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Update posted August, 2012

Great Grandma and Grandpa with Joshua, Age 19 hours,
Born August 10, 2012, 5:54 pm


Bob Timmers with Glen
November 3, 2011

1957 - Glen Glenn with the Maddox Brothers

50 years of classic jump music.


Glen in Paris, October 2007

Photos courtesy of Dominique ANGLARES -

Glen featured on AOL Music site

Interview with Glen Glenn - by Elvis Australia - April 5, 2007

Join Glen's Rockabilly World E-mail Discussion Group Here

Glen Received the Rockabilly Hall of Fame®
Lifetime Achivement Award on Saturday, April 16th
in Green Bay at the Rockin' '50s Fest II

Glen, Vikki Lee & Albert Lee from Grass Valley, CA
on January 13, 2007
Photo: Bob Bowen

Elvis Left Glen Glenn All Shook Up
           By David Allen Columnist, Inland Valley Daily Bulletin in Ontario, Calif (Jan. 6, 2005) - GLEN GLENN is perched on a stool in his Ontario living room, his 1952 Martin guitar on his leg, doing a run-through of "Baby, Let's Play House," his favorite Elvis Presley song.
           "Oh, baby, baby, baby, b-b-b-b-b-baby, baby, baby ... come back, baby, I wanna play house with you." Elvis would have been 70 on Saturday -- except for the little matter of his death in 1977, when he left the building permanently.
           Glen Glenn is 70 and still breathing. And he's the rockin'-est grandfather of two you'll ever meet. OK, maybe you've never heard of him. Until a couple of years ago, neither had I, and I've got a lot of '50s records. He's got a good excuse: Days after recording his first single, he was drafted. Unlike Elvis, two years of military service ended his career.
           Rediscovered in the 1980s, he's basking in acclaim in his golden years - a gig opening for Bob Dylan, concerts in Europe, and lavish CD anthologies of his 1950s records. More on that in a minute. First, let's talk Elvis.
           On April 4, 1956, Glenn and his buddy, Gary Lambert, made the drive from San Dimas to San Diego to see Elvis' first West Coast concert. They were accustomed to country singers who stood stock-still onstage. Elvis' shtick was to shake like his body was crawling with spiders. "People went crazy when he walked out there," Glenn recalls of the San Diego show. "He came out and shook for about five minutes, while D.J. (Fontana) played the drums behind him."
           It sounds like a burlesque act. Then Elvis launched into his songs - although "you could barely hear him, the girls were screaming so loud," Glenn notes. Afterward, country singer Fred Maddox introduced him to Elvis, who was a captive audience - the building was surrounded by screaming women, so he couldn't leave. Glenn has photos of himself with hundreds of musicians, but Elvis is the one who rocked his world.
           He forgot about being a country singer and went rock. "I did it because of girls," Glenn says with a laugh. "If you played country, girls might want your autograph. If you did this kind of music, girls freaked out."
           He was so excited to be in the business, he saved everything with his name on it, and didn't even fuss when his record company changed Glen Troutman, his real name, to Glen Glenn. He admits it's a dorky name. But as he puts it: "I wanted on a record so bad, they could've called me Jack the Ripper." Recorded in the rockabilly style of early Elvis, his songs were "Laurie Ann," "Everybody's Movin"' and "One Cup of Coffee and a Cigarette."
           Stuck on an Army base in Hawaii, he watched helplessly as his records stiffed. An invitation from Dick Clark to appear on "American Bandstand" to sing "Laurie Ann" fell through when Glenn's commanding officer refused to give him a weekend pass. By the time he got out in 1960, music had passed him by.
           So the Bonita High dropout hung up his guitar, got married, bought a home in Ontario and spent the next three decades in the stockroom of missile-makin' General Dynamics. (Crazy, man, crazy.)
           A rockabilly revival in the 1980s led by the Stray Cats resulted in his unlikely comeback. An English record label put out an album of Glenn's 1950s tracks. Fans wanted to find out more. "I started getting calls from Europe," Glenn marvels. Aficionados hold him in high regard, perhaps not so much for his thin body of work as for what he represents: a link to Elvis-style rock. As he brags: "You could go on Google and type in "Glen Glenn' and you'd be there all day."
           Dylan, a fan, chose him as opening act for a 1995 concert at the Hollywood Palladium. They met backstage. "Dylan hugged me," Glenn says.
           When he was introduced to the Stray Cats' Brian Setzer, Glenn says, "Setzer bowed to me. I said, "Why are you bowing to me? You're bigger than I am.'"
           Is it hard to perform at age 70? As Mary, his wife of 43 years, likes to tease him: "Around the house you're dead, but once you get onstage, you come alive." "When those lights come on," Glenn adds, "it perks me up." - Thankyewverramuch.

