1-CD with 40-page booklet, 30 tracks. Playing time approx. 69 mns.
More Rockabilly from the vaults of Decca Records!
Back in 1992, we decided that Rockabilly sounded good on CD, so we had the idea that we should create the all-time definitive Rockabilly series, 'That’ll Flat Git It!'
Above all, Rockabilly was music recorded for 45RPM singles, so we designed a Rockabilly series label-by-label instead of artist-by-artist, and we compiled it for listening pleasure. Just the great stuff, plus a few super rarities.
Every CD would be for the most part a 30 song jukebox of the finest Rockabilly ever recorded for all the great labels. We sourced the very best sounding tapes and took them to the best mastering engineers, and then we took the packaging to a new level. We adopted the catchphrase of the first Rockabilly dee-jay, Dewey Phillips, 'That’ll Flat Git It!', and we hired Bill Millar, who'd compiled the still-classic label-oriented Rockabilly LPs in the 1970s and 1980s, to write the notes. We looked for previously unpublished photos, and tried to find all the artists who'd never been found before. The result is a truly definitive Rockabilly series that now runs to twenty-seven volumes.
Various That'll Flat Git It! Vol. 6
This CD, the sequel to 'That'll Flat Git It! Volume Two, Rockabilly From The Vaults Of Decca Records', contains a further 25 tracks (with 5 additions) from 'Rare Rockabilly' Volumes One to Four, the British MCA series issued between 1975 and 1978.
The sounds which emerged from Owen Bradley's Nashville studio still reside at the core of this collection and most of the tracks bear the stamp of Grady Martin, the unsung de facto producer and major architect of the rockabilly guitar. Overall, however, there are wider parameters here. As well as Nashville, there are tracks from Los Angeles, Alabama, upstate New York and even Times Square. For the younger singers E.A. Presley defined a style that overcame regional variation but there's an uncalculated and febrile edge to most of their mimicry. Older C&W musicians preserved the effervescence of pre-rock styles including western swing and hillbilly boogie; their relaxed, experience-laced voices add an extra dimension to a maniacally exhausting music. Unlike its predecessor, not all the tracks here can be bandied about in the same sentence as classic but every ingredient of the rockabilly stew is present and there is still a great deal to enjoy.
Brief details about Eddie Fontaine, Roy Hall, Don Woody and Billy Harlan appeared in the booklet which accompanied 'That'll Flat Git It! Volume Two'. This set includes Fontaine's version of One And Only, a tune originally recorded as Only One by Don 'Red' Roberts on Chart. Fontaine died of throat cancer on April 13, 1992. He claimed to have been born in 1937 but he was older than he looked and 1927 is probably nearer the truth.
There are three more of Roy Hall's pounding country-boogie rockers including Move On, a song first recorded under the title of Carry On, by R&B singer Clarence Garlow who also wrote it. Jimmy Newman revived the tune for Dot Records in 1958 (see Bear Family BCD 15469). Morse Code completes the quartet of songs which Don Woody cut in 1956 and no searching sweep of the Decca-Brunswick archives could possibly omit Billy Harlan's Schoolhouse Rock.
Barbara Allen tackles Sweet Willie with a sore-throated vocal power that should make Brenda Lee fans feel right at home. The resemblance didn't stop there (she was only 5'2" tall) but it wasn't much help to a career which began when she gave up typing and joined Chuck Bland's Orchestra on Norfolk's Hometown Hoedown in 1955.
Allen, who was born on a farm near Zuni, Virginia circa 1937, re-located to Nashville on the advice of Ernest Tubb. There, she was discovered by songwriter Vic McAlpin who obtained her Decca contract in 1957. Her debut, Between Now And Then, got a fine review in 'Billboard' where she was voted Third Most Promising Female Singer of 1958. Early the following year, Allen joined the New Dominion Barn Dance which was broadcast live on Saturday nights from the WRVA Theatre in downtown Richmond. (The Old Dominion Barn Dance had given Janis Martin her big break in 1955). Despite that exposure - the Barn Dance was heard in 33 states - none of her Decca singles, including Make Up Your Mind, From Midnight Till Dawn and Sweet Willie, lived up to 'Billboard''s prediction. But she appeared regularly throughout the South-East and in 1960 'Country Song Roundup' pictured her with Ronald Reagan at the annual Azalea Festival in Wilmington, North Carolina.Allen made another five singles for Felsted without noticeable acclaim. Linnell Gentry records that she married one Albert Woodrow Tunnell and cites Peggy Joye Tunnell as her married name. The couple had a daughter and she may have retired to raise a family. Whatever she did, traditional Nashville divadom was not for her.