The Playlist • Frank Stokes and the Beale Street Sheiks (1927 – 1928)

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BEALE STREET SHEIKS (Frank Stokes & Dan Sane): Beale Town Bound

Chicago (Marsh Laboratories): c. August 1927
Paramount 12576 (mx. 4775 – 2)

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BEALE STREET SHEIKS (Frank Stokes & Dan Sane): Mr. Crump Don’t Like It

Chicago (Marsh Laboratories): c. September 1927
Paramount 12552 (mx. 20045 – 2)

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BEALE STREET SHEIKS (Frank Stokes & Dan Sane): Blues in “D”

Chicago (Marsh Laboratories): c. September 1927
Paramount 12552 (mx. 20048 – 2)

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FRANK STOKES: Downtown Blues

Memphis (Auditorium): February 1, 1928
Victor 21272 (mx. BVE 41822 – 1)
(Released: April 20, 1928; Deleted: 1931)

With uncredited second guitar. Take 2, also issued on 21272, is at a different tempo, uses some alternate lyrics, and does not include the reference to 1928.  Total sales, according to the Victor production files, were 13,449 copies — so not a particularly rare issue, as regional race records go, although there’s no way of telling for certain how scarce one take may be in relation to the other.

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Blues Fans — Be sure to check out these Mainspring Press titles, if you haven’t already. (We’re nearly sold out of “Paramount’s Rise and Fall,” and won’t be reprinting once the remaining copies are gone — order soon to avoid missing out!)

The Playlist • Moses Mason / Red Hot Old Mose (Paramount, 1928)

MSP_pmt-12702-B

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REV. MOSES MASON: Go Wash in the Beautiful Stream

Chicago (Marsh Laboratories): c. January 1928
Paramount 12702 (mx. 20291 – 1)

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REV. MOSES MASON: John the Baptist

Chicago (Marsh Laboratories): c. January 1928
Paramount 12702 (mx. 20290 – 2)

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MOSES MASON (as RED HOT OLD MOSE): Shrimp Man

Chicago (Marsh Laboratories): c. January 1928
Paramount 12605 (mx. 20303 – 3)

 

The Birth of Paramount Records: New York Recording Laboratories’ 1917 Incorporation Papers

One of the most persistent myths surrounding the New York Recording Laboratories (makers of Paramount records) is that the company was never legally incorporated. The misconception stems in part from testimony in a 1936 lawsuit (Wisconsin Chair Co. v. I. G. Ely Co., 91 S.W. 2d 913), in which it was stated — erroneously, as we now know — that NYRL “is not and was not at any time a corporation, a partnership, or an individual.”

However, NYRL was indeed incorporated — in Port Washington, Wisconsin, on July 2, 1917 — as the notarized copy of the incorporation filing shown below confirms. This  oversized document (from an early photostat, courtesy of Randy Stehle) is too large and faded to be easily legible online, so we’ve transcribed the most relevant portions at the end of the article.

NYRL did lose its corporate status in 1921, when (along with the United Phonographs Corporation, the original registrants of the Puritan trademark) it was merged with the parent Wisconsin Chair Company. UPC and NYRL were dissolved at that time. UPC was soon scuttled, but NYRL continued to operate, simply as a trade-name of Wisconsin Chair (although “Inc.” remained on the labels for several more years) — apparently cause for confusion in the 1936 testimony.

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MSP_NYRL-incorp-1917

Articles of Organization
Of
The New York Recording Laboratories

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Article I.

The undersigned, all of them adults and residents of the state of Wisconsin, have associated and do hereby associate themselves together for the purpose of forming a corporation under Chapter 86 of the Wisconsin Statutes; the business and purpose of which corporation shall be the manufacture and selling of phonograph records, phonographs, phonograph parts, and the manufacture and sale of all things incident to the use in connection with the same…

Article II.

The name of the said corporation shall be the New York Recording Laboratories, and its creation shall be in the city of Port Washington, county of Ozaukee, and state of Wisconsin.

Article III.

The capital stock of said corporation shall be Ten Thousand Dollars ($10,000) and same shall consist of one hundred (100) shares each of which said shares be of the face or par value of One Hundred Dollars ($100).

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[Articles IV – VII deal with corporate structure and regulations, stockholder voting rights, and options for amendment.]

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In Witness Thereof, we have hereunto set our hand and seals this 2nd day of July, A.D. 1917.

F. A. Dennett
J. M. Bostwick
J. R. Dennett
Edward J. Barrett
O. E. Moesser

… [The above signed] doth each for himself depose and say that he is one of the original signers of the above declaration and articles, that the above and foregoing is a true, correct, and complete copy of said original declaration and articles and of the whole thereof.

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For the most detailed history ever published of Paramount records and the people and companies behind them, be sure to check out the second, revised and expanded edition of Alex van der Tuuk’s Paramount’s Rise and Fall, available from Mainspring Press and many libraries.

Paramount Records Before the Blues (1919)

Three Paramount ads from 1919. At that early stage, its race record series was still several years away, and other than the bold advertising graphics — a Paramount specialty from the start — there was little to distinguish the label from dozens of other start-ups. The bottom ad pictures the Grafton, Wisconsin complex. The long structure on the left is the pressing plant, in a converted fabric mill. The building on the right would eventually house the legendary studio in which the likes of Skip James recorded.

If you don’t already have a copy, be sure to check out Alex van der Tuuk’s epic Paramount’s Rise and Fall: The Roots and History of Paramount Records, with over 150 illustrations, available in a new expanded edition from Mainspring Press and many major libraries.

pmt-1919