Dylan and Neil Young -
Everybody's Movin' Tonight - 1988

Update: October 25, 2004

New Glen Glenn CD Available from Bear Family
CLICK HERE for complete information.


Glen Glenn's Bear Family CD
Saturday, October 11, 2003 was the official release date of Glen's Bear Family "Definitive" CD.
Bear Family moved up the date to coincide with Glen's appearance in Memphis, Tennesee at
the Rockabilly Hall of Fame and The Shell. The insert booklet is 68 pages!!
Check your local record outlets now. If you can't find it - ask for it!!

Listen to Glen's Music
"Would Ya"
"Everybody's Movin'"
"One Cup Of Coffee"

Glen Glenn, Frankie Laine, Glen's wife Mary and Johnny Vallis in San Diego. May 10. 2005.

Check it out!!

Also See Glen's Photo Page #1
... and Glen's Photo Page #2
... and Glen's Photo Page #3

Glen and Brian Setzer at the Hootenanny at Fullerton State College
July 5, 2003.

Johnny Cash & Glen Glenn, 1995

Glen Glenn Interview
This interview with L.A. rockabilly star Glen Glenn was conducted live on January 7, 2002 at Charter Cable in Long Beach by Steve Propes, host of the Steve Propes Rock N Roll House Party. Some of the questions and answers have been edited to excise irrelevant material and false starts and to make the interviewer look like he could ask a coherent question. The order of some of the conversation has also been changed to make a better flow. Otherwise, it' s exactly as broadcast, sorta', because it also uses quotes from an earlier interview on February 16, 2001. Otherwise, it hasn't been changed one bit. This transcript first appeared in "Record Convention News" (February, 2002).

Glen Glenn was born Glen Troutman in Joplin, MO (10-24-34). In 1948, his family relocated to the then very rural area of San Dimas, about thirty miles east of Los Angeles. Glenn has resided in that general area, otherwise known as "The Inland Empire," ever since.

Glen's music started in c.1952/1953 and his first professional appearances came shortly thereafter, though he didn't become a recording artist until 1957.

Before his recording career began in 1957, he appeared live on various local and national radio and TV shows from which several songs were recorded live, including a convincing version of "Shake Rattle & Roll" on the ABC-TV Show "Ozark Jamboree" from July, 1956.

SP: Where was that recorded?
GG: That was Porter Wagoner, he had a country show, the Ozark Jamboree.

SP: Who was backing you on that?
GG: Porter's band. They'd never played rock & roll. Everyone was getting into Elvis. The "Ozark Jamboree" came from Springfield, MO. It on the ABC Netwok. Red Foley was the honcho of the whole show. That's where Porter got started with "A Satisfied Mind."

SP: How did that song get onto tape?
GG: When I did shows, I had an old reel-to-reel tape recorder. My dad would stay home and tape the shows. They came off the TV, put it up next to the speaker. It wasn't professionally recorded, but it's on a cd that sold about 75,000 copies.

SP: How did you start singing country?
GG: When I was a kid I used to imitate guys like Lefty Frizzell.

SP: You had a show in L.A. called County Barn Dance. Who would appear on that show?
GG: Tom Tall, Slim Whitman, Mitchell Torok, Marty Robbins. In 1957, there Johnny Cash, Luther Perkins, his guitar player, Marshall Grant, his bass player. I have photos of all of these guys.

SP: Cash was a star on the Sun label first. Rockabilly is often called "The Sun Sound." What did Sun have that other labels or areas didn't?
GG: I think Nashville had a smooth sound. They made great records for country, everything was smooth out. Sam Phillips (owner of Sun) got that raw sound down there, everyone got together. It wasn't polished or anything and he used a lot of echo which wasn't being used in a lot of country stuff. I don't think he knew what he was doing, he shouldn't have sold any records because Nashville controlled everything in country music. He was trying to get his own sound.

