Chanteur et pianiste Country US né Aubrey Mullican, le 29 mars 1909 à Corrigan,
Polk County
(Texas). Moon Mullican a fait ses débuts en 1936 en tant que pianiste des "Texas Wanderers" de
Cliff Bruner. Premier enregistrement solo chez King Records en 1946 où il obtient ses premiers succès. En
1958, il passe chez Coral puis en 1962 chez Starday Records de Nashville (Tennessee). On le retrouve ensuite sur de petits labels comme Hallway et Spar. Moon Mullican est mort à Beaumont (Texas), le
1er janvier 1967. Il fut le précurseur du piano Rock et l'un des vrais Rois du Hillbilly
Boogie.
By
rights, Moon Mullican should be a legend twice over, in country music and rock &
roll. He merged them both — as well as blues, pop, and honky tonk — into a
seamless whole at the drop of a hat and the ripple of a keyboard, and also
managed to play a seminal role in the history of Western swing, all in a
recording career that lasted less than 30 years. Instead, for decades he was one
of those "lost" musical figures from the '40s and early '50s, whose career paved
the way for rock & roll, who was born just a little too early, and who was a
little too old to take advantage of what he'd started.He was born Aubrey
Mullican in 1909 in Corrigan, TX, a little more than an hour's drive north of
Houston, to a family that owned an 87-acre farm that was worked (at least partly)
by sharecroppers. It was one of them, a black blues guitarist named Joe Jones,
who introduced Mullican to the blues before he was in his teens. This in itself
constituted an act of rebellion on his part, because Mullican's family were
devout churchgoers — his father attended three times a week — and abhorred
anything to do with the elements of sun and excess with which the blues and the
places where it was usually played were associated. He would spend most of his
life attempting to reconcile — or at least find a livable middle ground between
— these two sides of himself. He got good on the guitar and the bass, but
Mullican's instrument of choice was the keyboard: first the family organ, which
had been bought so that his sisters could practice playing hymns, and later the
piano. By the time he was 14, he was able to make 40 dollars — a good deal more
than a week's wages in 1923 — for two hours of piano playing at a local cafe.
Music was not only something he loved, but it offered a lot more renumeration
than farming (or even overseeing land worked by tenant farmers) seemed to; it
was also something that his father despised. Mullican had already made a habit
of hanging out at the roadhouses in East Texas, taking in the blues and
barrelhouse music that poured off of their stages along with the rougher sides
of life. Finally, at 16, Mullican left home for the big city of Houston, where
he quickly fell in with people that his family would have pegged as "wrong." He
made his living playing music and earned the nickname "Moon," short for "Moonshine,"
which stuck for the rest of his life, and all but trumpeted the direction his
life was taking where sin and music were concerned. During the mid-'30s, he
joined the Western swing band the Blue Ridge Playboys, and moved from there to
playing in Cliff Bruner's Texas Wanderers,
as well as recording with the Sunshine Boys and
Jimmie Davis in Louisiana, and then
returned to working with Bruner for a
time in the early '40s.Mullican's talents at the ivories were long established
by the end of the '30s — he played the piano like it was a part of him, and
sometimes with surprising flashes of elegance — but he moved to the lead
singer's spot in 1939 when Bruner
recorded the pioneering country trucker song, "Truck Driver's Blues." He turned
out to be every bit as good a singer as he was a pianist, with a stunningly
expressive voice even if it didn't have an overly great range. This recording
and the advent of the '40s heralded the busiest phase of Mullican's career, as
he juggled a long-term association with
Bruner and a stint in the backing band for
Jimmie Davis during the latter's
successful campaign for governor of Louisiana, and finally put together his own
band, the Showboys, known locally as the "band with a beat," an attributed
sometimes referred to as "East Texas sock."
They quickly became one of the most popular outfits working the Texas/Louisiana
border during the mid-'40s, and though they couldn't have known it at the time,
that beat, coupled with their mix of country music and Western swing, and
Mullican's definite blues-influenced piano and singing (and sometime choice of
repertoire) brought them amazingly close to a sound that would later be called
rock & roll, and the fact that they were white practically sealed the
premonition, at least on some of their repertoire — Mullican also had a liking
for ballads that were definitely more country than R&B in nature and execution.
