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.

Be Sure to Get Your Free Downloads: Brian Rust’s “Jazz Records” and Dick Spottswood “Columbia E Series”

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Just a reminder — especially to the many new followers who’ve signed up in the past couple of months — to check out our free downloads of Brian Rust’s Jazz Records, 6th Edition (Personal-Use Version, 1917-1934), and Dick Spottswood’s Columbia “E” Series Discography.

The Personal-Use Edition of Jazz Records contains the complete entries for 1917–1934 from Brian’s 6th (and final) edition of Jazz & Ragtime Records, 1897–1942. It’s a completely free, no-strings-attached public-domain edition, in Abode Acrobat PDF format. (The full edition is out-of-print in book form, but it’s still available for purchase from Mainspring Press as a searchable CD-ROM.)

Dick’s Columbia E Series Discography will be updated early next year, and we hope to have his Columbia “C” series discog soon; in the meantime, be sure to enjoy the current version. It’s a must-have for collectors and fans of ethnic recordings (with some surprises sprinkled in).

For free downloads and information on permitted use of these files, click the Free Online Discographies link on the box at the left.

 

The Playlist: Roots of Western Swing (1936 – 1938)

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THE RANGE RIDERS: The Range Riders’ Stomp

Hot Springs, Arkansas: March 1, 1937
Vocalion 03579 (mx. HS 1 – 1)

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MODERN MOUNTAINEERS (SMOKY WOOD, vocal): Dirty Dog Blues

San Antonio, Texas (Texas Hotel): March 1, 1937
Bluebird B-6976 (mx. BS 07436 – 1)

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CLAUDE CASEY & HIS PINE STATE PLAYBOYS: Pine State
Honky Tonk

Rock Hill, South Carolina (Andrew Jackson Hotel): September 27, 1938
Montgomery Ward M-7707 (mx. BS 027737 – 1)

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BOB WILLS & HIS TEXAS PLAYBOYS: Playboy Stomp

Dallas, Texas: June 7, 1937
Vocalion 03854 (mx. DAL 215 – 1)

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WASHBOARD WONDERS (Harry Blair, vocal): And Still
No Luck with You

Charlotte, NC (Southern Radio Building): June 22, 1936
Bluebird B-6463  (mx. BS 102803 – 1)

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W. LEE O’DANIEL & HIS HILLBILLY BOYS: (Kitty Williamson as “Texas Rose,” vocal): I’ve Got the Blues

Dallas: May 15, 1938
Vocalion 04353 (mx. DAL 559 – 1)

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Quote of the Week:

“[We have] been betrayed by the so-called ‘mainstream media,’ who fawned for months over the clearly unqualified candidate, giving him billions of dollars of free media, betrayed by cynical executives more interested in a buck than the facts of the matter…and by politicians who spoke to their base and did not venture from safe venues, that is to say, they stayed far away from the genuine hurt and the mistrust and the economic dead ends that afflict so many of us.

We must try to remember that this level of vulgarity, of blatant lying, of demonizing whole groups of people, nearly always backfires, that real change will come when middle class whites, Hispanics and blacks realize they share more in common with each other than those in whose interest it is that they stay divided…

What to do, you ask? A million things, of course. But it begins only with the first step of awareness and commitment… Just go forward. Engage. Don’t despair. Find like-minded people — not from your social circle, but everywhere. Change the opinions of others, not with ridicule, but reason. Finally, remember too that Barack Obama himself has said that the highest office in the land is not president, but citizen.

Be one.”

Ken Burns (Washington Post)
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The Playlist • Blue Kazoos (1924 – 1928)

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MOUND CITY BLUE BLOWERS: Blue Blues

Chicago: February 23, 1924
Brunswick 2581 (mx. Ch 78)

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CHARLIE (DAD) NELSON: Cleveland Stomp

Chicago (Marsh Laboratories): c. April 1927
Paramount 12492 (mx. 4350 – )
From a tape dubbing supplied by the late Mike Stewart

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BLIND BLAKE & HIS KAZOO BAND [sic]: Buck-Town Blues

Chicago (Marsh Laboratories): c. April 1927
Paramount 12464 (mx. 4359 – 1)

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JOHNNIE HEAD: Fare Thee Blues — Parts 1 & 2

Chicago (Marsh Laboratories): c. January 1928
Paramount 12628 (mxs. 20274 – 2 / 20275 — 2)

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PINK ANDERSON & SIMMIE DOOLEY: Gonna Tip Out Tonight

Atlanta: April 14, 1928
Columbia 14336-D (mx. W 146067 – 1)

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Quote of the Week:

“Let them eat cake.

