Tasty Nashville Sounds From Excello

Tennessee record labels, from Sun to Stax to Hi, have given us some extraordinary rock ‘n’ roll, blues, R&B; and gospel--most of it from Memphis. The unique thing about Excello Records, one of the tastiest Southern R&B; and gospel labels of the ‘50s, is that it was headquartered in Nashville. The legacy of that independent outfit is saluted in “The Excello Story,” a four-volume series from Hip-O Records.

While some R&B; historians would no doubt prefer all four volumes in a single, convenient package with a comprehensive booklet, the decision to issue the albums in separate volumes gives the consumer more choice.

Instead of being forced to buy the entire package, you can focus on the period in the Excello story that is of the greatest interest. Volume 1 (1952-1955) and Volume 2 (1955-1957) both open with landmark tracks and back them with enough engaging tracks to make them especially tempting. Volume 3 (1957-1961) contains the label’s biggest pop hits, while Volume 4 (1961-1975) is of generally less importance.

Excello was one of several labels associated over the years with the Nashboro Record Distributing Co., which was formed in Nashville in the early ‘50s by Ernie Young, a jukebox operator and record shop owner. The early releases were gospel and blues, though Excello later recorded a few country artists.

The opening track in Volume 1 is Arthur Gunter’s “Baby Let’s Play House.” It wasn’t Excello’s first release, but was the most significant release from the label’s early period because it was later redone by Elvis Presley for Sun Records--and it may well be the Sun release that best defined Elvis’ initial rock vision.

Gunter was a young, blues-minded guitarist from Nashville, and “Baby” was his only Top 40 R&B; success, reaching No. 12 on the charts in the early weeks of 1955. Within three months, Presley’s far more dynamic version was breaking into the Top 10 on the country charts, adding greatly to his early Southern fan base.

Nothing else on Volume 1 approaches the significance of “Baby,” but several tracks, including Jack Cooley’s “Dyna Flow,” Shy Guy Douglas’ “I’m Your Country Man” and the Sons of the South’s “God Is Alright” will catch your ear.

Volume 2 opens with the Marigolds’ “Rollin’ Stone,” which was an even bigger hit than “Baby,” reaching No. 8 on the R&B; charts in 1955. Though Presley never recorded the song, the Fontane Sisters had a Top 20 pop hit with it the same year.

The Marigolds’ version, however, is by far the better record, and it remains a cult favorite. Its mix of calypso and R&B; is often cited as an influence by early reggae artists.

Volume 2 includes two other Excello hits, “It’s Love Baby (24 Hours a Day)” by Louis Brooks & His Hi-Toppers with Earl Gaines, and “Pleadin’ for Love” by Larry Birdsong with Brooks and the Hi-Toppers. Several other tracks on Volume 2, however, are actually more interesting than those two, reminding us how the best music often doesn’t make it onto the charts. Rudy Green’s “My Mumblin’ Baby” is an oddball classic.

Volume 3 showcases such noteworthy recordings as the Gladiolas’ version of “Little Darlin’ ” (a massive pop hit for the Diamonds), the Crescendos’ “Oh Julie,” Slim Harpo’s marvelous “Rainin’ in My Heart” and Lazy Lester’s “I’m a Lover, Not a Fighter” (later recorded by the Kinks).

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Also in the Stores: “The Last Soul Company: A Thirty Year Retrospective” is an example of a more comprehensive record label survey. The six-disc package, with extensive liner notes by pop historian Rob Bowman, showcases more than 100 recordings that were either released by Malaco Records or recorded in its Jackson, Miss., studios. The lineup includes such hits as Dorothy Moore’s country-leaning “Misty Blue” and Anita Ward’s energetic gem “Ring My Bell.” In addition, “The Last Soul Company” features tracks by such notable figures as Eddie Floyd, Z.Z. Hill, Bobby “Blue” Bland, Denise La Salle and Johnnie Taylor, though not always their most celebrated material.

Unlike Excello, the Malaco operation--which was started in the late ‘60s with hopes of following in the footsteps of such R&B-oriented; labels as Stax and Chess--is still in business. Though the company has had only three pop Top 10 hits and only a handful of R&B; hits all these years, it has remained true to its pursuit of honest and affecting R&B;, earning rock historian and author Peter Guralnick’s description as “the last soul company.”