Worth Reading and Hearing: “The Blue Sky Boys” and “Black Swans”

Looking for a gift for that hard-to-shop-for vintage-record fan? Here are a couple of recent releases we’ve enjoyed:

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THE BLUE SKY BOYS

Dick Spottswood
ISBN 978-1-4968-1641-2
University Press of Mississippi

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Legendary musicologist, historian, and producer Dick Spottswood turns his attention to Bill and Earl Bollick, two brothers from Hickory, North Carolina, who as the Blue Sky Boys captivated record buyers and radio audiences in the 1930s.

The Bolicks bucked the latest trends in country music during the years leading up to World War II, preferring close-harmony renditions of southern folk tunes, old-time songs, hymns, and new compositions in a similar mold. Self-accompanied on guitar and mandolin, they developed a low-key, distinctive and readily recognizable sound that was sometimes imitated but never quite duplicated.

Their story is told in part by Bill Bolick himself, whose recollections are skillfully interwoven with Dick Spottswood’s perceptive commentary. Even if the Blue Sky Boys are not your cup of tea, you’ll find much of interest here, such as the role that radio played in disseminating country music, and how sponsors and station owners of the period treated or mistreated their artists. There are numerous illustrations (many of them rarely seen or previously unpublished), a detailed discography, and other useful backmatter.

Dick Spottswood is the author of numerous important works, the most monumental being his five-volume Ethnic Music on Records. He now lives in Naples, Florida, where he produces and hosts Bluegrass Country’s online version of “The Dick Spottswood Show” (aka “The Obsolete Music Hour”). The Blue Sky Boys has won a well-deserved 2019 Award for Excellence from the Association for Recorded Sound Collections.

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BLACK SWANS

Leslie Gerber, Tim Brooks, and Steve Smolian, producers
Parnassus PACD-96067 (CD)
Parnassus Records

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This ground-breaking CD focuses on black classical and operatic performers of the early twentieth century, a group largely overlooked by modern writers (a notable exception being co-producer Tim Brooks, whose Lost Sounds explored many of them in depth for the first time).

The recordings fall into three basic groups: Roland Hayes’ privately made Columbias; the 1919 Broome Specials (Broome having been the first black-owned record label); and the Black Swan operatic series of 1921–1922. As experienced collectors know, these records range from scarce to extraordinarily rare, and assembling them all is a notable achievement. Twenty of the twenty-five selections are reissued here for the first time.

Understand that this is not an “easy listening” compilation, from either a musical or a technological standpoint. Steve Smolian has been diligent in his sound-restoration work, but clean copies do not always exist of records this rare (some of which were poorly recorded to begin with), and the sound quality varies accordingly. Musically, there are some gems here, as well as some failures that nevertheless are worth hearing, for historical perspective if nothing else.

Black Swan’s Harry Pace misjudged his audience, stubbornly clinging to the belief that they would flock to what he called “numbers of a higher standard,” even as meager sales proved him wrong. Although it might be true that some of these artists failed to gain wider recognition because of their color, voices and technique that fell short of the demands of their material certainly are also to blame. The Harlem Renaissance, like any cultural movement, had its share of the mediocre and the pretentious, some of whom are on display here.

As expected, Roland Hayes emerges as the most promising performer of the lot. The fact that he had to pay Columbia to record him — only to move to England, where he was welcomed by the Vocalion label and went on to achieve international acclaim — speaks volumes about the times. Perhaps the most musically interesting items are the two piano solos by R. Nathaniel Dett, playing his own compositions. Co-producer Leslie Gerber has provided excellent program notes, including biographical sketches based in part on Lost Sounds.

While not for the casual listener, Black Swans can be a rewarding experience if approached with an open mind and some knowledge and appreciation of black history.

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The Mitchell Brothers (John & Bill Mitchell) • Newspaper Highlights (1915–1939)

The Mitchell Brothers (John & Bill Mitchell)
Newspaper Highlights (1915–1939)

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Although remembered primarily as members of Carson Robison’s synthetic-cowboy band in the 1930s, that was John and Bill Mitchell’s second act. Their first show-business career had begun much earlier, as a novelty banjo-and-vocal act. They were performing professionally by the time they were in prep school, honed their skills with the University of Washington’s “Pain Killer” Banjo Band in the late ’teens, and by the early 1920s were traveling the vaudeville circuits. By the time Robison tapped the brothers for his Bucakroos in 1932, they had retired from the stage and were running an oil-burner business, but Robison finally persuaded them to join his new band by dangling a trip to England as an incentive.

