Mainspring Press Books: Going, Going (and Soon to Be Gone)

Just a reminder that Mainspring Press has discontinued production of CDs and books as it begins the transition to online data delivery, in affiliation with the Discography of American Historical Recordings (DAHR) at the University of California–Santa Barbara.

We recommend ordering any titles of interest as soon as possible. Several popular books (including Recording the ‘Thirties and The Pathé-Perfect Discography, Vol. 1) have already sold out, and others are in short supply. All CDs have also sold out.

We won’t be reprinting any titles once the current inventory is sold — and buying these books on the used-and-collectible market (if you can even find copies) is often a very pricey proposition. Don’t miss out!

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UPDATE: Mainspring’s long-awaited American Zonophone 7″ and 9″ discographical database has now been incorporated into DAHR (there will be no print edition of this material). It’s the most highly detailed data ever published on these rare recordings, including little-known information on remakes, altered masters, relabelings, reissues, catalog listing dates, artist pseudonyms, and other fine details you just won’t find anywhere else — plus an illustrated history. And it’s free.

 

Mainspring Press News • May – June 2017

Mainspring Press to Donate Reference Collection to the University of California–Santa Barbara

Mainspring Press has begun making arrangements to donate its extensive reference collection to the University of California at Santa Barbara, one of the major centers for discographical research in the U.S.

Highlights of the collection include the Bill Bryant and Record Research-group papers. The latter  include approximately 70,000 index cards (compiled and maintained by Len Kunstadt, Walter C. Allen, George Blacker, and other highly respected researchers from 1952 through the late 1980s) containing complete discographical details of pre-1935 American records for which no original files exist. There is also an extensive collection of “SAC” (synchronized aural comparison) ledgers, in which the RR members painstakingly sorted out different takes, false master numbers, and control numbers on troublesome labels like Bell, Paramount, and the Plaza group, as well as a wealth of other rare and unpublished material.

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Len Kunstadt (left) with one of his notorious ten-foot-high stacks of 78s. Len and the Record Research group eventually filled three warehouses with their holdings, many of which were acquired purely for research purposes. Bill Bryant (right) inherited the RR research papers and unpublished manuscripts, along with the exclusive publication rights, from George Blacker in the 1990s.

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Bill Bryant’s papers includes numerous large binders of equally reliable discographical data (his own, as well as substantial contributions from the likes of Ed Kirkeby, Dick Spottswood, Ray Wile, Quentin Riggs, and Jim Walsh, among others); complete photocopied and/or microfilmed sets of the Gennett master ledgers, Edison studio cash books, and Decca 78-rpm ledgers; and other essential primary-source material.

Transfer of selected materials to UCSB probably will begin in late 2017.


Second Edition of Dick Spottswood’s Ethnic Music on American Records, 1893 – 1942 Coming This Summer as a Free Download

The revised and expanded edition of Dick Spottswood’s legendary ethnic-record discography will be posted as a free download later this summer, exclusively on the Mainspring Press blog.

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Dick Spottswood (right) with Skip James (Bryant collection)

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The first edition of this pioneering work (published in 1990, and now long out-of-print) topped out at more than 3,700 pages. In the three decades since its release, Dick has made substantial additions and revisions that will appear here for the first time. The second edition is being made available completely free of charge for personal use, courtesy of the author.


American Zonophone 7″ and 9″ Discography In Final Preparation for Posting on DAHR

The second volume of Bill Bryant’s American Zonophone Discography is undergoing final file preparation and will appear on UC-Santa Barbara’s online Discography of American Historical Recordings within the next few weeks. This volume includes all 7″ and 9″ general-catalog releases (1899 – 1905), as well as Zonophone’s first, short-lived 10″ series of 1902. An illustrated history and label guide are included.

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Unidentified Zonophone storefront, c. 1899 (Bryant collection)

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This is Mainspring’s first direct-to-online venture (with many more planned); a printed edition will not be produced.

