Archive for the ‘Vintage Music’ Category

Waiting For Information

February 18, 2022

I’m pretty distracted today, and I’m late getting to this. Cubbie Cooper, our big orange cat, is at the vet’s today for some tests.

About a week ago, I found a small lump in his abdomen, high up on his side, where there should be no such lump. Now, he’ll be fourteen sometime this spring (we’re not sure exactly when), and things happen to cats as they age. We know that, both of us having been owned by cats for nearly fifty years.

So, we’re worried. We’ll find out more this afternoon when we pick Cubbie up at the vet’s. In the meantime, I’m not going to be able to do here what I had planned. So, here’s “Swamp Cat Rag” by the Swamp Rooters for Cubbie Cooper (who was probably not a swamp cat before we got him but never mind). It’s a 1930 recording that I found on the sixth volume, released in 2002, of the Yazoo Record series “Times Ain’t Like They Used To Be.”

Saturday Single No. 742

June 26, 2021

Blame it on Amazon Prime.

I had plans for a post today, one that would require a little time and thought, but last evening, we dined out, then came home and watched a couple of episodes of The Killing, a series on Amazon Prime. Add another hour-long show and the necessary tasks prior to retiring for the night, and we got to bed very, very, late. (Cue “Around Here” by Counting Crows.)

So I wound up sleeping late, having odd dreams as I did. The one salient detail I remember from the last dream was a sign on the wall that said, “For help, call Boogie Boy 28.” And today’s partly planned post will wait for another day.

But the RealPlayer will bail me out, somewhat. It tells me that on this date – June 26 – in 1939 in Chicago, Roy Shaffer recorded “The Matchbox Blues,” later released as the B-side of Bluebird 8234. His version is one of eight tracks with similar titles on the digital shelves here, ranging in time from Blind Lemon Jefferson’s 1927 version to Bob Dylan’s 1970 take on the version of the song called simply “Matchbox.”

(The website Second Hand Songs lists Jefferson’s “Matchbox Blues” and “Matchbox” as two different tunes, crediting Carl Perkins with authorship of the latter. That surprises me, and I may look into it next week. If they’re not the same song, they’re at least cousins.)

As to Shaffer, discogs tells me he was a cowboy singer born in Mathiston, Mississippi, in 1906 who was active from the 1930s into the 1950s. recording for Decca and Bluebird in the mid- to late 1930s. He died in 1974 in Greenville, Mississippi, and is buried in nearby Cleveland, Mississippi.

Here’s Shaffer’s version of “The Matchbox Blues.” It came my way via the tenth disc – East Virginia Blues – of the eleven-disc series When The Sun Goes Down: The Secret History of Rock & Roll released in the early 2000s by Bluebird and RCA. And it’s today’s Saturday single.

Saturday Single No. 738

May 29, 2021

Short of ideas this morning, I asked the RealPlayer to find tracks that were recorded on May 29 over the years, and we ended up with a few. (A reminder: I have that level of detail for perhaps ten percent of the 82,000 tracks available in the player.)

The oldest of the tracks listed for today’s date is from 1930, when bluesman and songster Blind Blake recorded “Diddie Wa Diddie No. 2” in Grafton, Wisconsin, for the Paramount label. As is true of many tracks I’ve heard on the early Paramount label, the copy I have is hard to listen to. Until relatively recent advances in sound restoration, the poor quality of the early Paramount recordings along with, I would guess, their rarity, made it a challenge to listen to them through the hiss and crackle. And the version I have of “Diddie Wa Diddie No. 2” is no different. The first verse goes (I think):

A gangster shot his pal today
As they carried him away
He say “Diddie wa diddie”
He say “Diddie wa diddie”
I just found out what “diddie wa diddie” means . . .

The last line of that verse refers to the original “Diddie Wa Diddie,” in which Blake sings “There’s a great big mystery” and goes on to tell us that the mystery is the meaning of the words “diddie wa diddie.”

The lyrics to “Diddie Wa Diddie” are widely available online, but oddly enough, in an era when it seems like everything and its puppy dog has been transcribed and uploaded to the ’Net, the lyrics to “Diddie Wah Diddie No. 2” seem to be absent.

A little bit of digging tells me that “Diddie Wa Diddie No. 2” was the B-side of Paramount 12994, which featured “Hard Pushing Papa” on the A-side. From what discogs tells me, the best current source for the song is the 2000 release from Yazoo titled The Best of Blind Blake.