The Mitchells’ first recording session was brokered by California Ramblers manager Ed Kirkeby, who at that time was still managing other artists as well as his own band. It was held for Pathé on April 26, 1923, according to Kirkeby’s files, and the resulting sides — “Blue Hoosier Blues” and “Banjo Blues” (issued simultaneously on Pathé 021002 and Perfect 11123) — were inexplicably issued under the alias, “McGavock & Tillman” (and later, disguised as “Harper & Coralie” for a Cameo reissue).

In late 1924, the Mitchells signed with Victor and recorded several sides acoustically over a couple of months. Unfortunately, the records were released in February 1925, just as the company was upgrading to electrical recording, and they were deleted when much of the acoustic catalog was purged in 1926. They returned to Victor in October of that year for a final side.

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Capsule biography of the Mitchell Brothers (Kenosha [WI] Evening News, January 26, 1927)

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One of the earliest ads for the Mitchell Brothers (Hot Springs, Arkansas, April 1915), while they were still prep-school students.

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John and Bill Mitchell (left) as members of the University of Washington “Pain Killer” Banjo Band, Decemeber 1919.

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Playing the Liberty in Spokane, Washington, May 1921 (top) and September 1922.

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Seattle, June 1921

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Announcement of the Mitchell Brothers’ first record to be issued under their own name (Victor 19531), January 1925. The recordings were made in New York on November 26, 1924.

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Nashville, July 1926

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The Mitchell Brothers with Carson Robison’s make-believe cowboy band (variously billed as the Pioneers or the Buckaroos), March 1934. Pearl Pickens, who had attended Julliard, and was Bill Mitchell’s wife.

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A 1939 Screen and Radio Weekly account of the Buckaroos’ formation. Note the reference to college graduates John and Bill Mitchell as “a couple of cowhands,” typical of the shtick that went along with synthetic country-and-western groups like Robison’s.    

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MITCHELL BROTHERS: Nobody Knows What a Redhead Mama Can Do

New York: January 9, 1925
Victor 19561 (mx. B 31599 – 2)

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MITCHELL BROTHERS: Popular Medley (Linger While; Doo Wacka Doo; Eliza; Doodle Doo Doo)

New York: January 9, 1925
Victor 19561 (mx. B 31598 – 4)

John Mitchell (tenor vocal, banjo); Bill Mitchell (baritone vocal, banjo)

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We still have some copies of American Record Labels & Producers 1888-1950 (winner of the 2019 ARSC Award for Excellence), but stocks are running low on this special limited edition. Order soon to ensure delivery in time for Christmas!

 

Collector’s Corner • Some November 2019 Additions — Lucille Hegamin, Lottie Beaman, Five Harmaniacs, Louis Armstrong with Luis Russell, Jimmie Davis, Speckled Red, Feodor Chaliapin

Collector’s Corner • Some November 2019 Additions
Lucille Hegamin, Lottie Beaman, Five Harmaniacs, Louis Armstrong with Luis Russell, Jimmie Davis, Speckled Red, Feodor Chaliapin

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Eclectic’s the word for our November additions to the collection — Enjoy!

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LUCILLE HEGAMIN & HER BLUE FLAME SYNCOPATORS: You’ll Want My Love  (EE– )

New York (probably New York Recording Laboratories): Released June 1921
Arto 9063 (no visible mx. number)

Hegamin never produced another hit to rival “Arkansas Blues,” and her sales seemed to decline with each subsequent Arto release, if the number if surviving copies is any indication. Based on aural and physical characteristics, this master was recorded by NYRL (Paramount), one of at least a half-dozen studios from which Arto commissioned its masters, per data in Ed Kirkeby’s 1921–1923 logs; for details, see American Record Company and Producers, 1888–1950.

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LOTTIE BEAMAN: Honey Blues  (V+, with worn label)

Chicago (probably Rodeheaver Recording Laboratories): c. February 1924
Paramount 12201 (mx. 1695 – 1)
Accompanied by Miles and Milas Pruitt, as The Pruett Twins (sic).

This seems an opportune spot to debunk the old tale that Marsh Laboratories recorded Paramount’s acoustic Chicago masters (the problem being, the best Marsh researchers have never found any evidence that Marsh made acoustic recordings). Paramount house pianist and session arranger Lovie Austin recalled in a 1950 interview that these sessions actually were held in Homer Rodeheaver’s studio (a for-hire operation that at one point employed Vocalion’s former recording engineer), and aural characteristics support her recollection. See ARCP for more details.

