Juke In The Back: Recent Episodes
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Bo Diddley, Pt. 1 - 1955
This week's "Juke In The Back" takes a look at the breakthrough year of one of rock n' roll's true architects and innovators, Bo Diddley. His first recording session was held at Chess Records in Chicago on March 2nd and 3rd, 1955, where he laid down 4 original tunes. One of those songs, "I'm A Man," would inspire blues great Muddy Waters' "Manish Boy," while the other, "Bo Diddley," would be the igniting spark for rock n' roll. Diddley was a complicated and compelling artist, who's talents go way beyond his signature "hambone" rhythm, his vibrato guitar and his crazy lyrics. Bo's spirit is the spirit of rebellion, the true ingredient for rock music. It all began in 1955 and this week's "Juke In The Back" will explore those roots. This is part 1 of a 2 part special on the great Bo Diddley.
Bo Diddley, Pt. 1 - 1955This week's "Juke In The Back" takes a look at the breakthrough year of one of rock n' roll's true architects and innovators, Bo Diddley. His first recording session was held at Chess Records in Chicago on March 2nd and 3rd, 1955, where he laid down 4 original tunes. One of those songs, "I'm A Man," would inspire blues great Muddy Waters' "Manish Boy," while the other, "Bo Diddley," would be the igniting spark for rock n' roll. Diddley was a complicated and compelling artist, who's talents go way beyond his signature "hambone" rhythm, his vibrato guitar and his crazy lyrics. Bo's spirit is the spirit of rebellion, the true ingredient for rock music. It all began in 1955 and this week's "Juke In The Back" will explore those roots. This is part 1 of a 2 part special on the great Bo Diddley.
King Records, Pt. 7 - 1953This week, it's part 7 of a 10-part series on the great King Record Label, out of Cincinnati. Syd Nathan, who began putting out records under the King logo in 1943, developed King as a hillbilly music label. After seeing the sales potential in the Rhythm & Blues market, Nathan launched the Queen Records subsidiary in 1945, but folded it into King in 1947 and transferred his R&B acts over. King established itself in the R&B field with Bull Moose Jackson, Ivory Joe Hunter, Wynonie Harris and Lonnie Johnson all scoring enormous hit records. This week in part 7, we take a look at King's spectacular releases during 1953. Though Wynonie Harris stopped having national hits back in '52, he still has some strong releases in '53. Annisteen Allen, who had been with King since 1945 finally has a hit under her own name with an answer record to the "5" Royales' "Baby Don't Do It" called "Baby, I'm Doing It" and there are plenty of beautiful vocal group records released on King this year. Matt The Cat's got 'em all and he's loading those jumpin' and swooning sides into this week's "Juke In The Back."
King Records, Pt. 3 - 1948-49This week, it's part 3 of a 10-part series on the great King Record Label, out of Cincinnati. Syd Nathan, who began putting out records under the King logo in 1943, developed King as a hillbilly music label. After a rough start, he relaunched King in 1944 with investment from his various family members. Nathan, seeing sales potential in the Rhythm & Blues market, launched the Queen Records subsidiary in 1945, but folded it into King in 1947 and transferred his R&B acts over. King established itself in the R&B field with Bull Moose Jackson, Ivory Joe Hunter, Wynonie Harris and Lonnie Johnson all scoring enormous hit records. This week in part 3, we take a look at King's spectacular releases at the end of 1948 and through most of '49. Wynonie Harris would score his biggest hit in '49 with the multi-week chart-topper "All She Wants To Do Is Rock," while both Lonnie Johnson and Ivory Joe Hunter would have records stall at #2 on the chart. Bull Moose Jackson continues to score hits while King finds major success with a few instrumentals by Joe Thomas and Todd Rhodes. So get ready to groove as we continue our salute to King Records in part 3 on this week's "Juke In The Back."
King Records, Pt. 1 - Queen RecordsThis week, we begin a 10-part series on the great King Record Label, out of Cincinnati. Syd Nathan, who began putting out records under the King logo in 1943, developed King as a hillbilly music label. After a rough start, he relaunched King in 1944 with investment from his various family members. As King began to make a dent in the hillbilly field, he recognized that it would be more cost effective to offer other musical genres to clients who were already buying the hillbilly music from him. Not wanting to confuse King's intention to be a hillbilly label, Nathan launched a rhythm & blues subsidiary that he named Queen Records. Nathan admitted that he did not have an ear for R&B, so he bought at least one third of the Queen releases from other producers, most notably, African American producer Mayo Williams. Queen only scored one national R&B hit during its 2 years of existence, Bull Moose Jackson's "I Know Who Threw The Whiskey In The Well" in 1946. By mid-1947, Syd Nathan felt that King had properly established itself as a hillbilly label and now he was comfortable going after other genres with King. There was no need for Queen Records any longer, so he closed the subsidiary and moved many of Queen's artists over to King. Now King would take on the R&B market and prove super successful at it. Matt The Cat digs up Queen's finest releases this week as we feature part 1 of King Records. So drop a nickel in for Bull Moose and let's go!
The Dominoes, Pt. 1 - 1950-52Billy Ward and his business partner Rose Ann Marks put together The Dominoes in mid-1950 and helped fuel the R&B vocal group scene that would eventually become one of the major building blocks for Rock n' Roll. Ward, who was born Robert Lloyd Williams, was a child prodigy and made a name for himself in the Black Churches of Philadelphia. After WWII, he attended Julliard in NYC and began a career as a vocal coach, arranger, singer and songwriter. He and Rose Ann Marks wrote songs together and then formed a male vocal group to sing them. Ward discovered tenor Clyde McPhatter at an Apollo Theater amateur contest. Then Clyde introduced him to fellow tenor Charlie White. Baritone Joseph Lamont and bass singer Bill Brown rounded out what would become the first incarnation of The Dominoes. Right out of the gate, they scored a national hit with "Do Something For Me" on Cincinnati's Federal Records. "Sixty Minute Man" and "Have Mercy Baby" shot to the top of the R&B Chart with "Sixty" crossing over to an impressive #17 Pop. McPhatter's leads were immediately recognizable and soon Billy Ward started implementing rules to keep his group in line, but it was those restrictions that would eventually tear them apart, as members started leaving for greener pastures. What Billy Ward created was a hit-making vocal group machine and an enduring legacy. This week, Matt The Cat looks at the beginning of this storied group with part 1 of a multi-part series, focusing on their releases from 1950-52. So get ready to dig deep into The Dominoes on the "Juke In The Back."
Clyde McPhatter & The DriftersThe Drifters would become the most successful vocal group in history, charting hit after hit for over 20 years, with no less than a dozen different lead singers. This week, the "Juke In The Back" spotlights The Drifters' first chapter with the great high tenor of Clyde McPhatter out front. The group was created by Atlantic Records in order to showcase McPhatter's beautiful and powerful voice after his 2 year stint with Billy Ward & The Dominos ended. McPhatter never got the money or the recognition that he deserved from Billy Ward and after learning of his departure from the group, Atlantic co-founder Ahmet Ertegun was eager to sign him to Atlantic. It was a smart decision as McPhatter's new group, The Drifters, scored a #1 R&B record right off the bat with "Money Honey" in 1953. They would score another #1 a year later with "Honey Love" as well as five other charting hits before McPhatter left the group in 1955 for a solo career. The Drifters would continue to have huge chart success as would McPhatter, but this week, Matt The Cat focuses on The Drifters' genesis.
4th of July R&B PicnicWhats more American than celebrating Americas birthday with some good ol red, white and Rhythm & Blues about THE Fourth of July staple: food? Dig in on an hour of classic R&B about hot dogs, cole slaw, potato salad, ribs and ice cream sung by Nat "King" Cole, Amos Milburn, Louis Jordan, the "5" Royales and many more. Matt The Cat invites you to groove to our R&B picnic and the soul that came before rock n roll on the Juke In The Back.
