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By: Annette Wondergem (Lloyd's niece)
with additions from Dave Travis, Al Turner, Terry Gordon & Bo Berglind
My mother, Zeta McCollough and my father, James Howard were divorced when I was a child so therefore my sister, Barbara and I were raised in the McCollough household. My Uncle Lloyd asked me several times to compose a biographical sketch of his career. I made him a 'promise' that someday I would indeed write that story. Dave Travis printed a short version of this article on the jacket cover of the first Lloyd Arnold album from England. Bo Bergland published the short version in his Swedish American Music Magazine. Thanks guys! All that led to my article that appears below. The Lord Jesus provided the avenue and just the right people that made it possible for me to keep my 'promise'. Lloyd would have been very honored to know that many years after his passing, people would be interested in his music.
The following is my uncle's story.

A raw December wind sent an icy chill through the tall, lean young man who stared longingly at the mandolin in the display window of the music store. Just a few more dollars saved from odd jobs and sacrificed lunches and that fine instrument would be his. He pulled his collar closer about his throat and turned wistfully homeward. The year was 1950, the place was Memphis, Tennessee and the young man was Lloyd Arnold McCollough. At this point Lloyd had a lifetime ahead of him and he could imagine the possibilities that a mandolin could bring. Twenty years later the pressure of a touring musician had begun to take it's toll. But, let's not go ahead of time, the story of Lloyd Arnold, who became a pioneer of early Memphis music, began many years earlier.

John's father came to America from Ireland as a small boy, so John was every inch 'the Irishman' except for the temper. He had no temper . He was a kind and gentle soul, an extremely generous man, with never a harsh word for anyone. On the other hand, due to her Choctaw Indian background, his bride could be very determined and strong willed. But in spite of their differences, this was truly a marriage made in Heaven. Her determination was tempered by his gentleness and his gentleness was strengthened by her determination.

John Clinton McCollough was a gentle, kind hearted Irishman! Clemmie Elizabeth Coleman was part Choctaw Indian, a very strong willed and determined southern lady. They met in the rural area of Strayhorn/ Bluegoose, Mississippi around the turn of the century. The young couple found that they had something in common, they both loved music! John played the banjo and Clemmie strummed the guitar. The duo gained quite a musical reputation performing at church socials and square dances. They married on April 29, 1906. This was truly a marriage made in Heaven. Even though their personalities were different, her determination was tempered by his gentleness and his gentleness was strengthened by her determination.

For the next few years they remained in Strayhorn while John farmed the unyielding land. They wanted a large family, so Lloyd's oldest brother, Thadis, made his appearance in 1908. The baby was born with an enlarged heart however he did survive and the couple gave thanks to the Lord and entered their first child's name in the family Bible. Clemmie employed an Indian medicine man from a nearby Choctaw Reservation to stop by periodically and check on her first born. A second child, Leroy, made his appearance in 1912. In the year 1916, Lloyd's oldest sister, Flora Ilene was born. A fourth name was added to the family Bible, when my mother, Zeta Margarine, was born in 1920. A few days after her birth, John and Clemmie adopted a new born baby boy. The child belonged to Clemmie's first cousin who had died while giving him life. So the McColloughs took little Albert Eugene into their home and into their hearts.

In the mid-twenties John moved the family to Sardis, Mississippi where Clemmie's mother owned a small store with living quarters in the back. He raised vegetables and peanuts while Clemmie worked behind the counter. In 1926 their next child, James (Jim ), arrived. Jim is the brother who would one day help Lloyd organize his first band. It was also in Sardis that the first son, Thadis, took a wife, Myra Wade. In 1929 the couple presented John and Clemmie with their first grandchild, Johnnie Marie.

John was always looking for better farmland and more opportunities so they moved to Tallulah, Louisiana. By this time things were changing. Flora moved across the river to Vicksburg, Mississippi and eventually became Mrs. George Condia while Leroy married Mattie Hammond, a Tallulah telephone operator. Mattie was the lady who would one day design most of Lloyd's stage clothes. It was also in Tallulah that John was diagnosed with severe ulcerated stomach and was hospitalized in nearby Shreveport. The doctors were very clear when they told Clemmie that her husband could no longer keep up the strenuous pace of a farmer's life. Soon after his hospital release, it was time for a major change.

In the early thirties, John moved the family to the big city where they occupied both sides of a duplex on Tate Street. The McColloughs had finally arrived in Memphis, Tennessee! Shortly after this move, Clemmie gave birth to another son. Baby Harold was very frail and lived only a few months. John and Clemmie remained in Memphis and in time became known as Ma and Pa to most everyone, including all the musicians who would cross their path in the years to come.

During the ĆGreat Depression', John peddled door to door, selling small items such as sewing thread, thimbles, shoe strings etc. The memory of lean years and doors being slammed in his face remained with him. In the early 1950's, when I was growing up in the McCollough house, no peddler was ever turned from our door. If my grandfather had no money at the time to buy an item, he would invite the weary man in for a glass of tea and conversation. In 1935 Zeta became a very young bride while John and Clemmie welcomed their last child, Lloyd Arnold, born on June 25. A few months later, tragedy struck! Lloyd's oldest brother, Thadis developed pneumonia. He passed away just a few days before Christmas, leaving his wife and their two small children.

In 1937, my sister, Barbara was born. Since her and Lloyd were close to the same age, he became very protective of his young niece. At Christmastime, they would stand in line for hours at the Ellis Auditorium to receive a small toy and a piece of fruit from the Good Fellows Fund. These were lean years but because of John's small garden and his skill as a farmer the family never went hungry.

As a small boy, Lloyd developed spinal meningitis. In those days that was practically a death sentence! He spent a month in isolation at the John Gaston Hospital. Trying to prevent the disease from going to his brain, the doctors strapped him in a bed that stood upright against the wall. Since he was not allowed to have any visitors in his room, the medical staff would raise the window so family members could talk to him. Every morning when his mother arrived, the nurses would make sure that the window was open wide so she could communicate with her son. Lloyd was too young to understand what was happening. He often cried, begging the family to take him home. During the times that he was awake there was at least one family member outside his window talking to him and praying for him. The McColloughs used their faith and stood against fear as Lloyd fought a tough battle with the disease that almost took his life. As the weeks turned into months, once again their prayers were answered. He slowly regained his strength and the doctors were amazed!

In the early 1940's, it was time to make another change so the McColloughs moved from Tate Street to Kimball Avenue. Because of my grandfather's health, he and my grandmother decided to change roles. So in September of 1943, she went to work as a steam checker in the raincoat department of The Firestone Tire and Rubber Company, while he stayed home to care for his backyard garden. John McCollough had a 'green thumb'! He could make anything grow. All kinds of fruits and vegetables simply thrived under his care! In the summer, he canned the food that would feed the family through the winter always making certain that he had enough to share with neighbors.

Because Lloyd's mother worked outside of the home during a portion of his childhood, this left the majority of the child-rearing to my grandfather and my mother. John and Zeta were the ones who came to the rescue to mend skinned knees and dry childhood tears. These were the two people who exerted the most influence over Lloyd's life. In the years to come anyone who knew him professionally or privately also knew 'Pa' and 'Sis'. Few decisions were made without their approval. Oh by the way, I made my appearance in the McCollough house in November of 1945.

