The Playlist • Annette Hanshaw (1927–1930)

msp_hanshaw-composite1

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ANNETTE HANSHAW & HER SIZZLIN’ SYNCOPATORS: Who’s That Knockin’ at My Door?

New York: September 1927
Perfect 12372 (mx. 107766 – )
Various works cite an undocumented recording date of September 8.

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ANNETTE HANSHAW & HER SIZZLIN’ SYNCOPATORS: I’ve Got “It” (But It Don’t Do Me No Good)

New York: May 5, 1930
Velvet Tone 2155-V (mx. W 150388 – 3)

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ANNETTE HANSHAW (as Dot Dare): Is There Anything Wrong in That?

New York: November 22, 1928
Diva 2792-V (mx. W 147483 – 3)

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ANNETTE HANSHAW (as Patsy Young): I Want To Be Bad

New York: March 14, 1929
Velvet Tone 1878-V (mx. W 148077 – 2)

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ANNETTE HANSHAW: I Think You’ll Like It

New York: October 28, 1929
Mx. W 149196 – 2
From a c. 1960s custom vinyl pressing of the original stamper.

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No accompanying personnel are listed in the company files for any of these sessions, although experienced collectors will readily recognize Joe Venuti, Eddie Lang, Frank Signorelli, Benny Goodman, and others on various sides. Speculative personnel, based on aural evidence, can be found in our free download of Brian Rust’s Jazz & Ragtime Records (Personal-Use Edition, 1917–1934).

The Playlist • Early Comediennes (Victor Recordings, 1907–1922)

msp_comedienes1

Clarice Vance, from the November 1907 Victor supplement (top, courtesy of John Bolig); Elsie Janis and Fanny Brice (lower left and right; G.G. Bain Collection, Library of Congress)

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Performances by several leading comediennes of the early twentieth century, ranging from the sublime to a howlingly bad (but historically instructive) example of what white-folk thought the “blues” were in 1917. Like many records of the period, some of these contain derogatory racial and ethnic stereotypes, which do not reflect our views.

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CLARICE VANCE: I’m Wise

Probably Philadelphia: August 7, 1907
Victor 5253 (mx. B 4768 – 1)

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BLANCHE RING: Yip! I Adee, I Aye!

Camden, NJ: March 29, 1909
Victor 5692 (mx. B 6914 – 3)

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BLANCHE RING: The Billiken Man

Camden, NJ: June 24, 1909
Victor 5731 (mx. B 8073 – 2)

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ELSIE JANIS: Fascinating Baseball Slide

Camden, NJ: October 22, 1912
Victor 60090 (mx. B 12527 – 1)

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ELIDA MORRIS (with BILLY MURRAY): You’ll Come Back

Camden, NJ: May 16, 1910
Victor 16653 (mx. B 8572 – 4)

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MARIE CAHILL (CARL GRAY, piano): The Dallas Blues
(Preceded by Mose’s Baptism)

New York: January 2, 1917
Victor 55081 (mx. C 18652 – 3)

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FANNY BRICE: The Sheik of Avenue B

Camden, NJ: July 14, 1922
Victor 45323 (mx. B 26800 – 2)
Studio orchestra conducted by Rosario Bourdon

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Discographic data from the Victor Talking Machine Company files, courtesy of John Bolig. Except for the last selection, conductors are not listed in the Victor files.

 

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.

 

msp_morris-vic-21127

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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)

msp_tucker_some-of-these-da

 

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

MSP_BB-6278a_tinsley-WRK.