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FIVE HARMANIACS: What Makes My Baby Cry?  (E)

New York: February 8, 1927
Victor 20507 (mx. BVE 37750 – 2)
Walter Howard (speaking); no other personnel listed in the Victor files

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FIVE HARMANIACS: It Takes a Good Woman (To Keep a Good Man at Home)  (EE–)

New York: February 8, 1927
Victor 20507 (mx. BVE 37750 – 2)
No personnel listed in the Victor files

Headed by Texas entertainer Claude Shugart, the Five Harmaniacs defy easy categorization. They started out singing cowboy ballads in a vaudeville act titled “Round-Up Tunes,” but in 1926 they headed off in a new direction that caught the attention of the record companies. Now billing themselves as  “A Genuine Musical Novelty,” they began featuring  jazz- and blues-inflected tunes in a style inspired by southern jug and skiffle bands (Brunswick even released two of their titles in its race-record series). But they continued to wear their cowboy outfits on national tours, and sometimes reverted to their original repertoire when playing in and around Texas.

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LUIS RUSSELL’S ORCHESTRA with LOUIS ARMSTRONG (as LOUIS ARMSTRONG & HIS ORCHESTRA): Rockin’ Chair  (E– to V+)

New York:  December 13, 1929
Okeh 8756  (mx. W 403496 – C)
Louis Armstrong (vocal); Hoagy Carmichael (speaking)

In December 1929, Armstrong began fronting Luis Russell’s New York band. After touring the mid-Atlantic region, Armstrong and the Russell band made a triumphant return to Chicago in February 1930, where The Chicago Defender reported, “such an ovation as was given him has not been seen in these parts for a long time.” The unfortunate inclusion here of Hoagy Carmichael (uncredited on the labels, but confirmed in the recording files) was a record-company gimmick, the beginning of a drive to move Armstrong and his records into the mainstream.

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RUFUS PERRYMAN (as SPECKLED RED): Do the Georgia  (E)

Aurora, Illinois (Leland Hotel): December 17, 1938
Bluebird B-7985 (mx. BS 030840 – 1)
Rufus Perryman (vocal, piano); Robert Lee McCoy (guitar); Willie Hatcher (mandolin)

The curious choice of Aurora, Illinois, as an RCA recording location was made in 1937, after the Chicago chapter of the American Federation of Musicians targeted the company for making substandard payments to its race-record artists. Rather than pay decently, RCA moved just beyond the reach of the Chicago local. The company slipped back into Chicago in 1939, only to be threatened with revocation of its AFM recording license if it didn’t begin paying union scale.

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JIMMIE DAVIS: Bear Cat Mama from Horner’s Corners  (V++)

Memphis Auditorium: November 29, 1930
Montgomery Ward M-4283 (Victor mx. BVE 64760 – 2)

1934 original-stamper reissue of Victor 23517. The guitarists are unlisted in the Victor ledger. Tony Russell’s Country Music Records suggests Oscar Woods (guitar) and Ed Schaffer (steel guitar), which if correct, would make this one of the very few racially integrated country-music recordings of the period. Davis went on to make his name with a more sappy sort of country music that included his own “You Are My Sunshine,” the enormous popularity of which helped propel him to the governorship of Louisiana in 1944.

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FEODOR CHALIAPIN & FLORENCE AUSTRAL: Faust – Church Scene (complete in two parts)  (E)

Hayes, Middlesex, England: October 26, 1925
His Master’s Voice D.B.899 (mxs. Cc 7067- 2 / Cc 7075 – 1)
Albert Coates, conductor

From Chaliapin’s first electrical recording session. This was his second issued recording of the Church Scene, the first having been made in Moscow in 1910 with soprano Maria Michailowa.

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Correcting “Country Music” (PBS) • Jimmie Rodgers’ Record Royalties: The Actual Story

Correcting Country Music (PBS)
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Jimmie Rodgers’ Record Royalties: The Actual Story
By Allan Sutton

 

Ken Burns’ Country Music (PBS) offers up its share of errors and hoary, now-debunked anecdotes, some of which are sufficiently egregious that they’re worth addressing here. For starters, there’s the matter of the royalties paid on Jimmie Rodgers’ Victor record sales.

As the Burns team would have, Rodgers enjoyed sudden wealth from the royalties on sale of his records — but that was not the case. In fact, during his first two years with Victor, Rodgers not only received no royalties on his record sales, but was one of Victor’s lowest-paid artists.

Any sudden wealth that might have come Rodgers’ way from 1927 into early 1929 would have come from live-performance fees and sales of his sheet music (which Ralph Peer published, and on which he held the copyrights), not from record-sale royalties — because none were paid during that time.

Fortunately, there is reliable, primary-source documentation concerning this matter, in the official minutes of the Victor Talking Machine Company’s Managers’ Committee — a source with which the Burns team was obviously unfamiliar and in which, had they looked, they would have found some fascinating glimpses into the workings of Ralph Peer and the nascent market for country music records.

As the minutes make clear, in three separate entries at various times, Rodgers was paid no royalties on sales of his records from 1927 until mid-February 1929. During that period, he received only a flat payment of $75 per approved title, with an agreement to  raise that figure to $100 in July 1929 and to $150 in July 1930, but still without a royalties provision. By comparison, Victor at the time was paying pseudo-hillbilly Vernon Dalhart a $400 advance per title, against an artist royalty of 1¢ per side (½¢ for duets) on his record sales.