 

The Playlist • Henry “Red” Allen (1929 – 1930)

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Before Victor snagged Louis Armstrong, their chief trumpet star was Henry Allen, Jr. (the “Red” business didn’t appear on labels consistently until later). His orchestra on Victor was actually that of Luis Russell, which was under contract to Okeh at the time. (This wasn’t Luis Russell’s only instance of rebranding. Many of King Oliver’s big-band sides were also by the Russell band, sometimes with only minimal participation by Oliver himself.)

Original shellac pressings of recordings like these are lovely to behold, we’ll grant you, and some can bring a king’s ransom if in truly outstanding shape (which most aren’t — and for all the newbies out there overpaying on eBay for wiped-out crap copies, keep in mind: it’s all about condition-condition-condition, even for the scarce stuff).

But for pure musical enjoyment, nothing beats a custom virgin-vinyl disc carefully hand-pressed from a well-preserved original stamper, like these (and since only a few copies were pressed, and were not sold to the public, they’re actually much rarer than the original shellacs). The vinyls used here were pressed in the 1950s or 1960s, most likely in conjunction with RCA’s “X-“ or “Vintage” LP reissue program. A lot of these custom pressings found their way to collectors in England; those used here, and many used elsewhere on the blog, eventually found their way back via the late Malcolm Shaw.

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra]: It Should Be You

New York (46th Street Studio): July 16, 1929
mx. BVE 55133 – 3 (commercially issued on Victor V-38073)

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra]: Swing Out

New York (studio unlisted): July 17, 1929
mx. BVE 53930 – 2 (commercially issued on Victor V-38080)

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra; vocal by Allen]: Roamin’

New York (24th Street Studio): July 15, 1930
mx. BVE 62345 – 2 (commercially issued on Victor 23006)

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra; vocal by Allen]: Patrol Wagon Blues

New York (24th Street Studio): July 15, 1930
mx. BVE 62343 – 2 (commercially issued on Victor 23006)

 

All from c. 1950s–1960s blank-labeled custom vinyl pressings from the original stampers. Discographical data from the original RCA files (Sony archives, NYC), courtesy of John Bolig.

 

 

 

The Playlist • Harlem Jazz on Dime-Store Labels (1928 – 1929)

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CHARLIE JOHNSON’S PARADISE ORCHESTRA (as Jackson & his Southern Stompers): Take Your Tomorrow (Give Me Today)

New York: c. September 1928
Marathon 227 (7″ Consolidated mx. 31340 – 2)

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JAZZOPATORS (Probable Porter Grainger group): Don’t Know and Don’t Care

New York: Late November 1929
Grey Gull 1803 (mx. 3741 – A)

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FLETCHER HENDERSON & HIS ORCHESTRA (as Henderson’s Roseland Orchestra): Freeze and Melt

New York: April 1929
Cameo 9174 (Cameo mx. 3798 – B)

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LUIS RUSSELL & HIS ORCHESTRA (as Dixie Jazz Band): The Way He Loves Is Just Too Bad

New York: September 13, 1929
Oriole 1726 (ARC mx. 9007 – 1, assigned control 2533)

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DUKE ELLINGTON & HIS ORCHESTRA (as The Washingtonians): Move Over

New York: October 1928
Cameo 9025 (Pathe mx. 108448 – 1, assigned Cameo mx. 3529 –  )

CHARM: Another Outstanding Online Discographical Project

Not as widely known as the Discography of American Historical Recordings (although it certainly deserves to be), the UK-based CHARM website offers another outstanding online discography — in this case, of historical classical and operatic recordings. Hosted by the AHRC Research Centre for the History and Analysis of Recorded Music, CHARM is partnership of Royal Holloway, University of London (host institution) with King’s College, London, and the University of Sheffield.

