiddle) for both King and Mercury. This ‘dream band’ is heard on many sides [on this CD collection], including “Stop And Go Boogie” which was intended as a backing track for “Rag Man Boogie,” a song scheduled [i.e., written by producer Henry Glover] for Hawkshaw Hawkins‘ March 1950 session. 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 Zeke Turner’s crisp sound is well evident here and became part of the King hillbilly sound for several years. Each man was indeed a master of his instrument and – upon being appointed King’s A&R man for hillbilly music – Louis brought many an artist to the label during the early to mid-50s.

AUDIO for “Rag Man Boogie” by Red Perkins

Jerry Byrd on steel guitar

Different recording than “Stop And Go Boogie”

York Brothers

April 12, 1950 at King Studios

WLW’s Pleasant Valley Boys – Jerry Byrd (steel), Zeke Turner (lead guitar), Tommy Jackson (fiddle), and Louis Innis (bass) – provided backing support to Leslie York (vocals) and George York (guitar & vocals) in an “after hours” session date, according to PragueFrank researchers:

Jerry Byrd on steel guitar

Released Oct. 1950

Moon Mullican

April 16 & 17, 1950 at King Studios

This marathon two-day Moon Mullican recording session produced a total of twelve sides under the supervision of producer Henry Glover, who brought in Jerry Byrd (steel), Ken Jones (lead guitar), Tommy Jackson (fiddle), Louis Innis (bass), and Calvin “Eagle Eye” Shields (drums) as session musicians, according to PragueFrank’s research team:

Jerry Byrd on steel guitar

Released Jun. 1950

Bob Newman

September 19, 1950 at King Studios

The PragueFrank research team has identified three sessions at King Studios where Jerry Byrd and two of the String Dusters, Louis Innis, and Tommy Jackson, were part of the ensemble that backed Bob Newman (with Al Myers joining on guitar). Steel Guitar Forum‘s Walter Stettner, however, has found a fourth session – Newman’s King recording debut in September of 1950 – that, by the sound of it, features the undeniable steel guitar embellishments of Jerry Byrd. While Newman often wrote his own material under the pen name Lee Roberts, it is worth noting that Henry Glover authored three songs for Newman during his tenure at King (and also is thought to have played drums on truck driving classic, “Haulin’ Freight“).

Jerry Byrd (that’s who) on steel guitar

Released Dec. 1950

Grandpa Jones

December 17, 1950 at King Studios

PragueFrank researchers tell us that Jerry Byrd was present at this Grandpa Jones recording session — along with Billy Grammer (guitar), Tommy Jackson (fiddle), Jackie Phelps (guitar/banjo), and – of course – Ramona Jones (bass):

Jerry Byrd on steel guitar

Released Mar. 1951

Tommy Scott

January 4, 1951 at King Studios

Tommy Scott‘s debut recording session for Federal Records included musical support from Jerry Byrd, Tommy Jackson, and guitarist, Eddie Williams, according to PragueFrank’s musician credits:

Jerry Byrd on steel guitar

Released c. May 1951

Hawkshaw Hawkins

January, 1951 at King Studios

PragueFrank’s research team informs us that three of The Pleasant Valley Boys — Jerry Byrd, Louis Innis, and Tommy Jackson — supported Hawkshaw Hawkins at this January, 1951 recording date, along with Al Myers (guitar), Bob Newman (bass), and Shorty Long (piano). Billboard would report a few months later in its July 28, 1951 issue that Hawkshaw Hawkins “is operating his own dairy farm at Clairsville, O., 12 miles from Wheeling, W. Va., where he is still at WWVA. He has built up a herd of 20 registered dairy cows in the first year.”