In early 1929, Rodgers finally “expressed dissatisfaction” with the existing pay agreement, and Victor executives approved a revised package, superseding the original agreement. Beginning on February 15, 1929, Rodgers was to receive a $100 advance per approved selection, against an artist royalty of ½¢ per side. The change was reported in the Managers’ Committee’s minutes for March 6, 1929:

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That still fell far short of what Victor had been paying Dalhart. However, Dalhart had priced himself out Victor’s good graces some months earlier, insisting on a $25,000 annual guarantee and the right to record for any other companies he chose. (Managers’ Committee minutes, June 6, 1928). Estimating that Victor would have to sell 2.5 million records a year just to meet that guarantee, management decided not to renew Dalhart, who soon began a long downward spiral.

Dalhart’s loss of his Victor contract almost certainly worked to Rodgers’ advantage, with Victor officials noting, “While [Dalhart] is practically the leading artist of his type, we have other artists which we can build up to take his place… .”  And build they certainly did, in Rodgers’ case.

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For the stories behind the many country music labels and producers you won’t hear mentioned on Ken Burns’ Country Music, be sure to check out American Record Companies and Producers, 1888–1950, a special limited edition available exclusively from Mainspring Press and Nauck’s Vintage Records.

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Samantha Bumgarner: Newspaper Highlights (1924 – 1960)

Samantha Bumgarner: Newspaper Highlights
(1924 – 1960)

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North Carolina native Samantha Bumgarner inspired Pete Seeger to take up the banjo, performed for British royalty, and (with Eva Davis) was the first female country music performer to make records.

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The team of Bumgarner and Davis cut five titles in Columbia’s New York studio on April 22, 1924, three of which were released. Bumgarner returned to the studio the following day, without Davis, to record seven more titles, five of which were released.

Bumgarner’s records appear to have sold reasonably well throughout the Appalachian region; we’ve found copies as far north as the South Mountain area in Pennsylvania, and as far west as the Alleghenies in West Virginia. But Bumgarner failed to attract a national following, and Columbia did not invite her or Davis back.

However, Bumgarner would remain active in the Asheville, North Carolina, area for several decades. Beginning in 1928 she was a star attraction at the Mountain Dance and Folk Festival, an annual Asheville event founded and managed by folklorist/performer Bascom Lamar Lunsford. Pete Seeger, who heard Bumgarner perform there in the mid-1930s, claimed her as his inspiration for taking up the five-string string banjo.

In June 1939, Lunsford took Bumgarner to perform for King George VI and Queen Elizabeth at a White House concert staged by the WPA, which featured such diverse talent as Marian Anderson, Kate Smith, Josh White, the Golden Gate Quartet, and the Coon Creek Girls. Bumgarner continued to perform into the late 1950s.

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Asheville, North Carolina (July 1924). The caption is reversed; Bumgarner is on the right.

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August 1940

.Bumgarner (with Bill McCanlass, top) performing at the Mountain Dance and Folk Festival in Asheville (August 1942)

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At the Mountain Dance and Folk Festival (Asheville,
September 1949)

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Asheville (March 1960)

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December 25, 1960

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April 23, 1924, was a busy date at the Columbia studio, with Bumgarner recording in the morning, followed that afternoon by  Bessie and Clara Smith. Here are two historic sides from that day:

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SAMANTHA BUMGARNER: Fly Around, My Pretty Little Miss

New York: April 23, 1924
Columbia 146-D (mx. 81716 – 1)

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SAMANTHA BUMGARNER: Georgia Blues

New York: April 23, 1924
Columbia 166-D (mx. 81719 – 1)

 

 

Collector’s Corner • Some June 2019 Finds (Free MP3 Downloads)

 

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BESSIE SMITH: Sorrowful Blues  (V++)

New York: April 4, 1924
Columbia 14020-D (mx. 81664 – 1)
Robert Robbins (violin); John Griffin (guitar)

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TOM DARRBY & JIMMIE TARLTON: Heavy-Hearted Blues  (E-)

Atlanta: October 31, 1928
Columbia 15330-D (mx. W 147369 – 1)

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JELLY ROLL MORTON’S RED HOT PEPPERS: Dead Man Blues  (EE-)

Chicago (Webster Hotel): September 21, 1926
Victor 20252 (mx. BVE 36284 – 1)

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THE COTTON PICKERS (Hoagy Carmichael & Scrappy Lambert, vocal): Rampart Street Blues  (E)

New York: March 27, 1929
Brunswick 4325 (mx. E 2953½ – A)