Growing up in Memphis in the 1950's was exciting. The era of bobby sox, poodle skirts, cherry cokes and wonderful music was waiting in the wings. One afternoon as Lloyd and Barbara made their way down Parkway Avenue they stopped for a red light. A motorcycle roared up beside Lloyd's Ford coupe and the rider glanced toward the car and spoke:

-"Hey Lloyd, how's it goin"?
As the light changed, Lloyd waved and returned the greeting. Barbara watched the young man until he was completely out of sight.

-"Who's that? she asked.

-"Oh, he's one of the guys from Humes High, his name's Elvis Presley. "

During his high school days Lloyd was extremely popular with the other students. He was an R.O.T.C. major, a member of the colour guard, the Key Club, the Officer's Club and of course the A Cappella Choir. Some of his time was spent at Rainbow Roller Skating Rink where he became an avid skater, and won his share of trophies. He was also a 'skate cop' and president of the Roller Skating Club. Because of his ability on the rink his classmates dubbed him "Fireba1l Mac". In his early teens his goal in life was to become a professional baseball player. He spent many hours on the ball field however slowly his interests began to change to the field of music. Then during that icy Christmas of 1950 he was both surprised and delighted as he opened the large Christmas box and found the mandolin. He spent the next few days searching for elusive chords. Finally he mastered the instrument and started performing for high school functions.

Lloyd was greatly influenced by the music of Hank Williams Sr. When Hank passed away in January of 1953, Lloyd decided to make music his profession. The career of Hank Williams had established a musical role model for him and through the years there was always a portion of his performances set aside to pay tribute to this legendary artist.

Family members offered their assistance to help him form his first band. His brother, Jim McCollough handled the stand-up bass and his niece, Geneva McCollough ( Leroy's daughter) became the band's first songstress. Curley Rainey, a family friend, took over the job of fiddler. The steel guitar was played by a local musician named Grady. (Grady's last name has dissappeared through the tunnels of time). This group comprised Lloyd's original Drifting Hillbillies. Band practice took place at least once a week either in the living room or in the garage. During those fun-filled days the McCollough house overflowed with music and laughter. In the years that followed, we would remember this carefree era as the happiest time of our lives. It was that special time of youth that comes but once to each of us; secures us in expectations and then is gone forever.

Now that Lloyd had a band, he also needed stage clothes. Leroy's wife, Mattie, was an excellent seemstress and offered her services. She created the designs that appeared on most of his stage suits.

Lloyd and his new band performed a benefit for the Memphis Veterans Hospital in April of 1953. As the year progressed, his music was brought into the living rooms of thousands of viewers as he stepped before the television cameras of the Ted Mack Amateur Hour. During August and September Lloyd hosted a radio program at WBLE Radio in Batesville, Mississippi. As the September winds blew briskly across the tents of the Mid-South Fair, he and the Drifting Hillbillies performed on the Country Music Showcase - sponsored by WMCT-TV Channel 5 in Memphis. In November, Lloyd received a letter from Como, Mississippi High School asking him to perform for the student body, which he did on Friday December 18. He was also one of two Technical High School students chosen to perform at the Peabody for the Memphis Kiwanis Club luncheon. It was a cold December 16 in 1953 when Lloyd took his bows from the famed banquet hall of the nostalgic Peabody Hotel.

In the early 1950s things began to change again in the McCollough house as more grandchildren and great grandchildren made their appearance. Lloyd became a 'great uncle' and a 'dad' at a very young age. While still in high school, he married a girl who was in her middle twenties. As soon as the vows were spoken, his bride began to complain about his career. She wanted him to get out of the music business, but Lloyd refused. Since he was not willing to abandon his profession, the marriage lasted only a year. They had one child, a son. The break-up was very diffcult for everyone and Lloyd tried hard to maintain a 'father, son ' relationship with his little boy.

While suffering with childhood meningitis, Lloyd lost many school days. Due to this lost time, his graduation from Technical High School was delayed until May 27 of 1954. By that time he was already somewhat of a seasoned performer. He and the band began to travel, gaining popularity through the southern states. This was reflected in a letter that he received from WNAG Radio in Grenada, Mississippi on June 7, 1954:

"Dear Mr. McCllough,
We have a Hillbilly Jamboree each Saturday morning. We have seen you pass through here several times and we were wondering if you could come one Saturday and be on our show? A little more publicity is all the pay we can offer you but this is a new show and we need your help in order to keep it going."

A few weeks later, Lloyd and the Drifting Hillbillies travelled to Grenada to play a benefit for them.

When it came time to hire another band member, Lloyd's nephew, Bo McCollough joined the Drifting Hillbillies to play rhymn guitar. Soon Bill Helms was brought on board to play lead guitar.

The "Saturday Night Jamboree " was a weekly event held in the Goodwyn Institute located at Third and Madison in downtown Memphis. It was founded by a well known Memphis musican named Joe Manuel. Since the Jamboree showcased local talent, Lloyd obtained a spot on the program. Every weekend, the McColloughs made their way to the Goodwyn Institute to support him and all the other artists. Many local performers got their start there: Marcus Van Story, Aubry Rice, Elvis Presley, Doug Stone, Charlie Feathers, Larry Manuel, Jimmy Smith, Tommy Cash (Johnny Cash's brother), Major Pruitt, Ellis Mize and many others. Every Saturday night, local musicians gathered there to display their special mix of gospel, country and blues, never realizing that they were helping to develop a new sound called 'rockabilly.'

One night, during Lloyd's portion of the show, he strained his eyes against the spotlight and spoke to a shadowy figure standing at the back of the theatre.
-"Hey E.P., don't leave yet, I need to talk to you after the show."

The shadows stirred and into a sliver of light stepped Elvis Presley. He turned his pockets inside out and yelled towards the stage:

-"You don't need to talk to me, Lloyd, I ain't got no money!"

The followng Saturday evening, found Lloyd at home pacing the floor. Showtime was drawing near and he was impatiently waiting for his guitarist, Bo, to find his only pair of red stage pants. Bo couldn't remember which dry cleaners had them. He was trying to locate them by telephone so they could be picked up on the way to the performance. On this particular afternoon, two elderly ladies decided to monopolize the party line. Every time Bo listened for a dial tone he received nothing but an ear full of recipes. His tension was mounting because time was marching on and Lloyd kept thrusting his head in the doorway, pointing to his wristwatch. Outside the window the other band members were loading instruments and tapping upon the windowpane. After forty-five minutes Lloyd stopped pacing, rattled his car keys and yelled from the hallway:

-"Bo, if you don't come on, we're gonna leave you and I'll get somebody else to play guitar."

The next sound we heard was that of desperation as Bo grabbed the receiver and blurted:

-"Ladies, will you please get off this confounded line, I've left my britches somewhere and I'm tryin' to find 'em."

There was a stunned silence over the phone, then a dial tone - the pants were found and the show went on!

During the Jamboree days, Lloyd began to experience the many problems of maintaining band members. His brother, Jim had recently married Glora Hall, a young lady who lived down the street from the McColloughs. After their marriage, Jim decided to become a member of the Memphis Police Force. By this time, the band had many 'out of town' engagements and Jim's work schedule would not permit him to travel. This left Lloyd in desperate need of a bass man. One hot summer night in August at the Goodwyn Institute, Lloyd was introduced to a young man from Hollandale, Mississippi named Buddy Hollie. He proved to be a excellent bass player and Lloyd hired him on the spot. Just when he thought his band was secure again, he discovered that Geneva had secretly married his fiddle player, Curley Rainey, and was preparing to trade her guitar for pots and pans. Soon the couple married, left the band and moved from Memphis. This left Lloyd with no songstress and no fiddler. Slowly, one by one, the original Drifting Hillbillies were replaced and over the next twenty years a succession of musicians would follow in their footsteps.