In any event, it was all going over well, and it seemed only a matter of time
before Mullican would hit it big on record, he had recorded as a vocalist
fronting Bruner's outfit and others for
all of the majors — Decca, RCA Victor, and Columbia Records — going back to
before World War II, and the Showboys were in the studio attempting to make
records as early as 1945 for the tiny Gulf label, only to be thwarted by
technical problems that made the results unreleasable. It wasn't until the fall
of 1946 that someone was able to take advantage of what Mullican and his band
could do on record, and that someone was Syd Nathan of Cincinnati, OH, who had
lately founded a label called King Records. Those first 16 sides cut at those
early King sessions were outstanding, capturing everything that Mullican and
company had been delighting local audiences with for the last couple of years —
he went on to cut a decade's worth of superb music for King, including a
uniquely stylized version of "New Jole Blon" that was a hit in 1947, and the
ballad "Sweeter Than the Flowers" in 1948. It was in the realm of hillbilly
boogie, however, that Mullican had his greatest influence, his versions of
"Shoot the Moon" and "Don't Ever Take My Picture Down" pre-figuring rock & roll
(especially Jerry Lee Lewis' brand of it)
in tone and beat, if not youthful subject matter. In particular, the sides that
Mullican cut with producer Henry Glover — otherwise best known as a jazz
trumpeter — at King crossed over easily into R&B, though he was equally
comfortable with pop standards, honky tonk, and traditional country. By the end
of the '40s, he was a member of the Grand Ole Opry and found a national audience
from its radio broadcasts, which helped propel the sales of his biggest hit,
"Cherokee Boogie," in 1951.Mullican was a star in the world of country music,
and may have had more influence there than the sales of his records would lead
one to believe. For decades, it was an open secret that he'd co-written "Jambalaya
(On the Bayou)" with his fellow Grand Ole Opry member
Hank Williams, collecting a 50 percent
share of the royalties on the sly because of his contractual relationship to
King Records. His influence on the country field may not have been as freely
acknowledged at the time as the actual level of impact would have justified,
because of the peculiarities of his music and persona. The United States was
still almost entirely a segregated nation, and in the realm of country music
that was true on a cultural level as much as such practicalities as restricted
hotels and drinking fountains — it was case of pure denial, of course, as anyone
listening objectively to the work of such popular country figures as
Hank Williams or
Tennessee Ernie Ford couldn't miss
the black influence somewhere in their sound, but it was how audiences and many
musicians felt at the time; what's more, a lot of producers and promoters were
uncomfortable with the subject, because most localities south of the Mason-Dixon
Line had laws prohibiting black and white performers from sharing the same
stages, and a white performer who sounded "too black" was pushing an envelope
that most moneymen didn't want touched or even acknowledged.
Bill Haley and
Elvis Presley scaled the wall musically
and culturally, as did a lot of young early rock & rollers, whose appeal to
young white teenagers troubled some of the most conservative residents of the
South. Ironically, it was Chuck Berry who
ran right into that wall and probably ended up single-handedly smashing it to
bits — his first hit, "Maybelline," was a rockabilly-style number quite unlike
most of his subsequent repertoire, and on it he sounded like a hillbilly.
Coupled with the poor-quality publicity photos that Chess Records sent out on
him, it was assumed by many promoters in the South that
Berry was white, and as he stopped
traveling with his own band early on — as the members increasingly got drunk in
their off time — the promoters were supposed to provide a backing band for him
at each contracted gig. And a lot of the time on that first tour, he'd arrive to
find a white band waiting to play with him and the county sheriff ready to close
the hall and arrest all concerned if he took the stage with them — and because
Berry had fulfilled his obligation to
appear, the promoters were obligated to pay him in full for shows he wasn't
legally allowed to play. And that hit in the pocketbook, repeated enough times
on that first tour of the South by Berry,
started the move to rescind those laws restricting interracial performances. But
that was in 1955-1956. In the early '50s, Mullican by his very nature, for all
of his popularity, challenged the traditions and prejudices of a lot of the
listening public and even some of his fellow musicians. He freely acknowledged
his debt to black performers and musical styles associated with them, in
interviews and the notes to various songbooks, but — just as an example of what
was going on around him — Jerry Lee Lewis,
a generation younger, who was influenced by Mullican about as much as any
musician of his generation, has always had a much more difficult time admitting
to a direct black influence on his sound. Mullican was a little too open-minded
ever to get his real due at the time, and had to content himself with record
sales figures and a healthy audience for his performances. By the mid-'50s, he
was trying to get out of his King Records deal and onto one of the major labels.