Jerry Byrd on steel guitar

Released Feb. 1951

Bob Newman

February 5, 1951 at King Studios

PragueFrank researchers tell us that the same musicians who supported Hawkshaw Hawkins at the January, 1951 session (above) also played on this Bob Newman recording date that was undoubtedly overseen by Henry Glover, who authored “Turtle Dovin’“:

Jerry Byrd on steel guitar

Released Jun. 1951

“member of the well known act, The Georgia Crackers”

Shorty Long & Dolly Dimple

February, 1951 at King Studios

On page 49 of Michel Ruppli’s King session notes, there is a Shorty Long recording date that immediately follows Bob Newman’s February 5, 1951 session (above). Of the two songs recorded at this session, of particular interest is “Hillbilly Wedding” penned primarily by Henry Glover. Dolly Dimple, according to one 78 RPM contributor, “was actually Dolly Dimples, who had made her own records before and was married to Shorty Long until his death in Oct 1991.”

Q = Are the musicians on this track, particularly steel and lead guitar, the same players from the Bob Newman date?

Jerry Byrd (smart money says) on steel guitar

Released Jun. 1952

Zeb Turner

February 17, 1951 at King Studios

Bear Family tell us that the Zeb Turner session which yielded “Chew Tobacco Rag” (celebrated by Zero to 180 in 2018) includes musical backing by the three Pleasant Valley Boys – Jerry Byrd, Zeke Turner, and Louis Innis – and may have been produced by Henry Glover, according to Bear Family, during his King Studios residency in Cincinnati. “Chew Tobacco Rag” would see release outside the US in France, Scandinavia, Canada, and the UK.

Jerry Byrd on steel guitar

Released in Scandinavia

King “bio disc” (below) makes the connection:

Zeb and Zeke are, indeed, brothers

Bob Newman

March 1, 1951 at King Studios

According to PragueFrank researchers, Jerry Byrd is joined by Al Myers (guitar), Shorty Long (piano), Tommy Jackson (fiddle), and Louis Innis (bass) on this Bob Newman recording date that produced exactly one track:

Jerry Byrd on steel guitar

Released Jan. 1952

York Brothers

March 7, 1951 at King Studios

It is assumed that this March 7, 1951 York Brothers recording date was produced by Henry Glover, who co-wrote “Tremblin’” (with Annisteen Allen) and is also thought to have played piano on this session alongside Jerry Byrd on steel guitar:

Jerry Byrd on steel guitar

Released Nov. 1951

Jay & Cee

Bob Newman

March 17, 1951 at King Studios

Jerry Byrd is joined once again by Al Myers (guitar), Shorty Long (piano), Tommy Jackson (fiddle), and Louis Innis (bass) on this Bob Newman recording date:

Jerry Byrd on steel guitar

Released Sep. 1951

Mattie O’Neal & Salty Holmes

April 11, 1951 at King Studios

According to PragueFrank researchers, Jerry Byrd and Tommy Jackson can be heard on the four songs recorded in April of 1951 by vocalist/fiddler, Mattie O’Neal, and harmonica virtuoso, Salty Holmes, whose work is particularly at peak form on “Stuck With Love” where you can hear the mouth organist “speak” a few key phrases with surprising clarity:

Jerry Byrd on steel guitar

Released Jun. 1951

Tommy Scott

June 4, 1951 at King Records

Tommy Scott‘s second recording session for Federal Records – overseen by Henry Glover – included musical support from Jerry Byrd and Tommy Jackson, according to PragueFrank’s musician credits:

Jerry Byrd on steel guitar

Released Nov. 1951

co-written by Henry Glover

Clyde Moody

June 5, 1951 at King Studios

Listen to the Hawaiian-influenced steel guitar work on Clyde Moody‘s “If You Only Knew” (written by Henry Glover, who likely produced the session), as well as the sly virtuosic solo on “Tend To Your Business” and ask yourself: .who else but Jerry Byrd?