Specifically, let them eat Jean-Georges Warm Chocolate Cake. But let them start with Young Garlic Soup with Thyme and Sauteed Frog Legs. Let them follow that with Diver Scallops, Caramelized Cauliflower and Caper-Raisin Emulsion. And let them proceed to Niman Ranch Lamb Chops with Mushroom Bolognese and Pecorino… That’s what President-elect Donald Trump and Mitt Romney ate when the billionaire met with Mr. Forty-Seven Percent to discuss a job in the incoming administration.

Remember Trump’s talk about taking on the elites and the well-connected? Well, you can stick a sterling-silver fork in it.

If you feared that Trump would destabilize markets and impose reckless protectionism, his early appointments are reassuring. If you wanted him to shake up the system and depose the coastal elites — well, early signs are you’ve been had.”

Dana Milbank (Washington Post)

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The Playlist • Memphis Minnie on Vinylite (1936–1937)

In the 1960s and early 1970s, while CBS was literally bulldozing Columbia’s recorded legacy into the scrap heap, some insiders at the Bridgeport plant began secretly pulling new vinyl pressings from important and threatened stampers. It was a preservation project, albeit an illegal one, not a money-making scheme. The pressings were quietly handed out to company employees and interested outsiders, free of charge. A surprisingly large number of these clandestine pressings seem to have been made, and over the years many have found their way into private collections. They’re not true “test pressings,” as some dealers would like you to believe, but they are magnificent specimens that often play better than even pristine shellac originals. Here are four of our favorites.

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MEMPHIS MINNIE: Ice Man (Come On Up)

Chicago: February 18, 1936
Mx. C 1263 – 1  (commercially issued on Vocalion 03222)
From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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MEMPHIS MINNIE: Hoodoo Lady

Chicago: February 18, 1936
Mx. C 1264 – 1  (commercially issued on Vocalion 03222)
From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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MEMPHIS MINNIE: It’s Hard to Be Mistreated

Chicago: November 12, 1936
Mx. C 1671 – 1 (commercially issued on Vocalion 03474)

From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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MEMPHIS MINNIE: You Can’t Rule Me

Chicago: June 9, 1937
Mx. C 1927 – 1 (commercially issued on Vocalion 03697)

From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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The Playlist • Sonny Terry and Friends (1942 – 1944)

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Moses Asch, Sonny Terry, Brownie McGhee

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BROWNIE McGHEE & SONNY TERRY: Red Cross Store

Washington, DC: May 11, 1942
Library of Congress transcription 6503-A-3 (recorded by Alan Lomax)

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SONNY TERRY, “ALEK,” WOODY GUTHRIE, CISCO HOUSTON: Glory

New York: April 1944
Asch 432-2A  (mx. 689), from the 78-rpm album Folksay

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SONNY TERRY (with uncredited guitarist): Lonesome Train

New York: 1944
Asch 550-3A (mx. 1210), from the 78-rpm album Blues

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The Playlist • Memphis Jug Band (1927–1934)

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MEMPHIS JUG BAND (Will Shade, vocal) : Sometimes I
Think I Love You

Victor Laboratory, Chicago: June 9, 1927
Released: September 16, 1927 — Deleted 1929
Victor 20809 (mx. BVE 38657 – 1)
Not designated as a race release in the Victor files.

 

MEMPHIS JUG BAND (Vol Stevens, vocal): Coal Oil Blues

Memphis Auditorium: February 13, 1928
Released: May 4, 1928 — Deleted: 1930
Victor 21278 (mx. BVE 41888 – 2)
Designated as a race release in the Victor files. From a tape transfer supplied by the late Mike Stewart.

 

MEMPHIS JUG BAND (as “Carolina Peanut Boys”; Charlie Nickerson, vocal): You Got Me Rollin’

Memphis Auditorium: November 28, 1930
Released: June 19, 1931 — Deletion date unlisted
Victor 23274 (mx.  BVE 64741 – 2)
The band’s identity is confirmed in the Victor ledger. From a tape transfer supplied by the late Mike Stewart.

 

MEMPHIS JUG BAND: Jazbo Stomp

Chicago: November 6, 1934
Mx. C 782 – 2 (commercially issued on Okeh 8955)
From a c. 1960s blank-labeled vinyl pressing from the original stamper

 

MEMPHIS JUG BAND (Will Shade and Charlie Burse, vocal):
Little Green Slippers

Chicago: November 7, 1934
Mx. C 784 – 1 (commercially issued on Okeh 8966/ Vocalion 03050)
From a c. 1960s blank-labeled vinyl pressing from the original stamper.