It didn't happen for Mullican until the end of the '50s, a point where his star
had fallen considerably. Rock & roll had taken a lot of the edge off the sales
of country records, effectively stealing the youngest, most active, and most
pliable portion of country's audience. Mullican's record sales, ironically, had
fallen even as the stars of such stylistic emulators and successors as
Jerry Lee Lewis rose.
Chuck Berry was enjoying success with such
suggestive numbers as "Reelin' and Rockin'," but Mullican was having a harder
time with "Seven Nights to Rock," an equally bold number with a compelling beat
and a driving performance, cut with Boyd
Bennett & His Rockets in an effort to reach the rock & roll audience. In a
sense, his timing was off — if Bill Haley,
born nearly two decades later than Mullican (and who didn't have half of
Mullican's singing ability) seemed over the hill as soon as his balding, pudgy
post-30-ish image became well-known, then Mullican, with his cowboy hat, Western
twang in his singing, and 50-ish appearance was definitely not what the kids
were buying, no matter what his records sounded like.By the end of the '50s,
he'd been released from King but couldn't get another recording deal very easily,
as his sales had declined through the middle of the decade. A move to Coral
Records led to a toned-down country approach, which managed to intersect with
rock & roll, blues, and pop music, but success still eluded him, even when he
recut his King Records hits. Mullican entered the '60s as an overlooked figure,
apart from country listeners with long memories and those people lucky enough to
catch his performances in Texas and around the Southern and border states.
A 1962 heart attack on-stage sidelined him into the following year, but he was
back performing and recording in 1963, this time locally for the Hall-Way label
of Beaumont, TX, where he made his home. He never gave up performing or
neglected his love of pleasing an audience. Finally, on New Year's Eve of
1966-1967, he suffered another heart attack, and died early in the morning on
January 1, 1967. Two years later, Kapp Records released The Moon Mullican
Showcase LP, which included his last sides done in Beaumont more than half a
decade earlier. In the decades since, Mullican's name has gradually become known
to a generation of listeners attuned to the roots of rock & roll and pre-Nashville
country music, and labels like Ace, West Side, and Bear Family have issued
compilations of his King, Coral, and Hall-Way sides on CD.
http://www.rockabillyhall.com/MoonMullican.html
http://www.webspawner.com/users/MoonMullican/
Talents : Singer, Piano
Style musical : Western Swing, Honky Tonk, Traditional Country
http://www.youtube.com/watch?v=QocYwYTvQY0
CHEROKEE BOOGIE
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|
Années en activité :
| 1910 | 20 | 30 | 40 | 50 | 60 | 70 | 80 | 90 | 2000 | 10 |
DISCOGRAPHY
78 t. & Singles
| 1946 | 78 t. KING 565 (US) | . | Lonesome Hearted Blues / It's A Sin To Love You Like I Do |
| 1946 | 78 t. KING 578 (US) | . | When A Soldier Knocks And Finds Nobody Home / New Pretty Blonde - New Jole Blon |
