Cowboy Reins

Giddy Up

I revisited my 1950’s Hohner Lone Star Rider and noticed two anomalies. Firstly, the six sided star is present (usually an indicator of pre WWII) and secondly, the label in the box suggests it was made in the 1930’s (4,500 men & 25,000,000 harmonicas per annum). One thing I’ve learnt on my harmonica collecting adventure it is often difficult to be definitive in their dating and there can always be exceptions to the rule. Like in any historical verification, multiple reputable sources should be sought before hanging your hat on a date.

In dating Hohner harmonicas we have several clues that provide us with a reasonable idea. The TM (usually on the bottom cover plate) may or may not have a star and, along with the design of the cuffs and sleeves, can be a good pointer in the dating process. These indicators have greater reliability for Hohner’s Marine Band #1896 than other models and Pat ‘Guru’ Missin has charted their historical changes brilliantly. Check it out here Marine Band.

The star is thought to have been removed circa 1938 because of its resemblance to the Star of David, however that is somewhat different using two triangles to form a star. Whatever the reason, its existence or non existence has been used in dating Hohner harmonicas to either Pre or Post World War II. Here’s Pat’s take on the Star issue. “I also noticed that I seem to get quoted as saying that the star was removed in 1937, although I have never actually said that. 1937 was the year of the Paris Exposition where Hohner won an award and I have seen instruments with both the star in the TM and the 1937 medal. The Expo ran from May to November of that year. I doubt they were giving out the medals right at the beginning and the earliest reference I can find to Hohner’s award is from January 1938, so a harmonica with both the star and the 1937 medal seems unlikely to be any earlier than 1938. Well, unless they made a whole lot of them in December 1937, I suppose. All of which points to 1938 being the earliest date for the removal of the star”.

Other sources for dating can include the medals on the cover plate as Pat just highlighted. Also, the type of box and any sticker/labels that are present and the materials used in the construction of the mouth organ. Catalogues are helpful, but are not always a good indicator. I’ll let Guru Pat take over here. “I would not trust catalogs 100% for dating design changes. I have a catalog from 1962 (actually printed on the catalog, so that date is reliable) that shows some instruments with the star TM, but it also shows a Marine Band with the mouse ears cover tabs, something that was changed almost 30 years previously. Of course, most catalogs don’t show the lower cover, which is where most Hohner harps have the TM”.

Spot the Difference – How many can you find?

As a kid I used to love spotting the difference between two nearly identical drawings. Later that would be finding the hook in Jeff Hook’s cartoons in the daily newspaper. See how many differences you can find with the trademarks below – Hohner obviously has had some fun with it.

I’ve altered these TM’s with filters so they are clearer. Top left is from my Up To Date, top right is my Marine Band tremolo, bottom left is my Song Band and bottom right is my Piccolo, which we may investigate next month. The Guru viewed these TM’s and responded thus: “Whilst I am reasonably confident in dating a Marine Band by the trademarks, I’m not sure how well that carries over to other models. In fact, some of these are quite different from any MB TMs I have seen.

There are a lot of variations of this type of TM – the cuffs vary; the star varies; the sleeve ends are either jagged or just cut off; “gesetzlich geschützten” in full, or abbreviated; single or double circles; the lines next to the star can be horizontal or vertical, etc. With some other clues, you might be able to figure out a date, but I wouldn’t rely just on the TM”. I wasn’t sure of what Pat meant by the lines next to the star so I sought clarification. He came back with some images.

He also felt there was a need for greater emphasis that the changes to the TM on the 1896 cover plate don’t cross over to various other MB models. Here’s what Guru Pat added. “Funny how the 1896 and various other models kept this general design, with mostly small changes, but harps such as the 12 and 14 hole MBs got the 1925 and 1937 medals added to them. Also, I just compared an 1896 with an Orchester 1 of about the same vintage and whilst they have that general design (Wien 1873, Ulm 1871, circle and hands, Stuttgart 1881, Philad 1876), there are a lot of small differences between them. I don’t ever know how many slight variations there must have been of this TM. It’s all very mysterious”.

Of course Pat would throw us a curve ball too! This Hohner trademark below includes the star, but was registered in 1940. Go figure?