The Playlist • Bobby / Bobbie Leecan, Robert Cooksey, and the South Street Trio (1927)

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BOBBY LEECAN’S NEED MORE BAND: Washboard Cut-Out

New York: April 5, 1927 (Ralph Peer, session director)
Released: August 12, 1927 — Deleted: 1929
Victor 20660 (mx. BVE 38434 – 1)
Personnel, aside from Victor A&R man Ralph Peer, are not listed in the recording file. “Bobbie” in file, “Bobby” on  labels.

 

BOBBY LEECAN’S NEED MORE BAND: Midnight Susie

New York: April 5, 1927 (Ralph Peer, session director)
Released: August 12, 1927 — Deleted: 1929
Victor 20660 (mx. BVE 38436 – 2)
As above.

 

SOUTH STREET TRIO: Dallas Blues

Camden, NJ: October 27, 1927
Released: February 3, 1928 — Deleted: 1930
Victor 21135 (mx. BVE 39377 – 2)
Personnel per Victor files: Robert Cooksey, harmonica; Bobby Leecan, banjo; Alfred Martin, guitar; uncredited vocalist.

 

SOUTH STREET TRIO: Mean Old Bed Bug Blues

Camden, NJ: October 27, 1927
Released: February 3, 1928 — Deleted: 1930
Victor 21135 (mx. BVE 39374 – 2)
Same personnel as above.

 

SOUTH STREET TRIO: Suitcase Breakdown

Camden, NJ: October 27, 1927
Released: February 3, 1928 — Deleted: 1930
Victor 21249 (mx. BVE 39376 – 2)
Same personnel as above, except no vocalist.

Discographical data are from the original Victor files, courtesy of John R. Bolig.

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A Look Inside Our New Best-Seller: Browse the “Race Records” Subject Index

Looks like Race Records and the American Recording Industry is already poised to become our new best-selling title (a distinction held so far by the ever-popular Recording the ‘Twenties, which just went into its fifth printing).

To give you an idea of how much territory the book covers, here’s the subject index (there’s also a separate title index) for your  browsing pleasure:
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View Subject Index – Requires Adobe Acrobat or Acrobat Reader

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The Playlist • Victor Tip-Toes Into the Race Record Market (1923)

Victor’s management remained aloof in the face of the blues craze until mid-1923, when they reluctantly decided to try a few blues-inflected titles by black singers. They made only a minimal effort, turning to publisher/talent-broker Joe Davis, who ran a booming business dispatching pre-packaged singers and accompanists, armed with his latest hits, to record-company executives who lacked the skills or desire to develop a race-record catalog on their own. Davis’ singers (some of whom had come to him from the defunct Black Swan operation) were a competent if undistinguished lot, able to make quick work of whatever was handed them for very little money.

In the group of recordings presented here, Rosa Henderson, Lena Wilson, Lizzie Miles, and their accompanists all came from Davis’ stable. They were local cabaret and vaudeville performers, and their work paled in comparison with the greats like Bessie Smith, Ida Cox, and Ma Rainey, who were beginning to appear on competing labels whose managers made the effort to scout truly great talent. But it was a start, at least, for what was then one of the most hidebound, complacent companies in the industry.

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Victor’s first “blues” ad (Chicago Defender, August 4, 1923)

That summer, Victor took what was (for it) the unprecedented step of placing a large display ad in The Chicago Defender, the nation’s leading black newspaper, announcing their new “blues” records. Besides the first titles by Davis’ singers, there was a comedy skit by Moss & Frye; a couple of pop-ish duets by Sissle & Blake; and two generic-sounding fox trots by Arthur Gibbs & his Gang. Victor also dredged up their 1921 medley sides by the “Shuffle Along” pit orchestra for the list.

For the full story of Victor’s involvement in the race-record market, be sure to check out Race Records and the American Recording Industry, 1919–1945: An Illustrated History, the latest release from Mainspring Press.