| 1947 | 78 t. KING 607 (US) | . | New Milk Cow Blues / Moonshine Polka |
| 1947 | 78 t. KING 613 (US) | . | Foggy River / Worries On My Mind |
| 1947 | 78 t. KING 632 (US) | . | Jole Blon's Sister / Show Boat Special |
| 1948 | 78 t. KING 673 (US) | . | I Left My Heart In Texas / Sweet Than The Flowers |
| 1948 | 78 t. KING 684 (US) | . | Over The Waves / Columbus Stockade Blues |
| 1948 | 78 t. KING 722 (US) | . | What My Eyes See, My Heart Believes / Wait A Minute |
| 1948 | 78 t. KING 734 (US) | . | A Maidens Prayer / I'm Gonna Move |
| 1948 | 78 t. KING 745 (US) | . | The Tie That Binds / Why Don't You Love Me? |
| 1948 | 78 t. KING 761 (US) | . | Jole Blon Is Gone Amen / Oh! She's Gone But Not Forgotten |
| 1949 | 78 t. KING 783 (US) | . | There's A Chill On The Hill Tonight / Sweeter Than The Flowers No 2 |
| 1949 | 78 t. KING 830 (US) | . | I'll Sail My Ship Alone / Moon's Tune |
| 1949 | 78 t. KING 839 (US) | . | Broken Dreams / Don't Ever Take My Pillow |
| 1950 | 78 t. KING 868 (US) | . | Southern Hospitality / You Don't Have To Be A Baby To Cry |
| 1950 | 78 t. KING 886 (US) | . | Mona Lisa / Goodnight Irene |
| 10/1950 | 78 t. KING 894 (US) | . |
Well, Oh Well
/ Nine-Tenths Of The
Tennessee River |
| 1950 | 78 t. KING 917 (US) | . | The Leaves Mustn't Fall / I Was Sorta Wonderin' |
| 1950 | 78 t. KING 931 (US) | . | Short But Sweet / Too Many Irons |
| 1950 | 78 t. KING 947 (US) | . | The Lamp Of Life (Is Burning Low) / Without A Port Of Love |
| 1951 | 78 t. KING 965 (US) | . |
Cherokee Boogie
/ Love
Is The Light That Leads Me Home |
| 1951 | 78 t. KING 984 (US) | . | Another Night Is Coming / Heartless Lover |
| 1951 | 78 t. KING 996 (US) | . | Columbus Stockade Blues / Over The Waves |
| 1951 | 78 t. KING 1043 (US) | . | Shoot The Moon / A Million Regrets |
| 1952 | 78 t. KING 1060 (US) | . | Triflin' Woman Blues / My Tears Will Pour Just Like Rain |
| 1952 | SP KING 45-1106 (US) | . | Jambalaya / A Mighty Pretty Waltz |
| 11/1952 | SP KING 45-1137 (US) | . | Pipeliner's Blues / Sugar Beet |
| 1952 | SP KING 45-1152 (US) | . | A Thousand And One / Crushed Red Rose |
| 1952 | SP KING 45-1164 (US) | . | So Long / Ooglie Ooglie Oogie (The Tokyo Boogie) |
| 04/1953 | SP KING 45-1198 (US) | . |
Rocket To The Moon
/
Rheumatism Boogie
|
| 08/1953 | SP KING 45-1244 (US) | . |
Grandpa Stole My Baby
/
I Done It
|
| 1953 | SP KING 45-1366 (US) | . | I'm Hanging Up All My Work Clothes / No Strangers |
| 1954 | SP KING 45-1408 (US) | . | Downstream / You Got The Best Of Me |
| 1954 | SP KING 45-1421 (US) | . | Put Your Arms Around Me Honey / Yearning (Just For You) |
| 1954 | SP KING 45-1427 (US) | . | Crippled For Life / There Goes The Bride |
| 1955 | SP KING 45-1441 (US) | . | The Honey Song / I'll Sail My Ship Alone |
| 1955 | SP KING 45-1447 (US) | . | When Love Dies Where Does It Go / What's The Matter With The Mill |
| 1955 | SP KING 45-1461 (US) | . | San Antonio Rose / Cedarwood Blues |
| 1955 | SP KING 45-1467 (US) | . | Someone More Lonesome Than You / Jose, The Mexican Boy |
