John D. Loudermilk, "Blue Train (Of The Heartbreak Line)" c/w "Rhythm And Bluesy," RCA Victor 47-8308 (rel. 2/1964)

Singer-songwriter John D. Loudermilk is a repeat visitor to the Jukebox. Here's one of his best singles. Recorded on April 17, 1961, its two tracks sat in the vaults until February of 1964. Why the long delay in release? RCA was notorious for just sitting on worthy tracks: no rationale given or requested. This was a source of frustration for many artists—they felt a certain song might be their next big thing only to have it vanish and never be spoken of again.

When "Blue Train" was released, its composer had moved onto different themes in his work, but the song had great meaning for South African listeners; it touched on the conveyance of the same name which had been a part of the region since 1923. Loudermilk, unaware of the South African rail line, had delivered a meaningful song to the country. In a later interview, he confessed the song's impetus was "just a play on words, something to write." When he visited the country in 1964, he felt ashamed that it had no deeper meaning and that he'd deceived its people with what seemed like an intentional anthem.

There is something special about "Blue Train," which opens with Charlie McCoy's harmonica and James Isbell's percussion, which conveys the force of a locomotive. A touch of ska flavors its throttling pace. Norris Wilson's keyboards accentuate the offbeats to fine effect. Loudermilk's clear, personable tenor tells the story of a man who's "lost that lovey of mine" and envisions a train to represent his sense of longing and displacement. 

The composer underestimated himself; the metaphor is perfect and well-achieved. With a gentle vocal chorus behind him, Loudermilk sings his song with a haunting tenderness.

I first heard this song on the Bear Family CD of the same name—a 1990 compilation of some of Loudermilk's best RCA material from the 1960s. It made an immediate impression on me and I'm glad to at last have the single. It was a country chart it; Cash Box had it at #12 on their list on its best week.

The B-side was supposed to be called "Rhythm & Bluesy,"

and is an unusual, understated musical fusion.

"Rhythm & Blues" was whipped up as a showpiece for Charlie McCoy's superb harmonica. Loudermilk's classical guitar plays a choppy boogie-woogie rhythm; he sings Nashville scat for one verse; later, a trio of harmony voice sing chords. It's over in a flash and is a pleasant B-side throwaway. Had it lasted longer, it might have done something more compelling. Its release may have served to keep disc jockeys focused on "Blue Train" and as such aided the record's success.

There's always an opening for John D. Loudermilk and his songs here; we'll feature him again before too long.

Tomorrow: Hawaiian bedroom pop with Robin Luke via one of his rarest singles, a 50th-state-only release on the Bertram International label. Funky lo-fi teen pop with a lot of heart and an odd vibe.