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JULIA LEE with GEORGE E. LEE’S WONDER SINGING ORCHESTRA:
He’s Tall, Dark and Handsome
  (E-)

Kansas City: November 1929
Brunswick 4761 (mx. KC 602 – )
Take not shown on disc or in Brunswick files
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MILLS BLUE RHYTHM BAND: Dancing Dogs (E-)

New York: December 5, 1934
Columbia 3044-D (mx. CO 16273 – 1)

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Uncle Dave Macon: Newspaper Highlights (1922 – 1952)

Uncle Dave Macon: Newspaper Highlights (1922 – 1952)
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Before he was “Uncle”: Dave Macon in Nashville, November 1922 (top left), September 1923 (top right), and January 1923 (bottom)

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Macon’s earliest releases (left, 1924) were solo efforts, accompanied by his own banjo. In May 1927 (right), he traveled to New York for a series of marathon sessions that netted multiple takes of thirty-eight titles in five days — considerably more than the twenty-five reported in this Nashville Tennessean article, which misidentifies the McGee brothers as “Mack D. Brothers.”

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Dayton, Ohio (December 1926, left), and Atlanta, Georgia
(March 1925)

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Madison, Wisconsin (July 1931)

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Zanesville, Ohio (December 1937)

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Waynesboro, Virginia (July 1938)

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Gaffney, South Carolina, with son Dorris (July 1939)

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Tallahassee, Florida (January 1938, left), and Lincoln, Nebraska,
December 1937

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Macon had a starring role in Paramount Pictures’ Grand Ole Opry, which had its premier in Nashville. (June 1940)

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Cullman, Alabama (August 1940). Macon was a well-known figure in and around Cullman, where he often performed at E. C. Wheeler’s farm auctions.

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Ashland, Alabama (July 1940, left), and McComb, Mississippi
(April 1944)

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Troy, Alabama (February 1942). The Grand Ole Opry continued to feature stereotypical “blackface” fare long after it had fallen out of favor with much of the American public.

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Tampa, Florida (March 1943)

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Shreveport, Louisiana (July 1943)

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Bryan, Texas (April 1947)

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Macon’s “retirement” was short-lived, and he was soon on the road again. (Nashville, May 30, 1950)

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Murfreesboro, Tennessee (March 22, 1952)

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Murfreesboro, Tennessee (March 23, 1952)

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And a few favorites from the Fruit Jar Drinkers sessions:

 

UNCLE DAVE MACON & HIS FRUIT JAR DRINKERS:
Sail Away Ladies

New York (Brunswick studio, room #1): May 7, 1927
Vocalion 5155 (mx. E 4936)
Personnel per Brunswick files: Uncle Dave Macon (vocal/banjo); Sam McGee (guitar); Kirk McGee, Mazy Todd (fiddles, the latter listed as “Maize”)

 

UNCLE DAVE MACON & HIS FRUIT JAR DRINKERS:
Rock About My Sara Jane

New York (Brunswick studio, room #1): May 7, 1927
Vocalion 5152 (mx. E 4925)
Same personnel as above

 

UNCLE DAVE MACON & HIS FRUIT JAR DRINKERS: Tom and Jerry

New York (Brunswick studio, room #1): May 9, 1927
Vocalion 5165 (mx. E 4959)
Same personnel as above

 

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Country Music Record Fans: For information on hundreds of country music record companies and labels, from the behemoths to the smallest, most obscure regionals, be sure to check out American Record and Producers, 1888 – 1950, a special limited edition available from Mainspring Press while supplies last.

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Sam Moore’s “Guitar Accordion Pipe Organ”

Sam Moore was noted for playing unconventional musical instruments, but this one surely tops them all. It’s his “Guitar Accordion Pipe Organ,” from the collection of the Music Maker Relief Foundation. Unfortunately, he don’t know of any recordings he made with it.

Our thanks to Music Maker Relief Foundation program manager Aaron Greenhood for supplying the photographs. The MMRF website and blog are well worth a visit if you’re a fan of American roots music. Based in Hillsborough, North Carolina, the organization was founded “to preserve the musical traditions of the South by directly supporting the musicians who make it, ensuring their voices will not be silenced by poverty and time. Music Maker will give future generations access to their heritage through documentation and performance programs that build knowledge and appreciation of America’s musical traditions.”

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Courtesy of Music Maker Relief Foundation

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© Timothy Duffy, 2013. Used with permission of MMRF.

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© Timothy Duffy, 2013. Used with permission of MMRF.