Jerry Byrd (according to carbon dating) on steel guitar

Released Mar. 1952

Grandpa Jones

October 29, 1951 at King Studios

Jerry Byrd was present at this Grandpa Jones recording session, according to PragueFrank’s research team — along with Louis Innis (guitar), Tommy Jackson (fiddle), Jackie Phelps (guitar/banjo), and – of course – Ramona Jones (bass). Byrd’s steel guitar is clearly audible on “Time, Time, Time, Time” and “Down In Dixie (Where They Say ‘You All’)”:

Jerry Byrd on steel guitar

Released May 1952

Ann Jones

November 9, 1951 at King Studios

Ann Jones enjoyed uncredited backing from both Jerry Byrd and Louis Innis, as well as members of Pee Wee King’s band at a November 9, 1951 session that yielded these four songs, according to the PragueFrank research team:

Jerry Byrd on steel guitar

Released Feb. 1952

Mattie, Martha & Minnie

November 20, 1951 at King Studios

Musician credits on 78 RPM, as well as PragueFrank, affirm Jerry Byrd‘s presence on this recording session:

–Opal Jean “Mattie O’Neil” Amburgey (vocal, banjo, fiddle)
–Floyd Lee “Salty” Holmes (harmonica)
–Irene Ethel “Martha Carson” Amburgey-Roberts (vocal, rhythm guitar)
–Bertha “Minnie” Amburgey-Woodruff (vocal)
–Thomas Lee “Tommy” Jackson Jr. (fiddle)
–Gerald Lester “Jerry” Byrd (steel guitar)

Jerry Byrd on steel guitar

Released Mar. 10, 1952

Tommy Scott

January 2, 1952 at King Studios

According to musician credits compiled by the PragueFrank research team, Tommy Scott was accompanied by Jerry Byrd on his third recording date for King Records, as well as Zeke Turner and Gaines Blevins (guitar), Louis Innis (rhythm guitar), Opal Jean (banjo/fiddle), Tommy Jackson (fiddle), and Bob Newman (bass):

Jerry Byrd on steel guitar

Released Jun. 1952

Cowboy Copas

January 6, 1952 at King Studios

Further examination of Cowboy Copas’s recording discography has uncovered — thanks to the PragueFrank research team — four more recordings from January 6, 1952 that feature the classic Jerry Byrd & The String Dusters lineup:

Jerry Byrd on steel guitar

Released Mar. 1952

Written by Alicia Evelyn

“Jay & Cee“

Tommy Scott

June 20, 1952 at King Studios

The lineup of musicians for this final King session for Tommy Scott includes Jerry Byrd (steel), Zeke Turner, Gaines Blevins, and Bobby Koefer (guitar), Louis Innis (rhythm guitar), Opal Jean (banjo/fiddle), Redd Stewart (fiddle), and Bob Newman (bass):

Jerry Byrd on steel guitar

Released Oct. 1952

Charlie Gore

December 16, 1952 at King Studios

Jerry Byrd recorded on a handful of recording sessions for Charlie Gore, including this debut King date:

Jerry Byrd on steel guitar

Released May 1953

Charlie “The Hearthrob” Gore

Charlie Gore & Ruby Wright

January 9, 1953 at King Studios

PragueFrank researchers tell us that Jerry Byrd and Louis Innis played on these two duets by Charlie Gore and Ruby Wright, including “When I Gave You My Love” co-written by Henry Glover::

Jerry Byrd on steel guitar

Released Jan. 1953

Zeb Turner

February 4, 1953 at King Studios

Based purely on the sound of it, Jerry Byrd is the steel guitarist, undoubtedly, on all four tracks recorded by Zeb Turner on February 4, 1953:

Jerry Byrd on steel guitar

Released May 1953

Louis Innis

February 5, 1953 at King Studios

The following day – February 5, 1953 – Jerry Byrd appears to have played on Louis Innis‘s debut session as a King artist, based solely on the steel guitar sounds embedded on all four of these recordings:

Jerry Byrd on steel guitar

Released Jun. 1953

Eddie Smith

February 5, 1953 at King Studios

That same day – February 5, 1953 – Jerry Byrd also imparted some of his steel guitar magic upon a trio of instrumental releases (plus one more still in the vaults) by future King engineering wiz, Eddie Smith — initially, Zero to 180 was tipped off by Byrd’s songwriting credit on “Hot Shot Rag,” but listen for yourself, and it’s obvious that Byrd played steel guitar on these tracks:

Jerry Byrd on steel guitar

Released May 1953

co-written by Louis Innis

Charlie Gore

May 6, 1953 at King Studios

The PragueFrank research team informs us that Jerry Byrd and Louis Innis played on these four recordings by Charlie Gore:

Jerry Byrd on steel guitar

Released May 1953

Charlie Gore

July 8, 1953 at King Studios

Jerry Byrd and Louis Innis, once again, are the two only known musicians who played on this session for Charlie Gore:

Jerry Byrd on steel guitar

Released Aug. 1953

If Jerry Byrd played steel at the July 8, 1953 session for Charlie Gore, it stands to reason that Jerry Byrd also played steel on the Louis Innis July 8, 1953 recording date at King Studios that produced two tracks issued as a King single:

Jerry Byrd (logic has it) on steel guitar

Released c. Summer 1953

Charlie Gore

November 18, 1953 at King Studios

Jerry Byrd and Louis Innis reprise their roles yet again as the two only known musicians listed on these musician credits for Charlie Gore:

Jerry Byrd on steel guitar

Released May 1954

Jimmie Osborne

April 20, 1954 at King Studios

Despite the lack of musician credits, all one has to do is listen to the steel guitar on Jimmie Osborne‘s “Tennessee Ocean” (Henry Glover‘s sly take on “Tennessee Waltz“) — particularly the song’s final flourish — and there is no doubt that Jerry Byrd played on this session.

Jerry Byrd (no doubt) on steel guitar

Released May 17, 1954

“Jay & Cee“

Country Cats

October 29, 1954 at King Studios

Country Cats is the stage name used for Jerry Byrd (who, weirdly, goes by the alias, “Jerry Robin“) and guitarist Al Myers to cut loose on four instrumental tracks:

“… on steel guitar is one of the country’s top men,
Jerry Robin“

Released Jan. 1955

Hardrock Gunter

November, 1954 at King Studios

Jerry Byrd played on both of Hardrock Gunter‘s King recording sessions, according to musician credits provided by PragueFrank researchers:

Jerry Byrd on steel guitar

Released Jan. 1955

Cowboy Copas

February 28, 1955 at King Studios

PragueFrank has identified Cowboy Copas’s February 28, 1955 session at King Studios as one last reunion with Jerry Byrd and his fellow String Dusters/Pleasant Valley Boys — Tommy Jackson, Louis Innis, and Zeke Turner (plus Zeb Turner):

Jerry Byrd on steel guitar

Released Dec. 1960

Hardrock Gunter

August 19, 1955 at King Studios

Page 87 of Ruppli’s King session notes indicate two different King artists who both recorded on the same date: August 19, 1955. Musician credits for Hardrock Gunter helpfully provided by PragueFrank’s research team identify Jerry Byrd as being the steel player on this session (with Zeke Turner on lead guitar, Vic Willis on piano, and Bob Moore on bass):

Jerry Byrd on steel guitar

Released Sep. 1955

Herb And Kay

August 19, 1955 at King Studios

Given that Herb And Kay (celebrated by Zero to 180 in 2014) recorded these two songs on the same day as the Hardrock Gunter session immediately above, how likely is that Jerry Byrd also played on this session? Judging by the sound of it, I would say quite — was this Byrd’s final session at King Studios?

Jerry Byrd (right?) on steel guitar

Released Nov. 1955

Herb Remington (of Mishawaka, Indiana) played steel guitar on Hank Penny‘s final recording sessions in 1950 for King, according to the PragueFrank team — fifteen songs taped at Hollywood’s Radio Recordings across two dates around the end of March/beginning of April:

Herb Remington on steel guitar

Released Nov. 1950

“one of the country’s best known steel guitar men“

According to PragueFrank’s research team, the steel guitar that you hear at the opening of “Yesterday’s Kisses” by Hawkshaw Hawkins is the work of Claude Brown, who also played on three other tracks at this March 21, 1950 session at King Studios (on which Billy Grammer “probably” also played guitar):

