EVERY Billboard #1 country hit discussion thread 1944-1949

As we're slogging through 1975 on the other thread of country #1's, there have been questions as to why there hadn't been a look at earlier years of the 1940's, '50's and '60's. Well, here we are. We are starting with the beginnings of a chart that started life as "Most Played Juke Box Folk Records." The earliest entries were all over the place, with multiple covers listed for one song not unlike what was common on the "pop" charts at rival Cash Box magazine well into the late 1950's.

As always, this is a linear exercise emphasizing the process of the period in which these records hit #1 for the first time, for those even thinking of jumping ahead.

After a little introductory break, the very first topper on these here charts.

 

All right, now the very first song to hit the summit:
"Pistol Packin' Mama" by Al Dexter And His Troopers
(#1 for 7 weeks - January 8-February 19, 1944)


Wikipedia entry

 

During Mr. Dexter's time at #1 with this record, there were other versions placed next to it. One of the most famous was by Bing Crosby And The Andrews Sisters, #1 for 8 non-consecutive weeks, January 8-February 19 and March 11, 1944:

 

By Don Baxter And His Orchestra (#1 for 2 weeks - January 8-15, 1944) - no sound video, sadly:


By Sid Meltyn & His Orchestra (#1 for 1 week - January 15, 1944) - also no video:


And by Freddie "Schnickelfritz" Fisher And His Orchestra (#1 for 1 week - February 5, 1944) - yet another version where a video is lacking:

 

I had a country/rockabilly/roots rock band from roughly 1975-1982 that played the bars and the VFW/American Legion/Eagles/Elks/Moose circuit.

Our rhythm guitarist wasn't very good, but he was a salt of the earth kind of guy whom we all loved. Similarly, his wife, who would sing a few songs every night, wasn't very good either, but she was a wonderful person. I have very fond memories of those years.

Anyway, "Pistol Packin' Mama" was in her limited repertoire, which shows that it persisted down through the decades with at least some. I would guess she knew it from the Al Dexter original, though no doubt it was in many country artists' repertoire.

I look forward to participating in this thread!

 

It definitely was a country standard, and with good reason. And even then, given that five different versions topped the chart in that time period. One could say that this was full of spunk. It could even be argued that this got these charts started off with a real "bang."

Oh, and B.T.W., welcome aboard.

 

As I've probably said elsewhere the first I heard of this song was in the early days of cd, when it appeared on cd featuring Roy Orbison, the Everlys and a few others I've forgotten, plus Gene Vincent and his version. Loved it immediately.

Don't think I've heard the Bing Crosby version - is that where cowbell started?

 

"Pistol Packin' Mama" was, based on what I have read, a genuine phenomenon.

Before 1940, charts are nebulous, and for some years after that, they are limited, but it seems to have been the biggest-selling hit in what we now call country music since the 1930s, possibly even since the well-documented success of "The Prisoner's Song" by Vernon Dalhart (1924).

The Al Dexter version hit #1 on the Billboard Best Selling Retail Records chart in the October 30, 1943 issue; the Bing Crosby/Andrews Sisters cover hit #2 for four weeks later in 1943 (December 4 through 25). It's evident that the success of "Pistol Packin' Mama," which was already past its peak on the regular chart on January 8, 1944, led directly to the creation of what was then called the "folk" chart, which had as its subtitle "(Hillbillies, Spirituals, Cowboy Songs, Etc.)" -- "folk" had a much broader definition in 1944 than it would a few years later.

Dexter recorded "Pistol Packin' Mama" on March 20, 1942 in Hollywood at radio station KNX, which served as CBS' recording studio in that era. It was one of 14 sides Dexter recorded over a three-day period, March 18, 20, and 21, 1942. They were his first waxings on the West Coast, but they were far from his first; he had been recording in Texas for Vocalion as far back as 1936, and some of his 78s of the 1930s stayed in print long enough to be reissued on Okeh and later on two separate Columbia country 78 series. Dexter's 1936 song "Honky Tonk Blues" is said to be the first to mention that veritable type of establishment.