During 1953 and 1954 Lloyd and his band recorded several demos/acetates at the newly opened Memphis Recording Service, at 706 Union Avenue. During the nineties thirteen of these acetates were re-located by re-searcher Jim Cole, employed by the University of Memphis.

During those fun filled days, Lloyd and the Drifting Hillbillies had a great time performing at such places as "The Old Dominion Barn Dance", "The Renfro Valley Barn Dance", "Red Foley's Ozark Jubilee" and the "Louisana Hayride". In January of 1955 they performed at the "Hillbilly Festival" for WRBL-TV in Columbus, Georgia. In February and March they were in Little Rock, Arkansas at the "Barnyard Frolic" and in December they played "The Big D Jamboree" in Dallas, Texas. That same year he hosted another weekly radio program, for WBIP in Booneville Mississippi.

In 1955 Lloyd formed a business relationship with Charles Bolton, a country music promoter from Booneville. Charles rented the Von Theatre every Saturday night where Lloyd and the Drifting Hillbillies made many appearances for the 'Country Music Festival' and the 'TriState Jubilee'.

During the Booneville days, Lloyd really became a businessman. He bought a record shop in that town and sent Buddy Hollie to manage it. When they had a show date the guys would swing through Booneville and pick up Buddy. When they weren't travelling, Lloyd could also be found behind the counter, greeting customers and mulling over receipts. On Saturday nights after their performances at the Von Theatre, Lloyd and the boys would perform at the record shop. Unfortunately it was too difficult for Lloyd and Buddy to juggle their career with one hand and this business venture with the other. Eventually it was sold and the little shop faded into history.

His association with Charles Bolton brought about his first recording of "Oh Darlin'" b/w "Watch That Gal". The back up musicians were: Buddy Hollie ( sb ), Bo McCollough (rg) and Bill Helms ( lg ). During the same year he also recorded a session for the Bihari Brothers Memphis based label, Meteor. The tracks "Baby, Take Me For A Ride" and "My Blue Heart Is Crying" (were left unissued.)

Beginning in January of 1956 Lloyd hosted another radio program for KWEM Radio in Memphis. The following are excerpts from a KWEM newsletter, dated January of that year:

'Everyday at 12:00 noon, the studios of the Family Station begin to really jump. That's the time of the day, Monday through Friday, when Lloyd McCollough and his band, 'The Drifting Hillbillies' tune up. 'KWEM is mighty proud of Lloyd and his band and glad to have 'em on the air.' 'By the way, if you collect records, ask for Lloyd's latest 'Von' record now on sale at record shops everywhere. And he'll have a new release out very soon, so be watching for it'.

When Lloyd met Red Matthews, owner of EKKO Records, he made another recording, " What Goes On In Your Heart" b/w " Until I Love Again", released on the EKKO label in 1956. The back up musicians were, Buddy Hollie (sb), Chet Atkins (g), Tommy Jackson (f), Jerry Byrd (sg) and Jimmy Self (p). The record was reviewed in Billboard on February 4th. In the summer of 1956, he left EKKO to record for the Republic label.

When the McColloughs lived on Kimball Ave, Lloyd had a little office in the attic of the house. Whenever he felt the inspiration for a new song, he would rush upstairs to write. One breezy March afternoon in 1955 he made a dash for the attic and about 20 minutes later he returned with "Gonna Love My Baby". He sang it for Buddy and the family members that were gathered in the living room. One line caught Buddy's attention, the line that reads, "I'll jump up and play my fiddle", Buddy interrupted and ask:

-"What does that line have to do with the rest of the song?"

You could tell by the look on Lloyd's face that he hadn't given that much thought. Finally he said:

-"Well it rhymes, doesn't it".

So the line remained and the song was recorded on Republic in 1956 backed with "Cause I Love You". The back up musicians were: Buddy Hollie (sb), Bo McCollough (rg), Bill Helms (lg) and Junior Johnson (f).

Lloyd's fourth record was released on the Starday label. "Half My Fault" is a relaxed rocker with fine guitar and piano. The flipside "What Can I Tell Them" reveal his country and gospel roots.

During 1956 Lloyd and the Drifting Hillbillies worked 282 one nighters throughout the southern and eastern states.

In Apri1 of 1956 his private life took another important turn as he wa1ked down the isle with his second bride. Since he did so much out of town work, Ma and Pa insisted that he bring his new wife to live with us. After getting her situated into the McCollough house, Lloyd was off on the road again.

Also in 1956, Buddy Hollie met his future wife and said "goodbye' to Lloyd and the McCollough family. Once again the band was left with no bass man. Soon Bo McCollough and his new bride, Lucy, left Memphis, ending Bo's musical career.

Bobby Howard, better known to audiences as 'Droopy Duck' took over the stand-up bass and also doubled as the band comedian. Bobby was my father's nephew. One footnote: Bobby recorded in 1966 for Eddie Bond's Western Lounge label.

It was a wet starless night when the car descended a hill west of Somerset, Kentucky. Droopy had agreed to drive, leaving Lloyd and the others free to doze. The only sound was the patter of raindrops as the highway stretched before them like an endless ebony ribbon. Droopy opened a side window to let in the cool night air and pinched himself to stay awake. Sleep finally took over and for a split second his consciousness melted into velvet blackness. By the time his head dropped forward he was fully awake and the car was forging across the middle line. Not thinking, Droopy forcefully hit the brakes as the tires slid on the wet pavement, disengaging the instrument trailer. No one was hurt but by the time Lloyd and the boys emerged from the car, the trailer had plunged into a deep ravine, tossing battered instruments in every direction. Droopy's bass fiddle was the only instrument that survived. It appeared to be in perfect condition. Not a scratch! So during the next performance, the band was amazed when the bass shattered, covering the stage with bits of debris. For a silent moment, Lloyd stared at Droopy who was still holding the upper part of the neck and fanning the air as if he were trying to find the rest of the bass. Finally the people burst into laughter. By this time Lloyd had become an expert at covering up unexpected events on stage. So thanks to Droopy's comedic skills and the spontaneous diaglogue that flew between him and Lloyd, they convinced the audience that the shattered bass was merely part of the show!

Another embarrassing moment happened during a performance at an outdoor drive-in theater. Lloyd was suppose to make his entrance by running from the back of the lot, through the cars and toward the stage. As he approached the platform, he slipped on something and slid 'under' the stage! The band members rushed to help as he crawled to freedom while still clinging to his guitar. The audience was silent for a moment as Lloyd, red with embarrassment, dusted himself off. He could hear laughter and the swell of applause as he limped to center stage and burst into song! Once again he managed to make the audience think it was all planned.

As the face of music began to change, a new sound evolved in Memphis, a sound that the world would come to know as rock Ćn' roll. In keeping with the birth of this 'new sound', Lloyd changed the name of his band to the "Rockin' Drifters". He began to incorporate rock music with the country tunes hoping to appeal to a wider range of listners. I can't remember exactly when my uncle changed his name but I do remember him saying that he thought 'Arnold' would make a better stage name. So evenually he dropped the last name of McCollough and began billing himself as Lloyd Arnold.