 

Related Post: Sam Moore: From “Laughing Rag” to
“Spooning and Ballooning”

 

Riley Puckett, Gid Tanner, and The Skillet Lickers: Newspaper Highlights (1915 – 1951)

Riley Puckett, Gid Tanner, and The Skillet Lickers:
Newspaper Highlights (1915 – 1951)

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Among the first superstars of real country music (as opposed to the synthetic stuff cranked out by the likes of Vernon Dalhart), Riley Puckett and Gid Tanner worked their way up from humble beginnings in Georgia — Puckett performing for spare change on the streets of Atlanta, and Tanner competing at the “old-time fiddlers’ conventions” that were so popular at the time. Here’s a glimpse of their stories, from newspaper clippings of the period:

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Riley Puckett appeals for aid (Atlanta Constitution,
October 22, 1915)

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One of the earliest mentions of Gid Tanner, getting ready to perform at the spring convention of the Georgia Old-Time Fiddlers’ Association
(January 17, 1915)

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Another early mention of Tanner (Atlanta, April 1916)

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Hillbilly hubris (February 1919)

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Gainesville, Georgia (July 1924). The Skillet Lickers had yet to be formed at this point, leaving the makeup of Tanner’s Famous Orchestra an intriguing mystery.

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Columbia’s first full-page ad for Tanner and Puckett (May 1924), pre-dating formation of the Skillet Lickers

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Montgomery, Alabama, with Puckett misidentified as a fiddler
(April 1927)

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Greenville, South Carolina (May 1928)

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Centreville, Alabama (July 1928)

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Election night before the advent of television. Note the mention of Puckett also playing piano. (Alexander City, Alabama,
November 1, 1928)

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Ashville, Alabama (November 21, 1929). Note the absence of fiddler Clayton McMichen and the substitution of Claude Davis for Riley Puckett.

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At the movies: The Skillet Lickers share a bill with “Working Girls”
(Chillicothe, Ohio, December 1931)

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Puckett, Tanner, and friends on Bluebird records
(November 1934)

One of the last ads for the Skillet Lickers, with only Tanner remaining from the original group (Jasper, Alabama, April 1951)

 

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And a few favorites from their vast output:

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GID TANNER & HIS SKILLET LICKERS
(Riley Puckett, lead vocal): Dixie

Atlanta: March 29, 1927
Columbia 15158-D (mx. W 143795 – 2)

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GID TANNER & HIS SKILLET LICKERS (Riley Puckett, vocal):
Alabama Jubilee

Atlanta: April 17, 1926
Columbia 15104-D (mx. W 142037 – 2)

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GID TANNER & HIS SKILLET LICKERS (Gid Tanner, vocal):
Soldier’s Joy

San Antonio (Texas Hotel): March 30, 1935
Bluebird B-5658 (mx. BVE 82722 – 1)

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GID TANNER & HIS SKILLET LICKERS (Ted Hawkins, mandolin):
Hawkins’ Rag

San Antonio (Texas Hotel): March 29, 1934
Bluebird B-5435 (mx. BVE 82677 – 1)

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CLAYTON McMICHEN, RILEY PUCKETT, GID TANNER, LOWE STOKES, FATE NORRIS, BOB NICHOLS & BILL BROWN:
A Corn Licker Still in Georgia — Part 4

Atlanta: April 12, 1928
Columbia 15258-D (mx. W  140322 – 2)
Bill Brown (playing the hapless visitor on this side) was a manager in Columbia’s Atlanta office. This was not a pseudonym for Harry C. Browne, as columnist Jim Walsh once claimed.

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GID TANNER (vocal with own banjo): You’ve Got to Stop Drinking Shine

Atlanta: December 6, 1930
Columbia 15716-D (mx. W 151062 – 1)

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Collectors’ Corner (Free MP3’s) • Some Early April Finds: Charlie Segar, L. C. Williams, Claude Casey’s Pine State Playboys, Jelly Roll Morton, Seven Hot Air-Men

Collectors’ Corner (Free MP3’s) • Some Early April Finds:
Charlie Segar, L. C. Williams, Claude Casey’s Pine
State Playboys, Jelly Roll Morton,
Seven Hot Air-Men

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Spring is bustin’ out all over, and so are the 78s. A few favorite finds from the last several weeks, a couple of them from dealers and the rest from lucky estate-sale and junk-shop finds:

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SEVEN HOT AIR-MEN [ED KIRKEBY]: Lowdown Rhythm (E-)

New York: May 23, 1929
Columbia 1850-D (mx. W 148618 – 2)
Ed Kirkeby’s “hot” unit, after his California Ramblers went the big-band route. Personnel from the Kirkeby log: Phil Napoleon (trumpet); Carl Loeffler (trombone); Pete Pumiglio (reeds); Chauncey Gray (piano); Tommy Felline (guitar); Ward Lay (string bass); Stan King (percussion).

