78 RPM - Earl Nunn And His Alabama Ramblers - Double Talkin' Woman / I've Loved You Too Long (To Forget You) - Specialty - USA

78 RPM Record

Artist:	Earl Nunn And His Alabama Ramblers
Label:	Specialty
Country:	USA
Catalogue:	SP 701
Date:	Feb 1949
Format:	10"
Collection:	I Own It I Want It
Community:	1 Owns
Price Guide:	Valuation Page
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Track	Artist	Title	Composer	Rating
A	Earl Nunn And His Alabama Ramblers	Double Talkin' Woman	E. Nunn	Rate
B	Earl Nunn And His Alabama Ramblers	I've Loved You Too Long (To Forget You)	E. Nunn	Rate

Notes

Featuring Billy Lee

BB Mar 5, 1949, p. 113 (Review)
#13 C&W (Most-Played Juke Box Folk Records) - Double Talkin' Woman

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Comments and Reviews


BigBadBluesMan 11th May 2020



mickey rat 6th Mar 2019		Revisiting this, I'm inclined to agree with you, fixbutte, re Pete Kameron's setting up publishing imprints for Art Rupe. Given his involvement with the folk movement in New York with The Weavers and others, "Greenwich" (as in Village) would have been a logical publishing name. Other small mentions in Cash Box indicate Greenwich Music was previously a subsidiary of Hill & Range in New York, operated by Julian & Jean Aberbach. Also Pete Kameron had been the Hollywood manager of Mickey Goldsen's Criterion Music in 1947, and he was a longtime Howie Richmond collaborator so he had important connections in the publishing world and inside knowledge of how the publishing business worked, something that Art Rupe didn't have at that stage. Uploading two more relevant snippets - hopefully the last, Apologies for Doris Day inclusion but I thought I'd let her stay.



mickey rat 5th Mar 2019		I have to say that before yesterday I hadn't heard of Pete Kameron but I now see he was a very busy man indeed. I was puzzled by the Key Largo copyright too.



fixbutte 5th Mar 2019		Flooding this entry a bit more with comments: From the February Billboard article I rather guess that Pete Kameron was actually the founder of Venice Music and Greenwich Music. Apart from the wording I conclude it from the mention of Key Largo by Benny Carter, an unlikely acquisition for Art Rupe but not for "former Capitol Songs contact man", Pete Kameron. As already said, Kameron was a colorful character who, like John Hammond, seemed to have had his fingers in every pie, starting as a manager of The Weavers, where he applied his pseudonym "Paul Campbell" for arranging credits of old folk songs, managing many more acts, founding and leading record companies, producing films and finally co-founding and investing in a popular alternative newspaper, L.A. Weekly. For all his activities, see his bio by Bruce Eder in AMG. See also the Billboard article on occasion of his death on June 29, 2008, calling him a business entrepreneur/philanthropist.



mickey rat 5th Mar 2019		Keith found his article and posted in 78 forums here. Thanks Keith.



mickey rat 5th Mar 2019		At the risk of flooding this entry with too much paper, uploaded another relevant article from October '48... As an aside to this, 200,000 sales on a Roy Milton record would have been very impressive at that time.



mickey rat 5th Mar 2019		I'm thinking maybe the Cashbox wording means Venice was "his" in the sense he was given the job of administering it. The April '49 Billboard article says Specialty placed Kameron in charge of the two publishing firms so I'm guessing Art Rupe created Venice and acquired Greenwich, taking Kameron on in an executive role to administer the imprints and to promote Specialty product. Anyway Kameron doesn't appear to have stayed at Specialty long. He seems to have then had a career in publishing in New York before becoming head of Track International with Chris Stamp & Kit Lambert and American manager of The Who. There's a 1970ish picture of him, middle-aged with long hair and droopy moustache, accepting an award for "Tommy". Everything's connected. Keith, have a rummage.



KeithS SUBS 4th Mar 2019		There was an article about Specialty's C&W series in Record Collector or maybe Now Dig This a long while back. I Must look for it



fixbutte 4th Mar 2019		Very interesting article, mickey rat. Although it clearly sounds there like Venice Music was owned by Pete Kameron then, we can also note by looking at the Specialty ad that 311 Venice Blvd. was the address of Specialty Records in Los Angeles at the time. Maybe they were neighbors though. I found another notice in Billboard (April 23, 1949 issue, p. 22) which may shine a light on the next move, see uploaded snippet (and an earlier article that I have also uploaded on Specialty SP 702 where it belongs on closer inspection).



mickey rat 4th Mar 2019		Uploaded an interesting (at least to me) snippet from Cash Box in January 1949. Art Rupe seems to have gone into some sort of partnership with Pete Kameron to market a country music series on Specialty. Kameron appears to have had experience in that area at Capitol Records. Two of the first three releases were reviewed in Cash Box and money was spent on a display ad (see above). I assume Billboard received the same. You can tell from the stetson hats that these guys were well outside Specialty's established "race" market. I assume the venture was not entirely successful as C&W DJs and jukebox operators would have been suspicious of anything with that distinctive Specialty label. It would maybe have been better to create a completely new label. Syd Nathan at King was very successful in marketing country and R&B side by side but Rupe's relatively small label would have been out of its comfort zone here. Anyway the Specialty project seems to have been shelved, although the 700 series was revived for a few issues in 1952. Intriguing too (at least to me) that the CB snippet seems to suggest that Venice Music was initially Kameron's and he was instrumental in acquiring Greenwich Music (ASCAP). Anyone know more about that?



fixbutte 2nd Dec 2015		@ganubenu You left a message on a phantom Specialty record of Earl Nunn created by you, saying "Any info regarding any of his records (this artist is my father, Earl Nunn) would be greatly appreciated." I'm afraid that we can't offer you more, and it seems that Earl Nunn didn't make many records under his name. Here's just one link about the Specialty 700 series with only little information about your father: Billboard (January 12, 1949) gave notice that Rupe had just inked his first 4 artists on the new Specialty 700 label. All of them were barely known, no doubt they had been approached by Stan Lewis’ relations or talent scouts. Actually only Earl Nunn may be localized with his band, the Alabama Ramblers, for the first issue. Previously he had co-written in 1944 with Zeke Clements the controversial (for its racist words) "Smoke on the water" for Red Foley (Decca 6102). He was probably vocally fronted by Billy Lee, who would have his own record (# 704) a little later. EARL NUNN offers an enjoyable lazy mid-paced "Double-talkin’ woman", with a steel well to the fore (# 701). Actually the very same steel appears on these early sessions, and one can wonder if this is a studio man, possibly Shot Jackson; the latter was indeed hanging around at KWKH, and even had his own issues (# 704 and 710, discussed below), not to talk about his work on Pacemaker with Webb Pierce. Anyway, I had to delete your phantom record "Any And All" by Earl Nunn, hoping that someone will be able to add more information.



Tailspin 28th Apr 2015		A side wax: SP-701 A B side wax: SP-701 B

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