CHARM is the perfect complement to DAHR, offering hard-to-find data on foreign as well as domestic recordings, primarily from the 1920s onward. The database includes much of The Gramophone Company’s 78-rpm output (from original file data compiled by the late Alan Kelly), as well 78s and some LP series from numerous other US, UK, and European companies, including Columbia and Decca, from data supplied by Michael Gray. *

The CHARM site includes a very flexible search engine, and results can be downloaded as comma-delimited text (.csv) or Microsoft Excel files. Here’s a small part of the results from our search on Cesare Formichi’s Columbia recordings:
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In addition, almost 5000 streaming sound files are available via the Find Sound Files facility. Sound files are transferred from 78-rpm discs held by the King’s Sound Archive at King’s College London.

Like DAHR and the affiliated National Juke Box site from the Library of Congress, CHARM is an entirely free service, with no registration or log-in required.

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* Dr. Alan Kelly compiled the monumental His Master’s Voice Discography for Greenwood Press during its glory days in the 1990s; when new owners pulled the plug, he completed the project on his own, self-publishing the entire run on a set of inexpensive CDs. In 2007 he was honored with the Association for Recorded Sound Collections’ Lifetime Achievement Award. Michael Gray — besides being one helluva nice guy — has had a distinguished career that includes a long run as director of the Voice of America’s Research Library and Digital Audio Archive projects. He served as series editor for Greenwood Press discographies, has written numerous books and articles, and is the recipient of ARSC’s 2011 Lifetime Achievement Award.

 

78 Online Discographical Projects • An Introduction to the Discography of American Historical Recordings (DAHR)

By now, many of you are familiar with the free online Discography of American Historical Recordings (DAHR) at the University of California-Santa Barbara, the largest and most exciting online discographical project to date. For newcomers, here’s a quick overview:

DAHR is an entirely free service, with no registration or log-in required. The database currently includes the following content, comprising more than 150,000 entries:

  • Victor Talking Machine Company recordings made in the United States through 1942, in Central and South America up to 1935, releases derived from masters recorded in Europe by the Gramophone Company, and trial recordings of new artists and sessions from which no discs were issued
  • Columbia Records 10″ domestic masters recorded between 1901 and 1934
  • Columbia Records 12″ domestic masters recorded between 1906 and 1931
  • Berliner Gramophone Co. domestic recordings from 1892 to 1900
  • OKeh masters recorded between 1918 and 1926
  • US Zonophone 10″ and 12″ masters recorded between 1904 and 1912 (In progress: 7″, 9″, and 11″ masters recorded between 1899 and 1905)

In the offing are Brunswick-Vocalion and (on Mainspring’s part) the complete American Record Corporation output, among many other projects. Data are obtained from original company documentation, material licensed from Greenwood Press and Mainspring Press (including our extensive William R. Bryant / Record Research Associates archive), and other trusted sources, and they undergo careful proofing and fact-checking by DAHR’s expert staff.

You can search by artist, title, catalog or matrix number, date, etc. Below are two results screens for a search on the U.S. Marine Band’s “Maple Leaf” rag, the first showing the details of the issued discs, and the second, all matrix details:
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With DAHR, you can also instantly generate full listings by artist, composer, etc.:
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Another nice touch — The listings contain links to the Library of Congress’ “National Jukebox” sound and label-scan files, when available. The library has already digitized more than 10,000 early Victor records, which can be heard in streaming format.

Clearly, this is the future of discography, and Mainspring is pleased to be a contributor. We hope you’ll visit the site often!

 

 

Free Download: John Bolig’s Victor Black Label Discography, Vol. 5 (1935 – 1942)

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John Bolig’s many fans will be happy to hear that his new Victor Black Label Discography, Volume 5 is now available as a free download, courtesy of UC-Santa Barbara’s online Discography of American Historical Recordings (< click this link to get to the download site).

Volume 5 — the first in this important series for which there will be no printed edition — covers the 25000, 26000, and 27000 series, from 1935 to 1942. Like all previous volumes, it was compiled from the original RCA documentation and contains no speculative or anecdotal material — just the (non-alternative) facts.