In Apri1 and May of 1958 Lloyd and his band played theatres throughout Tennessee, Kentucky and Virginia. He spent June and July of that same year in Memphis. His first daughter was born on his birthday, June 25. He nicknamed her 'Skeeter'. Shortly after her birth the McColloughs moved from Kimball Ave to a new house on Railton Road.

During the month of August, Lloyd and the boys played a series of one nighters in theatres throughout New Brunswick and Nova Scotia, Canada. On September 9 they flew to Newfoundland to perform at the Airmen's Club. On September 16 they f1ew back to Nova Scotia for a show at Clark's Harbour. During this trip Lloyd found that he needed another guitarist. One night during a theatre performance, he heard about a young man in Atlanta, Georgia who was trying to get started in the music business. When Lloyd returned to Memphis he called Atlanta. The young man proved to be an excellent guitarist. Lloyd auditioned him and hired him over the telephone and Jimmy Brumlow from Atlanta, Georgia became one of the Rockin' Drifters. Jimmy adopted the stage name of Jimmy Sea.

During the fall of 1958 one of Jimmy's first muscial assignments was a performance on October 3 at the Elks Club in Salisbury, North Carolina. On October 5 they performed at the NCO Club in Goldsburg, North Carolina. The following day they played Pikesville, Tennessee at the City Theatre. On October 7 they performed at The New Harlan Theatre in Harlan, Kentucky and October 8 they were in Whitesburg, Kentucky. When the Rockin' Drifters played Orangeburg, South Carolina, they shared the billing with Danny and the Juniors and Fats Domino. By the end of that year they had fulfilled engagements in Tennessee, Alabama, North and South Carolina, Maryland, Virginia, West Virginia, Arkansas, and Georgia.

After Bobby Howard (Droopy) left the band, the stand up bass was taken over temporarily by Marcus Van Story. After Marcus left Lloyd employed Jerry Boyd to play electric bass. Jack Charles was brought on board to play drums. Throughout the early years, most of Lloyd's performances were done in theatres but beginning in the latter part of the 1950's and into the 1960's, he began playing the club circuits through New Jersey and Pennsylvania. At this time he was managed by Lou Palmer, a promoter out of Collingswood, New Jersey.

During the early months of 1960 Lloyd had come to the attention of Herman Lubinsky, owner of Savoy Records and World Wide Record Co.. In April he recorded a session that produced six tracks. Two tracks, "Dixie Doodle" and "The Great Speckled Bird" were released in late April on Savoy's subsidiary label Sharp. CashBox carried a review of Sharp 108 on May 7.

In January through March of 1960 Lloyd and the Rockin' Drifters were the featured performers at Molly's Tavern in Twin Oaks, Pennsylvania. March 26 through Apri1 9 they performed at the Galo Inn in Pennsville, New Jersey. Apri1 18 - August 13 they went back to Molly's Tavern in Twin Oaks. From August 19 - 25 they played Atlantic City, New Jersey and August 26 to 28 they performed in Massena, New York. From September 2 - 25 they played Nick's Cafe in National Park, New Jersey. Next they journeyed to Loraine, Ohio to keep show dates from October 3 through the 16th. In the month of November from the 15th through the 20th they performed for the Wagon Wheel Club in New York City, New York. The Wagon Wheel was located next door to the famous Peppermint Lounge, the adopted home of The Twist. Lloyd and the boys made another trip to Canada to keep a date in London, Ontario from November 28 to December 3. They concluded the year of 1960 with two showdates back in Pennsville, New Jersey.

In the latter part of 1960, Lloyd made one recording for the Myers Record label. The session, which was cut in Newark, New Jersey, produced "Hangout" and "Red Coat, Green Pants & Red Suede Shoes". The back up musicians were: Jimmy Sea (rg), Jack Charles (d), Jerry Boyd (eb) and the sax was played by Frank (sorry Frank's last name has long been forgotten). The March 6th 1961 issue of Billboard Music Week printed the following review of the recording:

("Red Coat, Green Pants & Red Suede Shoes" - A rocker in the older tradition. Arno1d has the rockabilly sound and the message is the fami1iar "Saturday night record hop" idea set in the rockin' blues pattern. Ok wax with a good beat.
"Hangout" - Another b1ues, this time about the corner juke box joint, where all the cats hang out. Message is much the same as the flip, on the old hat side, but the performance is good and there's rhythm here.)

In 1961 Jack Charles left to join another band and Jerry Boyd formed his own band in New Jersey. When Lloyd came home in the summer of 1961, Jimmy Sea was the only band member that returned with him.

Soon after, Lloyd and Jimmy focused their attention upon a country music show based in Memphis. The Cottontown Jubilee, organized by Buford Cody and Gene Williams, was a radio program aired over KWAM with a live audience. It was broadcast every Saturday evening from the Rosewood Theatre on Lauderdale Street. Lloyd usually headlined the show along with other local Memphis performers such as: Eddie Bond, Tommy Tucker, Bobby Davis, Dave Hillhouse & the Runabouts and Leon Starr and many others. Buford and Gene also booked a Nashville artist every week; artists such as: Bill Monroe, Stringbean, Sonny James, Lester Flatt & Earl Scruggs, Bill Carlisle, Pete Drake and others. Soon the "Jubilee" began to travel through the surrounding areas of Mississippi, Arkansas and Missouri. Every Saturday, after the one o'clock broadcast, the artists would board the Jubilee tour bus to journey to their destination for that night's performance. The show was billed as The Cottontown Jubilee with Lloyd Arnold and a Nashville guest artist.

Bill Monroe was one of Pa's favourite entertainers so naturally when Bill played the Jubilee, Lloyd brought him home for lunch to meet his dad. The morning of the luncheon, I reminded Lloyd and Pa of the table leaf extension that needed repair work. It was prone to give way at unexpected moments. When lunchtime came, Pa prayed over the food as usual and the conversation started flowing. In all the excitment everyone forgot about the table leaf. Bill, being the guest of honour, was seated at the head of the table, oposite Lloyd. And yep you guessed it, that was the end that calapsed! As he took his first bite, the table leaf extension gave way and crashed into his lap. While Ma rushed to the kitchen for towels, everyone else began to stammer for apologies. Mr. Monroe was gracious about the whole thing, no apology necessary! When the ordeal was over, he discovered that he had one small spot of ice tea on his trousers. Everything else was on the floor!. After that, we got the table leaf fixed.

After the discontinuation of the Jubilee, Gene Williams capitalized upon the name when he created the Cottontown Jubilee Record label.

When Lloyd decided to re-organize the Rockin' Drifters, the new band members consisted of David Neuman on drums, Freddy Douglas on guitar, Bill Zarr on bass and Whimpie Lewis on saxophone. By this time Jimmy Sea had met his future wife, Margaret and decided not to return to road work. Jimmy stayed in Memphis and opened his own piano company.

After Buford Cody became Lloyd's manager, he recorded him on the Memphis label from 1962 through 1964. Buford tried many approaches to create certain sounds. He would put brown paper bags over the microphone or have Lloyd sing into a corner with the mike several feet away. He told me once that his only regret regarding the records that he made with Lloyd, was the fact that he did not overdub Lloyd's voice. They began these recordings with "Tennessee Twist" and " I Cou1dn't Make My Heart Believe My Eyes". Their Nashville recording of "Lonesome Finds Me" climbed high enough in Billboard ratings to receive airplay from Dick Clark's American Bandstand.

