While Love did not reach anywhere near the level of Rocket 88 (what could?), Drop Top can evoke that familiar rocking rhythm.
Recorded in Memphis on July 31, 1951.
Billy "Red" Love & His Orchestra - Chess 1508 (1951)
Unofficially chosen to replicate the success of Jackie Brenston's (or more so, Ike Turner's) single, Rocket 88, Sam Phillips recorded several Billy "Red" Love tracks at Memphis Recording Service...which would later become the legendary Sun Studio.
While Love did not reach anywhere near the level of Rocket 88 (what could?), Drop Top can evoke that familiar rocking rhythm.
Recorded in Memphis on July 31, 1951.
While Love did not reach anywhere near the level of Rocket 88 (what could?), Drop Top can evoke that familiar rocking rhythm.
Recorded in Memphis on July 31, 1951.
Rev Rice's Sanctified Singers - Vocalion 1444 (1929)
From wikipedia...
Reverend D. C. Rice (born Barbour County, Alabama, c.1888; died Montgomery, Alabama, March 1973) was a preacher and singer. He was raised as a Baptist by his father, and moved to Chicago during World War I. There he joined The Church of the Living God, Pentecostal, and in 1920 became a preacher in this denomination.
Following the examples of Rev. J. M. Gates and Rev. F. W. McGee, in March 1928 Rice made his first recordings for the Vocalion label in Chicago, and over the period until July 1930 he recorded a total of 28 sides although two are lost. These are described in terms such as "Rev D. C. Rice, sermons with singing, assisted by His Congregation." Many of the performances begin with Rice intoning a verse from the Bible and then giving a short sermon, his voice rising and falling with blues inflections, while members of the congregation respond with "amen." Then Rice leads the ensemble into a hymn, generally of an evangelical type. Rice's singing dominates the recordings, the other singers providing harmonized support. The instrumental accompaniment is by piano plus one or more of mandolin, string or brass bass, triangle or other small percussion, trumpet, and trombone.
Rice continued to be active in black churches, as a preacher and ultimately a bishop. Music continued to feature in his religious career but no further recordings are known after 1930.
Recorded in Chicago in November, 1929.
Reverend D. C. Rice (born Barbour County, Alabama, c.1888; died Montgomery, Alabama, March 1973) was a preacher and singer. He was raised as a Baptist by his father, and moved to Chicago during World War I. There he joined The Church of the Living God, Pentecostal, and in 1920 became a preacher in this denomination.
Following the examples of Rev. J. M. Gates and Rev. F. W. McGee, in March 1928 Rice made his first recordings for the Vocalion label in Chicago, and over the period until July 1930 he recorded a total of 28 sides although two are lost. These are described in terms such as "Rev D. C. Rice, sermons with singing, assisted by His Congregation." Many of the performances begin with Rice intoning a verse from the Bible and then giving a short sermon, his voice rising and falling with blues inflections, while members of the congregation respond with "amen." Then Rice leads the ensemble into a hymn, generally of an evangelical type. Rice's singing dominates the recordings, the other singers providing harmonized support. The instrumental accompaniment is by piano plus one or more of mandolin, string or brass bass, triangle or other small percussion, trumpet, and trombone.
Rice continued to be active in black churches, as a preacher and ultimately a bishop. Music continued to feature in his religious career but no further recordings are known after 1930.
Recorded in Chicago in November, 1929.
Albert Brunies & His Halfway House Orchestra - Columbia 1542 & 1959 (1928)
Here are 4/5ths of the sides issued by The Halfway House Orchestra with Albert Brunies' name out in front on the label.
That 5th one is gonna prove a difficult one to obtain as it was only issued in Australia.
Albert Brunies c, dir / Sidney Arodin cl / Joe Loyacano as / Glyn Lea "Red" Long p / Angelo Palmisano bj / Chink Martin bb, sb / Emmett Rogers d / Johnny Saba v.
New Orleans, April 26 (Love Dreams) & 27 (Tell Me Who) & December 17, 1928.
That 5th one is gonna prove a difficult one to obtain as it was only issued in Australia.
Albert Brunies c, dir / Sidney Arodin cl / Joe Loyacano as / Glyn Lea "Red" Long p / Angelo Palmisano bj / Chink Martin bb, sb / Emmett Rogers d / Johnny Saba v.
New Orleans, April 26 (Love Dreams) & 27 (Tell Me Who) & December 17, 1928.
Nashville Jazzers - Madison 50001 (1927)
Here we have the Nashille Jazzers' lone recording...but not the lone recording by this core trio.
Victor 20316 & Conqueror 7081.
Tom Morris c / Bob Fuller cl / as / Mike Jackson p / bj.
Recorded in New York in 1927.
Victor 20316 & Conqueror 7081.
Tom Morris c / Bob Fuller cl / as / Mike Jackson p / bj.
Recorded in New York in 1927.