Presumably, Dexter recorded so many songs in three days as a hedge against the impending American Federation of Musicians strike against the major recording companies, which went into effect on August 1, 1942. Before that date, labels had their artists make as many sides as they could, hoping that by rationing the new titles, they could maintain a release schedule and wait out the musicians' union. But the recording ban lasted well into 1943 before Capitol and Decca settled with the union late in the year. Those two labels dominated the charts to such a degree in 1944 that the older labels, Columbia and Victor, had no choice but to settle as well.

"Pistol Packin' Mama" remained unreleased for about a year. Okeh finally issued the song with its B-side, "Rosalita," in March 1943. It was one of the ultimate slow builders, as it didn't make the Top 10 of the best-seller charts until August 28, five months after it came out. Nine weeks later, it was #1 on the chart.

For most of its life, "Pistol Packin' Mama" had no competition. Once a song is released, and composers and publishers could no longer control who recorded a song (they only had rights of first refusal), anyone can cover it as long as the appropriate mechanical royalties are paid. Bur because of the recording ban, no one else could record it unless they did so a cappella (singers, peculiarly, were not members of the union unless they played an instrument), and it was a song that would have lacked something without accompaniment. This gave Dexter the market to himself for months.

In the April 17, 1943 Billboard, it coin-operated machine owners received a heads-up on the new disc: "Operators searching out the releases for the hillbilly and Western couplets can find an attractive twinning in the new Okeh issue (0708) of Al Dexter and His Troopers for Rosalita and Pistol Packin' Mama. In addition to writing the ditties, Dexter applies his Western-styled baritone singing for his own lyrics, with excellent rhythmic instrumental accompaniment from his Troopers, taking in trumpet, accordion and guitars. Both set in a lively tempo, Rosalita is a highly tuneful serenade to !' the inevitable "rose of the rancho," who always has the happy faculty of stealing hearts down by the Rio. Pistol-Packin' Mama is a semi-humorous ditty that concerns itself with the gal who makes sure her man won't go in for any twotiming (sic) by toting a mighty firearm."

By May 22, Elliott Grennard, Billboard columnist of "Talent and Tunes on Record Machines," noted that "Pistol Packin' Mama" was a breakout hit in Des Moines, Iowa, writing, "Released as recently as March 1, this Okeh record is really doing okay. It may be due to the situation described in the beginning of this column or it may be due to its own virtues, but the Pistol Packing Mama is hitting plenty of bullseyes. It isn't often that a 'billy makes enough of a dent in the all-over picture to call attention to itself, but here's one that is doing just that. History may be repeating itself in a short span of time and Al Dexter may find himself in the position Elton Britt was in -- with a smash hit on his hands."

(A couple of notes on this: The "situation" Grennard wrote about was that, in this era of fewer new releases than usual because of both World War II materials shortages and the recording ban, operators had to rotate their records to keep them fresh. He also wrote, "The constant juggling also accounts for the ringing in of items that would not have been considered in normal times. These include hillbillies, instrumentals, novelty tunes and selections from various albums." The Elton Britt song he referred to was "There's a Star Spangled Banner Waving Somewhere," which was a substantial hit in the fall of 1942.)

Finally, Billboard noted in its July 17, 1943 issue that Dexter's version of the song had become a national breakout: "Strength of Pistol Packin' Mama leaves no doubt that hillbilly tunes have come into their own in juke boxes. This fast-on-the-trigger ditty shot past a string of name-band waxings to roost at the top of the pile. Not since Elton Britt's Banner was waving over coin machines thruout (sic) the country has a hillbilly number held such a high place in phono fans' affections."

The rest, as they say, is history.

By the way, Dexter didn't have to return to the recording studio until April 4, 1945. That is how enduring his 1942 waxings were, not only in 1943, but throughout 1944.

 

As for the covers of "Pistol Packin' Mama":

Bing Crosby/Andrews Sisters

Their version was recorded immediately after Decca settled with the musicians' union. On September 30, 1943, Decca and the AFM announced the terms under which they agreed to end the ban. The actual end of the strike against Decca occurred several days earlier. It appears as if the first new Decca session with musicians took place September 27, 1943 with Crosby, the Andrewses and Vic Schoen's ork (to use the common abbreviation of the era); "Pistol Packin' Mama" was recorded on that date. Dexter's version was #3 on the pop charts the week of the Decca/AFM settlement; with no competing versions, it was a prime target for a cover. By getting onto the market first, it got most of the rest of the action on the song.