Dick Did.

Dick Raines has had a varied career. At one time he was a Texas Ranger and he blew the harmonica in a radio Hillbilly band. It appears Cowboy Dick Raines used his skill on the harmonica and his Popeye impression in promoting his sport (I use the term sport loosely).

Later he worked for the Ford motor works. It was then that Raines seriously took to the grappling business after the physicality of his work had seen his body develop from under fourteen stone to well over the sixteen stone. As a youth, Raines had dabbled in amateur field athletics. He had also been a serviceable amateur heavyweight boxer, having around thirty fights, winning the majority on knockouts.

In December of 1937, Stadium Limited brought out wrestlers Dick Raines a Texas Cowboy, along with Henry Demetral a Chicago heavy weight, and Vic Hills of New York to Australia’s shores. Their first bouts were located at the Fitzroy stadium. Raines initially had several matches without defeat and was one of the first to use the “cowboy” gimmick. Sometimes he would bring his ‘Lucky Horse Shoe’ to the ring which would somehow find itself involved in the match. Chief Little Wolf suffered this torment, but he would have his revenge (see below).

At some point Cowboy Dick Raines became Dirty Dick Raines (Did Dick? Dick Did) and he lived up to his new moniker by being disqualified in over a thousand bouts. His signature move was named ‘The Backbreaker’ and fans disliked him so much, he was attacked after some bouts (I believe this wasn’t part of the show). Dick continued to visit Down Under each season and was still grappling here in 1954. After moving back to Texas, Dick became a referee with a sound knowledge of illegal holds and manoeuvres.

There is some rare footage of the man in question over on YouTube.

Don’t try this at home childerens.

Zama

Brian Cadd – Dream Train

Another notch on your gun, another moth to a flame. 
I shoulda count myself lucky. 
You missed my heart when you took your shot 
So while you’re trying to reload, 
I’ll get the hell out of Dodge.

Well, it has been along time between harp on a Brian Cadd tune, but the day has finally arrived with Lawrie Minson putting a few chops on several toons on Brian’s latest album Dream Train. The only song I can recall having the people’s instrument from Caddman’s outstanding back catalogue is Spring Hill County Breakdown from his 1974 Moonshine album. Here the amazing Jim Conway is let loose blowing his country licks all over it – including a solo. 👏🏻

Two tunes I’d like to highlight is Hell Outa Dodge and the last track which is less country than its counterparts and the album title track Dream Train. Hell Outa Dodge is reworked from the 2016 album Bulletproof, which Brian recorded with the Bootleg Family Band. The harp plays a central part in the new vibe of the upbeat, toe tapping, country rocker. Dream Train might be a wee career reflection for BC. The mood is heightened by a swampy feel and the addition of spicy slide guitar of Kirk Lorange.

This is a superbly produced album (smooth as single grain whiskey) from co producers Brian and Lindsay Waddington (Lynchburg) that really highlights the songs (lyrics) and Caddman’s distinctive vocals. He’s rusting, but not quietly so – do yourself a service and buy a hard copy (CD or Vinyl) from the great man.

Peter Garrett – Hey Archetype

Hey, is there nothing in this world that makes you cry?
Hey, is there nothing left that's sacred?
Nothing left that makes you want to, wanna be a man?
Hey, is there nothing in this world that makes you smile?
Hey, is there nothing else that's special
Nothing else that's sacred, that really makes you cry?

Peter Garrett often blows a bit of harp on at least one album tune and he doesn’t disappoint on his second solo album True North with Hey Archetype.

A message for the entitled? Perhaps for those on the right of the political spectrum? A bit of Jungian psychology where Pete is trying to wake up the collective consciousness? What it does have is a rockabilly beatin’ boogie beat that you can dance to and tasty pedal steel guitar riffs from Ollie Thorpe. Only a few bars of rough and ready harp (the people’s instrument), but it sure adds to the empathy of the tune.

Brings back memories of Blue Sky Mine and seeing the Oils live at the Armadale – right back in their early days. Funny that the title isn’t included in the lyrics – there are plenty of words that rhyme.