Rudy Toombs: R&B SongwriterThis week, The "Juke In The Back" features the songs of one of R&B's greatest songwriters: Rudy Toombs. This underrated cat wrote some of the most fabulous drinking songs of all-time for Amos Milburn, The Clovers, The Five Keys and a young Johnny "Guitar" Watson. Beyond drinking songs, Toombs wrote some mega-hits for Ruth Brown, Varetta Dillard and Little Willie John, just to name a few. Matt The Cat gives you the story behind the story of one of early rock n' roll's greatest cleffers. It's Rudy Toombs' best songs, this week on the "Juke In The Back."
Oscar McLollieThis week, the "Juke" is jumpin' with the honey jumper himself, Oscar McLollie. Born Oscar Lollie, this Louisiana boy went from serving in the military during World War II to servin' up jump blues in Los Angeles Clubs. Mercury Records hired him as one of their West Coast A&R scouts in the early '50s and he made his first single for the label. Record mogul Leon Rene and his son, Googie Rene wrote tunes for the newly christened McLollie and they scored a regional smash with "The Honey Jump." That record sold well enough for them to see dollar signs and they sold McLollie's contract to the Bihari Brothers at Modern Records, who quickly re-recorded "The Honey Jump" and had an even bigger hit with it. McLollie and the Renes continued to collaborate and several other regional hits followed with "All The Oil In Texas," "Lolly Pop," "Hey Lolly Lolly" and his biggest solo hit, "Convicted." By 1958, McLollie was back on the Rene's Class Label, scoring his only national hit record, "Hey Girl - Hey Boy," a duet with Jeanette Baker. Though he never saw mainstream success, McLollie recorded some great early Rock n' Roll and Matt The Cat is filling the ol' Rockola Jukebox with his jumpin' tunes on this week's "Juke In The Back."
Memphis SlimMemphis Slim dubbed himself the "Ambassador Of The Blues" and for good reason. He spread the gospel of America's music around the world during his almost 50 year career. This week, Matt The Cat and the "Juke In The Back" take a look at Slim's prodigious contribution to the genre. He began recording as Pete Chatman (his real name is John Chatman) in 1940 and by the end of the year was already known as Memphis Slim, a name given to him by a producer at Bluebird Records. His prolific career really took off after WWII, when he cut some incredible sides for Miracle Records, a little Chicago independent label. He scored a #1 R&B hit in 1948 with "Messin' Around," which is seldom heard or celebrated today. He would enter the R&B lists four more times during the late 1940s and twice in the early '50s for the Premium and United Labels. Even though the US Senate honored Memphis Slim in the early '70s with an "Ambassador of Good Will" title, he is hardly recognized today for his important contribution to Blues, Rhythm & Blues and early Rock n' Roll. Get the story behind the story of Memphis Slim on this week's "Juke In The Back."
The Midnighters, Pt. 3 - The Annie SongsThis week, the "Juke In The Back" continues a 3 show look at The Midnighters, one of early R&B's most successful groups. Before they topped the R&B charts with "Work With Me Annie" in 1954, The Midnighters were known as The Royals, a rough and ready group from the east side of Detroit. Charles Sutton, the Royal's first great lead singer, shaped their early recordings (1952-53) in the style of The Orioles' leader Sonny Til. In part 3, the "Annie" songs take the spotlight as we build off the Midnighters' "Annie" trilogy to the flood of answer records and sequel songs that emerged in "Work With Me Annie"'s wake. Most of the hit "Annie" follow-ups were done by The Midnighters themselves, like "Annie Had A Baby" and "Annie's Aunt Fannie," but there were some notable "Annie" songs by The El Dorados, Linda Hayes, Danny Taylor and of course the "Henry" songs by a very young Etta James. It may sound odd now, but from 1954-56, the R&B juke boxes were jumpin' to songs about "Annie," "Henry" and their crazy situations. Matt The Cat puts this R&B fad front and center as we close up our 3 week look at the impact of The Midnighters on Rhythm & Blues and early Rock n' Roll.
The Midnighters, Pt. 2 - 1954-56This week, the "Juke In The Back" continues a 3 show look at The Midnighters, one of early R&B's most successful groups. Before they topped the R&B charts with "Work With Me Annie" in 1954, The Midnighters were known as The Royals, a rough and ready group from the east side of Detroit. Charles Sutton, the Royal's first great lead singer, shaped their early recordings (1952-53) in the style of The Orioles' leader Sonny Til. As 1954 begins, Charles Sutton is out as lead singer and Hank Ballard (real name John Kendricks) is in. Ballard had been with the group since '52 and he now takes the Royals into a more gospel/blues direction. Syd Nathan, head of King/Federal Records changes their name to The Midnighters and they score one of the biggest records of the year with "Work With Me Annie." This week, we'll focus on the Midnighters prime R&B period of 1954-56. They had non-Annie hits "Sexy Ways" and "It's Love Baby (24 Hours A Day)," but the Annie's sequels dominated. We won't be spinning any of the Annie sequels during this program as next week will be the "Annie" installment, but what you will hear are some fantastic Rhythm & Blues presented by one of the finest groups of the era. Grab some nickels, because "Juke" will be jumpin' with Detroit's own Midnighters.
The Midnighters, Pt. 1 - 1952-54 (The Royals)This week, the "Juke In The Back" begins a 3 show look at The Midnighters, one of early R&B's most successful groups. Before they topped the R&B charts with "Work With Me Annie" in 1954, The Midnighters were known as The Royals, a rough and ready group from the east side of Detroit. Charles Sutton, the Royal's first great lead singer, shaped their early recordings (1952-53) in the style of The Orioles' leader Sonny Til. That influence resulted in the recording of some amazing vocal group records, including the immortal "Moonrise" from 1952. Matt The Cat explores the Royals great early sides, their lineup changes (Hank Ballard joined in 1953) and their legal battles. In part 2, we'll fill the "Juke In The Back" with The Midnights prime, non-Annie records and then in part 3, it's an Annie bonanza of answer records, prequels and sequels. So grab your nickel and get ready to jump, jive and wail!
Lowell FulsonThis week, the "Juke In The Back" spotlights Lowell Fulson, one of the blues' most versatile and vastly underrated talents. In the late 1940s, Fulson stormed the charts with his first hit "Three O'Clock Blues," a song that B.B. King would take to the top of the charts in 1951. Fulson started the 1950s with a bang, scoring six charted hits for Swingtime Records in 1950 alone. By '54, he was on Checker Records out of Chicago with a song that would be covered by Elvis in 1960, "Reconsider Baby." Fulson wrote many of his own songs and was a major inspiration to both B.B. King and Ray Charles, who played in his touring band in 1950. Get the story behind the story on a true rhythm & blues legend, it's Lowell Folsun, this week on the "Juke In The Back" with Matt The Cat.
Jesse Belvin"Juke In The Back" is proud to dedicate an entire show to Jesse Belvin, one of greatest talents to come out of LA in the 1950s. Belvin was born in Texas, but raised near Central Avenue in Los Angeles, where he soaked up the local R&B scene. After transferring to Jefferson High School, he fell in with Richard Berry, Gaynel Hodge and other budding vocal talents. After meeting Marvin Phillips, whom he would collaborate with on and off for years, Belvin sang his first lead on record for Big Jay McNeely in 1951. From there, he recorded for Specialty Records with Marvin as Jesse & Marvin and scored a #2 hit with "Dream Girl." He would cut sides for Recorded in Hollywood, Modern, Cash, Money, Tender, RCA and many other labels. Jesse Belvin was respected by his contemporaries and always showed a sophistication in his singing that was far beyond his years. His musical phrasing was impeccable. This week, Matt The Cat will focus on Jesse Belvin's greatest sides, released between 1951-56, so don't miss a single minute of the "Juke In The Back."
