PAT KELL(E)Y, "SHE'S A DEVIL" C/W "THE STRANGER DRESSED IN BLACK," CHIC 45-1009 (REL. 5/1957)

We travel south to that hotbed of rockabilly action…Thomasville, Georgia? This town on the edge of the GA/FL border had Chic Records, a small concern that got one hit record (an import of a UK release by The Chas. McDevitt Skiffle Group—“Freight Train”) and made some rock, country and rhythm and blues items in its brief existence. I own three of their 15 releases and will always pick up anything on this label, should it cross my path.

Today’s Chic pick is a repost of a collection upgrade. It’s a potent slice of pop rockabilly by Tom Kelly, who had his name misspelled ‘Kelley’ on first pressings of this platter. For once, I have a press release that accompanied this record. X percent of information in any vintage press release is fertilizer, so I proceed with caution. Born in Oklahoma, Kelly made his performing debut at age 13 when he pleaded with country star Ray Price to get on-stage and entertain. Kelly went down well, and, if the PR is legit, was invited to continue with Price’s entourage for the rest of their tour. “Pat put three Grand Ole Opry tours to his credit this summer.”

Pat’s family moved to Nashville. His father John became his manager. Kelly put together a band which he named, in best Irish fashion, The Shamrocks. This group hit the road with country package tours. While a supporting act for country star Little Jimmy Dickens, Kelly and his Shamrocks signed with Chic Records—that stairway to stardom—and recorded these two sides on leave in Nashville. Kelly was 17 when this record was cut. Both sides were penned by John Ferguson, who made one solo 45 for Decca as Johnny Ferg in 1958. He had a pop hit under his full surname with John D. Loudermilk’s cute song “Angela Jones” in 1959.

“She’s A Devil” is a moody stroll-tempo item with a built-in appeal due to its tense modal melody. Muted guitar and a vocal chorus frame Kelly’s often-outta-tune lead vocal. He may miss some notes by a country mile, but he pushed out his words with a lot of heart. This song has the overall mood I call “’50s Menace”—a tension and desolation that borders on creepiness in its intensity.

My first copy, which I won in auction for 20-30 dollars, is pressed off-center on this side. The seller, like many on eBay, is oblivious to this defect that can’t be appreciated until the record is played. A second copy showed up in a dealer’s dollar box. It’s dead-centered, so I can, at last, present a non-seasick rendition of this rockabilly riveter.

>>>Hear it HERE!!!<<<

Two reviews suggest great things were predicted for this single from a Thomasville, Georgia imprint. I appreciate the optimism!

“The Stranger Dressed in Black” is in more traditional rockabilly territory—train-track rhythm, a blues-based melody and a frenetic lead vocal by Kelly. I’ll wager that drummer Buddy Harman and guitarist Hank Garland sat in for their respective Shamrocks on this side. Ditto for Floyd Cramer on the piano (he takes a short but effective solo). I’d bet, as well, we’re hearing The Jordanaires on Dread Chorus duty. Their chants of “don’t like that strain-jer” become an endearing part of this side.

Such session-cat perfection stands out on this side. I believe Kelly’s band plays on “She’s a Devil,” which was the official B. For the topside, as happened many times, the studio aces sat in as the band’s members stood in humiliation over in a corner. The above-mentioned musicians were great players who had the knack to conquer a song in a few minutes and play it with feeling and style. That said, it’s always compelling to hear a regional band in the studio for the first (and possibly last) time, stressed-out by the alien confines of acoustic tiles, microphones and music stands and determined to deliver the goods. These performances, flaws and all, are precious things to me. We do have that magic on the flip (which, of course, we play first here).

>>>Hear it HERE!!!<<<

Pat Kelly made two more singles for New York-based Jubilee Records and vanished from the music-scape after 1958. Perhaps he returned to Oklahoma; maybe his family stuck it out in Nashville and went on to other endeavors. There is never a press release for career failure.

Tomorrow: a new Mini-Pod © and a boppin’ Elvis-style double dip from Conway Twitty, via a 1959 M-G-M platter. Lots uh huffin’, hemmin’ uhn hawin’.