The download is in searchable PDF format (Adobe Acrobat or Reader) and can be printed out for personal use. For book enthusiasts, Mainspring Press still has  copies of Volumes 1–4 available (which are not available as free downloads), but quantities are very limited, so order soon to avoid missing out — they’re sure to become collectors’ items.

A Preliminary Guide to American Zonophone Recording Dates (And What They Tell Us About Early Zonophone Operations)

American Zonophone recording dates have always been a puzzle to collectors. Aside from a portion of the 1911 ledger that somehow escaped destruction, and dates gleaned from test pressings, primary-source documentation is lacking. And because the company often waited many months or even years to release recordings, attempting to extrapolate from release dates is bound to produce false results (or “alternative facts,” as El Presidente would have it).

Fortunately, some dated Zonophone test pressings exist that provide reliable anchor-points in establishing approximate date ranges, which are shown in the table below. Keep in mind that these dates are approximate and subject to ongoing refinement, and should always be cited as “circa.” In reality, the numerical breaks would not have been as tidy as those shown here, which assume relatively consistent monthly output (more about that below). However, they should serve as a reasonably accurate guide, give-or-take a month in either direction.

These dates also mesh well with known listing and/or release dates. However, It’s important to note that Zonophone at this time assigned entirely new master numbers to remakes, and it produced a  lot of remakes. So if you find a c. December 1905 master number on a May 1904 release, the chart isn’t out-of-whack; you have a remake. Remakes are listed in detail in the data we plan to post with DAHR later this year.

 

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The numerical ranges reveal a great deal about the Universal Talking Machine Company’s Zonophone recording operation. From mid-1903 (when master numbers first started appearing on Zonophone pressings) through the end of 1904, the company averaged a staggering 250 masters per month — more than double Victor’s output for the same period.

This activity can be attributed in part to Zonophone’s need to play “catch-up.” In mid-1903, the company began replacing its etched-label series with new paper-labeled discs. Although some of the etched-label recordings were pressed into service to fill out the new series, many new masters would be required to essentially rebuild the Zonophone catalog from scratch. Then, in March 1904, the company was forced to withdraw its entire catalog of bogus “Victor Herbert’s Band” recordings, requiring extensive remake work throughout the spring and early summer to replace those issues with legal versions (see the previous post).

In early 1905, there was a sudden dramatic drop in recording activity. Total output that year fell to approximately 1130 masters, more in line with Victor’s output. The drop can be attributed in part to Zonophone’s decision to replace the seven- and nine-inch series with a new ten-inch line. Although the company continued to record small-diameter masters through the end of 1905 (isolated examples as late as November–December 1905 have been confirmed), output of those masters quickly fell to negligible levels. Zonophone’s new ten-inch series was limited to just 25 single-sided releases per month in the main catalog, with a smattering of additional operatic, ethnic, and twelve-inch releases from time to time.

We certainly can’t rule out Victor president Eldridge Johnson as having had a hand in the slowdown. Although the majority owner of the Universal Talking Machine Company, Johnson did not meddle in Zonophone’s artist-and-repertoire matters. But he  certainly would have had his say on business issues from the start, as can be seen in the 1904 decision to transfer Zonophone’s pressing operations from the Auburn Button Works to the Duranoid Company, Victor’s primary pressing plant at the time. From the start, Johnson made it clear that his sole motive in purchasing Universal was to rein-in a competitor — and what better way to do so than by capping its production? *

If you’re fortunate enough to own any dated American Zonophone test pressings, we’d be grateful for the information. The more data that become available, the more closely we can approximate the actual date ranges. At present, we’re working to extend the dating guide through the end of Zonophone’s independent period in 1909–1910, at which point its recording activities were transferred to the Victor studios.

— Allan Sutton

* For a myth-busting account of the Universal Talking Machine Company–Eldridge Johnson saga, be sure to check the author’s A Phonograph in Every Home: Evolution of the American Recording Industry, 1900–1919, available from Mainspring Press and many major libraries.