Elmore James: 1951-55Elmore James never tried to have crossover success. He was a bluesman through and through; an ambassador of the Mississippi Delta Blues with a modern, 1950s electric twist. Elmore's blues was as pure as his ambitions when starting out as a sideman for now legendary blues harpist Sonny Boy Williamson II. James played on several Williamson sessions held in 1951 at Trumpet Records in Jackson, MS, until he was coaxed into playing the Robert Johnson tune, "Dust My Broom" in August. Trumpet gave James one side of the original 78 RPM release and in early 1952, "Dust My Broom" became a national R&B hit! Ike Turner, who was scouting for the Bihari Brothers of LA's Modern Records, found Elmore and got him signed to a four year deal with the Biharis. They issued his first record on their Meteor subsidiary and "I Believe," a reworking of "Dust My Broom," also became a top 10 national hit. Elmore James wouldn't score another hit record until 1960, but in those years in-between, James issued some incredible and highly influential blues sides, featuring his legendary slide guitar style. James would go on to inspire The Rolling Stones, The Yardbirds, early Fleetwood Mac and others, but would not live to see it. This week, Matt The Cat dusts off some prime Elmore James 78s from several labels and in many blues styles. Many of these records built off the original "Dust My Broom" guitar lick, but they are also good enough to stard firmly on their own.
The R&B of RCAIt is a popular belief that the seeds of Rhythm & Blues, Rock n' Roll and even Jazz were planted by the small independent labels and that the major labels exhaustively played catch-up as the music grew in popularity. That is simply not true. The major labels were there from the beginning, often breaking important artists, many with mainstream leanings, while the indie labels promoted the more "grittier" aspects of the music, which we view today as the more "authentic" sound of R&B, Rock n' Roll and Jazz. And so, like Columbia and Decca, RCA Victor released some stellar Rhythm & Blues during the late 1940s into the early 1950s, before the label signed Elvis in 1955. It's hard to imagine Rock n' Roll emerging from a world void of Arthur "Big Boy" Crudup as Elvis and his contemporaries took so much inspiration from him, including covering his songs. Crudup was a star on RCA's blues roster as was Jazz Gillum. John Greer, The Robins and even Jesse Belvin all spent time on RCA. This week, Matt The Cat shines the spotlight on some great Blues, Jump Blues, Rhythm & Blues and vocal group sounds from RCA Victor during the golden age of R&B. It's the R&B of RCA on the "Juke In The Back."
Chuck Willis, Pt. 1 - 1951-54
This week, the "Juke" features part 1 of a 2 part special on the great and much underrated Chuck Willis. Most cats n' chicks know Chuck's 1957 smash "C. C. Rider," but many are unfamiliar with the great records Chuck cut in the early 1950s. That's a shame, because Willis was a rare talent in that he could sell a ballad as well if not better than his jump sides. He was also a fantastic songwriter, writing hits for Ruth Brown and The Clovers, just to name a few. Matt The Cat introduces you to the Okeh and Columbia sides of one of the greatest, this week on the "Juke In The Back."
Willie MabonWillie Mabon scored 2 #1 R&B records with "I Don't Know" and "I'm Mad" in 1952 and '53 respectively. Having 2 #1s ensured that he would never be forgotten, BUT Matt The Cat believe that this piano playing, harp-blowin' blues cat should be better remembered and respected. This week, the "Juke In The Back" takes a look at nearly all his recordings for Chess Records, covering his career from his first solo release on Parrot in '52 to his post-Chess single on Federal in '57. In-between, you find different variations on his smash hits along side some unique sounding compositions which remain interesting to listen to and dig on some 70 years later. So grab a pocket full of nickels for the ol' Rock-Ola juke and dig the sounds from Willie Mabon as we spin 'em 'round on this week's "Juke In The Back."
The Du-Droppers
Matt The Cat presents another highly underrated R&B vocal group from the 1950s: The Du-Droppers. They didn't sound like the stereotypical "doo wop" groups of the era and they weren't your standard rhythm group either. The Du-Droppers had a sound that was all their own. Their leader, JC Ginyard began his career in Gospel groups and you can really hear that influence on the Du-Droppers' best material. The group's first single for Bobby Robinson's Red Robin label was a sequal record to the Dominoes' smash, "Sixty Minute Man," called "Can't Do Sixty No More." Once they signed with RCA Victor, they scored two of the biggest smashes of 1953. Dig the sound and get the story behind the Du-Droppers, this week on the "Juke In The Back," the "soul that came BEFORE rock n' roll."
Five Keys, Pt. 2 - 1954-57
The Five Keys were undoubtedly one of the finest vocal groups of both the R&B and Rock n' Roll eras. They didn't score as many hits as say the Dominoes or the Clovers, but like The Orioles and The Ravens before them, they were highly influential to other vocal groups of the day. This week, in part 2 of our 2 part feature, we'll focus on the 2nd half of the Five Keys' career. They signed with Capitol Records at the end of 1954 and had a smash hit right out of the gate with "Ling Ting Tong," which was also their first crossover into the pop market. More Keys' classics followed with "Close Your Eyes," "The Verdict," "Out Of Sight, Out Of Mind," "Wisdom Of A Fool" and many more. The Capitol Recordings still feature tenors Rudy West and Maryland Pierce, but the musical arrangements are much fuller, refined and pop oriented as was the material. As the '50s progressed, The Five Keys stopped scoring R&B hits and began to only chart in the lower regions of the Pop Lists. By mid-1957, the hits had stopped and the group was falling a part, but up to that point, The Five Keys proved that they could sing in many styles and succeed in all. Matt The Cat digs up some very familiar and some unfamiliar Five Keys records as we close down our double feature on this fantastic vocal group, on this week's "Juke In The Back."
The Five Keys, Pt. 1 - 1951-54
The Five Keys were undoubtedly one of the finest vocal groups of both the R&B and Rock n' Roll eras. They didn't score as many hits as say the Dominoes or the Clovers, but like The Orioles and The Ravens before them, they were highly influential to other vocal groups of the day. One of the "keys" to their unique sound was their use of Ripley Ingram as an "octave tenor." He sang a half note above the rest and could move in and out and dance around the musical arrangements. Rudy West and his beautiful tenor were featured on many of the Keys' ballads, including their 1951 R&B chart-topper, "The Glory Of Love." Maryland Pierce was more of a blues shouter and Dickie Smith gave the group a solid R&B edge. Rafael Ingram sang baritone/tenor and Rudy's brother, Bernie West, sang bass. In part 1, Matt The Cat focuses on The Five Keys' early years on Aladdin Records, where they would only have one chart entry, "The Glory Of Love," but have so many classic recordings. Next week in part 2, their hit-making years on Capitol Records will be featured. At Capitol, they would not only score 6 R&B hits, but also crossover for 4 Pop Chart entries. The Five Keys are lighting up the jukebox for the next 2 weeks, right here on the "Juke In The Back."
Faye Adams
This week's "Juke In The Back" highlights the short, but important career of Faye Adams. DJ Alan Freed called her "The little gal with the big voice" and she scored an impressive 3 #1 R&B hits in just a little over a year (1953-54). Surprisingly, she only had one more hit, before leaving secular music for her first love, Gospel Music. Born Fanny Tuell, Adams got her stage name from bandleader Joe Morris, who hired her after his former female vocalist, Laurie Tate, left to raise a family. Morris' record label, Atlantic Records was not terribly impressed with the 2 released singles featuring Adams on lead, so they declined to release the new Morris composition, "Shake A Hand." Morris took Adams over to New York's Herald Records and right out of the gate, "Shake A Hand" topped the charts for a whopping 10 weeks. Two more #1s followed ("I'll Be True" and "Hurts Me To My Heart"), before the hits began to fade. Adams had one more hit single in 1957 for Imperial. By the early '60s, she had left secular music all together and hasn't been heard from since. Faye Adams' Herald and Imperial Records output is impressive and is featured throughout this week's "Juke In The Back" with Matt The Cat.