In July of 1962 Lloyd was back in Memphis due to the birth of his second daughter. Shortly after, he was off on the road again. It seemed that his life was destined to be hectic and full of 'goodbyes'.

In October of 1962 Lloyd and Buford made a trip to the disk jockey convention in Nashville. They set up a display for Memphis Records in the historic Andrew Jackson hotel. During the course of the week, a young lady made her way through the crowd to the room that housed the Memphis Record display. She approached Lloyd and told him that she had followed his career for quite a while and wanted permission to create a Lloyd Arnold Fan Club. The first fan journal rolled off the press in December of 1962. Here is an excerpt from a letter written by Lloyd greeting the members:

  • "Just a few lines to say 'hi' and thanks from the bottom of my heart for the support and backing you've given me. Be on the look out for my new release and I'm hoping to have my first album out soon. I've really been on the road alot this year, God has been good to me. I'd like to hear rom any of you and I'll answer every letter. God Bless you.
    Your friend always,
    Lloyd Arnold"/i>

    (On October 19th, 1963 CashBox announced the following:
    -Morty Wax, another indie about town, reported Tony Babbie and Jimmy Webb, Armour Recording exes, have formed a subsid label called Avet with a first issue tagged, "School Days" by Lloyd Arnold.)
    The Avet label leased two tracks from Buford Cody's Memphis label.

    The phenomenal success of the Beatles prompted Lloyd and Buford to consider using the Memphis label to birth a fictitious band name. On February 24, 1964 Lloyd received a copyright to use either "The Hairs" or "The Long Hairs". Deciding upon "The Long Hairs", he and Buford went into a recording session in Nashville. The Rockin' Drifters were not used for this session, instead Buford employed Nashville studio musicians. Singer, Ray Stevens provided the backup vocals. The release of "Eight To Five" and "Go-Go-Go" was the only time that Lloyd ever recorded under a pseudonym and most people never associated him with "The Long Hairs".

    Sometimes Buford Cody would book the guys in what appeared to be remote places. One such booking involved a tiny town in Texas. Lloyd and the boys had driven for two days to keep this show date. When they finally arrived, they discovered that this small town was in the middle of the desert. One of the buildings served as the grocery store, gas station, courthouse and entertainment centre. As show time drew near they had an empty theatre. Seven thirty, no audience, eight o'clock, no audience, at eight fifteen there were still absolutely no people. Needless to say, by this time Buford Cody was at the top of everybody's 'want list'. Surprisingly, when the curtain arose at eight thirty, there was a completely full house with standing room only! The show was a success but Lloyd was never able to figure out where all those people came from at the last minute!

    Shortly after his association with Buford came to an end, the Memphis Record label folded. Lloyd continued to record for other labels such as Jo-Mar, Eddie Bond's Millionaire, Katche, John and Margie Cook's Blake label, Demand and John Capps K-Ark.

    The strenuous roadwork persisted in 1964 with a series of dates that began at Hurley's Club in Chester, Pennsylvania. From July 28 to August 23 of that same year they flew to Thule, Greenland for a series of performances. Lloyd considered the Greenland tour to be one of the highlights of his career. On August 26 they flew back to Chester, Pennsylvania for more show dates.

    In January of 1965 they played another series of clubs in Linwood, Pennsylvania and in March and May they flew to Ernest Harmon AFB in Newfoundland, Canada.

    Lloyd began writing songs in the early 1950's and continued to write throughout his career. I also did some writing. When I was a high school student, I wrote a poem that took less than an hour to complete. My mother and my grandfather read it, loved it and ask Lloyd set it to music. We decided to copywrite it under Lloyd's name. So as a gift to Pa and Sis and with very few modifications to the lyrics, my poem of "Million Miles to Nowhere" was included on Lloyd's Blake recording session b/w "Time Enough to Die". He and I also colaborated on two more songs, one entitled "The lights of Home" and the other one entitled, "Maureen". These last two pieces were just for family tapes and were never recorded.

    His performances in Memphis during 1965 included the Country Music Shindig held every Saturday night at eight o'c1ock in the Lion's Den. The program was sponsored by Eddie Bond and presented by 'Country Circle Enterprises, Inc.' On one of those nights, during Lloyd's portion of the Shindig, t he microphones suddenly developed sound problems. Immediate1y electricians were on the scene frantically searching for electrical shorts. Lloyd found himself facing the audience with no way to communicate. As the minutes seem to drag, the people began to grow restless and some of them started leaving. One of the mikes had periodic moments of sound so Lloyd took advantage of one of those moments and spoke to the audience:

    -"Think about this folks, you can't go just anywhere and watch electricians hunt for their shorts."

    This remark saved the day! The people stopped leaving, as peals of laughter rippled through the crowd.

    Lloyd got the idea for his first record album while working with several Grand Ole Opry performers on a package show in Pennsylvania. He began to realize the value of having albums to sell during these performances. He telephoned Zeta (Sis) and told her to call Travis Delaney, one of his musical contacts, and set up a meeting to discuss the process of selecting album material. Travis then contacted the Wayne Raney Corporation in Concord, Arkansas and using their press facilities, the first album, "Lloyd Arnold & The Rockin' Drifters On the Road" was produced. It was released on the Arnold label.

    In the year of 1966 and 1967 he continued his roadwork. In 1968 while playing a second series of dates at Ernest Harmon AFB in Newfoundland, tragedy struck and Lloyd's life was changed forever! On Apri1 23, John McCollough suffered a massive heart attack and his gentle, sweet spirit passed from our presence. Pa had the Christian faith of a small child and he was loved and respected by everyone who knew him. His graduation to Heaven left a void in all of our lives. That void was so tremendous in Lloyd's life that he would never be quite the same again. After the funera1 services, I overheard Bill Helms and Buddy Hollie quietly talking. Bill said:

    -"I don't know of anybody who ever met Pa that didn't love him and when you think about it, he had to be a very special man to be able to put up with all us Hillbillies hangin' round his house all the time."

    And I immediately thought to myself:

    -" Not to mention all the relatives!"

    Eddie Bond played a special dedication to Pa during an evening broadcast:

    -"Some of you may already know that Lloyd Arno1d's father passed away earlier this week so I would like to dedicate this next song to the McCollough family and to the memory of a fine Christian man."

    Then, Eddie played Red Foley's recording of "Peace In The Valley".

    After Pa's passing, Lloyd threw himself into his work. On September 22 of that year he played Sunset Park in West Grove, Pennsylvania, then back to Hur1ey's Tavern for a series of dates. Although he continued to work, the empty space that Pa left, coupled with years of strenuous roadwork as well as the after effects of spinal meningitis would soon begin to take their toll. On September 28, 1968 he found time to write a another song, "Christmas without Dad". It was never recorded. On August 3 in 1969 he returned to Sunset Park, this time sharing the billing with Hank William's original Drifting Cowboys. In the early days performing with Hank Williams band would have been a career highlight for Lloyd. Now it seemed unimportant.

    In the fall of that same year while playing clubs in Linwood, Pennsylvania, he interupted his schedule to fly home. His marriage was in trouble. He and his wife tried to patch their differences but their efforts were in vain. The hectic schedule of his career and his long absences away from home had sounded the death bell for their marriage.

