Like Adco, Arvis, Gateway, Island, Jalyn, Lee, Lucky, Mills, Perry, Ruby or Roy, Ark Records is one of those labels out of the Buckeye State well worth investigating if it's obscure but quality Country, Gospel, Bluegrass & Rockabilly you're after.

Ark Records was founded in Cincinnati in the early '60s by Roy Shepard and Bob Lanham, both of whom enjoyed a number of releases on the imprint. Roy Shepard had previously recorded a few sides for Starday (SEP #134). Not surprisingly, Sheplan was the name of their publishing house. It is unclear if it started with the '200' series since I've seen records listed in the '100' series but they might come from another Ark label, presumably out of Texas, or from Ark's own subsidiary label called Tela-Star (cf. discographical listing below).

Like with other indies, Ark Records has a rich Sacred Country music catalog. Roy Shepard himself, The Upchurch Brothers, The Country Gospel-Aires, J. D. Jarvis and even Jimmy Murphy (more on him later) all had wonderful Gospel outings.
Though not exactly a 'Sacred' record, the '45 by The Baker Brothers (Bob & Jesse) featuring 'Make Me A Pallet On The Floor' (#284) is in a close vein and is a gem ; their soft Hillbilly harmonies are supported by a sparse backing of guitars and bass, showcasing some real nice acoustic picking. A fiddle is added to the flip, 'The Mine Explosive', which, incidentally, is called 'The Mine Explosion' on the front of the rare paper picture sleeve which can be seen at left, courtesy of Big Al Turner. The back carried the following info : 'The Baker Brothers are well known for their duet singing throughout the South East and Central part of the USA. They started playing the guitar and singing at the age of eight. They are from Mt. Vernon, Ky., Rockcastle County, where Jesse is employed as a policeman and Bob as a salesman. In the 40's, The Baker Brothers appeared in the Mid-Western states with The Kansas City Ramblers. They were with radio station WIBM in Jackson, Michigan, for some time. In 1945, they were with the Home Folks Party at WKBV in Richmond, Indiana. They also traveled two years with Al Jones' X Bar X Rodeo. At the present, they appear on the Renfro Valley Barn Dance on Saturday nights and on the Rockcastle Hootenanny Jamboree held every Friday night in the Big Renfro Barn with The Rockcastle Ramblers.'

Bluegrass is well represented, of course, and its influence permeates through other Country recordings. One typical example is the excellent Texas Slim single (#309), coupling 'When I'm Old & Gray' with 'Look What You Gone And Done To Me' ; the banjo break in the latter is really outstanding. Rockabilly collectors will look for discs by Dusty Keith (#294) or Harvey Hurt (#296) although boppers like Bill Lanham's 'T For Texas' (#202) are now also in vogue. Another blockbuster of a single is Nelson Young's cover of 'Burning Bridges' (# 310). Doye O'Dell had the original on that ballad but it was Jack Scott who had a huge hit with it on Top Rank in 1960. Young, already noted for brilliant rockabilly sides on Lucky and Ruby, rocks it up in frantic fashion.
Another gentleman who had three fine outings on the label is the late Gene Hall who passed away on October 11, 2010. Says his daughter, Debbie Eldridge : 'He actually was supposed to sing at the Grand Ole Opry, but allowed Loretta Lynn to perform before him at her request. But it was the last show of the night and he didn't get to perform. Unfortunately, he had to get back to Ohio to his work and family and couldn't afford to go back again. Basically, he chose his family first after that'. The boppin' 'Monkey On The Moon' (#240) is still currently much in demand.

There's one item which will no doubt appeal to all kinds of collectors : it's Jimmy Murphy's first release on the label (#259). 'I Long To Hear Hank Sing The Blues', co-written with Jimmie Skinner and Estel Lee Scarbrough, is an atmospheric delight, featuring Murphy's (12-string ?) guitar. As once pointed out in UK's 'Roll Street Journal', it's not a tribute to Hank Williams in the strictest sense of the term but it's a way for Jimmy to voice his admiration for the late, great Country star. Murphy's sound has always been unique, beginning with his RCA Victor sides from the early '50s through his manic Columbia classics like 'Grandpaw's A Cat' (#21569) and 'Sixteen Tons Rock And Roll' (#21534). The flip, 'Swing Steel Blues', is a short steel guitar instro by Paul Smith, a touch reminiscent of 'Sweet Georgia Brown'. Incidentally, Paul Smith plays rhythm guitar on Murphy's Ark recordings (all dating from 1963).
Jimmy Murphy's second and last Ark release was in the Gospel Country style for which he, too, had great affection. He would soon re-record 'Wake Me Up Sweet Jesus' and 'My Feet's On Solid Ground' for Bob Mooney's REM label. Some of Jimmy Murphy's ARK and REM sides were reissued on CD by Ace Records in 2002 ('Southern Roots' CHD 714).

Two choice singles will round out this short overview of Ark Records. One is by another legendary performer who was already active at the beginning of the '50s with records on London, Columbia and Imperial, where he had the honor to cover 'Hound Dog' (#8186) in March 1953 : Billy Starr is his name. 'Steppin' Out' (#285) had been previously recorded elsewhere but his Ark re-cut is a great bopper in its own right. The flip, 'The Old Town Got Lonesome', is a superior Buck Owens-styled Country song.
Last, we'll mention Tom Howard whose single appears in the '5000' series ; it's a haunting mid-'60s production which should not be overlooked by Country collectors. 'I Hope Your Coffee's Cold This Morning' moves effortlessly, punctuated first by a piano solo, then by a terrific steel guitar break, Ernie Hagar-style ! The other side, 'We Belong To Someone Else', is a simple, tuneful, pleasant ballad.

As you can see, the records had different label colors - at first, it was black with silver lettering, then red and silver, then it became blue and silver - but, of course, there may be some overlap. Roy Shepard, who passed away in 1981, designed the labels himself. A few came with picture sleeves, e.g. #284 and #290. They were often Rite pressings, therefore not always of absolute audiophile quality (contrary to popular belief) ; but, as we collectors say, the music itself more than compensates !