SP: Tell more more about the County Barn Dance.
GG: County Barn Dance was in 1954 in Baldwin Park. The emcee was Les "Carrot Top" Anderson, it included the Smith Sister, Skeets McDonald, the Farmer Brothers with Clarence White who was later in the Byrds.

SP: Another song you did live was "Baby Let's Play House." How come that wasn't released?
GG: I recorded that with the Maddox Bros. and Rose. We were on tour and went to San Francisco to record it. I didn't release it, like Eddie Cochran, he started out with a small label, but he didn't sell any records. I could've gotten on some of those small labels like Sage & Sand, but Eddie didn't sell no records until he went with Liberty, a large company. I wanted to start on a fairly large company, so I didn't even take my records to a small company. Era had a lot of hits at that time, so they had a good distributor.

SP: Did you consider 4-Star a small company?
GG: 4-Star had the Maddox Bros., Hank Locklin, so they were a big company.

SP: How did you define rockabilly?
GG: The singer's got to be a country singer to be a rockabilly. He's got to like a little bit of blues, a little bit of boogie, put that all together, you've got rockabilly. You couldn't have a pop singer become a rockabilly. Rockabilly's got to have that slapping bass sound. Rock and roll people don' t.

SP: And a guitar break?
GG: Oh yes. Those are the elements.

SP: Doesn't rockabilly have to come from the South?
GG: It had to come from the South. You have that southern sound, the boogie and the blues, that's where Elvis got it. California rockabillies, you've only got me and Eddie Cochran.

SP: How about Sammy Masters?
GG: He didn't sell like we did. Yeah, you could put Sammy in there. Ricky Nelson had James Burton, he did rockabilly.

SP: Didn't Buck Owens begin with rockabilly?
GG: I used to run around with Buck, used to play the Blackboard in Bakersfield. They had a studio in Pico Rivera, Terry Fell had it. I think he owned it. I recorded there, he helped anybody, wouldn't cost you any money with Fell. At Gold Star, it cost $15 a hour. Had to save for two weeks to get the money.

SP: Connie "Guybo" Smith, Eddie Cochran's bass player also backed you. How did he get the name Guybo?
GG: I didn't name him Guybo, Eddie Cochran did. He don't know how he got it. Eddie just started calling him Guybo.

SP: How does rockabilly differ from Tennessee, Texas and California?
GG: The Sun people had more of that southern feel because they lived there, saying "you all." Texas guys were around Bob Wills and that kind of music.

SP: Roadhouse country.
GG: Roadhouse.

SP: And California?
GG: Out in California, I don't know, we just had what we had.

SP: You also recorded Mac Curtis' "If I Had Me A Woman." That wasn't a hit, so how did you know about it?
GG: I used to listen to KXLA, Pasadena, a country station. I used to go over there, I knew all the dee jays over there. They would give me records they didn't want to play on their station because they were playing country. They were just a little bit rocking.

SP: Who were some of the dee jays?
GG: Jack Morris, the Squeakin' Deacon, Tom Brennan, Cliffie Stone did 'Dinner Time Hour' between 11:30 and 12:30. They had a big record file, three or four copies of each record would come in from the company. They gave me records of rockabilly because they weren't going to play them. They were going to trash them anyway. I had that record of Mac Curtis.

SP: Didn't Tennessee Ernie Ford come from KXLA?
GG: Earlier.

SP: Was Molly Bee part of this scene?
GG: Molly Bee was a cute little girl on the Tennessee Ernie Show for a number of years.

SP: A lot of the artists on Home Town Jamboree (Tennesseee Ernie, Skeets McDonald, Gene Quin, Tommy Sands, Billy Strange) were on the Capitol label.
GG: Cliffie Stone was a&r for Capitol, so he could record who he wanted to. In 1954, Cliffie put out word on KXLA for an audition at Channel 5 on Sunset. We were Glenn and Gary at the time and we went to the audition. We wanted to be the last to audition so we kept moving back in the line. We finally played and passed the audition, we were the only ones who passed, and Cliffie told us we'd play at El Monte Legion Stadium that Saturday and he'd be there to see us. Jimmy Bryant was on stage backing us. During the show, Gary got scared and dropped his guitar pick. That messed up my song and Cliffie told us we needed to practice more. If Gary hadn't been nervous, we would have been on Hometown Jamboree.

SP: Would that have meant you would have recorded for Capitol?
GG: I believe so. Instead, we went to the County Barn Dance on Channel 13. We brought over Skeets McDonald and Les Carrottop Anderson from Hometown Jamboree.