    As 1970 rolled along, he tried to pick up the pieces of his life. He played a series of club dates through New Jersey and Pennsylvania in such places as The Freeway Inn, Golden Slipper, The Hut, and Neno's. On July 8 and 9 he pushed himself to keep show dates in Cheyenne, Wyoming at the Old Mayflower Dance Hall. A few days later Zeta received a call from one of his band members saying that Lloyd had collapsed on stage and had been admitted into the Cheyenne Memoria1 Hospital. This was the beginning of serious health problems such as high blood pressure, a bad pancreas, a damaged nervous system. Lloyd had been ignoring the severe pains that were attacking him and he kept right on working until he collapsed. His band members tried to convince him to go back to Memphis for a 'rest' but Lloyd refused. On July 16, the day after his release from the hospital, he went back to work.

    It was during this same time that he signed a new recording contract with John Capps, owner of K-Ark Records. The result was three singles and his second album release. The album was entitled "My Bucket's Got A Hole In It" and it fronted a picture of Lloyd that clearly shows the weariness of a musician constantly on the road. The superb recordings of "Cold Duck Blues" and "When I Smile" showed that Lloyd was still able to come up with high class material.

    When he did return to Memphis, a few months later, Ma suffered a heart attack and passed away on December 9, 1970. Lloyd had been taught the basis of our faith. He knew that Ma and Pa were now in the presence of Jesus, walking on streets of gold. He knew that we will see them again but he was never able to handle that temporary separation between this life and the next.

    In 1972 he disbanded the Rockin' Drifters for the last time, arranged to sell the tour bus and came back to Memphis. Now that he no longer had a band, he worked very few out of town engagements. During one of those few out of towners, in Mobile, Alabama, he was hospitalized once again. During his hospital stay he telephoned my mother and she convinced him to cancel the remainder of the performances. Finally he agreed:

    -'Ok, Sis, I'm comin' home.'

    The time had finally come for him to escape from the hectic career that now seemed to be consuming him. Years of stressful roadwork had taken their toll, leaving us only a shadow of the man we once knew. After his hospital release, weary in mind and body, he returned to Memphis.

    The McCollough house was silent now except for distant footsteps and whispered memories of those who had gone from it forever. The laughter of by-gone days had faded into the misty corridors of time. In the early days there never seemed to be enough time for Lloyd to accomplish all of his missions. He was constantly yelling at us over his shou1der as he rushed out of the house:

    -"See ya'll later, I'1l be back in a squirt."

    Many times his "squirts" would last all day. He was constantly going somewhere to see someone about something. When he returned to Memphis in 1972, suddenly he had nowhere to go and no one to see. The man, who never seemed to have enough time, now had nothing but time. However John and Clemmie McCollough had done their job and instilled in him a deep Christian faith. Lloyd continued to place that faith in the "nail-scarred hand of Jesus", the Hand of the One who never deserts us.

    Lloyd's health was deterioting rapidly. The spinal meningitis that he fought so bravely as a child had left his nervous system permanently damaged. This brought about other health problems that grew worse with the passage of time.

    On January 10, 1976 at the age of 41, Lloyd passed from this life. As his spirit took flight into the arms of our Loving Saviour, he moved from our past, into our future. The curtain had come down and the show was finally over but the young man who stood in front of a music store so long ago and wished for a mandolin had made his contribution to the music world. He would now take his place beside the other musical pioneers that Memphis produced during the fifties.

    We laid Lloyd to rest beside Ma and Pa in Memphis Memory Gardens, remembering the comforting words of 1 Thessalonians 4:16-17:

    "For the Lord Himself shall descend from Heaven with a shout, with the voice of the archangel, and with the trump of God and the dead in Christ shall rise first:
    Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air."

    As we walked reluctantly from the graveside, it also seemed appropriate to remember the lines from an old Hank Williams song:

    'Your soul is God's, Your memory mine'.

    We love you Lloyd and until we meet you again, in Heaven, thanks for the memories.


    1953, 24 February. Memphis Recording Service, 706 Union Avenue, Memphis, Tn.
         Producer & Engineer: Sam C. Phillips
         Lloyd Arnold McCollough(v) & His Drifting Hillbillies incl. Curley Rainey(f), Geneva McCollough(v/g),
         Jim McCollough(sb), Grady ?(sg).

              Oh, If I Had You - (?) - Unissued
              Your Mean Old Heart - (?) - Unissued
              You Win Again -(Hank Williams) - Unissued
              I'm Sorry Now (?) Unissued

    1953, 4 March. Memphis Recording Service, 706 Union Avenue, Memphis, Tn.
         Producer & Engineer: Sam C. Phillips
         Lloyd Arnold McCollough(v) & His Drifting Hillbillies incl. Curley Rainey(f), Geneva McCollough(v/g),
         Jim McCollough(sb), Grady ? (sg).

              The World's Lonely With You - (?) - Unissued
              A Word From God's Helper - (?) - Unissued
              Gonna Win Your Love Again - (?) - Unissued
              I Got A Feel For Love - (?) - Unissued

    1955. Nashville
         Lloyd Arnold McCollough (v) & His Drifting Hillbillies
         Musicans: Buddy Hollie (sb), Bo McCollough (rg), Bill Helms (lg)

    A          Oh, Darling- (McCollough) - Von 1002 - 1955
         1          Star-Club CD 506008 - 1997
                    Legend(?) LP 004 - ?
    B          Watch That Girl - (McCollough - Von 1002 - 1955
         2          Star-Club CD 506008 - 1997
                    Legend(?) LP 004 - ? 1955. Meteor Studio, Chelsea Avenue, Memphis, Tennessee.
         Lloyd Arnold McCollough (v) & His Drifting Hillbillies incl. unknown musicians.
              Take Me For A Ride - (?) - Unissued
              My Blue Heart Is Crying - (?) - Unissued

    1955-56. Nashville - EKKO Records
         Lloyd Arnold McCollough (v)
         Musicans: Buddy Hollie (sb), Chet Atkins (g), Jerry Byrd (sg), Tommy Jackson (f), Jimmy Self (p)

    A          Until I Love Again - (Hews/Hart) - Ekko 1023 - BB 4 February 1956
         3            Star-Club CD 506008 - 1997 AA         What Goes On In Your Heart - (M. Huckeba) - Ekko 1023 - BB 4 February 1956

    1956. Recording Of Nashville Studio, Nashville, Tn. Producer: Murray Nash.
         Lloyd Arnold McCollough (v) - Republic Records
         Musicians: Buddy Hollie (sb), Bo McCollough (rg), Bill Helms (lg) , Junior Johnson (f)

    NF-125          'Cause I Love You - (S. Zuma) - Republic 7129 - 1956                DJ Jamboree(G) 104 - ?
         1/2          White Label(NL) LP 8921 - 1989
         29          Buffalo Bop CD 55009 - 1994
         4          Star-Club CD 506008 - 1997
    NF-126          Gonna Love My Baby - (McCollough/Thomas - Republic 7129 - 1956
                   DJ Jamboree(G) 104- ?
         2/2          White Label(NL) LP 892- 1989
         17          Buffalo Bop CD 55009 - 1994
         5          Star-Club CD 506008 - 1997>br?                ?(?) PRLP 004 - ?