The Playlist • What a Difference a Take Makes (Fats Waller & Thomas Morris / Charlie Johnson’s Paradise Band)

Victor retained many alternate backup takes in its early years, designating them “H” [hold], “H30” [hold 30 days] or “HC” [hold conditional] in the files. They’re generally of little interest for pop and classical recordings, but with jazz it’s another story. Here are two of our favorites for comparison, exhibiting striking differences in each performance, along with some subtle engineering variations. We’re extra lucky with the Johnson title, since Victor took the relatively uncommon step of designating two “holds.” Normally, one of the three would have been singled out for destruction [“D”].

The custom vinyl pressings of the unissued takes used here appear to have been made in the 1950s, probably in conjunction with RCA’s “X” reissue program. Apparently a fair number were pressed; they turn up with some frequency in private collections, including ours, and they occasionally still surface on high-end auction lists.

 

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THOMAS [FATS] WALLER WITH THOMAS MORRIS & HIS HOT BABIES: Red Hot Dan

Camden NJ (Church studio): December 1, 1927
Victor mx. BVE 40096 – 1 (“Hold” — Unissued on 78)
From a c. 1950s custom vinyl pressing of the original stamper

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THOMAS [FATS] WALLER WITH THOMAS MORRIS & HIS HOT BABIES: Red Hot Dan

Camden NJ (Church studio): December 1, 1927
Victor mx. BVE 40096 – 2 (“Master” — Issued on Victor 21127)

Other than Waller and Morris, no personnel are listed in the Victor files. Brian Rust’s guess that Victor studio manager Eddie King played drums is incorrect. King was no longer employed by Victor at the time of this session, having moved to Columbia as an assistant A&R manager in late October 1927.

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msp_johnson-c_paradise-orch

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CHARLIE JOHNSON & HIS PARADISE BAND: Walk That Thing

New York: September 19, 1928
Victor mx. BVE 47532 – 1 (“Hold” — Unissued on 78)

From a c. 1950s custom vinyl pressing of the original stamper

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CHARLIE JOHNSON & HIS PARADISE BAND: Walk That Thing

New York: September 19, 1928
Victor mx. BVE 47532 – 2 (“Master” — Issued on Victor 21712)

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CHARLIE JOHNSON & HIS PARADISE BAND: Walk That Thing

New York: September 19, 1928
Victor mx. BVE 47532 – 3 (“Hold” — Issued May 1939 on Bluebird B-10248)

Personnel listed in the Victor files appear to have been added at a later date by an unknown party, from an unknown source, probably in connection with the 1939 Bluebird release.

Discographical data from the Victor Talking Machine Company files, via John Bolig and the Discography of American Historical Recordings.

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The Playlist • “Some Of These Days,” Four Ways (1910–1930)

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Four very different treatments of Shelton Brooks’ 1910 hit, beginning with a Victor release by studio singer Billy Murray in auto-pilot mode. Given what we know of Victor’s musical assembly-line of the period, Murray’s first encounter with the song quite likely came when a company representative handed him the score and gave him a few days to prepare for the recording.

The song might have died on the spot, given such treatment, but Sophie Tucker made it her own. She brought audiences to their feet (and folks of the sort who carped about “white coon shouters” to near-apoplexy), and it would serve as her signature tune for the rest of her career. Here are two of Tucker’s many recorded versions — the original, and a mid-1920s reworking with the Ted Lewis band that incidentally marks one of the earliest fruits of the Columbia-Okeh merger. Lewis was exclusive to Columbia, Tucker to Okeh; the fact that Columbia got the release was perhaps a not-so-subtle reminder of who was boss in the new relationship.

And finally, a full jazz treatment by The Missourians, the sensationally hot band that Cab Calloway had recently taken over. Within a few months he would begin adjusting personnel and reducing them to glorified accompanists, but here we have them in their final, untampered-with glory.