Don Baxter

A fairly late entry in the "Pistol" sweepstakes, it was released either in late November or early December 1943 and reviewed in the January 8, 1944 Billboard, but not kindly: "The ubiquitous, revolver-toting Mama can be easily dismissed," it started. "Don Baxter, with male voices joining in on the chorus, sings it out to the bitter end without undue enthusiasm one way or the other." The 78's B-side was a timely piece of wishful thinking, "Hitler's Funeral."

This appears to be Don Baxter's only single.

Musicraft was an independent label founded in New York City in 1937. Originally a classical label that sold inexpensive 78s through five-and-10-cent stores, it always seemed to be on the verge of folding (it filed for bankruptcy at least twice in the 1940s). Having entered the pop field after its first bankruptcy in 1942, the label made headlines in April 1943 by trying to settle with the musicians' union by appealing directly to union head James Petrillo, but he turned them down flat. When Decca and Capitol settled later in '43, Musicraft did, too. After the war, the label became a major player in jazz. Following the second bankruptcy, Musicraft became inactive, with its last 78s coming out in 1949 or so.

Sid Peltyn

Sid Peltyn was a trumpeter in several bands that recorded for Bluebird from 1932 to 1935. Contrary to some sources, he was a real person, though sometimes he was credited as the orchestra leader when he wasn't. His best known song today is probably "(It's Too Darned Hot for a Tune) Play Me a Frigid Air" from 1932. He lived a long life, as he passed away in 1999 or 2000.

Hit Records, no relation to the Nashville-based cover label of the 1960s, was one of the many labels started by colorful record executive Eli Oberstein, who is credited by most historians with founding the Bluebird label when he worked for Victor. The Hit label existed from 1942 to 1945, at which time Oberstein sold it to the Majestic Radio company. Peltyn's recording was probably legitimate, but with Oberstein, who spent at least the first year of the recording ban in open warfare with Petrillo, one can't be 100 percent sure.

Freddie "Schnickelfritz" Fisher

His version, which was aimed toward the rural/hillbilly market, was recorded in Los Angeles on October 5, 1943, about a week after the Crosby/Andrews Sisters cover.

Freddy Fisher's name makes him sound like a polka king, but his band was more Decca's answer to the Hoosier Hot Shots or a precursor to Spike Jones and His City Slickers. In fact, George Rock played trumpet for Fisher's band before joining with Spike Jones in 1944.

Fisher recorded for Decca from 1937 to 1944 and later for Coral (1948) and King (1949). He died in Aspen, Colorado, in 1967.

And one more

Capitol was the second major label to settle with the AFM, after Decca. The first record released on the label after the ban was yet another "Pistol Packin' Mama" cover, this one by the Pied Pipers (Capitol 140). It was recorded on October 15, 1943.

 

And I meant to ask: When Bing and the Andrews' recorded their "Pistol Packin' Mama," the prefix for sessions at Decca's L.A. studios at 5505 Melrose was still 'DLA' as it had been from the company's 1934 startup; but when Fisher's version was recorded, the prefix had been shortened to 'L' as it would remain to the label's (first) end in 1973. Would the abbreviation have taken place on or about October 1 of '43?

 

And as we wait for the answer to the question posed above . . . now for the first topper on these charts that wasn't "Pistol Packin' Mama" . . .
"Ration Blues" by Louis Jordan And His Tympany Five
(#1 for 3 non-consecutive weeks - February 26-March 4 and April 15, 1944)


Louis Jordan a country (or as the chart was then known, "folk") artist? Seems so, if its topping the charts here is of any indication. Thus preceding by more than two decades the likes of Charley Pride. Also hit #1 on what was then the "Harlem Hit Parade," later to morph into the R&B and then soul charts.

 

Interesting - the first "folk" #1 to chart, healthy conversation, then the second - like crickets chirping. Almost feeling like Johnny Carson on some nights on The Tonight Show where some of his opening monologue falls flat.