    1957. Unknown location
         Lloyd Arnold McCollough (v) with unknown musicians.
    A          Half My Fault - (McCollough/Bond) - Starday 686 BMI - March 1958
                   Ace(UK) CHLP 18 - ?
         4/1          White Label(NL) LP 8921 - 1989
         6          Star-Club CD 506008 - 1997
    B          What Can I Tell Them - (Bond/McCollough) - Starday 686 BMI - March 1958 1960. Unknown studio, Newark, New Jersey.
         Lloyd Arnold McCollough( v) with Jimmy Sea (rg), Jack Charles (d), Jerry Boyd (eb)
    SLA 9932          Dixie Doodle (Lloyd Arnold) - Sharp 108 - CB 7 - May 1960
                   Redita(NL) LP 104 - 1973
         3/1          White Label(NL) LP 8921 - 1989
         8          Star-Club CD 506008 - 1997
         Lloyd Arnold McCollough (v) with unknown musicians
         7/2          Don't Care Blues- (Lloyd Arnold)- White Label (NL) LP 8921 - 1989
                   Hang Out (Lloyd Arnold) - Unissued
                   I'm Blue (?) - Unissued
              Memphis, Tennessee - (Chuck Berry) - Unissued
    SLA 9935          The Great Speckled Bird - (Smith/Arnold arrangement) - Sharp 108 - CB 7 - May 1960
                   Redita(NL) LP 104 - 1973
         5/1          White Label(NL) LP 8921 - 1989
         7          Star-Club CD 506008 - 1997

    1960-61. Unknown studio, Newark or Philadelphia.
         Lloyd Arnold McCollough (v) with Jimmy Sea (rg), Jack Charles (d),
         Jerry Boyd (eb), Frank (last name unknown (sax)
    R-1023          Red Coat, Green pants & Red Suede Shoes (Lloyd Arnold) - Myers 113 - January 1961
                   Record-O-Rama(C) 6000 - 1961
                   Bison Bop(G) LP 2005 - 1982
         1/1          White Label(NL) LP 8921 - 1989
         9          Star-Club CD 506008 - 1997
    R-1024          Hangout (Lloyd Arnold) - Myers 113 - January 1961
                   Record-O-Rama(C) 6000 - 1961
         2/1          White Label(NL) LP 8921 - 1989
         10          Star-Club CD 506008 - 1997

    1962. Unknown studio, Nashville, Tennessee.
         Lloyd Arnold McCollough(v) with unknown musicians.
         4/2          Tennessee Twist - (Arnold/Helms) - Memphis 104 - June 1962
         A8          Sunjay(SE) SJLP 578 - 1987
         11          Star-Club CD 506008 - 1997
              Tennessee Twist (take 3) - (Arnold/Helms) White Label(NL) - LP 8921 - 1989
              I Couldn't Make My Heart To Believe My Eyes - (Arnold/Helms) - Memphis 104 - June 1962
         4/A          Arnold LP 102 - 1965-66
                   Ace(UK) CHADLP 197 - 1987
         12          Star-Club CD 506008 - 1997
    NO8W 2590          School Days (Chuck Berry) - Memphis 106 - BB 16 February 1962
         J 9876          Avet 500- September 1963
                   Redita(NL) LP 102 - 1972
         3/2          White Label(NL) LP 8921 - 1989
         13          Star-Club CD 506008 - 1997
                      White Label(NL) LP 8921 - 1989
    NO8W 2591          Take These Chains From My Heart - (Fred Rose/Hy Heath) - Memphis 106 - BB 16 February 1962
         J 9877         Avet 500 - September 1963

    1963. Unknown studio, Nashville, Tennessee.
         Lloyd Arnold McCollough(v) with unknown musicians.
         PK4M 1283      Sugaree - (Marty Robbins) - Memphis 108 - 1963
                   Redita(NL) LP 102 - 1972
                   Ace(UK) CHADLP 197 - 1987
         6/2         White Label(NL) LP 8921 - 1989
    PK4M 1284          I Hope You Mean What You Say (Lloyd Arnold) - Memphis 108 - 1963

    1964. Unknown studio, Nashville, Tennessee.
         Lloyd Arnold McCollough (v) Ray Stevens (vc) & unknown studio musicians.
    RK4M 2302          Lonesome Finds Me - (Don McHan) - Memphis 109 - BB 4 April 1964
         1/A          Arnold LP 102 - 1965-66
         14          Star-Club CD 506008 - 1997
    RK4M 2303          Next To Me - (Johnny Colmus) - Memphis 109 - BB 4 April 1964
         2/B          Arnold LP 102 - 1965-66
                   Ace(UK) CHADLP 197 - 1987
         16          Star-Club CD 506008 - 1997
    RK4M 2304          Eight To Five - (Johnny Colmus) - Memphis 110 - 1964
         18          Star-Club CD 506008 - 1997
    RK4M 2305          Go, Go, Go - (Chuck Berry) - Memphis 110 - 1964
         B10          Sunjay(SE) SJLP 578 - 1987
         &nbs        White Label(NL) LP 8921 - 1989
         17         Star-Club CD 506008 - 1997
    SoN 13161          I Can't Wait (Lloyd Arnold) - Memphis 112 - 1964-65
         2/A          Arnold LP 102 - 1965-66
         19          Star-Club CD 506008 - 1997
    SoN 13162          Little Boy Blue - (Fox) - Memphis 112 - 1964-65
         1/B          Arnold LP 102 - 1965-66
         20        Katche 1002 - 1966-67
                   Star-Club CD 506008 - 1997

    1961-64. Unknown locations.      Lloyd Arnold McCollough (v) with unknown female (v*) and unknown musicians.           Hold Me So Tight - (?) - Unissued
              I Don't Know Why I Love You - (?) - Unissued
              Mansion On The Hill - (?) - Unissued
              Mean What You Say* - (?) - Unissued
              Misery Loves Company - (?) - Unissued
              Slowly But Surley - (?) - Unissued

    1965. Unknown location. Producer: John Cook
         Lloyd Arnold McCollough (v) with unknown musicians.
    SRPC 126          Time Enough To Die - (N. Huggins) - Blake 2-214 - 1965
         5/A          Arnold LP 102 - 1965-66
    SRPC 127          Million Miles To Nowhere - (Lloyd Arnold) - Blake 2-214 - 1965
         5/B          Arnold LP 102 - 1965-66

    1965-66. Unknown studio, Memphis, Tennessee.
         Lloyd Arnold McCollough (v) with unknown musicians.
    SK4M 3929          Tear Down The Fence - (Vinson/Fitz) - Jo-Mar 108 - 1965
         4/B         Arnold LP 102 - 1965-66
         21          Star-Club CD 506008 - 1997
    SK4M 3930          Wake Up Heart - (Lloyd Arnold) - Jo-Mar 108 - 1965
         T4KM 5279          Millionaire 126 - 1966
         3/B          Arnold LP 102 - 1965-66
         22           Star-Club CD 506008 - 1997
    T4KM 5280          That's How I Wake Up - (Lloyd Arnold) - Millionaire 126 - 1966
         3/A          Arnold LP 102 - 1965-66
         23          Star-Club CD 506008 - 1997

    1966-69. Unknown location. Producer: Joe E. Lewis
         Lloyd Arnold McCollough (v) with unknown musicians
    1          What Can I say - (Lloyd Arnold) - Demand 104 - ?
    2          When I Close My Eyes - (Lloyd Arnold) - Demand 104 - ?