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LIZZIE MILES (CLARENCE JOHNSON, piano): You’re Always Messin’ ‘Round with My Man

New York: May 23, 1923 — First advertised August 4, 1923
Victor 19083 (mx. B 28025 – 3)

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LENA WILSON (PORTER GRAINGER, piano): ‘T’ain’t Nobody’s Bizness If I Do

New York: May 9, 1923 — First advertised August 4, 1923
Victor 19085 (mx. B 27894 – 3)

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NOBLE SISSLE (EUBIE BLAKE, piano): Down-Hearted Blues

Camden, NJ: May 25, 1923 — First advertised August 4, 1923
Victor 19086  (mx. B 27976 – 3)

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LIZZIE MILES (Clarence Johnson, piano): Cotton Belt Blues

New York: July 19, 1923 — Released October 1923
Victor 19124 (mx. B 28298 – 4)

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ROSA HENDERSON (with uncredited band): Midnight Blues

New York: July 19, 1923 — Released October 1923
Victor 19124 (mx. B 28299 – 4)
The accompaniment is credited to Fletcher Henderson’s Orchestra in most discographies, with no source cited, although the aural evidence does suggest that at least some of Henderson’s men were present. The Victor files show only “Colored Orchestra – Edward T. King, director” (King was the Manager and Chief Petty Tyrant of Victor’s New York studio at the time).

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JAMES P. JOHNSON: Bleeding-Hearted Blues

Camden, NJ: July 25, 1923 — Released October 1923
Victor 19123 (mx. B 28197 – 6)

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Now In Stock: “Race Records and the American Recording Industry, 1919–1945: An Illustrated History”

IN STOCK — ORDER DIRECTLY FROM MAINSPRING PRESS

MSP_race-records_cover

RACE RECORDS AND THE AMERICAN RECORDING INDUSTRY, 1919–1945: An Illustrated History
By Allan Sutton

388 Pages / 208 Illustrations
6″ x 9″ Quality Paperback

$39 US (Free Shipping)
$59 All Foreign (w/ Insured Airmail)

_______________________________________

MSP-race-records_contents

 

From the Preface:

Race Records and the American Recording Industry is the story of those remarkable companies and individuals who gambled on a new and often unpredictable market in the face of racial prejudice and entrenched business practices, and in doing so made the American recording industry more inclusive, and far more interesting, than it once had been.

This work takes a broad view of what were once termed “race records” — recordings intended primarily for the African-American market, which often were segregated in specially numbered series and not listed in the record companies’ main catalogs. Many modern writers associate race records solely with blues and gospel, the equivalent of assuming that rural whites bought only records of mountaineer tunes, or that Italian immigrants bought only opera. While blues and gospel made up a large portion of race-record offerings, they were only part of a broad spectrum that also included religious material of all sorts, jazz and dance music, mainstream pop, comedy and novelty selections, concert and classical material, and even the occasional country-music offering, all of which are explored in this work

Because the music itself has been amply covered elsewhere, this work instead focuses on the making, marketing, and distribution of race records prior to the late 1940s, exploring the ways in which those activities affected, and were affected by, conditions within the nation and within the recording industry as a whole. That is why (to respond in advance to inevitable criticism by Robert Johnson’s legions of fans) an entire chapter is devoted to Mamie Smith, whereas Johnson is covered in several pages. Were this a musical rather than a business and social history, the ratio, of course, would be reversed.

But Mamie Smith’s early records, whatever their musical shortcomings, had a profound impact on the recording industry, revealing a huge untapped market, opening the way for many other black artists to make records, and encouraging aspiring black entrepreneurs to get involved with record production, which until then had been completely controlled by whites. On the other hand, although Robert Johnson is now revered by mass-media rock stars and the pop-culture establishment (as much for the hoary legends surrounding him as for his music), in the 1930s he was just another talented but obscure local artist whose records went largely unnoticed outside of his home region, and who had no significant impact on the recording industry or American musical culture at the time his records were issued. Johnson receives as much coverage as he does mainly  because his story provides an excellent example of how the record companies handled, or mishandled, their race artists.

The book also debunks many common myths and misconceptions that stubbornly refuse to die, having been perpetuated for decades by writers who are content to parrot anecdotal material from questionable secondary sources. Some long-standing discographical errors have been corrected as well, based upon examination of primary-source materials that have been missed by earlier researchers…

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The Playlist • Jug Band Pioneers (1924 – 1925)

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SARA MARTIN with CLIFFORD HAYES’ LOUISVILLE JUG BAND
(as Sara Martin & her Jug Band): I’m Gonna Be a Lovin’ Old Soul

New York: September 1924 — Released: July 1925
Okeh 8211 (mx. S 72837 – B)

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SARA MARTIN with CLIFFORD HAYES’ LOUISVILLE JUG BAND
(as Sara Martin & her Jug Band): I Ain’t Got No Man

New York: September 1924 — Released: July 1925
Okeh 8211 (mx. S 72834 – B)