Claude Brown on steel guitar

Released in the UK

PragueFrank researchers believe that Claude Brown and Billy Grammer both “probably” played at Hawkshaw Hawkins‘ next session — November 10, 1950 at King Studios — that produced exactly two recordings:

Claude Brown (it is believed) on steel guitar

Released Dec. 1950

PragueFrank’s research team says that Jerry Byrd and Red Embry played steel guitar at Hawkshaw Hawkins‘ next two sessions for King, however, Claude Brown would return on steel guitar for the September 21, 1951 recording date that yielded these two songs:

Claude Brown (most likely) on steel guitar

Released in France

Claude Brown “probably” played steel guitar, say PragueFrank researchers, on Hawkshaw Hawkins‘ next recording date — December 28, 1951 at King Studios — a session that produced four songs, including the delightful duet with Ruby Wright, “Over The Hill“:

Claude Brown (probably) on steel guitar

Released Apr. 1952

Claude Brown, say PragueFrank researchers without any qualification, played steel guitar at Hawkshaw Hawkins‘ next recording date — March 27, 1952 at King Studios — at which four songs were committed to tape:

Claude Brown on steel guitar

Released Jun. 1952

Claude Brown “probably” played steel guitar, say PragueFrank researchers, at the September 23, 1952 recording date at King Studios in support of Hawkshaw Hawkins during which six songs were committed to tape:

Claude Brown (chances are) on steel guitar

Released in Norway

Claude Brown “probably” played steel on the final Hawkshaw Hawkins recording date for King — January 16, 1953, at King Studios — a session that took place in the shadow of Hank Williams’ death just a fortnight or so prior, as reflected in the repertoire:

Claude Brown (it is assumed) on steel guitar

Released Apr. 1953

Rich Kienzle‘s liner notes for the 1981 Moon Mullican compilation album, Seven Nights To Rock, thankfully, fill the historical gap by informing us that Bobby Koefer (of Clay Center, Kansas) played steel guitar on the July 3, 1950 recording session at King Studios that produced three tracks, including Mullican’s hot take on Tiny Bradshaw’s “Well Oh Well“:

Bobby Koefer on steel guitar

Released Sep. 1950

Bobby Koefer also recorded for King as part of the backing ensemble for Bob Newman‘s March 2, 1952 session at King Studios that netted four tracks, including “Chic-A-Choo Freight” (written by Boudleaux Bryant), according to PragueFrank researchers:

Bobby Koefer on steel guitar

Released Jul. 1952

check out the special effect on the steel guitar

PragueFrank’s research team informs us that Red Embry played steel guitar on a March 17, 1951 session for Hawkshaw Hawkins at King Studios that also included Al Myers (guitar), Louis Innis (rhythm guitar), Tommy Jackson (fiddle), Shorty Long (piano), and Bob Newman (bass). The decision to record “I’m Waiting Just For You” – originally voiced by Lucky Millinder – makes me wonder if Henry Glover was still in residency at King Studios for this session date:

Red Embry on steel guitar

Released Jul. 1951

“Jay & Cee“

Red Embry would reunite with Al Myers (and “probably” Shorty Long) on July 3, 1952 at King Studios for a Bob Newman session that produced what later became a beloved comic prop on TV’s “Hee Haw” — “Phfft! You Were Gone” (celebrated here in 2018) — along with three other songs, according to PragueFrank researchers:

Red Embry on steel guitar

Released Oct. 1952

Bob Newman‘s final King Studios session of August 15, 1952 included Red Embry, as well as Al Myers and “probably” Shorty Long, according to PragueFrank researchers:

Red Embry on steel guitar

Released Apr. 1953

Marian Hall

still image from “Town Hall Party“

“Town Hall Boogie“

Marian Hall — pioneering steel guitarist and “familiar face” on 1950s television in the Los Angeles area as part of the “Town Hall Party” cast, along with Joe Maphis and Merle Travis — played steel guitar on a June 6, 1952 Hollywood recording session for Ann Jones that also included fiddler, Harold Hensley, according to PragueFrank researchers:

Marian Hall on steel guitar

Released Jul. 1952

(Los Angeles-born) Marian Hall can also be heard on a May 7, 1953 Ann Jones recording date in Hollywood for King that also included Joe Maphis (lead guitar), Yvonne Fritchie (rhythm guitar & harmony vocal), and Harold Hensley (fiddle), according to PragueFrank’s musician credits:

Marian Hall on steel guitar

Released Jun. 1953

Three-quarters of the Pleasant Valley Boys — Zeke Turner (lead guitar), Louis Innis (rhythm guitar), and Tommy Jackson (fiddle) — served as the backing ensemble for Lattie Moore on his debut King recording session of March 2, 1953, along with Don Helms (of New Brockton, Alabama), best known for his steel guitar work with Hank Williams, plus Vic Willis (piano), and Floyd Chance (bass), according to PragueFrank musician credits:

Don Helms on steel guitar

Released May 1953

Don Helms also played steel guitar on Lattie Moore‘s second King session date — June 25, 1953 at King Studios — along with the same set of musicians (minus Vic Willis), according to PragueFrank researchers:

Don Helms on steel guitar

Released Aug. 1953

typo is part of the charm

Lattie Moore‘s final King recording session — February 2, 1954 at King Studios — included Don Helms and Tommy Jackson, as well as “possibly” Zeke Turner, Louis Innis, and Floyd Chance:

Don Helms on steel guitar

Released May 1954

Moon Mullican recorded four songs at WSM’s Castle Studio on February 21, 1954 with Bud Isaacs (of Bedford, Indiana) on steel guitar, Grady Martin on electric guitar, Ernie Newton on bass, and Farris Coursey on drums:

Bud Isaacs on steel guitar

Released Mar. 1954

SPECIAL MERIT

“Floyd’s Guitar Blues“

Krazy Kris And The Swinging Gentlemen

(1957)

Floyd Smith works the slide on what sounds like a lap steel guitar for this one-off King release:

“Jay & Cee”

*

HONORABLE MENTION

Cliff Carlisle‘s dobro work can be heard on three of the four songs recorded August 1945 at Herzog Studio by The Carlisle Brothers:

Who is playing steel guitar – everyone wants to know – on Bill Carlisle‘s final session for King, which is said to have taken place at E.T. Herzog Studio (not King Studios) in November of 1947, according to PragueFrank researchers:

James H. “Buddy“ Livingston, the steel guitarist bandleader, and “His All Girl Band” — Willine Livingston (el gtr); Christine Livingston (fdl); Mary Frances Livingston (stg bs), according to 78 RPM — whose earliest recordings were a single session at King Studios that took place February 3, 1953:

Buddy Livingston & His All-Girl Band

(image courtesy of Rocky-52.net)

Shot Jackson played steel guitar for The Bailes Brothers, who recorded 24 sides late Summer/early Fall 1946 at WSM’s Castle Studio in Nashville:

4 of these tracks included on 1953 EP

Issued on Glory – King subsidiary label for sacred music

Steel Guitar Whodunnit?

Can you name the musician responsible for all the sweet steel sounds featured on this one-off single release by Minnie Pearl, who received musical backing from Pee Wee King’s Golden West Cowboys on the legendary country comedienne’s sole Cincinnati recording session at King Studios in August of 1946? Zero to 180 suggests it could have been Don Davis, steel guitarist for the Golden West Cowboys all throughout 1946, according to the PragueFrank research team.

Don Davis (it stands to reason) on steel guitar

Released Jan. 1947

LINK to Spotify mix –

Steel Guitar on King Records

LINK to related piece:

The “Pre-Nashville” A Team at Cincinnati’s Herzog Studio

LINK to Steel +/- slide guitar on Zero to 180

DID YOU KNOW?

Zero To 180 now sells merch!

LINK to Zero to 180 STORE

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