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BILLY MURRAY & AMERICAN QUARTET: Some of These Days

Camden NJ: December 27, 1910 (Released March 1911)
Victor 16834 (mx. B 9740 – 3)

Personnel not listed in the Victor files. The American Quartet at this time normally included Murray (lead tenor),  John Bieling (tenor), Steve Porter (baritone), and William F. Hooley (bass).

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SOPHIE TUCKER: Some of These Days

New York: February or March 1911 (Released May 25, 1911)
Edison Amberol 691 (four-minute cylinder)

The Edison studio cash books list Tucker four-minute sessions on February 17 and 24, and March 2, but do not indicate the titles recorded at each.

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TED LEWIS & HIS BAND with SOPHIE TUCKER: Some of These Days

Chicago: November 23, 1926
Columbia 826-D (mx. W 142955 – 2)

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CAB CALLOWAY & HIS ORCHESTRA (Cab Calloway, vocal):
Some of These Days

New York: December 23, 1930
Brunswick 6020 (mx. E 35880 – A)

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Dick Spottswood’s Columbia “C” Series Discography (1908 – 1923) • Free Download Now Available

We’re happy to announce that the next installment in Dick Spottswood’s Columbia ethnic-series discography is now available for free download. This section covers the C-prefixed series, which was intended for the Spanish-speaking markets — a tantalizing mixture of performances by Cuban, Mexican, Puerto Rican, and other Latino artists (most of them recorded in their native countries by traveling Columbia engineers), operatic arias and light classics from domestic and imported masters, and various odd-and-ends “repurposed” from other catalogs.
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msp_columbia-mexico-1

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Click here
to download the discography in PDF format (approximately 5 megabytes). As with the previous installment, this material may be copied or distributed for personal use, provided that the source is cited. Sale or other commercial use is prohibited.

Dick’s latest update of his Columbia “E” series discography will be posted soon.

The Playlist • “Hot Nuts” and Others 1930s Bluebird Favorites / New Year, New Dog

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TINSLEY’S WASHBOARD BAND (as WASHBOARD RHYTHM KINGS)
(Vocal by TED TINSLEY): Hot Nuts

Camden, NJ (Church Studio 2): September 12, 1933
Bluebird B-6278 (mx. BS 77815 – 1)
Released: February 26, 1936

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TEMPO KING & HIS KINGS OF TEMPO with QUEENIE ADA RUBIN
AT THE PIANO (Vocal by Tempo King): Papa Tree Top Tall

New York (Studio 3): August 21, 1936
Bluebird B-6535 (mx. BS 0232 – 1)
Released: September 9, 1936

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GID TANNER & HIS SKILLET LICKERS (featuring TED HAWKINS, mandolin): Hawkins Rag

San Antonio (Texas Hotel): March 1, 1937
Bluebird B-5435 (mx, BVE 82677 – 1)
Released: April 18, 1934

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MODERN MOUNTAINEERS (Vocal by SMOKEY WOOD):
Drifting Along

San Antonio (Texas Hotel): March 1, 1937
Bluebird B-6976 (mx. BS 07435 – 1)
Released: May 26, 1937

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CLIFF CARLISLE: That Nasty Swing

Charlotte, NC (Southern Radio Building): June 16, 1936
Bluebird B-6631 (mx. BS 102651 – 1)
Released: November 4, 1936
Accompanying personnel are not listed in the files or credited on the labels; published personnel listings are speculative.

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TOMMY McCLENNAN: Bottle It Up and Go

Chicago (Studio A): November 22, 1939
Bluebird B-8373 (mx. BS 044241 – 1)
Released: March 1, 1940

Discographical data from the RCA Victor files (Sony Music archives, NYC) by way of John Bolig’s Bluebird Discography, available from Mainspring Press.

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New Year, New Dog!