The Orioles
This week, the "Juke In The Back" spotlights the most influential rhythm & blues vocal group of all-time. The Orioles hailed from Baltimore and featured lead vocals by Sonny Til, one of the most talented, dynamic and recognizable voices in history. Their first record, "It's Too Soon To Know" from 1948 ignited a new vocal movement that would develop into doo wop in the rock n' roll era. Til enjoyed tremendous success until he was vocally dethroned in the early 1950s by Clyde McPhatter and the new school of R&B vocal groups. Matt The Cat shares an interview with the late Diz Russell, who became an Oriole in the mid-1950s. Russell knew Sonny Til personally and provides some prospective on these historic and influential recordings as the "Juke" focuses on the golden era of Orioles. Their biggest hit, "Crying In The Chapel" would also prove to be the group's undoing. Fly high with the "high flying Orioles" as we celebrate R&B vocal groups in their purest form on this week's "Juke In The Back."
Christine Kittrell
Nashville truly earned its nickname as "Music City" during the 1950s as it was not only the home of Country Music, but also a hotbed for a thriving Rhythm & Blues Scene. Vocalist Christine Kittrell is a great example of how wonderful and vibrant that R&B scene was. She was born and raised in Nashville, getting her musical education from singing at her local Baptist Church. Once she hooked up with Louis Brooks' band during the mid-1940s, her star began to rise. Songwriter, arranger, producer and talent scout for Tennessee Records, Ted Jarrett signed her in 1951 and soon many markets throughout the South were hip to Kittrell's blues shoutin' style and Jarrett's top-notch arrangements. Her 2nd single, "Sittin' Here Drinkin'," gained her airplay around the South and holds up today as her best known record. She would re-record it for Republic Records, which is the label that Tennessee changed its name to in 1953 and again for Vee-Jay Records in the early 60s. She was friends with Little Richard, who had roots in the Nashville scene and he even stopped by for a recording session with Kittrell in 1954. Matt The Cat will dig up those jumpin' sides, along with a few smooth ballads and all that was in-between from this queen of the Nashville R&B scene. It's Christine Kittrell's Tennessee and Republic releases on this week's "Juke In The Back."
Big Joe Turner, Pt. 2 - 1951-56
This week, we continue our salute to the great blues shouter, Big Joe Turner with part 2 of 2. The show opens in 1951, with Turners first recording session for his new label, Atlantic and continues through to his cross-over pop success in 1956. This is the most successful stretch in Joe Turners long recording career. He would score 19 R&B hits during the 1950s and only 1 of them would ever touch the pop top 50. Matt The Cat talks to the late Ahmet Ertegun about signing Turner to Atlantic and James Austin talks to the late Joe Turner about signing with that great label. Joe Turners records almost single-handedly invented rock n roll, so dont miss this great tribute to one of Americas true blues treasures.
Big Joe Turner, Pt. 1 - 1938-50
This week, the Juke In The Back is loaded with nothing but the great recordings of Big Joe Turner, the Boss Of The Blues. Part one covers Joe Turners early years from his Kansas City beginnings to his big breakthrough in NYC at the first From Spirituals To Swing show in 1938 to just before he signed to Atlantic Records in 1951. Turner recorded for many different labels during the 1940s and were going to feature the best, including his classics Roll Em Pete, Cherry Red, Careless Love, SK Blues and many more. The show also features interview clips with the late Joe Turner taken from a classic 1982 James Austin interview. Next week, well have part two and feature Joe Turners highly successful 1950s recordings that led up to the birth of rock n roll.
Frankie Lymon & The Teenagers
We throw the word "influential" around a lot on the Juke In The Back, but very few groups can actually claim to have started a sub-genre based on their lead singer. The Teenagers Feat. Frankie Lymon were the first of the "kiddie" lead groups to sing for a teenaged audience. Their tunes had teen themes and when mixed with Lymon's vocals, a brand-new Rock n' Roll vocal group sound was created. Copycat groups hit the scene quick with The Juniors, The Kodaks, The Youngsters, The Students and The Schoolboys all trying to ride on Lymon's coattails, but there was only one. The Teenagers only lasted for around 18 months, but during that short time, they racked up 9 R&B charting hits, including the #1 smash "Why Do Fools Fall In Love," which crossed over to a respectable #6 on the Pop Chart. Record man George Goldner and Valentines' leader Richard Barrett guided and shaped the Teenagers sound while Jimmy Wright's incredible band provided exciting musical backing to create hit after hit, until the overall sound of Rock n' Roll began to change. Lymon's voice was maturing and he was pushed into the Pop field, leaving the Teenagers behind. There's a lot more to this story and on this week's program, Matt The Cat tries his best to tell it. Matt's interview with the late Herbie Cox of the Cleftones helps to shed some light as Herbie was in Goldner's office on the very day that the Teenagers came in to audition for him. So don't miss this exciting Juke In The Back on the unforgettable Frankie Lymon & The Teenagers.
4th of July: Summer, Food, Travel & Baseball
The Juke In The Back jumps into summer by spotlighting THE summertime holiday, the 4th of July. We're diggin' the 4th in song, ranging from songs about summertime by Sam Cooke, Chuck Berry and The Basin Street Boys to songs about summertime foods from Chris Powell and John Brim. We'll also focus on America's pastime with R&B songs about Baseball, honoring some of the top players who crossed over from the Negro Leagues into the Major Leagues. Records from Buddy Johnson, Brownie McGhee and Jack Williams are highlights as we cruise America's great highways jiving to the true songs of Summer. Grab some nickels, suntan lotion, a hot dog and meet us at the ballpark, where the Juke In The Back will be jumpin'!
Rhythm & Booze: Looped!
We continue our unsober series of vintage Rhythm & Blues drinking songs this week with Rhythm & Booze: Looped! In the past, Matt The Cat has focused on different types of libations and the places where you can consume said libations. This week, we'll delve into your drunken state-of-mind as we dig on records all about getting looped, loaded, sloppy drunk and beyond. The Rhythm & Blues genre is full of such songs, because the music was aimed at an older audience and the bragging about how drunk you were, shows just how great of a time you were having. We're gonna find out the ball that Melvin Smith, Peppermint Harris, Young John Watson (before he was Johnny "Guitar" Watson), Gene Phillips and Eddie "Cleanhead" Vinson were having. It's gonna get messy, but that's what it's all about when you hang out at Rosie's Juke Joint and the "Juke In The Back." Drink up, cats n' kittens!
Rhythm & Booze: Hey, Bartender!
The "Juke In The Back" continues our sporadic series Rhythm & Booze with a tribute to bartenders, juke joints and barrel houses as well as a salute to beer and beer drinkin' women. This installment is called "Hey! Bartender" and it's sure to take away your blues. We'll raise a glass of "Pink Champagne" and "Vicious, Vicious Vodka" for good measure while Dave Bartholomew lets you know how upset he is that someone swiped his beer while he was in the rear. Jimmy Witherspoon and Roy Milton sing the praises of our favorite malty beverage while Amos Milburn doesn't leave anything to chance as the juke joint is closing by ordering "One Scotch, One Bourbon and One Beer." Matt The Cat also relates the intriguing story of Hadacol. So if your "Bartender's Juke Like A Mother," than you best be diggin' on this week's program and doing your mama proud. Catch Rhythm & Booze: Hey! Bartender on this week's "Juke In The Back."