I’m pretty sure my copy didn’t come from there, as the sound quality of the videos showing that album’s cover at YouTube – including videos of “Diddie Wa Diddie No. 2” – is much better than the sound of the clip in my collection (though still a bit challenging). So where did my digital copy come from? I have no idea, but it must have been in my early days of scavenging music online, as its bit rate is poor.

All of that is of no matter, I guess, except that if I want a better copy of “Diddie Wa Diddie No. 2,” I now know where to find it. Will I? I doubt it. (I am a bit surprised that the track hasn’t shown up on the numerous anthologies of vintage music that already take up space on my shelves.) All that matters this morning is that ninety-one years ago today, Blind Blake recorded “Diddie Wa Diddie No. 2” in Grafton, Wisconsin. And it’s today’s Saturday Single.

Old Music, Modern Dilemma

March 9, 2021

About two weeks ago, I wrote about my Christmas present from the Texas Gal: The Harry Smith B-Sides, a collection of vintage music created by flipping over eighty-one of the eighty-four 78s that collector Harry Smith included in his ground-breaking Anthology of American Folk Music, released in 1952.

B Sides

According to the booklet in the B-Sides box, the idea of a Harry Smith B-sides project had been around for a while. Lance Ledbetter of Dust-To-Digital – the label that released the new box set last year – says in a piece in the booklet that he began working on the idea of collecting digital copies of all eighty-four flip sides in 2004 or so but ran into trouble finding several of the old records.

(Because Ledbetter already owned the 1997 CD edition of the original Anthology, he already owned a few of the flips, as in 1952, Smith included both the A- and B- sides of four of the 78s he used to create his collection.)

But Ledbetter shelved the project when he was unable to find all of the old records. And in 2013, Ledbetter heard from record collector John Cohen, who with his partner, Eli Smith, had gathered the Smith B-sides and were wondering if Dust-To-Digital could help with production and release. Connections ensued, and Smith assured Ledbetter and his partner and wife, April, that all eighty-four flipsides were available.

It took some time, but as 2020 dawned, the box set was almost ready to go out the door. But three of the tracks caused some concern because of their racist language and imagery: “You Shall Be Free” by Bill & Belle Reed from 1928, “I’m The Child To Fight” by Uncle Dave Macon with Sam McGee, also from 1928, and “Henhouse Blues” by the Bentley Boys from 1929, would be startling and potentially offensive in today’s culture.

Still, Cohen, Smith and the Ledbetters planned to include the three tracks in the B-Sides collection. As Lance Ledbetter told NPR’s Sam Briger in December:

[B]etween the time in 2013, when we first started talking about this, and 2015, when we finalized the liner notes, we felt that leaving the three songs with racist lyrics . . . including them on the CDs was the right decision because we were looking at it more as historical accuracy and looking at it as a sense of preservation, that this is the full version.

Cohen had died in 2019, leaving Smith and the Ledbetters to finish the project. And things changed:

And between 2015, when we made that decision, and 2020, we changed. We changed that decision. And it really came about when we started listening to the test pressings for the vinyl. And we heard the songs differently. And I remember April and I, we felt like we needed to do something to address this – these songs . . . . And we were conversing on how to deal with this in 2020.

The solution was to place a note in the box set warning that the three tracks in question contained racist and offensive content so they could be skipped if the listener so desired. But one day at an open-air market, Ledbetter says, a friend who ran the market was playing Smith’s original 1952 anthology on the market’s sound system. Lance Ledbetter told NPR’s Briger, “I looked around and just saw a diverse group of people under the tent – Black people, Hispanic people, white people, old people and young people.” And he wondered about the effect on the crowd at the market if the music had instead been the Harry Smith B-Sides and one of those three racist tracks popped up.

Ledbetter went on:

And I just thought that there was no note that you could include in a box set that would explain why they were hearing that music and those lyrics. And it was at that point that the decision was made. We need to take those tracks off because once they’re on those CDs, they’re broadcast in homes and on the radio. It’s putting music out there that, in 2020, we just didn’t feel like it needed to be in the public sphere.

So with the release date for the box set approaching, three of the four CDs were redone, removing the three offensive tracks and leaving four seconds of dead air in their places. The commentary about the three tracks remains in the booklet, so the tracks’ places in history – as three of the Smith flipsides – is still recognized.

The three tracks are not hard to find. I gathered copies from a couple of sources in minutes one day. And they are offensive. They would have been in the late 1920s for some folks, and they’d be offensive to everyone, I hope, in 2021.