| 1955 | SP KING 45-1481 (US) | . | Mexicali Rose / Panhandle Rag |
| 1955 ? | SP KING 45-3880 (US) | . | I'll Sail My Ship Alone / The Honey Song |
| 1955 ? | SP KING 45-4126 (US) | . | Shoot The Moon / A Million Regrets |
| 03/1956 | SP KING 45-4894 (US) | . | Moon MULLICAN with Boyd
BENNETT & His Rockets -
Seven Nights To Rock
/
Honolulu Rock-A-Roll-A
|
| 04/1956 | SP KING 45-4915 (US) | . | Moon MULLICAN with Boyd
BENNETT & His Rockets -
Rock And Roll Mr. Bullfrog
/
I'm Mad With
You
|
| 1956 ? | SP KING 45-4937 (US) | . | Hey Shah / Maybe It's All For The Best |
| 1957 ? | SP KING 45-4979 (US) | . | If You Don't Want No More Of My Loving / Keep A Light In The Window For Me |
| 05/1958 | SP CORAL 9-61994 (US) | . | Moon MULLICAN with Anita KERR Singers - Jenny Lee / That's Me |
| 10/1958 | SP CORAL 9-62042 (US) | . | Moon MULLICAN with Anita KERR Singers
- Moon's Rock
/
Sweet Rockin' Music
|
| 01/1959 | SP KING 45-5172 (US) | . |
Seven Nights To Rock
/ I'll Sail My Ship Alone |
| 1959 | SP KING 45-5223 (US) | . | Goodnight Irene / Mona Lisa |
| 1959 ? | SP ODEON 2028 (F) | . | Yearning / Put Your Arms Around Me Honey |
| 195? | EP KING KEO-229 (US) |
 |
Mona Lisa / + 3 |
| 03/1960 | SP KING 45-5328 (US) | . | Jambalaya (& the MARTIANS) / New Jole Blon (& the MARTIANS) |
| 1960 | SP KING 45-5354 (US) | . | I Was Sorta Wonderin' / Sweeter Than The Flowers |
| 08/1960 | SP KING 45-5379 (US) | . |
Rocket To The Moon
/
Pipeliner
|
| 1960 | SP STARDAY 527 (US) | . | New Jole Blon / Farewell |
| 1961 | SP STARDAY 545 (US) | . | Bottom Of The Glass / Ragged But Right |
| 1961 | SP STARDAY 556 (US) | . | The Way You're Treatin' Me / ? |
| 1961 | SP STARDAY 562 (US) | . | Mona Lisa / I'll Sail My Ship Alone |
| 04/1962 | SP STARDAY 594 (US) | . | Good Times Are Gonna Roll Again / + Cowboy COPAS |
| 06/1962 | SP STARDAY 596 (US) | . |
Ain't Nothin' Like Lovin'
/ Good Times Gonna Roll
Again |
| 1963 | SP KING 45-5828 (US) | . | New Jole Blon / I'll Sail My Ship Alone |
Albums
| 1956 | LP 12" KING 555 (US) |
 |
MOON MULLICAN SINGS HIS ALL-TIME GREATEST HITS - I'll Sail My Ship Alone / Honolulu Rock-A Roll-A / The Leaves Mustn't Fall / Mona Lisa / Sugar Beet / New Jole Blon / Sweeter Than The Flowers / Pipeliner's Blues / I Was Sorta Wonderin' / Cherokee Boogie / You Don't Have To Be A Baby To Cry / Foggy River | ||
| 1958 | LP 12" STERLING ST-601 (US) |
 |
MOON MULLICAN PLAYS AND SINGS - I'LL SAIL MY SHIP ALONE - Louisian / Sweeter Than the Flowers / I'll Sail My Ship Alone / Moonshine / Ragged But Right / Bottom Of The Glass / Jole Blon-2 / Magnolia Rag / Mona Lisa / Cabaret / The Wabash Cannonball / Farewell | ||
| 1958 | LP 12" CORAL CR-57235 (US) |
 |
MOON OVER MULLICAN | ||
| 1959 | LP 12" KING 628 (US) |
 |
MOON MULLICAN SINGS AND PLAYS 16 FAVORITE TUNES - THE OLD TEXAN - Jambalaya / Mighty Pretty Waltz / So Long / Thousand And One Sleepless Nights / Short But Sweet / Crushed Red Rose / I'm Mad With You / Keep A Light In The Window For Me / Heartless Lover / Lamp Of Life Is Burning Low / Love Is The Light That Lead Me Home / Seven Nights To Rock / Where Beautiful Flowers Grow / Southern Hospitality / Well Oh Well / Leaving You With A Worried Mind | ||