Anyway, moving forward . . .
"Rosalita" by Al Dexter And His Troopers
(#1 for 1 week - March 11, 1944)


The B side of "Pistol Packin' Mama," Bing Crosby and The Andrews Sisters' version of which was tied with this for the top spot on this week. More on this in the Wikipedia entry.

 

As the first true stars of country start to assert themselves, you'll hear more from me. Dexter didn't really establish himself as a "repeat" star. Once Ernest Tubb comes on board, I'll have a lot to say!

Up to this point, though, the only consistent artist I can think of who would have a contemporary star designation is Roy Acuff.

 

This is the start of a wonderful thread. I don't have anything to really comment on yet but will be following every post and link. This is great music that many haven't heard so I hope it can open some eyes and ears.

Surprised there's been so few replies. W.B., don't let that stop you from continuing. Good luck.

 

Oh, I'm not gonna stop. My rule is, a new #1 every two days (meaning, the one after this will be entered Tuesday). I am not of the same timetable here as I am on the 1975 country #1 thread, which progress is tied to @Grant's #1 R&B singles thread - let alone the main pop #1's thread which doubtless will get to a million pages and/or posts when we get to the "present" time several years from now.

If you wonder why I have a 1944-49 timeline for this: The 1950-59 period, with some songs hogging the top for upwards of half a year, is in a world of its own. Especially the early part of the decade before the "Nashville Sound" was developed.

 

And in keeping with this timeline . . . the next one to hit the summit . . .
"They Took The Stars Out Of Heaven" by Floyd Tillman And His Favorite Playboys
(#1 for 1 week - March 18, 1944)


Wikipedia entry - apparently Mr. Tillman's most successful single in a long career.

 

Wow, this is surprising, given that Tillman songs such as "I Love You So Much It Hurts," "Slippin' Around" and "I Gotta Have My Baby Back" seem so much better-known. I guess in the case of the first two, the covers got more notice than Floyd's originals.

I have a decent amount of Floyd stuff on various reissue albums, but I don't recall this one. In any case, his singing style was unique, and his songs had a bit of an extra dimension missing from many of those by his contemporaries.

This is a good one, with the patented dual-lap steel/electric guitar lead. Interesting that the intro is longer than most you would hear.

 

And now the next one . . .
"So Long Pal" by Al Dexter And His Troopers
(#1 for 13 non-consecutive weeks - March 25, April 8-22, May 6-June 10, July 1, July 15 and September 23, 1944)


Wikipedia entry

 

And to complement it, the B side . . .
"Too Late To Worry" by Al Dexter And His Troopers
(#1 for 3 non-consecutive weeks - April 1, 15 and 29, 1944)


Wikipedia entry

 

Okay . . . now, anyone up for this track?
"Straighten Up And Fly Right" by The King Cole Trio
(#1 for 6 non-consecutive weeks - June 10-24 and July 8-22, 1944)


Wikipedia entry - though Nat King Cole on a forerunner to the country charts seems incongruous, it does seem in a sense to predate his recording of the country-flavored "Ramblin' Rose" by some 18 years.

 

You may also notice that up to this point, there are some weeks where there were multiple songs tied for the #1 spot. July 15 was the last week this happened. From July 22 on out, one song will be replaced by another at the top.

 

Not to jump ahead, but down the road you'll have your chance . . .

 

Hank Thompson (a country megastar, in my world anyway) was certainly listening - the two tribute albums he cut late in his career (which started in the '40s) were one for Nat and one for the Mills Bros. People like what they like.

 

And now for the last (for some time at least) incongruous number to top this chart:
"Is You Is Or Is You Ain't (Ma' Baby)" by Louis Jordan And His Tympany Five
(#1 for 5 weeks - July 29-August 6, 1944)


Wikipedia entry - the last time an African-American would top the country charts for another quarter-century.

 

It does seem incongruous, but rhythmically it's not far off from some of the up-tempo country hits of the day. And a notable commonality is the muted trumpet, which is heard frequently in this era...Merle Travis's songs come immediately to mind, but there were many others.