So, is it historically inaccurate to offer the Dust-To-Digital box set as Harry Smith’s B-sides when three of the tracks have been purposefully removed from the set? Would it have been better to leave the offensive recordings in their places? I’ve been pondering the question since late December, and I’m don’t know if the removal of those three songs is a matter of altering history (or of “cancel culture,” as some would likely call it). My thought would have been to add a fifth CD to the box set containing those three tracks with clear warning on the CD sleeve of the offensive content. Whether that would have worked, I have no idea.

Here’s the first of the eighty-one tracks included in the box set: “One Cold December Day” by Dick Justice. Little is known about the man except that he was born Henry Franklin Justice in 1906 in Logan County, West Virginia. “One Cold December Day” is based on a traditional British ballad and was one of ten tracks Justice recorded for the Brunswick label on May 21, 1932.

Saturday Single No. 726

February 27, 2021

There are a very few tracks in the digital collection here that have been recorded on February 27, maybe ten. (Of the 82,000 mp3s pulled into the RealPlayer, I have that depth of information on maybe ten percent.)

And a quick look at the February 27 tracks offers one that came to me via the series called When The Sun Goes Down, a set of eleven CDs issued between 2002 and 2004 featuring vintage music from the Victor and Bluebird labels.

The Hall Brothers recorded the song “Constant Sorrow” in Charlotte, North Carolina, on this date in 1938. The song, of course, is better known these days as “I Am A Man Of Constant Sorrow” after being featured in the 2000 movie O, Brother, Where Art Thou?, but there had been somewhere around forty versions of the song recorded and released before that. And since the movie came out, according to Second Hand Songs, at least another thirty-five versions of the song have been recorded and released.

The Hall Brothers’ version – Roy Hall took the vocal and played guitar while his brother Jay Hugh added guitar and Steve Ledford added fiddle – was among the earliest recorded. The first version, again according to Second Hand Songs, came from Emry Arthur, whose take on the song was released on the Vocalion label in May 1928. The next version listed was recorded by the Stanley Brothers and the Clinch Mountain Boys in 1951.

As to the Hall Brothers’ version. for whatever reason, neither the Victor nor Bluebird label released the 1938 track, leaving it dormant for sixty-six years. And since I’m dabbling in vintage music these days, the Hall Brothers’ 1938 take on “Constant Sorrow” is today’s Saturday Single.

Digging In The Long-Gone Past

February 26, 2021

One of the things I got for Christmas from the Texas Girl in December was a newly released collection of vintage music titled The Harry Smith B-Sides. Harry Smith, as most readers likely known, was the eccentric music collector who in the early 1950s. assembled from his collection of 78s an eighty-four-track mélange of music from the 1920s and 1930s.

That collection was released in 1952  on the Folkways label as The Anthology of American Folk Music, and it became a seminal artifact in the development of the folk scene of the 1950s and early 1960s.

There was an obscure logic to the way Smith arranged the collection, grouping the eighty-four songs in three categories, but listeners and musicians, or so said news pieces I saw last autumn, have often wondered what kind of collection would one find if one listened to the flip sides of the records Smith included in his anthology.

Well, that’s exactly what the folks at the Dust to Digital label did in the collection The Harry Smith B-Sides. And that’s some of the music I’ve been absorbing over the last two months. The whole thing is made more interesting because as the release date for the collection came near, Dust to Digital’s project found itself smack in the middle of last summer’s discussions of racial and social justice.

And not to be a tease, but I’m still working out the ideas for a longer piece on the new set and the issues it touched. That should show up here next week, I hope. In the meantime, here’s one of the funnier songs – but one that’s still imbued with some violent imagery – from Smith’s original 1952 anthology.

Here’s “King Kong Kitchie Kitchie Ki-Me-O” by Chubby Parker & His Old-Time Banjo, a retelling of the old tune “Froggie Went A-Courtin’.” The track was recorded in New York City on August 13, 1928, and was released on the Columbia label.

Keeping Odd & Pop Happy

September 16, 2020

It’s been a couple of years since we checked in with my imaginary alter egos, tuneheads Odd and Pop. I think they’re happy here in the condo. There are fewer records, of course, about 1,000 LPs instead of the 3,000 or so that were crammed into the EITW studios on the East Side, but there are more CDs and reference books these days, as the passing pandemic seasons here resulted in – as I’m certain is true elsewhere – fairly frequent online shopping sprees.

Anyway, they’re here, Odd and Pop, with their internal radios tuned to different stations.