Benoit Live at Selby Folk Club

The launch of Benoit’s album Mountain, at the timeless Selby Folk Club back in June, was captured at the mixing desk by the amazing Mr. Miller. You can read my take on the night over here under Gigs. Click on the album cover to take you directly to Bandcamp.

Just letting you know (and Peej) I’m only on the first track, it’s Benoit doing his Dylan harp on Tangled Up In Blue. How does he remember all those lyrics?

Gonski

Western Port Hotel San Remo Sunday 7th April – Matt Joe Gow

It’s not often you get a front row table to witness an artist of the calibre of Matt Joe Gow playing his songs solo and acoustic for free, but we did on a Sunday arvo a week ago. It appears the Westernport Hotel, in the wonderful seaside town of San Remo (Phillip Island is over the bridge), is becoming a regular haunt for the Shep pack. Staged in the front bar with the magnificent seaside panoramic backdrop, Matt journeyed us back to 2009 for quite a few tunes off his first album The Messenger (and haven’t they stood the test of time).

There were prequels to sequels and sequels to prequels – he’s been in the business for sometime now. Trilogy’s might not be too far away. Matt reflected on times past – performing at the Espy when the grog was supplied in the green room before hitting the stage – that was when the band sounded great (well they thought so, until management changed the protocol to grog after the gig), working as a barman at the Cherry Bar in AC/DC Lane and even right back to the days back when – growing up over the ditch in Dunedin. We’re not permitted to say where he was born!

Two sets totalling twenty six tunes (from all albums) with only one being a cover from an early inspiration – a wonderful interpretation of Springsteen’s Dancing In The Dark. There were many highlights, which included; Break Rattle & Roll, Georgia Rose, Down River and Flowers In Your Hair (a cowboy love affair, perhaps?). Pam’s fav was the punchy, melodic Till My Whole Heart Bursts, which concluded the first set and Cailey loved I Let You Be with Matt’s deep vocal timbre resonating and the finger picking notes ringing (and so say all of us). Oh! Of course there was harp in both sets!

We just had to support Matt so he could purchase fuel for the trip home. Cailey and I headed to his merch station and bought a few items to help. And, to the ladies who were in the front bar for the first set, who talked so loudly and were even audible playing pool way out the back during the second set (I could see their reflection in the front window), I’m just letting you know, you didn’t spoil it for us and you missed a truly amazing gig.

Matt’s music dogalogue can be obtained over on Bandcamp.

Check out his latest release with Kerryn Fields No Trace it’s top notch. Their album I Remember You is not too far away, with the launch on Sunday May 5 at the Brunswick Ballroom.

Coming Up (Like a Flower)

W V Robinson – Freaks on the Mouth Organ

A comment was kindly posted on an older article Robbo’s Lauder Melodies informing HRR that Freaks On The Mouth Organ has been uploaded to the Internet Archive. Sadly it didn’t reach my lofty expectations from the title. There’s a little grab of his playing below that features after his instructional banter. What’s definitely worth a listen is Snowshoe Marches.

Harpo

A Harp-O-Chord was available on the well known internet auction site in the US for $240 ($120 postage) Australian. Did Canadian collector Doug Dawson snaffle this? A harmonica would be placed in the slot at the top of the zither. For more information on this 1899 patented instrument click on the photograph.

Flat Reed Huffers

Not far way now. The chook is nearly cooked – being basted as I type. I believe the technical term is ‘it’s in the post production process’. Keep an eye out here or over on my Bandcamp page. A weird post from one of Melbourne’s online daily’s (below) suggests I might have to change my song’s cover picture.

Riff Raff

A new feature article was posted earlier this month on the Fairlight Festivals. A few other book keeping matters. Another Australian boxer has been added to Harpin Ringside – Wally Hancock and another little quote on Jack Church’s mouth organ prowess on Jack’s Congregation. Having wound down the regularity of feature articles we are also finishing the first of the month posts – June will be the last.

Vale: Nan Heather Strong – my first Wonthaggi friend since living here (Tony & Lucas – your old Wonny friends). Nan, I love that your favourite song had harmonica (Khe Sanh – Cold Chisel) – a true kindred spirit. 🙏

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