New Orleans Owls - Columbia 1261 (1927)
Wonderful last sides by the New Orleans Owls. (And I believe the second recording session by Nappy Lamare, the first being on Victor 20593, John Hyman's Bayou Stompers)
Benjie White cl, as, dir / Bill Padron c / Red Bowman c, v / Frank Netto tb / Pinky Vidacovich cl, as / Lester Smith ts / Sigfre Christensen p / Nappy Lamare bj, v / Dan LeBlanc bb / Earl Crumb d.
Recorded in New Orleans on October 26, 1927.
Benjie White cl, as, dir / Bill Padron c / Red Bowman c, v / Frank Netto tb / Pinky Vidacovich cl, as / Lester Smith ts / Sigfre Christensen p / Nappy Lamare bj, v / Dan LeBlanc bb / Earl Crumb d.
Recorded in New Orleans on October 26, 1927.
Mi Nena - Estudiantina Oriental (1928) / Estudiantina Ensemble (2012)
As you may know, I have an affinity for early Cuban music. And, as you may also know, a few years back, I came across a 78 by the Cuban group, Estudiantina Oriental. The outfit recorded six sides during one session in Havana on February 6, 1928. (As far as I can tell, no other copies of this record have been found and no copies of the other two issues have yet to be discovered.)
I quickly posted the record on this blog and it soon caught the attention of Ricardo Bekema, who fronts Estudiantina Ensemble, quite possibly, the only group continuing the Cuban Estudiantina style outside of the island today.
He contacted me expressing his excitement to finally hear the record he had only known about in discographies. He likened it to discovering "King Solomon's mines."
That correspondence took place over four years ago.
Just this week, I received a file featuring his ensemble performing one of the songs from that 78...Mi Nena.
They have done an excellent job in resurrecting a song from old grooves and breathing new life into it.
Hear for yourself...
I quickly posted the record on this blog and it soon caught the attention of Ricardo Bekema, who fronts Estudiantina Ensemble, quite possibly, the only group continuing the Cuban Estudiantina style outside of the island today.
He contacted me expressing his excitement to finally hear the record he had only known about in discographies. He likened it to discovering "King Solomon's mines."
That correspondence took place over four years ago.
Just this week, I received a file featuring his ensemble performing one of the songs from that 78...Mi Nena.
They have done an excellent job in resurrecting a song from old grooves and breathing new life into it.
Hear for yourself...
Red Nichols & His Five Pennies - Vocalion 15536 (1927)
Red Nichols t, a / Miff Mole tb / Jimmy Dorsey cl, as / Joe Venuti vn / Arthur Schutt p / Eddie Lang g / Vic Berton d.
Recorded in New York on March 3, 1927.
Recorded in New York on March 3, 1927.
The Vagabonds - Sunrise 3363 (1933)
Just scored my first Sunrise label. Or rather, I should say, Mom got it at an estate sale that I had tipped her off about located on the outskirts of Wilmington, NC.
Not much information on the label judging from the briefly mentioned blurb in an excerpt from Bluebird Record's wikipedia entry...
[RCA Victor's first foray into the budget market was the 35c Timely Tunes. Sold through Montgomery Ward stores, 40 issues appeared from April to July, 1931.
In July, 1932, appeared the first, short-lived Bluebird record, along with an identically numbered Electradisk record sold at Woolworth's. These 8" discs, probably an early form of test marketing, may have sold for as little as 10c. Bluebirds bore a black-on-medium blue label; Electradisks a blue-on-orange label. Credit for establishing the label is given to Victor's executive Eli Oberstein, who had previously set up the distribution deal to press the independent Crown label.
The 8" series only ran from 1800 to 1809, but both labels reappeared later in 1932 as 10" discs: Bluebird 1820–1853, continuing to April 1933, and Electradisk 2500–2509 and 1900–2177, continuing to January 1934.
Electradisks in the 2500 block were dance band sides recorded on two days in June, 1932. These very rare issues were given Victor matrix numbers but the 4 digit matrix numbers on the 78 look more like Crown Records (this independent label had its own studios, but its product was pressed by Victor). The few records in that block that have been seen, resemble Crowns; leading to speculation that all were recorded at Crown.
In May, 1933, RCA Victor restarted Bluebird as a 35c (3 for $1) general-interest budget record, numbered B-5000 and up, with a new blue-on-beige label (often referred as the "Buff" Bluebird, used until 1937 in the US and 1939 in Canada). Most 1800-series material was immediately reissued on the Buff label; afterwards it ran concurrently with the Electradisk series (made for Woolworth's).
Another short-lived concurrent label was Sunrise, which may have been made for a store chain (very few discs, and essentially no information, survive). Sunrise and Electradisk were discontinued early in 1934, leaving Bluebird as RCA's only budget priced label. (RCA Victor also produced a separate Montgomery Ward label for the Wards stores.)]