Rhythm & Booze: Bad, Bad Whiskey!The "Juke In The Back" once again raises a glass in our Rhythm & Booze series. This time, the entire program is dedicated to that Bad, Bad Whiskey. For some, whiskey ruined their happy home, but for others, a Half-Pint-A Whiskey set the stage for good times. Lucky Millinder along with Wynonie Harris (his first time on record) will ask that musical question of "Who Threw The Whiskey In The Well," and Bull Moose Jackson will answer it accordingly. Amos Milburn is the star of the show as no other R&B artist sang so often and so thoroughly about booze, especially whiskey. Matt The Cat spins three of Milburns' whiskey platters as well as two solo whiskey sides from Wynonie Harris. We'll go swimming in a sea of whiskey with Willie Dixon and his Big Three Trio and find out if whiskey helps your gambling habit with Sticks McGhee. So pour the bourbon, scotch and corn whiskey as we get all hopped up on that juice for this week's "Juke In The Back" and the "soul that came BEFORE Rock n' Roll."
Rhythm & Booze: Wine! Wine! Wine!Raise you glasses as we toast Rhythm & Booze: Wine, Wine, Wine on this week's "Juke In The Back." The entire program features the greatest wine R&B drinking songs of the 1940s and '50s. We'll dig on some Wine Spo-Dee-O-Dee, Cherry Wine, Alligator Wine and a heavy pour of port. You'll find servers like Floyd Dixon, Mr. Blues, Little Esther, Jimmy Binkley and Marvin Phillips helping Miss Rosie out this week as we salute this classic fermentation. So grab a pocket full of nickels and join Matt The Cat and the be-bop winos at Rosie's Juke Joint for the "Juke In The Back."
Sister Rosetta TharpeThe "Juke In The Back" is proud to salute Sister Rosetta Tharpe, one of the most important and influential musical figures of the 20th Century. Tharpe, who was born Rosetta Nubin, was popular immediately after her first Decca Recordings in 1938. She gained even more exposure while singing in-front of Lucky Millinder's big band during World War II. In 1944, she crossed musical barriers when her "Strange Things Happening Every Day" single crossed over to #2 on the national R&B lists, marking the first time a Gospel record had charted so high on a secular chart. Looking back, it's not that surprising when you consider that Rhythm & Blues Music is basically secular content, sung in a Gospel style with rhythm accompaniment. Not only did Sister Rosetta have an inspired, near-acrobatic vibrato voice, but she was also a virtuoso of the guitar. The novelty of a spiritual woman singing and playing the guitar soon gave way to her immense talents at doing both. This week, Matt The Cat presents Rosetta Tharpe's charting singles as well as her most influential Gospel sides, which become some of the bricks in the foundation of both R&B and Rock n' Roll. We'll hear her recordings with Lucky Millinder, Sammy Price, Marie Knight, The Dependable Boys and the Rosette Singers as well as a few of her V-Discs. Hallelujah, this is going to be an inspired show. Can I get an AMEN!
Johnny BraggThis week, Matt The Cat features the incredible story of Johnny Bragg. It's one of the greatest stories in all of Rhythm & Blues and early Rock n' Roll. At age 17, Johnny Bragg is sentenced to 594 years in prison on six counts of rape. He possesses one of the most beautiful tenors and thanks to prison reforms, he is allowed to record with his group, The Prisonaires for Sam Phillips at Sun Records. Their first release, "Just Walkin' In The Rain" from 1953 becomes an instant vocal group classic and in 1956 is made into an enormous pop hit by Johnnie Ray. The Prisonaires cut 4 singles for Sun before changing their name to The Marigolds and scoring a top ten R&B hit in 1955 with "Rollin' Stone." The "Juke In The Back" honors Johnny Bragg and his immeasurable contribution to popular music through his story, his music and interviews from a new documentary film on The Prisonaires. Bragg's story is one of the greatest seldom-told secrets from the back alleys of early Rhythm & Blues, but it's in the forefront on this week's "Juke In The Back."
Floyd DixonFLOYD DIXON - This week, "Juke In The Back" features another unsung hero of early Rhythm & Blues, Floyd Dixon. He's often overlooked or labeled as a Charles Brown sound-alike, but Dixon was a prolific songwriter who made a great contribution to the R&B foundation of Rock n' Roll. After meeting his piano/singing idol, Charles Brown, Dixon hooked up with Eddie Williams, who had played bass in Brown's group, Johnny Moore's Three Blazers. They had several hits together before Dixon himself was asked to join The Three Blazers, after Brown went solo. As a solo artist, Dixon is remembered for his top 10 R&B hits "Sad Journey Blues" and "Call Operator 210," but his most enduring song is "Hey Bartender," which he cut in 1954 for Cat Records. It was revived in the late '70s by The Blues Brothers and remains a classic to this day. Dixon recorded for Swingtime, Supreme, Modern, Aladdin, Specialty and many more influential independent labels. Matt The Cat digs up his finest platters, while also highlighting a 2006 interview with Dixon that was recorded shortly before his death at age 77. Dig on "Mr. Magnificent," Floyd Dixon on this week's "Juke In The Back."
Fortune RecordsMatt The Cat and the "Juke In The Back" feature Fortune Records, another small, independent record label that made a sizable contribution to Rhythm & Blues and early Rock n' Roll. Fortune was a Detroit original, started in late 1946, it paved the way for future greatness. Well dig on some of their early releases, before jumping into their biggest star, Andre Williams. Originally from Alabama, Williams packed each single with grit, soul and a touch of weirdness that makes nearly all of his releases remain fresh-sounding today. Williams scored a national top 10 R&B record in 1956-57 with Bacon Fat. It was so big, that Fortune Records licensed it to Epic Records for national distribution. A portion of this weeks program is also dedicated to Nolan Strong & The Diablos, one of the smoothest and soulful of the 50s doo wop vocal groups. Even though The Diablos never had a national hit, they are remembered today for Nolan Strongs beautiful tenor and their original rendition of The Wind from 1954. So get ready to move and groove as the Juke In The Back jumps with Andre Williams, The Diablos and some of Fortune Records greatest 78 RPM sides.
The Clovers, Pt. 3 - 1956-58The Clovers were the most successful rhythm & blues vocal group from 1951 to 1955, racking up 16 top 10 R&B singles during that time-frame. Three of those singles went to #1. Though they didn't have a huge career defining hit, like The Dominoes did with "Sixty Minute Man," The Clovers claim to fame was consistency. You always knew what you were going to get with a Clovers record. Most of their songs were mid-tempo with tight, limited instrumentation, beautifully blended harmonies and catchy, memorable lyrics. This week, "Juke In The Back" presents part 3 of a 3 part feature on this ground-breaking pre-rock n' roll group. In part 3, we'll cover EVERY Clovers' release (both A and B sides) from early 1956 to the middle of 1958. 1956 was the group's last year as hit-makers. They scored two R&B top ten hits with "Hey Doll Baby" and "Love, Love, Love" (which also hit the pop charts) and then they didn't score another hit until their final hit, "Love Potion #9" in mid-1959. But during this dry spell, The Clovers managed to release some memorable, quality records, such as the Chuck Willis penned, "From The Bottom Of My Heart," the jivin', "Down In The Alley" and the catchy, "The Gossip Wheel." Also, during this time, the group left Atlantic Records and jumped to their manager's Poplar label before ending up on United Artists in 1959. It's the final chapter of my 3 part special on the amazing Clovers, this week on the "Juke In The Back."
The Clovers, Pt. 2 - 1953-56The Clovers were the most successful rhythm & blues vocal group from 1951 to 1955, racking up 16 top 10 R&B singles during that time-frame. Three of those singles went to #1. Though they didn't have a huge career defining hit, like The Dominoes did with "Sixty Minute Man," The Clovers claim to fame was consistency. You always knew what you were going to get with a Clovers record. Most of their songs were mid-tempo with tight, limited instrumentation, beautifully blended harmonies and catchy, memorable lyrics. This week, "Juke In The Back" presents part 2 of a 3 part feature on this ground-breaking pre-rock n' roll group. In part 2, we'll cover EVERY Clovers' release (both A and B sides) from mid-1953 to the beginning of 1956. During this time, lead vocalist Buddy Bailey was drafted, so Charlie White, formally of the Dominoes and The Checkers was brought in to sing on "Good Lovin'," which hit #2 on the R&B charts as well as the classic "Lovey Dovey." When things didn't work out with White, the group hired Billy Mitchell, who lends his versatile voice to "Your Cash Ain't Nothin' But Trash" and "In The Morning Time," until Buddy Bailey was discharged and could return to lead the group. It's part 2 of 3 on the amazing Clovers, this week on the "Juke In The Back."