| 1960 | LP 12" KING 681 (US) |
|
THE MANY MOODS OF MOON MULLICAN - Moon's Tune / Mexicali Rose / Jole Blon's Sister / Why Don't You Love Me / Don't Ever Take My Picture Down / There Goes The Bride / Oh She's Gone / Good Deal / Lucille / Sweeter Than The Flowers / Pan Handle Rag / My Tears Will Pour Just Like Rain / What My Eyes See My Heart Believes / Good Night Irene / Grandpa Stole My Baby / When Love Dies Where Does It Go / Crippled For Life | ||
| 1962 | LP 12" AUDIO LAB AL-1568 (US) |
|
INSTRUMENTALS | ||
| 1963 | LP 12" STARDAY SP-135 (US) |
|
PLAYIN' AND SINGIN' | ||
| 1964 | LP 12" STARDAY SP-267 (US) |
|
MISTER PIANO MAN - Good Times / This Glass / Down On The Bayou / Just Plain Lonesome / Piano Man Rag / Lips So Warm / Cajun Coffee Song / Fools Like Me / Ain't Nothin' Like Lovin' / I'll Pour /Make Friends / Way You're Treating Me | ||
| 1965 | LP 12" KING 937 (US) |
|
24 OF HIS FAVORITE TUNES | ||
| 1966 | LP 12" HILLTOP JS-6033 (US) |
 |
GOOD TIMES GONNA ROLL AGAIN - Good Times Gonna Roll Again / Louisian / Bottom Of The Glass / Maple Leaf Rag / Sweeter Than The Flowers / Jole Blon / Farewell / Ain't Nothin' Like Lovin' / Wabash Cannonball / I'll Sail My Ship Alone | ||
| 1967 | LP 12" STARDAY SLP 398 (US) |
 |
THE UNFORGETTABLE MOON MULLICAN PLAYS AND SINGS HIS GREATEST HITS - I'll Sail My Ship Alone / Make Friends / Farewell (instr.) / Ragged But Right / Magnolia Rag (instr.) / Sweeter Than The Flowers / Jole Blon / Wabash Cannonball / Bottom Of The Glass / Pipeliner Blues (live) / Louisian (instr.) / Mona Lisa | ||
| 1968 | LP 12" KAPP 3600 (US) |
 |
THE MOON MULLICAN SHOWCASE - Quarter Mile Rows / Mr. Tears / Fools Like Me / The Cajun Coffee Song / This Glass I Hold / Just To Be With You / Big Big City / Colinda / I'll Pour The Wine / She Once Lived Here | ||
| 196? | LP 12" SPAR SP-3005 (US) |
 |
MISTER HONKY TONK MAN | ||
| 1970 | LP 12" NASHVILLE NLP-2080 (US) |
 |
I'LL SAIL MY SHIP ALONE - I'll Sail My Ship Alone / Jole Blon / Cherokee Boogie / Pipeliner Blues / Good Times Gonna Roll Again / Sweeter Than The Flowers / Wabash Cannonball / Ragged But Right / I Was Sorta Wonderin' / Farewell (Instr.) | ||
| 1981 | LP 12" WESTERN 2001 (US) |
 |
SEVEN NIGHTS TO ROCK - THE KING YEARS, 1946-56 - Seven Nights To Rock / Southern Hospitality / Well, Oh Well / Grandpa Stole My Baby / Cherokee Boogie / What Have I Done That Made You Go Away / Tokyo Boogie / Shoot The Moon / I'm Mad With You / I Done It / Rocket To The Moon / Trifling Woman Blues / Good Deal, Lucille / Don't Ever Take My Picture Down / Rheumatism Boogie / Pipeliner's Blues | ||
| 02/1984 | LP 12" CHARLY CR 30231 (UK) |
 |
SWEET ROCKIN' MUSIC - Jenny Lee / That's Me / Sweet Rockin' Music / Moon's Rock / Cush Cush Ky-Yay / The Writin' On The Wall / The Wedding Of The Bugs / Big Big City / Pipeliner Blues / I Was Sorta Wonderin' / Early Morning Blues / Sweeter Than Flowers / The Leaves Musn't Fall / My Baby's Gone / Every Which A Way / I'm Waiting For Ships That Never Come In | ||