About The Vagabonds...(from Hillbilly-Music)
[The Vagabonds were an early star act on WSM's Grand Ole Opry in the 1930s. The act was a bit different in that they had a "Traveling Unit". They wrote that it was organized so that radio audience could see in person the outstanding acts of the Opry.
They said their show was a "theatrical production" and not just an amateur routine of radio talent. Much time and money was said to have been spent so that the audience could see the "true personality" of each of the performers.
Each performer in this show was said to be a true native of the hills of Tennessee and not a synthetic product which you so often saw in theatres in the larger cities in this country.
The Vagabonds' Traveling Show appeared in some of the best theatres in the country and was said to always have attracted large crowds.
Back in the mid-1930s, the show was produced and booked under the management of the Old Cabin Company, Inc., Hitchcock Building, out of Nashville, Tennessee.]
Dean Upson v / Curt Poulton g, v / Herald Goodman v.
Recorded in Chicago on April 26 (Ninety-Nine Years) & July 27 (Jesse James), 1933.
Not much information on the label judging from the briefly mentioned blurb in an excerpt from Bluebird Record's wikipedia entry...
[RCA Victor's first foray into the budget market was the 35c Timely Tunes. Sold through Montgomery Ward stores, 40 issues appeared from April to July, 1931.
In July, 1932, appeared the first, short-lived Bluebird record, along with an identically numbered Electradisk record sold at Woolworth's. These 8" discs, probably an early form of test marketing, may have sold for as little as 10c. Bluebirds bore a black-on-medium blue label; Electradisks a blue-on-orange label. Credit for establishing the label is given to Victor's executive Eli Oberstein, who had previously set up the distribution deal to press the independent Crown label.
The 8" series only ran from 1800 to 1809, but both labels reappeared later in 1932 as 10" discs: Bluebird 1820–1853, continuing to April 1933, and Electradisk 2500–2509 and 1900–2177, continuing to January 1934.
Electradisks in the 2500 block were dance band sides recorded on two days in June, 1932. These very rare issues were given Victor matrix numbers but the 4 digit matrix numbers on the 78 look more like Crown Records (this independent label had its own studios, but its product was pressed by Victor). The few records in that block that have been seen, resemble Crowns; leading to speculation that all were recorded at Crown.
In May, 1933, RCA Victor restarted Bluebird as a 35c (3 for $1) general-interest budget record, numbered B-5000 and up, with a new blue-on-beige label (often referred as the "Buff" Bluebird, used until 1937 in the US and 1939 in Canada). Most 1800-series material was immediately reissued on the Buff label; afterwards it ran concurrently with the Electradisk series (made for Woolworth's).
Another short-lived concurrent label was Sunrise, which may have been made for a store chain (very few discs, and essentially no information, survive). Sunrise and Electradisk were discontinued early in 1934, leaving Bluebird as RCA's only budget priced label. (RCA Victor also produced a separate Montgomery Ward label for the Wards stores.)]
About The Vagabonds...(from Hillbilly-Music)
[The Vagabonds were an early star act on WSM's Grand Ole Opry in the 1930s. The act was a bit different in that they had a "Traveling Unit". They wrote that it was organized so that radio audience could see in person the outstanding acts of the Opry.
They said their show was a "theatrical production" and not just an amateur routine of radio talent. Much time and money was said to have been spent so that the audience could see the "true personality" of each of the performers.
Each performer in this show was said to be a true native of the hills of Tennessee and not a synthetic product which you so often saw in theatres in the larger cities in this country.
The Vagabonds' Traveling Show appeared in some of the best theatres in the country and was said to always have attracted large crowds.
Back in the mid-1930s, the show was produced and booked under the management of the Old Cabin Company, Inc., Hitchcock Building, out of Nashville, Tennessee.]
Dean Upson v / Curt Poulton g, v / Herald Goodman v.
Recorded in Chicago on April 26 (Ninety-Nine Years) & July 27 (Jesse James), 1933.
Will Weldon - Victor 21134 (1927)
Not Casey Bill.
Will Weldon, Vol Stevens v, g.
Recorded in Atlanta on October 20, 1927.
Will Weldon, Vol Stevens v, g.
Recorded in Atlanta on October 20, 1927.
The Carter Family - Victor 23845 (1933)
Today has been the first record hunting opportunity in months now that soccer, tennis and gymnastic practice has come to an end. It felt good to get out and smell the musty, dusty flea markets and antique shops.
Came away with this one, which appears to be The Carter Family's last recordings on the Victor 23000 series.
A. P. Carter bass vocal / Maybelle Carter soprano vocal, g / Sara Carter alto vocal, g.
Recorded at the Church Building Studio 2 in Camden, NJ on June 17, 1933.
Came away with this one, which appears to be The Carter Family's last recordings on the Victor 23000 series.
A. P. Carter bass vocal / Maybelle Carter soprano vocal, g / Sara Carter alto vocal, g.
Recorded at the Church Building Studio 2 in Camden, NJ on June 17, 1933.
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