Pop likes the familiar, the pleasant, the unchallenging. He loves records he’s heard a thousand times, and if he wants variety, he’ll gladly listen to a thousand different records he’s heard a thousand times before. He’s the reason why the digital shelves once held eighty-four different versions of “The Girl From Ipanema.” (The external hard drive crash three years ago eliminated many of them, and he’s been scheming to get them back ever since.)

Odd, however, likes different things. Very different. He’s the one whose eyes widened with joy the other day when the mail carrier dropped off, with its accompanying CD, the book Stomp and Swerve, subtitled “American Music Gets Hot, 1843-1924.” He laughed loudly when he learned that the tune “The Smiler,” written by Percy Wenrich and recorded sometime around 1908 by the Zon-O-Phone Concert Band, was craftily subtitled “A Joplin Rag” not because of any connection with ragtime giant Scott Joplin but because Percy Wenrich was born in Joplin, Missouri.

And . . . well, here it is. The date of 1907 on the video may well be correct.

And, of course, Pop says it’s not fair that Odd gets a treat and he does not. So, okay, we’ll check the list of covers of “The Girl From Ipanema” at Second Hand Songs and choose something he’s not heard before. A foreign language, maybe. And that’s fine with him, as long as the melody is familiar.

And here’s Finnish singer Laila Kinnunen with “Ipaneman Tyttö,” recorded on November 10, 1964, and released later that year on the Scandia label. (Odd likes it, too.)

‘Underneath The Harlem Moon . . .’

January 8, 2020

I was parked at my computer, idly clicking from one track to another in iTunes, as I sometimes do, just seeing what there was among the 3,900-some tracks, when up popped one I’d not really noticed before: Rhiannon Giddens’ take on the 1930s tune “Underneath the Harlem Moon” from her 2015 EP Factory Girl.

Creole babies walk along with rhythm in their thighs
Rhythm in their hips and in their lips and in their eyes
Where do high-browns find the kind of love that satisfies?
Underneath the Harlem moon

We don’t pick no cotton; picking cotton is taboo
We don’t live in cabins like the old folks used to do
Our cabin is a penthouse up on St. Nicholas Avenue
Underneath that Harlem moon

We just live for dancing
We’re never blue or forlorn
Ain’t no sin to laugh and grin
That’s why we schwarzes were born

We shout, “Hallelujah!” every time we’re feeling low
And every sheik is dressed up like a Georgia gigolo
White folks call it madness but I call it hi-de-ho
Underneath that Harlem moon

Once we wore bandanas, now we wear Parisian hats
Once we were barefoot, now we’re sporting shoes and spats
Once we were Republicans but now we’re Democrats
Underneath the Harlem moon

We don’t pick no cotton; picking cotton is taboo
All we pick is numbers and that includes you white folks too
’Cause if we hit, we pay our rent on any avenue
Underneath the Harlem moon

We just thrive on dancing
Why be blue and forlorn?
We just laugh and grin. Ha! Let the landlord in
That’s why house rent parties were born

We also drink our gin, smoke our reefer, when we’re feeling low
Then we’re ready to step out and take charge of any so-and-so
Don’t stop for law, no traffic, when we’re raring to go
Underneath the Harlem moon
Underneath the Harlem moon

I wondered for a bit about Giddens’ purpose in recording the song, written in the 1930s by Harry Revel and Mack Gordon and first recorded in 1932 by Howard Joyner. And I’m still wondering.

The most prominent version of the song may be the truncated version Randy Newman included on his 1972 album 12 Songs. It’s been released a few other times as well – mostly in the 1930s and a couple of times in the 1980s before Giddens came along with her version, according to Second Hand Songs. Not listed there is a performance by Ethel Waters in a 1933 film titled Rufus Jones For President (starring a young Sammy Davis Jr. as the presidential candidate).

Was Giddens – who is one of my favorite musical discoveries in the years since I began blogging in 2007 – reclaiming heritage, as she is wont to do? Maybe so. It seems to me that Giddens, with her clear interest in bringing the musical past into the present – from her work with the Carolina Chocolate Drops to her current solo work – is one of the few performers who could get away with performing “Under The Harlem Moon.”

Questions? Comments?

One Hundred Years Ago

October 18, 2019

In October 1919:

President Woodrow Wilson sustained a serious stroke on October 2. He was an invalid until his death in 1924.

The Dutch airline KLM was formed. As of this year, it is the oldest airline flying under its original name.