| 1986 | CD DELUXE 7813 (US) |
 |
22 GREATEST HITS - Farewell / Ragged But Right / Magnolia Rag / Sweeter Than The Flowers / Jole Blon / Wabash Cannonball / Bottom Of The Glass / Louisian' / Mona Lisa / Well Oh Well / Pipeliner Blues / Southern Hospitality / Grandpa Stole My Baby / Cherokee Boogie / What Have I Done That Made You Go Away / Shoot The Moon / Triflin' Woman Blues / Good Deal Lucille / Don't Ever Take My Picture Down / I'll Sail My Ship Alone / Make Friends / Good Times Gonna Roll Again | ||
| 1992 | CD BEAR FAMILY BCD 15607 (US) |
 |
MOON'S ROCK - Moon's Rock / Jenny Lee / Pipeliner Blues / Sweet Rockin' Music / That's Me / Cush Cush Ky-Yay / The Writin' On The Wall / The Wedding Of The Bugs / Nobody Knows But My Pillow / My Love / I'm Waiting For Ships That Never Come In / You Don't Have To Be A Baby To Cry / I'll Sail My Ship Alone / I Was Sorta Wonderin' / Every Which-A-Way / I Don't Know Why (I Just Do) / Sweeter Than The Flowers / The Leaves Mustn't Fall / Anything That's Part Of You / Early Morning Blues / My Baby's Gone / Colinda / Make Friends / The Cajun Coffee Song / Quarter Mile Rows / Just To Be With You / I'll Pour The Wine / Fools Like Me / Big Big City / Mr. Tears / She Once Lived Here / This Glass I Hold | ||
| 1993 | CD ACE CDCHD 458 (UK) |
 |
MOONSHINE JAMBOREE - Hey Mr Cotton Picker / Leaving You With A Worried Mind / What's The Matter With The Mill / Pipeliner Blues / Triflin' Woman Blues / Nine Tenths Of The Tennessee River / Cherokee Boogie / All I Need Is You / I'll Sail My Ship Alone / Good Deal Lucille / Moonshine Blues / Rocket To The Moon / Downstream / I Done It / Goodnight Irene / Rheumatism Boogie / Well Oh Well / Don't Ever Take My Picture Down / The Lonesome Hearted Blues / It's A Sin To Love You Like I Do / I'm Gonna Move Home Bye And Bye / I Left My Heart In Texas / I'll Take Your Hat Right Off My Rack | ||
| 05/2000 | CD WESTSIDE 800(UK) |
 |
SHOWBOY SPECIAL - THE EARLY KING SIDES - The Lonesome Hearted Blues / It's a Sin to Love You Like I Do / Showboy Special / Let Me Rock You Baby / Moonshine Polka / Shoot The Moon / I Didn't Think You'd Ever Really Go / Everyone Knows That I'm Lonely / Don't Ever Take My Picture Down / You Had Your Way / When A Soldier Knocks And Finds Nobody Home / What Have I Done That Made You Leave / Worries On My Mind / I Can't Love You / New Milk Cow Blues / New Pretty Blonde (New Jole Blon) [Jole Blon] / There's A Little Bit Of Heaven Everywhere / I've Got Nobody But You / There's A Chill On The Hill Tonight / Columbus Stockade Blues / Jolé Blon's Sister / I'm Gonna Move Home Bye And Bye / Foggy River [alternate take] | ||
| 07/2000 | CD SEE FOR MILES 705 (UK) |
 |
THE EP COLLECTION - Showboy Special / Moonshine Polka / New Pretty Blonde / Foggy River / Over The Waves / Sweeter Than Flowers / I'll Sail My Ship Alone / I Was Sorta Wonderin' / Southern Hospitality / The Leaves Musn't Fall / Mona Lisa / Well Oh Well / Cherokee Boogie (Eh-Oh-Alleena) / Piano Breakdown / Country Boogie / Memphis Blues / Moonshine Blues (Moon Blues) / Jambalaya / Pipeliner Blues / Ooglie Ooglie Oooglie (The Tokyo Boogie) / Rheumatism Boogie / I'm Mad At You / Honolulu Rock-A-Roll-A / Seven Nights To Rock / Rock And Roll Mr. Bullfrog / Keep A Light In The Window For Me | ||