The Clovers, Pt. 1 - 1950-53The Clovers were the most successful rhythm & blues vocal group from 1951 to 1955, racking up 16 top 10 R&B singles during that time-frame. There of those singles went to #1. Though they didn't have a huge career defining hit, like The Dominoes did with "Sixty Minute Man," The Clovers claim to fame was consistency. You always knew what you were going to get with a Clovers record. Most of their songs were mid-tempo with tight, limited instrumentation, beautifully blended harmonies and catchy, memorable lyrics. Atlantic co-founder Ahmet Ertegun oversaw their quality control, writing every one of their #1 records. This week, "Juke In The Back" begins a 3 show feature on this ground-breaking pre-rock n' roll group. In part 1, we'll cover EVERY Clovers' release (both A and B sides) from their debut on Rainbow Records in 1950 to their mid-1953 Atlantic releases. In-between, you'll find almost #1s, "One Mint Julep" and "Crawlin'" as well as their monster hits, "Don't You Know I love You So," "Fool, Fool, Fool" and "Ting-A-Ling." We even get the inside scoop on how the Clovers were signed to Atlantic from an interview Matt The Cat conducted with the late Ahmet Ertegun several years ago. It's part 1 of 3 on the amazing Clovers, this week on the "Juke In The Back."
DooTone RecordsMatt The Cat takes a look at another Black-owned, independent, LA-based record label that contributed greatly to the birth of Rock n' Roll and the popularity of R&B Vocal Groups during the 1950s. This week, the "Juke In The Back" puts Dootsie Williams' little label, DooTone Records into the spotlight for a solid hour of stunning Rhythm & Blues from the '40s and '50s. We'll dig on Dootsie's first label Blue Records, which was born out of the Musicians Union Strike of '48. Dootsie, a big band trumpeter had been in the business since 1930 and saw there was a profit to be made of lewd party records as well as Blues and R&B. He expanded his enterprise in 1951 by starting DooTone Records and began releasing records from LA's emerging vocal group scene. The Medallions, Don Julian & The Meadowlarks and DooTone's only huge national hit, The Penguins' "Earth Angel" were issued by the end of 1954. He continued into '55 and '56 with The Dootones, The Pipes, The Cuff-Links, The Calvanes and a slew of great Los Angeles R&B, before deciding that the independent record business wasn't going to get any better. This week, we take a snap-shot of a regional sound being discovered by a nation who's musical tastes were changing as young people were buying records and Rock n' Roll was emerging. It's a piece of history that sounds best when played on the "Juke In The Back."
The Lutchers: Nellie & JoeThe "Juke In The Back" is proud to feature The Lutchers, a brother and sister who's separate works helped define early Rhythm & Blues. Older sister, Nellie Lutcher, the piano playing vocalist, scored more hits and made much more of a national impact than her younger brother Joe. Her style combined blues, jazz, R&B, pop and small elements of what would become Vocalese. She hit the big time in 1947 after more than a decade of working the clubs of Los Angeles. Her firs 2 singles, "Hurry On Down" and "He's A Real Gone Guy" both went to #2 nationally for Capitol Records. She'd score another #2 with the self-penned "Fine Brown Frame" less than a year later. Her younger brother, the saxophonist Joe Lutcher, made a name for himself fronting many combos at some of LA's most prestigious clubs. He hit the national charts in 1948 with the instrumental, "Shuffle Woogie" for Capitol. Then he jumped over to Specialty Records for catchy "Rockin' Boogie" and then to Modern Records for the now classic "Mardi Gras." They never recorded together, but separately their careers would set the stage for the mainstreaming of Rhythm & Blues Music into Rock n' Roll. Matt The Cat gives both of these great artists the exposure they so rightly deserve and so decisively earned, on this week's "Juke In The Back."
Huey "Piano" Smith1934-2023Unfortunately, Huey Smith is another "hard luck" story of R&B and early Rock n' Roll. He was a talented boogie woogie pianist and as a session player, he contributed to some great New Orleans gems by Earl King, Smiley Lewis, Little Richard and Guitar Slim. As a solo artist, he wrote and recorded some of the most memorable R&B and early Rock n' Roll, but didn't receive all the credit and royalties he deserved. This week, Matt The Cat pays respects to the late, great Huey "Piano" Smith, who passed away on February 13, 2023 at the age of 89. We dig deep to feature the iconic records that Smith played on as well as his early work with Huey Smith and the Rhythm Aces and his legendary records with The Clowns. He had 2 national hits with "Rockin' Pneumonia & The Boogie Woogie Flu (1957) and "Don't You Just Know It" (1958). His greatest contribution may have been "Sea Cruise," a song he wrote and originally recorded with Gerri Hall, but Johnny Vincent, owner of Ace Records issued it with a new vocal recorded by white teen idol, Frankie Ford. Huey Smith persevered through much discrimination in the music industry and this week, we celebrate all he achieved on a very special edition of the "Juke In The Back."
Camille Howard"Boogie Woogie Chanteuse"The pre-Rock n' Roll era is full of unsung performers who's style directly impacted those who came after. This week's "Juke In The Back" spotlight on Camille Howard is one such example. Her boogie woogie piano style was inventive, fluid and pure joy. It left a lasting impression on Ike Turner, Fats Domino and Professor Longhair. As heard on last week's program, Howard rose to fame as the pianist for Roy Milton & His Solid Senders in the mid-1940s. Their breakthrough smash, "R.M. Blues" featured her fantastic piano style and the public took notice. Soon, Art Rupe of Specialty Records had her releasing solo records under The Camille Howard Trio while she remained with Roy Milton. Matt The Cat will dig into Howard's best work with The Solid Senders as well as her solo material up through 1956, when she left music for good. Camille Howard, along with Hadda Brooks must be remembered as pioneering instrumentalists in the developing field of Rhythm & Blues, which of course led to the birth of Rock n' Roll. Camille Howard's star shines on this week's "Juke In The Back."
Roy MiltonThe "Juke In The Back" is proud to shine the spotlight on one of the granddads of Rock n' Roll, Roy Milton. His group, The Solid Senders, was composed of top-notch musicians, including Camille Howard, who was one of the greatest boogie woogie pianists of all-time. Milton, a drummer, songwriter, singer and bandleader who was part Native American and part African American. He was the first artist signed to Art Rupe's Juke Box Records in 1945 and after scoring an enormous hit in 1946 with "R.M. Blues," made the transition over to Rupe's next label, the trend-setting Specialty Records. Between Rupe's two labels, Milton started his own Miltone Records in order to showcase his recordings and those of his contemporaries. He was one of Specialty's biggest acts, remaining with the label until 1955 and scoring 17 charting singles along the way. Matt The Cat is going to make sure Roy Milton gets the respect he deserves on this week's "Juke In The Back."
Billy Wright "Prince Of The Blues"He was flamboyant, over-the-top and often called the "Prince of the Blues," but Billy Wright was also an incredible, influential vocalist and an integral part in propelling Rhythm & Blues into the mainstream. Though he wouldn't be able to transition to Rock n' Roll, the new music he was helping to create, his influence shined bright in that of Little Richard, both in singing style and on-stage persona. Born and raised in Atlanta, Wright remained in that city until the day he died. He got his start dancing and singing as part of the Bailey's 81 Theater stage show and later, their traveling troupe which played summer tent shows across the South and Midwest. After cutting out on his own, he was the opening act one night for Charles Brown, Wynonie Harris and Paul "Hucklebuck" Williams. Williams was so impressed with Wright, that he helped him get signed to Savoy Records. Billy Wright scored 4 hits for Savoy from late 1949 to early 1952 and even though he stopped recording after '59, Wright never stopped performing. This week, Matt The Cat, digs up the true story of one of music's first openly gay artists who helped pave the way for the energy, flamboyance and glitter that soon become commonplace in Rock n' Roll. Billy Wright is the feature on this week's "Juke In The Back."