SP: When did Tommy Sands join the Home Town Jamboree?
GG: He came out here from Houston in about 1956. Before that, he was managed by Colonel Parker. When the Colonel began managing Elvis, Tommy wanted him to manage him, but the Colonel didn't want to manage anyone else.

SP: Rockabilly is still popular in Europe, L.A. and Vegas. Why?
GG: It's bigger over in Europe because they never dropped rockabilly. We dropped rockabilly from about 1960 to 1980.

SP: It probably has the shortest popularity span of any music, basically from about 1955 to 1957.
GG: It's great music. The Stray Cats brought it back. I called the King Of Rockabilly Carl Perkins.

SP: Some say Gene Vincent wasn't rockabilly.
GG: That's because he didn't have the slap bass. Gene Vincent never used it, he used the electric bass.

SP: Getting back to country music and rockabilly on TV in the 50s. What were the major TV shows?
GG: There was the Town Hall Party on Atlantic in Compton. Home Town Jamboree at El Monte Legion Stadium, which came a little before Town Hall Party - I think it started in 1948. They were all going on at the same time. You also had Spade Cooley at the boardwalk at the Santa Monica Pier. You could even take your children to these shows, if you wanted alcohol, you had to go to a side area. At El Monte, the emcee was Cliffie Stone. The Town Hall Party emcee was Jay Stewart (later announcer for "Let's Make A Deal"). In those days, you only had four or five TV stations, so in those days everyone watched the Home Town Jamboree on channel 5. Channel 11 was the home to the Town Hall Party and Spade Cooley was on 5, all on a different times. We were on the County Barn Dance Show on channel 13. I think we'd come on at 7 or 8, then Spade, and Home Town Jamboree, all one hour shows. Then the Town Hall Party was a three hour show until 1 in the morning. After our show, we'd have a dance from nine pm to two, even kids would dance. I knew Ritchie Valens real good. He came out to the Barn Dance, his aunt brought him and her son, Ernie Valens. I worked more or less at El Monte. On his first trip Carl Perkins came out here, "Blue Suede Shoes" had just came out.

SP: Tell me about Cal's Corral show.
GG: I hadn't made a record yet, had my own TV show for two years beginning in 1957, channel 11 with Cal Worthington. I was the emcee. There were six different bands and you each had your own show. Wynn Stewart was one, Danny Flores, used to play the sax every Sunday, Dave Burgess was on, Dale Norris and Sammy Masters was on there. We each had our own ˝ hour show, every Sunday afternoon.

SP: Your first song "Everybody's Movin'" (Era 1061 - 1957) is definitely rockabilly after rockabilly was popular.
GG: "Everybody's Movin'" - that's my biggest rockabilly. I was probably one of the last guys doing rockabilly, other guys did other things. Its in the top ten of rockabilly, it's been recorded by Dylan, Neil Young, Tom Petty and the Stray Cats.

SP: Who's on the session?
GG: Guybo on bass, Gary Lambert on guitar, Joe O'Dell on drums and Wynn Steward on rhythm guitar on that record.

SP: Where was that recorded?
GG: Goldstar in Hollywood. You make your own master, dub or acetate, took it to all the labels. I've always wanted to be in show business.

SP: Before that you recorded it at Garrison's Studio in Long Beach.
GG: Earlier I cut some country stuff at Garrison's.

SP: How did you know of that studio?
GG: Wynn Stewart had been cutting country stuff down there and I liked the sound of the country stuff they cut there. I think they had a better country sound than Goldstar. Goldstar was doing a lot of pop stuff and doo wop stuff.

SP: What do you think of false starts and studio chatter being included in new cds from these sessions?
GG: When you made the record, the 45 came out with none of that, right? You' ve got all those false starts becasue you had a single track to record the records. I love when we get the Elvis false starts. I like it. I own all my masters. I lease them to any record company I want to. Ace Records has everybody.

SP: Your next release was "One Cup Of Coffee" (Era 1074 - 1958). How did you come up with that theme?
GG: I've never drunk coffee, well a little bit, but I've smoked a lot of's really country with a beat and rhythm and blues. I was a country singer, but I still like that rhythm and blues, Hank Ballard, I listened to Huggy Boy, other stations weren't even playing Little Richard. Elvis got influences from rhythm and blues down south.