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WHISTLER [BRUFORD THRELKELD] & HIS JUG BAND: Jerry o’ Mine

Richmond, Indiana: September 25, 1924 — Released: December 1924
Gennett 5554  (mx. 12026 – A)
From a tape dubbing supplied by the late Gilbert Louey

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CLIFFORD HAYES’ LOUISVILLE JUG BAND (as Old Southern Jug Band): Blues, Just Blues, That’s All

St. Louis: November 24, 1924 — Released: March 1925
Vocalion 14958 (mx. 14361 [ = Ch 336] )

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CLIFFORD’S [HAYES] LOUISVILLE JUG BAND: Wakin’ Up Blues

Chicago: May 1925 — Released: November 1925
Okeh 8238 (mx. 9140 – A)

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The Playlist • Mississippi Sheiks (1930, 1934)

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The Mississippi Sheiks were Walter Vinson (guitar and vocal; also spelled “Vincson” or “Vincent” at times, but Vinson is correct, according to the artist himself), with the Chatmon (a.k.a. Chatman) folks in various combinations, including Lonnie (violin and vocal), Bo (better known in solo work as “Bo Carter,” vocal and guitar) and Sam (vocal, violin, and guitar). None of the inspected recording files, other than those for the final three Bluebird sessions, list exact personnel.

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MISSISSIPPI SHEIKS: Stop and Listen Blues

Shreveport, Louisiana: February 17, 1930
Okeh 8807 (mx. W 403806 – A)

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MISSISSIPPI SHEIKS (as Walter Jacobs and Lonnie Carter):
The Jazz Fiddler

Shreveport, Louisiana: February 17, 1930
Okeh 45436 (mx. W 403804 – B)
Issued in Okeh’s white country-music series.

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MISSISSIPPI SHEIKS (as Walter Jacobs and the Carter Brothers): That’s It

San Antonio, Texas: June 10, 1930
Okeh 45482 (mx. W 404136 – A)
Issued in Okeh’s white country-music series.

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MISSISSIPPI SHEIKS: Somebody’s Got to Help Me [sic]

San Antonio (Texas Hotel): March 26, 1934 — Released October 3, 1934
Bluebird B-5659 (mx. BVE-82607– 1)

The Playlist • Memphis Minnie, with Kansas Joe and Bumble Bee Slim (1929–1936)

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LIZZIE DOUGLAS & JOE McCOY (as Kansas Joe & Memphis Minnie): Goin’ Back to Texas

New York: June 18, 1929
Columbia 14455-D (mx. W 148709 – 2)

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LIZZIE DOUGLAS & JOE McCOY (as Kansas Joe & Memphis Minnie): She Wouldn’t Give Me None

Memphis: February 20, 1930
Vocalion 1576 (mx. MEM 732 – )

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LIZZIE DOUGLAS (as Memphis Minnie, with uncredited pianist):
Dirty Mother for You

Chicago: January 10, 1935
Mx. C 9641 – A
From a c. 1960 blank-label vinyl pressing from the original stamper. This recording was issued commercially in 1935 on Decca 7048.

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AMOS EASTON & LIZZIE DOUGLAS (as Bumble Bee Slim & Memphis Minnie, with uncredited others): New Orleans Stop Time

Chicago: February 6, 1936
Vocalion 03197 (mx. C 1227 – 2)

 

The Playlist • “Yellow Dog Blues,” Four Very Different Ways (1919–1934)

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JOSEPH C. SMITH’S ORCHESTRA, Featuring HARRY RADERMAN & HIS LAUGHING TROMBONE: Yellow Dog Blues — Medley Fox Trot, introducing “Hooking Cow Blues”

New York: October 1, 1919 — Released December 1919 (Deleted 1926)
Victor 18618 (mx. B 23282 – 1)

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BESSIE SMITH (acc: Fletcher Henderson’s Hot Six):
Yellow Dog Blues

New York: May 6, 1925
Columbia 14075-D (mx. W 140586 – 1)

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DUKE ELLINGTON & HIS ORCHESTRA: Yellow Dog Blues

New York: June 25, 1928
Brunswick 3987 (mx. E 27771 – A or B)
The selected take (of two made) is not indicated in the Brunswick files or on inspected pressings.

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MEMPHIS JUG BAND: Rukus Juice and Chittlin’

Chicago: November 8, 1934
Okeh mx. C 801 – 1
From a c. 1960s vinyl pressing from the original stamper. This recording was issued commercially on Okeh 8955, as part of the final group of Okeh race releases made before the 8000 series was scuttled.

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