Gaggle of Guitar Instros: Roland Janes, Jan Davis and The Vice-Roys (1959, 1964, 1963)
The twang's the thang in today's special episode as we go instro-mental on this fine Saturday! I love guitar instrumentals--the less other instruments, the better. In the classic era of the rock 'n' roll instro (1957-1965) there is often saxophone, organ or other sounds to compete with the six-string sensation, sometimes to a dismaying degree.
Many a promising instrumental is deep-sixed by what I call "ailing mallard" sax. If said instrument kicks in too early in a side, it goes into my "nope" pile. The guitar has to be front-and-center to make this camper happy. Here are three such sides from a variety of prominent pickers.
Roland Janes is one of the foundational heroes of Sun Records, my favorite record label. Janes' blazing guitar work is all over a wide swath of Sun classics. As well, he did six-string chores on Bill Justis' big hit "Raunchy," a much-covered instrumental that first went out on Sam Phillips' Phillips International label in 1957. Janes' twangy low-register sound was a major influence on other young guitarists, including Duane Eddy, who fashioned a career around a more refined variation on Janes' grungy work.
It's a surprise that Sam P. never pegged Janes for a solo instrumental on either of his labels. Sam's brother Judd, who followed in the record-game footsteps, did the honors on his own label--itself a hotbed of Southern rock, r&b and teen pop.
"Guitarville" was the lower half of Judd J1012, released in May 1959. The top-side, "Patriotic Guitar," is a tedious medley of familiar songs from our nation's heritage, and is a no-go showboat. The B-side more than atones for the A's snooze-fest. "Guitarville" is a low-down, atmospheric mover with twang galore, a muddy, powerful rhythm section and a slow-grind beat that's irresistible. When sax man Martin Willis comes in, it's bearable, since it ain't called "Saxville" and that grungy band makes mucho racket behind him.
The finale, with Janes adding another guitar line to his business, is sublime. This was a recent find in that cramped, dusty antique store that I may return to later today--wearing a mask this time so I don't overload my sinuses with crud. Here's the Cash Box run-down of this hard-to-find single:
Many a promising instrumental is deep-sixed by what I call "ailing mallard" sax. If said instrument kicks in too early in a side, it goes into my "nope" pile. The guitar has to be front-and-center to make this camper happy. Here are three such sides from a variety of prominent pickers.
Roland Janes is one of the foundational heroes of Sun Records, my favorite record label. Janes' blazing guitar work is all over a wide swath of Sun classics. As well, he did six-string chores on Bill Justis' big hit "Raunchy," a much-covered instrumental that first went out on Sam Phillips' Phillips International label in 1957. Janes' twangy low-register sound was a major influence on other young guitarists, including Duane Eddy, who fashioned a career around a more refined variation on Janes' grungy work.
It's a surprise that Sam P. never pegged Janes for a solo instrumental on either of his labels. Sam's brother Judd, who followed in the record-game footsteps, did the honors on his own label--itself a hotbed of Southern rock, r&b and teen pop.
"Guitarville" was the lower half of Judd J1012, released in May 1959. The top-side, "Patriotic Guitar," is a tedious medley of familiar songs from our nation's heritage, and is a no-go showboat. The B-side more than atones for the A's snooze-fest. "Guitarville" is a low-down, atmospheric mover with twang galore, a muddy, powerful rhythm section and a slow-grind beat that's irresistible. When sax man Martin Willis comes in, it's bearable, since it ain't called "Saxville" and that grungy band makes mucho racket behind him.
The finale, with Janes adding another guitar line to his business, is sublime. This was a recent find in that cramped, dusty antique store that I may return to later today--wearing a mask this time so I don't overload my sinuses with crud. Here's the Cash Box run-down of this hard-to-find single:
Five years later, Jan Davis serenades us with the atmospheric powerhouse "Fugitive," no doubt inspired by the hit TV series with David Janssen (remade as a Hollywood smash in the early 1990s), Hollywood-born Davis was a guitar prodigy and made his first records while still a teen in the late 1950s. This 1964 single (A&M 733, March '64) displays his clean virtuosity. He absorbed influences from all over; I hear George Tomsco, lead guitarist for The Fireballs, and The Shadows' Hank Marvin in his clear, driving tone on this mood-piece that sets a dramatic scene and leaves all other lead instruments out of the studio--as it should be! Davis was a heckuva nice guy; he encouraged younger guitarists and gave helpful feedback and advice. His passing was mourned by those who knew him. It's a pity he never had a breakthrough hit under his own name. Here's the Cash Box verdict:
The Vice-roys hailed from Chicago and are no relation to the Seattle group of the same name. Their first single, 1962's "Don't Let Go," goes for major moolah. It's not that great a record, so it must have a super-small pressing. They hooked up with King Records, who plopped 'em on their anything-goes Bethlehem imprint. Known for its jazz LPs, Bethlemen is one of those "surprise!" labels. Sometimes it's a bad surprise (dull, corny country music); other times it's a side like "The Fox" (first titled "Joshin'" on its promotional copies). Said release was Bethelehem 45-3070 from June '63.
Here's that rare ideal blend of guitar and sax, on a tense, crisp hip-shaker that never slows down. Lead guitarist Dick Emerson has a great style: superb chops, clean tone and funky approach. I could do without the tinnitus-inducing organ that follows him, but the beefy sax of Richard Giannini makes up for that displeasure. It's a nice li'l surfy item with a modal melody that gets better as it proceeds. This was a blind buy that opened my eyes to a group I'd like to hear more of in the future.
Cash Box approved single!
Here's that rare ideal blend of guitar and sax, on a tense, crisp hip-shaker that never slows down. Lead guitarist Dick Emerson has a great style: superb chops, clean tone and funky approach. I could do without the tinnitus-inducing organ that follows him, but the beefy sax of Richard Giannini makes up for that displeasure. It's a nice li'l surfy item with a modal melody that gets better as it proceeds. This was a blind buy that opened my eyes to a group I'd like to hear more of in the future.
Cash Box approved single!
Tomorrow; soul duo Eddie and Ernie return with their best single--a 1964 outing with two minor-keyed songs delivered with mucho passion and atmosphere. Fifty cents well-spent from a couple of Sundays back.
Three fun instrumentals! Whenever I hear records like "Guitarville" all I can think of Jack Marshall's theme for "The Munsters." Not a bad thing. "Fugitive" is so-so to me—the dogs-after-the-escapee is too on the nose and distracts from the cool guitar playing. "Joshin'" has that AIP Beach Party vibe. Annette and Frankie hangin' out, frugging in their bathing suits with their friends or standing together on a surf board, the process shot of California waves and blue sky in the background.
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