SP: I've noticed the melody of "One Cup Of Coffee" was somewhat like "Raunchy".
GG: You can't copyright an arrangement. Eddie Cochran would've cut "Everybody's Movin." His manager Jerry Capehart wouldn't help me get a contract with Liberty, he wanted Eddie to record the song.

SP: The flip side, "Laurie Ann" had a more pop edge to it. Your idea or the label's?
GG: Rockabilly was going down. It came out before the real big teen idols. I liked doing songs like "Laurie Ann" because I was into country. You had to go with the trend. Maddox Bros. & Sister Rose told me you gotta change with the music.

SP: Who thought up the name Glen Glenn?
GG: Lew Bedell (owner of Era Records). My name's Glen Troutman. I was in the army in 1958 and I knew I was drafted, but I didn't tell Lew because I didn' t think he'd sign me. When I was at Ft. Ord, Lew sent me a telegram. We're going to change your name to Glen Glenn. I didn't want to be Glen Glenn, I want to be known by my real name, Glen Troutman. I wanted to be on a record so bad, you could call me Dirty Harry. I had a Glen Troutman in 1960, but nobody knew who Glen Troutman was, didn't sell any records.

SP: "Goofin' Around" wasn't on Era. Why did you switch to Dore.
GG: "Goofin' Around" was on Dore. In the army, I was stationed in Hawaii, in Special Services, entertained the whole Pacific. When Lew Bedell and Herb Newman broke up, Lew decided to take me to Dore and Lew sent me the song. When I came home from the Army, I was backed by the Ernie Freeman band with Plas Johnson (sax) and Rene Hall (bass).


GLEN GLENN was one of the many talented singers of the 1950's who did not reach the success he was worth. He was born as Glen Troutman on the 24th of October, 1934 in Joplin, Missouri. He lived there with his family till they moved to San Dimas, California. Soon after his arrival in California, Glen started playing guitar. After a short time he met Gary Lambert who was a gifted guitar player and they started playing country music. Then in 1952 they decided to try making it in the music business, so they left school.

THEIR FIRST SUCCESS in country music was in 1952 when they won a talent spot at the "Squeakin' Deacon Show" at the "Riverside Rancho" in Los Angeles. In 1954 they started to appear regularly in many local country bars like the "Country Barn Dance" in Baldwin Park. Those days they called themselves "Glen & Gary - the Missouri Mountain Boys."

IN EARLY 1956 Glen & Gary started touring Missouri and the states around together with Glen's cousin Porter Wagoner. Their tour was very successful and they appeared on many TV show like the "Ozark Jubilee" and the "Circle 7 Jamboree."

LATE IN 1956 Glen was back home again in California and joined the Maddox Brothers and Retta Maddox. They toured a lot and appeared on a TV show called "Cal's Coral." Glen also became involved with Rockabilly then - which was new to his style.

"KATHLEEN" and "ONE CUP OF COFFEE" were the first two demos Glen made in 1957, and so he was searching for a record contract. But although some record companies were interested, he did not get an firm offer so he decided to record some more in January of 1958.


THIS TIME he had better luck and signed a contract with Herb Newman and Lew Bedell (ERA Records) in February of 1958. Soon "Everybody's Moving" b/w "I'm Glad My Baby's Gone" were ready for release. This minor success was followed by "Laurie Ann" b/w "One Cup of Coffee" (ERA 1074) and this was really a big hit, but since Glen had been drafted on January 20th, 1958, he was not able to promote his records in the right way and so his last single on ERA "Would Ya" b/w "Blue Jeans and a Boy's Shirt" wasn't a huge success when it was released in late 1958.

NEARLY AT THE SAME TIME Lew Bedell left the corporation to form his own label, Dore', and took some of ERA artists with him - one of them was Glen. In the spring of 1959 Dore' produced "Goofin' Around b/w "Susie Green from Abilene" in cooperation with the Ernie Freeman Band, but that wasn't a big hit either.

WHEN GLEN quit the Army in December of 1959, he returned back to his music business. He married in 1961 and after releasing his last single in 1964, he became fed up with touring around the states and decided to take a daytime job (with General Dynamics), quit the music scene and spend time with his family.

1987 found Glen in Europe, playing a few shows in Holland for the "Rockhouse Festival" and then on to Great Britain. In 1993 went back to tour Europe again performing 9 sell-out concerts in 5 countries.