The Cincinnati Reds won the World Series, five games to three, over the Chicago White Sox. In 1920, it was discovered – confirming long-standing rumors – that eight of the White Sox either took part in or knew of a conspiracy to throw the series. The eight were permanently banned from baseball.

Estonia adopted a radical land reform, nationalizing 97 percent of agrarian lands, most of which belonged to Baltic Germans.

Adolf Hitler gave his first speech for the German Workers’ Party.

The Coronado Vanderbilt Hotel was opened in San Juan, Puerto Rico.

An election took place in the duchy of Luxembourg; due to constitutional amendments earlier in the year, women were allowed to vote for the first time.

Over President Wilson’s veto, the U.S. Congress passed the Volstead Act, which set out the enforcement terms of Prohibition as called for by the Eighteenth Amendment to the U.S. Constitution.

And on October 18, in North Branch Township of Minnesota’s Isanti County, George Otto Erickson was born. He’s shown here in a 1964 picture taken at Gull Lake, near Nisswa, Minnesota.

George Erickson, Gull Lake near Nisswa, Minnesota, June 13, 1964

Here’s the record that was No. 1 on the day my dad was born: “A Pretty Girl Is Like A Melody” by John Steel:

(Historical data from Wikipedia.)

‘It Ain’t Gonna Rain No More’

October 12, 2017

Okay, follow the bouncing ball and – if you wish – sing along with this cartoon from 1949:

I recall seeing short features like this – sing-a-longs with the bouncing ball – before movies during the late 1950s and early 1960s. I’d go – maybe with Rick and Rob or maybe with my sister – to kids’ matinees at the Paramount (or the Eastman or the Hays) here in St. Cloud, and there would be two or three animated features before the main event.

And I think I saw bouncing ball sing-a-longs on TV on Saturday mornings, watching and trying to keep the volume down on the old Zenith set while my parents slept in.

Anyway, what caught my ear about this particular sing-a-long was the song itself, “It Ain’t Gonna Rain No More,” which I’ve heard here and there forever. But I never thought about the song’s origins until this morning. Why this morning?

Because a search through the 97,000 mp3s in the RealPlayer brought up Wendell Hall’s version of “It Ain’t Gonna Rain No Mo’,” which he recorded for Victor in New York City on October 12, 1923, ninety-four years ago today. And Hall’s recording was a success: It was the No. 1 record in the U.S. in 1924, according to Josh Whitburn’s A Century of Pop Music.

The song itself, according to a brief entry at Wikipedia, had been around in various forms since some time during the 19th Century. Poet and folk musician Carl Sandburg included verses of the song in his 1927 volume American Songbook and suggested, Wikipedia says, that the song had been around since the 1870s. As with almost all folk songs, there are multiple variants, and the verses offered in the cartoon above are not all the same as those recorded by Wendell Hall in October 1923.

(I should note that the second line of the chorus also has variants. Hall sang, “How in the world can the old folks tell that it ain’t gonna rain no mo’?” The one I recall most clearly, perhaps from Boy Scout camp or Bible camp, went, “Now how in the heck can I wash my neck if it ain’t gonna rain no mo’?”)

Here are the verses as Hall recorded them:

Oh, the night was dark and dreary,
And the air was full of leaks.
Well the old man stood out in the storm,
And his shoes were full of feet.

Well the buttererfly flits on wings of gold,
The junebug wings of flame.
The bedbug has no wings at all,
But he gets there just the same.

Oh, mosquitee he fly high,
Oh, mosquitee he fly low.
If ol’ Mr. Skeeter light on me,
He ain’t a gonna fly no mo’.

Well, a bull frog sittin’ on a lily pad,
Looking up at the skies.
Oh, the lily pad broke and the frog fell in,
Got water all in his eyes.

Well, here’s a verse about a man and a trombone.
Well, the words to it are few.
He blew, he blew, he blew, he blew,
He blew, he blew, he blew.

Well, a man lay down by a sewer,
And by the sewer he died, he died.
And at the coroner’s request,
They called it sewer-cide.

A little black and white animal out in the woods.
I says, “Ain’t that little cat pretty?”
I went right over to pick it up,
But it wasn’t that kind of a kitty.

Oddly enough, Wendell Hall’s version of the song is the only one on the digital shelves here, even though a cursory search at YouTube turns up numerous versions of the song – old, modern and in between, including a take on the song by Nick Cave & The Bad Seeds. Some of those versions may yet show up on the shelves here, but for today, we’ll content ourselves with Hall’s version, recorded ninety-four years ago today.