The TreniersThere were so many influential Rhythm & Blues artists who had a great impact on the development of Rock n' Roll, but were never able to profit from the new genre they helped to create. The Treniers were just one such group. Their core were the twins Cliff and Claude Trenier, who were later joined by their younger brothers Milt and Buddy. Their sound formed a great bridge from the swing bands of the 1940s to the rock n' roll jump combos of the early '50s. Matt The Cat digs up Claude Trenier's first records as a vocalist for The Jimmie Lunceford Orchestra as well as some early singles for the legendary Charles Mingus. We'll dig into The Trenier Twins' early sides for Mercury Records and then rock, roll and swing to their hep sides for the Okeh label. The Treniers only scored one national R&B hit, but they left their mark on the new music they helped to create and popularize; Rock n' Roll. The Treniers' story lights up this week's "Juke In The Back" with Matt The Cat.
Hadda BrooksHadda Brooks is one of the most talented boogie woogie musicians of all-time, yet her name doesn't come up nearly as often as Pete Johnson, Champion Jack Dupree or Professor Longhair. That's a shame! This week, the "Juke In The Back" sets the record straight with a heavy dose of the "Queen Of The Boogie." All three of her R&B hits will be played as well as some of her tunes with Pete Johnson and Smokey Hogg. So grab a nickel, a glass of bourbon and your dancin' shoes, as the "Juke In The Back" spotlights Hadda Brooks.
Smiley LewisThere are so many forgotten legends along Rhythm & Blues' evolutionary highway. This week, the "Juke In The Back" looks at the great Smiley Lewis, another influential force out of New Orleans that time has chosen to forget. Lewis was born Overton Lemons, but took the name "Lewis" along with the nickname "Smiley" which poked fun at his missing teeth. He played the New Orleans clubs and cut his first single for DeLuxe Records in 1947. After it failed to go anywhere, Lewis was fortunate enough to fall into admiration of bandleader and Imperial Records talent scout, Dave Bartholomew. After signing to Imperial in 1950, it would be 2 years before Lewis would have his first national hit with "The Bells Are Ringing." He'd fail to chart again for another 3 years even though his recordings were jumpin', catchy and selling well in New Orleans and the South. 1955 saw his biggest success with the #2 R&B smash, "I Hear You Knockin'." He'd have 2 more R&B hits before his star faded by 1957. Lewis recorded many Bartholomew compositions, such as the original "Blue Monday" and "One Night," but Fats Domino (another of Bartholomew's discoveries) and Elvis would have hits with those songs respectively. Bartholomew once called Smiley Lewis a "hard luck singer," due to the fact that didn't have an extended career, even though he laid down some of the greatest tunes of the 1950s. Matt The Cat spins those 78s on this week on the "Juke In The Back."
Swing Time RecordsIn the fall of 1949, Down Beat Records owner Jack Lauderdale had a problem. DownBeat Magazine was threatening to sue him over the use of the name. Unsure of a new name, Lauderdale decide to use Swing as a placeholder along with Swing Beat Records before finally settling on Swing Time Records in March of 1950. Besides the name, not much changed at the company. Lauderdale continued to release material he had bought up from labels going out of business, such as Supreme Records, Exclusive, Excelsior and Gilt-Edge, while also scoring hits with Lowell Fulson, Ray Charles and his newcomer A&R man, Lloyd Glenn. Fulson and Glenn scored #1 records for Swing Time in 1950 and '51, respectively, but without fostering new talent, Lauderdale's sales were flat and Swing Time went out of business in 1954. This week, Matt The Cat tells the story of Swing Time Records, a label that may have only lasted for a short time, but is still talked about today. So grab some nickels and prepare to drop a stack of shellac on the Swing Time Label on this week's "Juke In The Back."Transcript
1953 Jukebox Rhythm Review, Pt. 2This week, the jukebox is in the spotlight as Matt The Cat takes you back 70 years and highlights the top jukebox hits of the second half of 1953. Youll hear a lot more than just the big #1 R&B hits this week as we dig deep into the jukebox lists to feature seldom heard tunes by The Clovers, Eddie Boyd and The Coronets. The juke will also be jumpin' with top tunes from Faye Adams, Johnny Ace and Big Joe Turner. These are the top requested records that were spinning on the jukebox in the back of the establishment. Its part 2 of 2 on the 1953 Rhythm Review on the Juke In The Back.
1953 Jukebox Rhythm Review, Pt. 1This week, the jukebox is in the spotlight as Matt The Cat takes you back 70 years and highlights the top jukebox hits of the first half of 1953. Youll hear a lot more than just the big #1 R&B hits this week as we dig deep into the jukebox lists to feature seldom heard tunes by Johnny Moore's Three Blazers, The Emitt Slay Trio and King Pleasure. The juke will also be jumpin' with top tunes from The "5" Royales, Ruth Brown and Fats Domino. These are the top requested records that were spinning on the jukebox in the back of the establishment. Its part 1 of 2 on the 1953 Rhythm Review on the Juke In The Back.
Charles Brown: 1949-52Charles Brown was the "King of Smoky Blues" for over 50 years. Growing up in Texas City, TX, he studied classical piano while focusing his interests on science, becoming a chemistry teacher for a short time. A move to Los Angeles in 1943, hooked him up with Johnny Moore, who hired him to sing and play piano with The Three Blazers. Right out of the gate, they scored a huge, #2 R&B record in 1946 with "Driftin' Blues" and would go on to hit the top ten no less than 10 times over the next 2 years. This week's "Juke In The Back" focuses on Charles Brown's career after he left Johnny Moore's Three Blazers in 1948. As a solo artist, Brown kept the hits coming, racking up 5 top 10 records in 1949 alone. He scored 2 #1s with "Trouble Blues" in '49 and "Black Night" in '51, 2 of the best selling records in their respective years of release. Brown's star began to fade as Rock n' Roll entered the mainstream during the mid-'50s, but he would have a giant comeback in the 1980s and '90s, finally getting inducted into the Rock n' Roll Hall Of Fame in '99. Matt The Cat examines his hit-making years of 1949-52 on this week's "Juke In The Back."
Johnny Moore's Three BlazersThis week's "Juke In The Back" is dedicated to one of the true unsung heroes of 1940s and '50s rhythm & blues, Johnny Moore's Three Blazers. The group is mostly remembered as the springboard for vocalist/pianist Charles Brown and today they are generally only recognized for their 1946 smash, "Driftin' Blues." However, back in the late 1940s, The Three Blazers scored R&B hit after hit. Between Johnny Moore's influential guitar licks and Charles Brown's tasty piano, The Three Blazers were at the top of their genre. However, their sound fell out of favor as soon as the blues shouters and jump blues combos took over, setting the stage for the coming rock n' roll explosion. Their first records were made for the tiny Atlas label in 1944 and featured an uncredited Frankie Laine on vocals. They then backed up Ivory Joe Hunter in 1945, before Johnny Moore's Three Blazers hit the bigtime in 1946. Matt The Cat will cover Johnny Moore's years with Charles Brown as well as those following Brown's departure. This week's "Juke In The Back" is the definitive look at Johnny Moore's Three Blazers, vintage R&B icons.