| 06/2002 | CD WESTSIDE 911(UK) |
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MOON'S TUNES - Foggy River [master] / I Left My Heart In Texas / Triflin' Woman Blues / Why Don't You Love Me? / Oh She's Gone But Not Forgotten / Tie That Binds / Over The Waves / Sweeter Than The Flowers / Save A Little Dream For Me / Maiden's Prayer / Jole Blon Is Gone Amen / Broken Dreams / I Don't Know What To Do / What My Eyes See My Heart Believes / I'm So Blue / Wait A Minute / Trouble, Trouble / I'll Sail My Ship Alone / Moon's Tune / Sweeter Than the Flowers [No. 2] / Heartless Lover / My Tears Will Pour Just Like Rain / I Was Sorta Wonderin' / Million Regrets | ||
| 08/2002 | 2 CD PROSPER PAIRS 106 (UK) |
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I'LL SAIL MY SHIP ALONE :
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| 06/2004 | CD ACE 997 (UK) |
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SEVEN NIGHTS TO ROCK - I'm Mad With You / Seven Nights To Rock / Honolulu Rock-A Roll-A / Rock 'N' Roll Mr. Bullfrog / Hey Shah / Short But Sweet / Maybe It's All For The Best / Memphis Blues / Mona Lisa / Grandpa Stole My Baby / You Don't Have To Be A Baby To Cry / Keep A Light In The Window For Me / Wanted / Think It Over / Piano Breakdown / If You Don't Want No More Of My Loving / Jambalaya (On The Bayou) / Without A Port Of Love / Sugar Beet / Too Many Irons In The Fire / Mighty Pretty Waltz / Crippled For Life / Jose The Mexican Boy / So Long | ||
| 04/2005 | CD BRONCO BUSTER 9022 (D) |
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LEFT MY HEART IN TEXAS - All I Need Is You / (Don't Let Temptation) Turn You 'Round / The Lonesome Hearted Blues / It's A Sin To Love You Like I Do / Jole Blon Is Gone, Amen / Broken Dreams / I Left My Heart In Texas / Mona Lisa / You Don't Have To Be A Baby To Cry / No Stranger / I'm Hanging Up All My Work Clothes / A Maiden's Prayer / Worries On My Mind / Without A Port Of Love / Wait A Minute / I'm Gonna Move Home Bye And Bye / When A Soldier Knocks And Finds Nobody Home / New Pretty Blonde (New Jole Blon) / The Lamp Of Life Is Burning Low / I'll Sail My Ship Alone | ||
| 01/2010 | CD AIS 2988086 (US) |
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I'LL SAIL MY SHIP ALONE / MR. HONKY TONK MAN - I'll Sail My Ship Alone / Sweet Georgia Brown / Moon's Blues / Corinna Corinna / You Don't Have To Be A Baby To Cry / Mr. Teardrop / Love Don't Have A Guarantee / Columbus Stockade Blues / Lucky Me / You Can't Take It With You / Gamblin' Blackie / Old Pipeliner ("Pipeliner Blues") / Mr. Honky Tonk Man / I Don't Live Anymore / Man In The Moon / I'm Just One Tear Away / Live And Let Live / I Ain't No Beatle (But I Want To Hold Your Hand) / I Really Know What Lonesome Can Be / Worried Mind / Nobody's Darlin' But Mine / In The Blue Of The Night / Old Pals Are The Best / I'm On My Way Home |
© Rocky Productions 27/01/2010