...of interest to fans...

Glen has the unique distinction of performing with the best drummers in the business: D.J. Fontana (Elvis), W.S. Holland (Carl Perkins & Johnny Cash), Dickie Harrell (Gene Vincent's Blue Caps), Slim Jim Phantom (Stray Cats), Sandy Nelson (#1 solo artist), Dick Richards (Bill Haley's Comets), Richie Frost (Ricky Nelson) and Dave Cimino.

His tune "Everybody's Movin'" has been covered by "The Boss," Bob Dylan, Brain Setzer, Neil Young and Tom Petty.

Glen cut nine albums in the 1950's.

While in the Army, he entertained troupes in Hawaii, Korea and Japan.

His single, "Laurie Ann," was once the Pick Hit of the Week on Dick Clark's American Bandstand.

Glen has sung with a host superstars such as: Elvis, Buddy Holly, Buck Owens, Glen Campbell, Tommy Collins, Lefty Frizzell, Carl Perkins, Slim Whitman, Joe Maphis, Wanda Jackson, Carl Smith, Justin Tubb, Ferlin Husky, Merle Travis, Marty Robbins, Robin Luke, The Everly Brothers and others.


courtesy Johnny Vallis


Live at KXLA Radio, Pasadena January 1955 (Glen Glenn & Gary Lambert)

55 STOMPER TIME STCD 4 Talk To Your Heart
unrel Company's Comin'
unrel If You Saw Her Through My Eyes
STOMPER TIME STCD 4 That's All Right Mama
STOMPER TIME STCD 4 Dim Lights Thick Smoke
unrel How About You

Live at KXLA Radio, Pasadena May 1955 (Glen Glenn & Gary Lambert)

55 STOMPER TIME STCD 4 I'm Alone Because I Love You
unrel Release Me
STOMPER TIME STCD 4 Jack & Jill Boogie
STOMPER TIME STCD 4 If You Tried As Hard To Love Me

Recorded at home, date unknown (Glen & Gary)

? STOMPER TIME STCD 4 My Eyes Are Open, But There Ain't Nobody Home
? STOMPER TIME STCD 4 One More Time (Glen Glenn only)

? January 7, 1956 (Glen Glenn)

56 ACE LP CH 57 Be Bop A Lula
ACE LP CH 57 Baby Let's Play House

Live At Ozark Jubilee, July 7, 1956

56 ACE LP CH 57 Shake Rattle & Roll

The Garrison Recording Studio, September 19, 1956, California (Glenn Trout)

56 STOMPER TIME STCD 4 No One Dear But You
STOMPER TIME STCD 4 A Hundred Years From Now

Live At Ozark Jubilee Show (Glen Glenn with Porter Wagoner Band)

56 STOMPER TIME STCD 4 There She Goes

Tommy Brooks' session in Laverne, California (Glen Glenn)

56/57 SUNJAY SJLP 582 I'm Gonna Sit Right Down And Cry Myself Over You

Recorded at Black Jack Wayne's house (Glenn Trout)

57 STOMPER TIME STCD 4 I Made A Mistake
unrel You're Not Mine (Glenn Trout)
unrel Be-Bop-A-Lula (Glenn Trout)
unrel Baby Let's Play House (Glenn Trout)

Live on the Squeakin' Deacon Show (Glen Glenn & The Maddox Brothers)

57 STOMPER TIME STCD 4 Baby Let's Play House

Gary Lambert Studio, May 12, 1957, California (Glen Glenn)

57 ACE LP CH 57 If I Had Me A Woman
ACE LP CH 57 Hold Me Baby

Live From Cal's Corral TV Show, November, 1957 (Glen Glenn)

57 ACE LP CH 57 Treat Me Nice
STOMPER TIME STCD 4 Jailhouse Rock
STOMPER TIME STCD 4 When My Blue Moon Turns To Gold Again
STOMPER TIME STCD 4 Blue Suede Shoes

Garrison Studio, December 3, 1957, California (Glen Glenn)

57 ERA 1074 One Cup Of Coffee
DIAL LP 002 Kathleen (alt)
ACE LP CH 57 Kathleen (alt)
SUNJAY SJLP 572 Kathleen (alt)

Live From Cal's Corral's Christmas Show (The Missouri Moutain Boys)