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On New Year’s Eve we welcomed Nick to his new home in the U.S. He’d been picked up as a stray overseas and was flown to Colorado by a local rescue group in December, after receiving a clean bill of health and his official doggie passport. He doesn’t understand any English yet — but he has a huge heart (and a huge head to go with it) and is already turning out to be the perfect gentleman and office companion.

The Playlist • Adamo Didur (Fonotipia Recordings, 1907–1908)

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Didur in New York, 1915 (Bain News Service Collection,
Library of Congress).

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ADAMO DIDUR: Roberto il Diavolo — Suore che riposate

Milan: October 10, 1907
Fonotipia  92002  (mx. Xph 2670)

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ADAMO DIDUR: Gli Ugonotti — Signor, difesa e scudo

Milan: October 11, 1907
Fonotipia 92003  (mx. Xph 2671)

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ADAMO DIDUR: Mefistofele — Son il spirito che nega

Milan: April 23, 1908
Fonotipia 92226  (mx. Xph 3176)

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Quote of the Week:

The metaphor of the moment is that Donald Trump is the dog that caught up with the car… A more apt reference, especially after Trump’s inauguration, might be the Pottery Barn Rule: “You break it, you own it.”

Trump and the congressional Republicans who have chosen to make their bed with him are responsible for what happens from now on. There is now no one to blame if they can’t pass budgets, avoid shutdowns, deal with sequestration, replace Obamacare, destroy ISIS, or reverse the continuing loss of manufacturing jobs. If climate change gets worse, it’s on them. If Syria continues its downward spiral, it’s on them. If more countries acquire nuclear weapons, it’s on them.

James Hohmann (Washington Post)

 

The Playlist • Okeh Race Record Favorites (1921 – 1928)

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Seven of our race-record favorites, from the company that broke the mold and started it all — Check out the full story in Race Records and the American Recording Industry, 1919–1945, available from Mainspring Press.

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MAMIE SMITH & HER JAZZ HOUNDS: Jazzbo Ball

New York: February 1921
Okeh 4295 (mx. S 7788 – B)
The February 21 recording date shown in some discographies is speculative and not from the Okeh recording files (which do not exist for this period).

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KING OLIVER’S JAZZ BAND: Dipper Mouth Blues

Chicago (Consolidated Talking Machine Co. offices): June 23, 1923
Okeh 4918 (mx. 8402 – A)

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BENNIE MOTEN’S KANSAS CITY ORCHESTRA: 18th Street Strut

Kansas City, MO: May 1925
Okeh 8242 (mx. 9123 – A)

The May 14 recording date shown in some discographies is speculative and not from the Okeh recording files (which do not exist for this Kansas City series).

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CLIFFORD [HAYES]’ LOUISVILLE JUG BAND: Struttin’ the Blues

Chicago: May 1925
Okeh 8238 (mx. 9143 – A)

The May 20 recording date shown in some discographies is speculative and not from the Okeh recording files (which do not exist for this session), but probably is fairly accurate, as the preceding session (consisting of Polish vocals) is dated May 19 in the Okeh files.

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WHISTLER [BRUFORD THRELKELD] & HIS JUG BAND: Pig Meat Blues

St. Louis: April 30, 1927
Okeh 8816 (mx. W 80799 – )
From a tape dubbing supplied by the late Mike Stewart.

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NAP HAYES & MATTHEW PRATER: Nothin’ Doin’

Memphis: February 15, 1928
Okeh 45231 (mx. W 400243 – B)
Issued in the white country-music series, although Hayes and Prater were African American. Lonnie Johnson performed with them on the first four titles from this eight-title session.

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JESSE STONE & HIS BLUE SERENADERS: Starvation Blues

St. Louis: April 27, 1927
Okeh 8471 (mx. W 80761 – C)

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ARIZONA DRANES (vocal and piano): I Shall Wear a Crown

Chicago: July 3, 1928
Okeh 8600 (mx. W 400980 – )
From a tape dubbing supplied by the late Mike Stewart. The accompanying vocalists and mandolin player are unidentified on the labels and in the Okeh files.

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