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!

nick1

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)

fonotipia_92002

msp-bain_didur-1915

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 • Blue Kazoos (1924 – 1928)

msp_kazoo-composite-1

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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)

_____________________

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 • Okeh Race Record Favorites (1921 – 1928)

race-records_okeh_comp1

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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msp_king-oliver-ad

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msp_oliver_ok-ad1

Forgotten American Recording Pioneers • Joseph Moskowitz (Cymbalom Solos, 1916)

msp-vicsup_11-1916-23_mosko

Joseph Moskowitz
(b. Romania, 1879 – d. Washington DC, June 27, 1954)
From the November 1916 Victor supplement, courtesy of John Bolig

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JOSEPH MOSKOWITZ (Edward King, piano): Panama Pacific Drag

New York: February 4, 1916
Victor 17978 (mx. 17118 – 1)

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JOSEPH MOSKOWITZ (Max Yussim, piano): Chasen Senem (Turkish Medley, No. 2)

New York: July 19, 1916
Victor 67988 (mx. B 18204 – 2)

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JOSEPH MOSKOWITZ (Max Yussim, piano): Sadiguerer  Chusid — Hebrew Dance

New York: March 27, 1916
Victor 67827 (mx. B 17390 – 1)

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JOSEPH MOSKOWITZ (Max Yussim, piano): Hungarian Dance, No. 5 (Brahms)

 

New York: February 4, 1916
Victor 17973 (mx. B 17116 – 1)

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JOSEPH MOSKOWITZ (Max Yussim, piano): Argentine Dance (Tango Argentino)

New York: February 4, 1916
Victor 18155 (mx. B 17113 – 2)

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JOSEPH MOSKOWITZ (Edward King, piano): Operatic Rag

New York: February 4, 1916
Victor 17978 (mx. B 17117 – 2)

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Discographical data from Dick Spottswood’s Ethnic Music on Records
(University of Illinois Press)

The Playlist • Mexican Favorites (1905 – 1938)

SUNSET-1126.

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BANDA DE ESTADA MAYOR DE MÉXICO: Maria y Leonorcita — Danzones Yucatecos

Mexico City; Released 1905
Edison Gold Moulded 18767

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JESÚS ABREGO & LEOPOLDO PICAZO: La rancherita

Mexico City; Original release October 1909
Edison Blue Amberol 22058 (1913 reissue of Amberol 6058)

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TRIO  INSTRUMENTAL ARRIAGA (Joaquín Arriaga, mandolin): El novio de tacha

Mexico City; Original release May 1910
Edison Blue Amberol 22076 (1913 reissue of Amberol 6076)

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ENRIQUE ESPINOZA: El Borrachito

Los Angeles: c. June 1925
Sunset 1126 (mx. 777)

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LIDYA MENDOZA: Una Cruz

Blue Bonnet Hotel, San Antonio: October 25, 1938
Montgomery Ward M-7982 (mx. BS–28629-1)
Accompanists unlisted in Victor files

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EL CIEGO MELQUIADES: Paulita

Texas Hotel, San Antonio: August 15, 1935
Montgomery Ward M-4870 (mx. BS-94591-1)
Melquiades Rodriguez, violin; Enrique Morales, guitar

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The Playlist • “Charleston Back to Charleston,” Three Ways (1925)

msp-sm_charleston-back

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JACK STILLMAN’S ORIOLE ORCHESTRA:  I’m Gonna Charleston Back to Charleston

New York: c. October–November 1925?*
Paramount 20423 (mx. 2333 – 1)
*Evidence is mounting that Paramount’s New York studio did not always assign final master numbers at the time of recording — particularly some discrepancies between the date ranges given in traditional discographies (like the questionable one shown here), and confirmed date ranges extrapolated from talent-broker Ed Kirkeby’s session files. Could this be one of those instances, given that companies for which original files exist recorded this title during the mid-summer of 1925? A large amount of research remains to be done in this regard, but we’re on it — stay tuned!

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COON-SANDERS ORIGINAL NIGHT HAWKS ORCHESTRA (Carleton Coon & Joe Sanders, vocal): I’m Gonna Charleston Back to Charleston

Camden, NJ: July 13, 1925 (Released  August 21, 1925;  Deleted 1927)
Victor 19727 (mx. BVE 32768 – 4)

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CALIFORNIA RAMBLERS: I’m Gonna Charleston Back to Charleston

New York: July 9, 1925
Columbia 419-D (mx. W 140674 – 1)
Rust’s Jazz & Ragtime Records 1897–1942 and derivative works, including American Dance Bands on Records and Film, give the date as June 9, in error. July 9 is confirmed in the Kirkeby logbook and Columbia files.