    1971-72. Unknown studio, Nashville, Tn. Producer: John Capps
         Lloyd Arnold McCollough(v) with unknown musicians.
    A          My Bucket's Got A Hole In It - (Hank Williams) - K-Ark 1047 - 1972
                   K-Ark LP 6018 - 1973
         6/1          White Label(NL) LP 8921 - 1989
         23          Star-Club CD 506008 - 1997
    B          School Days - (Chuck Berry) - K-Ark 1047 - 1972
                   K-Ark LP 6018 - 1973
              K-Ark LP 6018 - 1973
         7/1          White Label(NL) LP 8921 - 1989
    B          When I Smile (Lloyd Arnold) - K-Ark 1060 - 1973
         25          Star-Club CD 506008 - 1997
    A          Memphis - (Chuck Berry) - K-Ark 1060 - 1973
              You Can't Take My Memories - (?) - K-Ark LP 6018 - 1973
              I'd Love To Be Alone With You - (?) - K-Ark LP 6018 - 1973
              A Million Miles From Nowhere - (?) - K-Ark LP 6018 - 1973
              Today I Started Loving You Again - (?) - K-Ark LP 6018 - 1973
              Okie From Muskogee - (?) - K-Ark LP 6018 - 1973
              I Gotta Face It - (?) - K-Ark LP 6018 - 1973

    ?. Unknown locations
         Lloyd Arnold McCollough(v) with Charlie Feathers (v -*) & unknown musicians
    1          Hangout (alt) - (Lloyd Arnold) - Katche 1201 - ?
                   Bison Bop(G) LP - 2005 - 1982
         1          Buffalo Bop CD 55009 - 1994
         26          Star-Club CD 506008 - 1997
    2          Do You Love Me - (?) - Katche 1201 - ?
         8/1          I Got The Blues* - (Lloyd Arnold) - White Label(NL) LP 8921 - 1989
         6/2          Stomper Time (UK) LP 6 - 1999



    1002 Watch That Gal b/w Oh, Darling - 1955
    NOTE: Released as by: Lloyd McCollough & The Driftin' Hillbillies

    1023 What Goes On In Your Heart/Until I Love Again - BB 4 February 1956
    NOTE: Released as by: Lloyd McCollough

    7129 Cause I Love You/Gonna Love My Baby - 1956
    NOTE: Released as by: Lloyd McCollough

    686 Half My Fault/What Can I Tell Them (BMI) March 1958
    NOTE: Released as by: Lloyd McCollough

    108› Dixie Doodle(Instr.)/The Great Speckled Bird - BB 2 May 1960

    113 Red Coat, Green Pants And Red Suede Shoes/Hangout - (BB) March 1961

    6000 Red Coat, Green Pants And Red Suede Shoes/Hangout - 1961
    NOTE: Canadian releases.
    Myers masters

    1201 Hang Out/Do You Love Me - ?
    1002 Little Boy Blue/Mansion On The Hill - 1966-67
    NOTE: "Hang Out" is a different version than the Myers/Record-O-Rama version.

    104 I Couldn't Make Heart Believe My Eyes/Tennessee Twist - June 1962
    106 School Days/Take These Chains From My Heart - BB 16 February 1962
    108 Sugaree/I Hope You Mean What You Say - 1963
    109 Lonesome Finds Me/Next To Me - BB 4 April 1964
    110 Go Go Go/Eight To Five - 1964
    112 I Can't Wait/Little Boy Blue - 1964
    NOTE: Memphis 110 released as by: The Long-Hairs

    5000 School Days/Take These Chains From My Heart - September 1963
    NOTE: Memphis masters

    7-108 Tear Down The Fence/Wake Up Heart - 1965

    112 That's How I Wake Up/Wake My Heart - 1966

    104 What Can I Say/When I Close My Eyes - ?

    214 Million Miles To Nowhere/Time Enough To Die - ?

    1047 My Bucket's Got A Hole In It/School Days - 1972
    1060 Cold Duck Blues/When I Smile - 1973
    1060 When I Smile/Memphis - 1973

    104 ĆCause I Love You/Gonna Love My Baby - ?
    NOTE: Republic masters.

    Long Play Albums
    ALP 102 "Lloyd Arnold & the Rockin' Drifters" - 1965-66
    Lonesome Finds Me/I Can't Wait/That's How I Wake Up/I Couldn't Make My Heart Believe My Eyes/
    Time Enough To Die//Little Boy Blue/Next To Me/Wake Up Heart/Tear Down The Fence/Million
    Miles To Nowhere

    KLP 6018 "My Bucket's Got a Hole in It" - 1972-73
    Lonesome Finds Me/I Can't Take My Memories/I'd Love To Be Alone With You/A Million Miles To Nowhere
    /Fightin Side Of Me/I Started Loving You Again/Cold Duck Blues/Okie From Muskogee/
    School Days/I Gotta Face It/My Bucket's Got A Hole In It.

    REDITA RECORDS (Netherlands)
    Schooldays/Sugaree by Lloyd + other artists.
    NOTE: Memphis masters.
    RLP 104 Various ARTISTS - Memphis Rocks the Country≤ 1973
    Dixie Doodle (Instr.)/The Great Speckled Bird by Lloyd + other artists.

    NOTE: Sharp masters.

    BBLP 2005 ≥ Various artists - The Bop That Never Stopped Volume 3" - 1982
    Red Coat, Green Pants And Red Suede Shoes*/Hangout** by Lloyd + other artists.
    NOTE: *Myers master.
    **Katche master.

    ACE RECORDS (United Kingdom)
    Half My Fault by Lloyd + other artists.
    NOTE: Starday master.
    CHAD 197 "The Memphis Label Story" - 1987
    I Couldn't Make My Heart Believe My Eyes/Sugaree/Go Go Go/Next To Me by Lloyd + other artists.
    NOTE: Memphis masters.

    SJLP 578 "VARIOUS ARTISTS - Memphis Rockabilly, Vol 2" - 1987
    Tennessee Twist/Go, Go Go by Lloyd + other artists.
    NOTE: Memphis master.

    Oh Darling/Watch That Gal by Lloyd + other artists.
    NOTE: Von masters.

    ? RECORDS (?)
    I'm Gonna Love My Baby Now by Lloyd + other artists.
    NOTE: Republic masters.

    WHITE LABEL RECORDS (Netherlands)
    WLP 8921 "REAL MEMPHIS SOUND, vol 7" - 1989
    Red Coat, Green Pants And Red Suede Shoes/Hangout/Dixie Doodle/Half My Fault/The Great Speckled
    Bird/School Days/Cold Duck Blues/I Got The Blues*/Cause I Love You/Gonna Love My Baby/Schooldays/
    Tennessee Twist (take 3)*/Go Go Go/Sugaree/Don't Care Blues*. * = previously unissued.

    Long Play Albums

    BB 55009 ≥ Various Artists - Hang Loose" - 1994
    *Hang Out/Gonna Love My Baby**/'Cause I Love You** by Lloyd + other artists.
    NOTE: *Katche master
    **Republic masters.

    Oh Darling/Watch That Girl/Until I Love Again/Cause I Love You/Gonna Love My Baby/
    Half My Fault/Great Speckled Bird/Dixie Doodle/Red Coat, Green Pants & Red Suede Shoes/Hang
    Out/Tennessee Twist/I Couldn't Believe My Eyes/School Days/Sugaree/Lonesome Finds Me/
    Next To Me/Go Go Go/Eight To Five/I Can't Wait/Little Boy Blue/Tear Down the Fence/Wake Up
    Heart/That's How I Wake Up/My Bucket's Got a Hole In It/When I Smile/Hang Out (Katche master).

    STOMPER TIME RECORDS (United Kingdom)
    I Got The Blues by Lloyd Arnold & Charlie Feathers.





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