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JELLY ROLL MORTON & HIS ORCHESTRA: Courthouse Bump (EE+)

Camden, NJ: July 9, 1929
Victor V-38093 (mx. BVE 49453 – 2)
Other than Morton, the personnel listed in Rust’s Jazz Records and derivative works are anecdotal (no source cited, and not original Victor file data). Note that personnel were added to some RCA documentation long after the fact, probably in conjunction with the Bluebird reissue program in the 1940s. They appear to have been taken from the none-too-reliable Charles Delauney discography and unfortunately are often mistaken for original Victor documentation, which lists only the instrumentation (not the players).

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CHARLIE SEGAR: [Pine Top’s] Boogie Woogie (E)

Chicago: January 11, 1935
Decca 7075 (mx. C 9646 – A)

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CHARLIE SEGAR: Cow Cow Blues (E)

Chicago: January 11, 1935
Decca 7075 (mx. C 9645 – A)

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CLAUDE CASEY & HIS PINE STATE PLAYBOYS:
Pine State Honky Tonk
(
EE-)

Rock Hill, SC (Andrew Jackson Hotel): September 27, 1938
Bluebird B-7883 (mx. BS 027737 – 1)

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L. C. WILLIAMS: You Never Miss The Water (E- to V++)

Houston (Bill Quinn studio): c. June 19, 1947
Gold Star unnumbered acetate
Issued commercially on Gold Star 614. For a detailed history of Bill Quinn’s studios and labels, along with more than 1200 other entries, check out American Record Companies and Producers, 1888–1950 (limited edition, available from Mainspring Press while supplies last).

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We pay top collector prices for records of this type (must be true,  non-grainy E- or better; V+ may be acceptable for rarer items). Why settle for dealer prices for your higher-end disposables? Let us know what you have, grade honestly and accurately with all defects noted (including any label damage), and state your best price.

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Collectors’ Corner (Free MP3’s): Some March 2019 Finds • Fats Waller with Tom Morris, Fletcher Henderson, Duke Ellington, Red Nichols, East Texas Serenaders, Uncle Dave Macon

Collectors’ Corner: Some March 2019 Finds
Fats Waller with Tom Morris, Fletcher Henderson,
Duke Ellington, Red Nichols, East Texas Serenaders,
Uncle Dave Macon
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THOMAS MORRIS & HIS HOT BABIES with THOMAS [FATS] WALLER  (E)

Camden, NJ (Church studio): December 1, 1927
Victor 21358 (mx. BVE 40097 – 2)
“Race release,” per Victor files. The personnel listed in Rust’s Jazz Records and derivative works, other than Waller and Morris, should be considered speculative (no source cited, not from Victor file data).

 


RED NICHOLS & HIS FIVE PENNIES: Ida, Sweet as Apple Cider  (E+)

New York: August 15, 1927
Brunswick (British) 01536 (mx. E 24232)
Stock arrangement, per the Brunswick files. The personnel listed in Rust’s Jazz Records and derivative works, other than Nichols, should be considered speculative (no source cited, not from Brunswick file data).

 


DUKE ELLINGTON & HIS ORCHESTRA (as The Jungle Band): Tiger Rag,
Part 2
 (EE+)

New York: January 8, 1929
Brunswick (French) A 9279 (mx. E 28941 – A)
Irving Mills arrangement, per the Brunswick files. The personnel listed in Rust’s Jazz Records and derivative works should be considered speculative (no source cited, not from Brunswick file data).

 


FLETCHER HENDERSON & HIS ORCHESTRA: Tidal Wave  (E)

New York: September 12, 1934
Decca 213 (mx. 32602 – A)
The personnel listed in Rust’s Jazz Records and derivative works should be considered speculative (no source cited, not from Decca file data).

 


EAST TEXAS SERENADERS: Acorn Stomp  (E)

Dallas: December 2, 1927
Brunswick 282 (mx. DAL-720- )

 


UNCLE DAVE MACON & HIS FRUIT-JAR DRINKERS: Tom and Jerry (E- to V+)

New York: May 9, 1927
Vocalion 5165 (mx. E 2759)

Collector’s Corner – Some September Finds • Billy Murray & Friends, The Plantation Orchestra, Clarence Williams’ Washboard Five, Louis Armstrong’s Savoy Ballroom Five, Bill Cox

Collector’s Corner (September 2018) • Billy Murray and Friends, The Plantation Orchestra, Clarence Williams’ Washboard Five, Louis Armstrong’s Savoy Ballroom Five, Bill Cox

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September was a real mixed bag collecting-wise, everything from pioneer stuff to some 1920s jazz classics to a big stack of early 1930s Champions (plus a slew of nice cylinders that are still being gone through for a future posting). Here are a few favorites from the September additions:

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BILLY MURRAY:
Eskimo Rag
  (EE-)

Camden, NJ: June 17, 1912
Victor 17166 (mx. B 12112 – 2)
Released November 1912; Deleted November 1914

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ELSIE BAKER (as EDNA BROWN) & AMERICAN QUARTET:
Mysterious Moon  (E-)

Camden, NJ: June 18, 1912
Victor 17166 (mx. B 12114 – 2)
Released November 1912; Deleted November 1914

Elsie Baker is identified in the Victor files, as is the American Quartet (Billy Murray, lead tenor and speech), who are not credited in the labels.