The Playlist • The Chicagoans (1928–1929)

Some favorite sides featuring what early jazz writers termed “The Chicagoans,” a loosely affiliated group of young, white, mostly Midwestern jazz musicians who congregated in the city during the 1920s.

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MSP_bwk-4001-A_chicago-rk

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CHICAGO RHYTHM KINGS (as “Jungle Kings”; Red McKenzie, uncredited vocal): Friars Point Shuffle

Chicago (Marsh Laboratories): c. Late March – Early April 1928
UHCA 3 (dub of Paramount 12654 [NYRL mx. 20563-2])

Given the scrambled accounts of this session in Eddie Condon’s autobiographical We Called It Music, and later in Brian Rust’s Jazz & Ragtime Records (6th Ed.), the date remains open to question. Rust erroneously stated that Condon said this session was held “on the day after the Chicago Rhythm Kings session for Brunswick.” But what Condon actually said was “The next day, he [Red McKenzie] went to Paramount and sold Lyons a date for us.” Compounding the problem is Condon himself, who got his two Brunswick-studio sessions out-of-order in his autobiography, confusing the first (on March 27, which produced only unissued masters allocated to Vocalion, including “Friars Point Shuffle”) with the second (on April 6). Although Condon stated that the Paramount date followed the session that produced “I’ve Found a New Baby,” his confusion over the Brunswick-studio sessions raises the question of which date the Paramount session actually followed.

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CHICAGO RHYTHM KINGS: I’ve Found a New Baby

Chicago: April 6, 1928
Brunswick 4001 (mx. C 1886 – A)

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RAY MILLER & HIS ORCHESTRA: That’s a Plenty

Chicago: January 3, 1929
Brunswick 4225 (mx. C 2743 – )
Three takes were recorded; the selected take is not indicated in the Brunswick files or on inspected pressings.

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ELMER SCHOEBEL & HIS FRIAR’S SOCIETY ORCHESTRA: Prince of Wails

Chicago: October 18, 1929
Brunswick 4653 (mx.  C 4560 – A)

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EDDIE [CONDON]’S HOT SHOTS (Jack Teagarden, vocal): That a Serious Thing

New York: February 8, 1929 (released May 17, 1929)
Victor V-38046 (mx. BVE 48346 – 2)

“Eddie Condon and his Orchestra” entered in Victor ledger, with “Eddie’s Hot Shots” assigned. This was a mixed-race session, with Leonard Davis (trumpet), Happy Caldwell (reeds), and George Stafford (percussion) present, which apparently was enough to land it in Victor’s predominantly black “Hot Dance” series.

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The Playlist • Indestructible Cylinder Favorites (1908 – 1911)

MSP_indestrictible-boxes

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BAND: In Darkest Africa (from Sousa’s “Three Quotations”)

New York: Released June 1908
Indestructible 785

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JOHN J. KIMMEL (accordion): Indian Intermezzo

New York: Released June 1909
Indestructible 1090

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FRED VAN EPS (banjo): Trombone Johnsen

New York: Released February 1908
Indestructible 722
“Johnsen” is the correct spelling, per the sheet music and copyright registration.

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VESS L. OSSMAN (banjo): Hoop-E-Kack

New York: Released July 1909
Indestructible 1113

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ELIDA MORRIS: Stop! Stop! Stop! (Come Over and Love Me Some More)

New York: Released April 1911
Indestructible 1457

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ARTHUR COLLINS: Come After Breakfast (Bring ’Long Your Lunch, and Leave ’Fore Suppertime)

New York: Released June 1910
Indestructible 1345

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cover_indestructible-x200

Cylinder Fans — We still have a few copies left of Indestructible and U-S Everlasting Cylinders: An Illustrated History and Cylinderography (an ARSC Award winner). Quantities are limited , and we won’t be reprinting — order soon if interested!

 

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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MSP_memphis-minnie_12

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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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MSP_losers

 

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

MSP_asch-terry-mcghee

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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