57 SUNJAY SJLP 572 I Saw My Castles Fall Today
SUNJAY SJLP 572 Johnny Cash Medley:
Folsom Prison Blues, Hey Porter, I Walk The Line
STOMPER TIME STCD 4 Mean Woman Blues

Goldstar Studio, January 15, 1958, California (Glen Glenn)

58 ERA 1061 I'm Glad My Baby's Gone Away
SUNJAY SJLP 572 I'm Glad My Baby's Gone Away (alt)
ERA 1061 Everybody's Movin'
ACE LP CH 57 Everybody's Movin' (alt)
ACE WAX 1 Everybody's Movin' (alt)
SUNJAY SJLP 572 Everybody's Movin' (alt)
STOMPER TIME STCD 4 Everybody's Movin' (alt)
CHISWICK LP CH 1 One Cup Of Coffee (alt)
SUNJAY SJLP 572 One Cup Of Coffee (alt)
ACE LP CH 57 One Cup Of Coffee (alt)
ERA 1086 Would Ya'
CHISWICK LP CH 1 (titled as Would You)
SUNJAY SJLP 572 Would Ya (alt)

Goldstar Studio, April 4, 1958, California (Glen Glenn)

58 ERA 1086 Blue Jeans And A Boys Shirt
ACE LP CH 57 Blue Jeans And A Boys Shirt (alt)
SUNJAY SJLP 572 Blue Jeans And A Boys Shirt (alt)
ERA 1074 Laurie Ann
DIAL LP 002 (mistitled as Laurie Jane)
ACE LP CH 57 Laurie Ann (alt)

(adding of over-dubbed backing) (Glen Glenn) released 76/77

DORE 914 Blue Jeans And A Boys Shirt
KEP 01
DORE 914 Laurie Ann

September 25, 1958, California (Glen Glenn)

58 ACE LP CH 57 Kitty Kat

Western Recorders Studio, February 11, 1959, California (Glen Glenn)

59 unrel Wait Wait
unrel Kitty Cat

Western Recorders Studio, February 11, 1959, California
(Glen Glenn with Ernie Freeman Band)

59 DORE 523 Susie Green From Abilene
DORE 523 Goofin' Around

Live from Cal's Corral TV Show, February 1960, (Glen Trout)

60 ACE LP CH 57 I Got A Woman
STOMPER TIME STCD 4 Alabama Jubilee (by Gary Lambert only)

Live from from Cal's Corral TV Show (Glen with Fred Maddox Band)

60 STOMPER TIME STCD 4 Who'll Be The First
SUNJAY SJLP 572 Crazy Arms

Goldstar Studio, February 13, 1961, California (Glen Trout)
* Note, tracks on Sunjay 582 are by Gary Lambert only without Glen's vocals. vocal tracks are unissued except the one on Dore 45.

61 DORE 717 I'll Never Stop Loving You ROCK & COUNTRY R&C1009
SUNJAY SJLP 582 Beginning Of The End

Goldstar Studio, July 14, 1964, California (Glen Trout)

64 DORE 717 I Didn't Have The Sense To Go

Recorded at Home (Glen Trout)
64 STOMPER TIME STCD 4 It's A Sad Thing To See How She's Forgettin' Me'

ALBUMS & CD's & EP's
ACE LP CH 57 LP Glen Glenn: The Glen Glenn Story
SUNJAY SJLP 572 LP Glen Glenn: Rockabilly Legend
SUNJAY SJLP 582 LP Various: California Rockabillies (4 tracks)
CHISWICK LP CH 1 LP Various: Hollywood Rock 'n' Roll (6 tracks)
ACE WAX 1 LP Various: Rock 'n' Roll Is Here To Stay (2 tracks)
DIAL LP 002 LP Various: Rocking From Hollywood To Gronningen (3 tracks)
ROCK & COUNTRY R&C 1009 LP Various: Dore Rock n' Roll Vol 1 (1 track)
KEP 01 EP Various: Killer Billy Vol. 1 (1 track)

Glen Glenn and long-time friend, high school buddy and guitar player on all his hits,
Gary Lambert on the the double neck at the House of Blues.

Also at the House of Blues, Glen with The Comets, July 1997.

Rose Maddox when she appeared (and Glen stopped by) at
Jack's Sugar Shack, Hollywood & Vine in Hollyweird, Calif., July 1997.

LEFT: Glen with Dwight!
RIGHT: Glen with Tom Petty (who loves rockabilly by the way).

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