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THE PLANTATION ORCHESTRA:
Smiling Joe
 
(V++)

London: December 1, 1926
Columbia (British) 4185  (mx. A 4544 -1)

This was the pit orchestra from the Blackbirds Revue, an American production featuring Florence Mills that played the London Pavilion in 1926.

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CLARENCE WILLIAMS’ WASHBOARD FIVE (Williams, vocal):
Have You Ever Felt That Way?
(E-)

New York: September 26, 1928
Okeh 8629 (mx. W 401153 – A)

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CLARENCE WILLIAMS’ WASHBOARD FIVE (Williams, vocal):
Walk That Broad
(E-)

New York: September 26, 1928
Okeh 8629 (mx. W 401152 – A)

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LOUIS ARMSTRONG & HIS SAVOY BALLROOM FIVE:
Mahogany Hall Stomp (EE-)

New York: March 5, 1929
Okeh 8680 (mx. W 401691 – B)

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BILL COX (as LUKE BALDWIN):
My Rough and Rowdy Ways
(E-)

Richmond, IN: April 28, 1930
Champion 16009 (mx. GE 16544)

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Going to Press in October:

Collector’s Corner • Some January Finds (Arcadian Serenaders, Bennie Moten, The Missourians, William McCoy, Fleming & Townsend)

Pretty good pickings in January – Here are a few favorites from this month’s additions to the collection:

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ARCADIAN SERENADERS [WINGY MANNONE]: San Sue Strut  (E-)

St. Louis: November 1924
Okeh 40378

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BENNIE MOTEN’S KANSAS CITY ORCHESTRA: Get Low-Down Blues  (E)

Camden, NJ: September 7, 1928
Victor 21693

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BENNIE MOTEN’S KANSAS CITY ORCHESTRA: Kansas City Breakdown  (E)

Camden, NJ: September 7, 1928
Victor 21693

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THE MISSOURIANS: Missouri Moan  (E)

New York: June 3, 1929
Victor V-38067

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THE MISSOURIANS: Market Street Stomp  (E)

New York: June 3, 1929
Victor V-38067

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WILLIAM McCOY: Mama Blues  (EE-)

Dallas: December 6, 1927
Columbia 15269-D

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WILLIAM McCOY: Train Imitation and The Fox Chase  (EE-)

Dallas: December 6, 1927
Columbia 15269-D

An unusual example of a record issued in both the race  (14290-D) and country series (15269-D, which is missing from Brian Rust’s Columbia Master Book Discography [Greenwood Press]). The artist is African-American.

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REECE FLEMING & RESPERS TOWNSEND: She’s Just That Kind  (V+)

Memphis: June 6, 1930
Victor V-40297

 

Victor on the Road: Ralph Peer Goes to El Paso (Summer 1929)

Press coverage of Ralph Peer’s summer 1929 visit to El Paso, Texas, gives a taste of the excitement that was generated when  Victor and other large East Coast record companies came to far-flung locations seeking talent. Three local El Paso artists had already been chosen to record by the end of June, in advance of the Victor team’s arrival, and auditions continued through the second week of July:

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El Paso Herald (June 28, 1929)

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Among those whose recordings were issued were M. S. Dillehay, the Rodeo Trio (D. A. Champaigne, Kenneth Deshazo, and Phil Smith), and the Maxwell family string band from New Mexico, which someone at Victor named the “White Mountain Orchestra.” But the artist who got the most attention from the local press was another member of the Maxwell family, Billie Maxwell Warner, whose records were released under her maiden name:

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El Paso Herald (July 2, 1929)

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The local reporters poked a little fun at a couple of unnamed cowboys who came to audition:
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El Paso Herald (July 11, 1929)

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In the end, four of Billie Maxwell’ songs were released in the  Victor V-40000 country-music series. True to form, Peer had her listed as the “arranger” of these numbers, enabling him to file for copyright on what were actually public-domain folk tunes. Here’s her “Haunted Hunter,” which was also issued in Canada on the Aurora label. Both editions are rare:

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BILLIE MAXWELL, “THE COWGIRL SINGER” (vocal and guitar):
Haunted Hunter

El Paso, TX: July 11, 1929 — Released May 16, 1930
Victor V-40241 (mx. BVE 55234 – 1)
From a tape dubbing, courtesy of the late Gilbert Louey

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El Paso Evening Post (Decemebr 5, 1929)