Rhythm & Blues Christmas, Pt. 2 - (Leftovers & New Year's Resolutions)Matt The Cat has dug up some more R&B Christmas treasures and added a few tunes about New Years for this weeks continuation of the Juke In The Back R&B Christmas Spectacular. The holiday juke is jumpin with cool tunes by Big John Greer, Champion Jack Dupree, Lowell Fulson, The Moonglows, Marvin & Johnny and many more. The range of topics is wide, from dancing Santas to lonely Christmases to making up with your baby on New Years Eve. Miss Rosie stops by with her New Year's resolution. So get hungry for some Christmas leftovers and plan to end 2022 on a high note with Matt The Cat on the Juke In The Back.
Rhythm & Blues Christmas, Pt. 1It's the Holiday Season, so why not grab a glass of 'nog, sit back and relax and dig on some great vintage Rhythm & Blues Christmas tunes. This entire Juke In The Back is loaded with fantabulous Christmas records from the late 1940s and 1950s. Its the yuletide soul that came before rock n roll. From the all-time classics by Clyde McPhatter & The Drifters and The Orioles to some rarer Christmas plattahs from Amos Milburn, JB Summers and The Five Keys. So get all lit up like a Christmas Tree and groove to the Cool Yule with Matt The Cat.
Down Beat RecordsThis week, "Juke In The Back" focuses on Down Beat Records, another of the early, small, independent R&B record labels. Afro-American businessman Jack Lauderdale founded the label in Los Angeles in 1947, after working the market as a small distributer. He built a roster of artists along with aquiring the rights to masters from other little labels that were going out of business. He could cut costs by reissuing those sides with better distribution than the original labels had. Right off the bat, he had jazz tenor great, Lucky Thompson and a very promising young bluesman, Lowell Fulson. Soon, Jay McShann's group would be Down Beat's house band and McShann would bring his current vocalist, Jimmy Witherspoon with him. Throw in a few seldom heard bluesmen; Felix Gross and Sylvester Mike and the legendary team of Joe Turner and Pete Johnson and you've got the building blocks for a spectacular R&B record label. Lauderdale was fortunate enough to discover and record a young Ray Charles and his group, The Maxim Trio. Their, "Confession Blues" hit #2 in the spring of 1949, giving Down Beat a tremendous hit record. In October, Lauderdale was forced to rename the label after DownBeat, the popular jazz magazine, threatened a lawsuit. In a future "Juke In The Back," Matt The Cat will explore Lauderdale's Swing Beat and Swing Time record labels, but this week we focus on where it all began with Down Beat Records.
B. B. King
The "Juke In The Back" pays its respects to a true musical icon, B.B. King. Riley B. King was raised on plantations as his mother was a sharecropper. He wanted to play guitar and sing on the radio like his mother's cousin, Bukka White. He moved from Mississippi to Memphis in the mid-'40s to pursue his dream and finally in 1948, Riley got his big break, filling in for blues harpist Sonny Boy Williamson on his radio program. Soon, Riley became the "Beale Street Blues Boy" and later just "Blues Boy" or "B.B" and scored his own radio show on WDIA. Matt The Cat focuses on B.B.'s first records for Nashville's Bullet Records and LA's RPM label. His early sides were cut in Memphis with Sam Phillips at the controls. After a few years of non-charting records, B.B. hit the big time with a smokin' #1 R&B hit, "Three O'Clock Blues" at the beginning of 1952. From there, he would score 3 more #1s. "Juke In The Back" features all of B.B. King's great R&B hits from 1949-1955. Many of these you never get to hear these days. B.B. had a life of accomplishments as a great ambassador for the blues. We know how great he became and on this week's program, we'll see just where he started from.
Pookie Hudson (The Spaniels)
Pookie Hudson spent his entire life close to the music he loved. Growing up in Gary, Indiana, he spent his younger days trying to emulate the sound of BIlly Williams, the leader of the Charioteers. In high school, he began to develop his own style using his falsetto with just a touch of quiver to drive the girls crazy. Soon, he and his new group, The Spaniels were in the studio cutting a record for the newly formed Gary-based Vee-Jay label, owned by DJ Vivian Carter and her soon-to-be husband Jimmy Bracken. "Baby It's You," heavily based on Shirley & Lee's "I'm Gone" started getting local radio play and began to take off nationally. Vee-Jay couldn't handle the early distribution, so they leased it out to Chance Records in Chicago. When Chance folded soon after, Vee-Jay managed to get the single to #10 R&B nationally. Quite a success for a young label and group from Indiana. Unlike many vocal groups of this era, The Spaniels were able to match their vocal greatness with chart success and sales. "Goodnite, Sweetheart, Goodnite," "You Painted Pictures" and "Everyone's Laughing" would grace the charts between 1953-58. Matt The Cat had the pleasure of interviewing the great Pookie Hudson in July, 2006, just six month before his death at the age of 72. On this week's special "Juke In The Back," Matt features clips from that interview to shed some light on the man, the group and the circumstances that made those songs so memorable.
Cab Calloway
If you're "hep to the jive" and can "dig the scene," then you're in for a treat on this week's "Juke In The Back." Matt The Cat presents Cab Calloway: the "Father of R&B," the "Grandfather of Rock n' Roll" and the "Hi De Ho Man." There is no question that Cab Calloway planted the seeds that would grow into Rhythm & Blues on his 1931 Brunswick single "Minnie The Moocher." That song would go on to have a life of its own, inspiring sequels and re-recorded versions for the rest of Calloway's career. The tune would be revived yet again in 1980, when it and Cab Calloway were featured in the "Blues Brothers" film. Cab accomplished so much in his career, from breaking down the color barrier in motion pictures to introducing the world to scat singing and jive talking. He had a musical language and style all his own and we celebrate the great, influential Cab Calloway on this week's "Juke In The Back."
Big Maybelle
The "Juke In The Back" highlights the often ignored early career of Big Maybelle, one of the great female blues shouters. She was born Mabel Louise Smith in 1929 and cut her first record with Christine Chatman's Orchestra for Decca in 1944. Mabel Smith made her first solo recordings for King in 1947 before being signed to Okeh Records by Fred Mendelsohn in 1952. He renamed her Big Maybelle and she hit the R&B charts right out of the gate with her first Okeh release, "Gabbin' Blues." Maybelle would score a few more hits for them before following Mendelsohn over to Savoy Records in 1956. That year, she hit the national spotlight with her interpretation of the standard, "Candy." Matt The Cat reviews the vocal power and soul of this truly original blueswoman, Big Maybelle, on this week's "Juke In The Back."
Richard Barrett (The Valentines)
This week, the "Juke In The Back" honors one of the silent architects of Rock n' Roll, Richard Barrett. On the surface, he's known today to fans of vocal group music as the lead singer and chief songwriter for The Valentines. They had a string of solid singles on George Goldner's Rama Records from 1955-57, but due to Rama's lack of promotion for the group, they never scored a national hit. When you dig a little deeper, you find that Barrett played a pivotal role in getting Frankie Lymon & The Teenagers, The Chantels and Little Anthony & the Imperials signed to Goldner's Gee and End Records, respectively. Barrett worked with the groups, including The Cleftones, to perfect their sound and produced many of their hit records. He was a immensely talented, driven man, who accomplished a lot more than he ever gets credit for. Matt The Cat fills the ol' Rockola "Juke In The Back" with Valentines records and sheds some light on the influence that Richard Barrett had on Rhythm & Blues and early Rock n' Roll.
Wynonie Harris, Pt. 2 - 1948-54
It's part 2 of our 2 part series on Wynonie "Mr. Blues" Harris, one of the greatest blues shouters of all time. This week, Matt The Cat focuses on Harris' hit-making years of 1948-1952, when he ruled the rhythm & blues charts. "Grandma Plays The Numbers," "All She Wants To Do Is Rock," "Bloodshot Eyes," "Lovin' Machine" and many more Wynonie Harris classics spun in high numbers on the jukeboxes, so drop a nickel in the "Juke In The Back," cause "Mr. Blues" is gonna ROCK!
Wynonie Harris, Pt. 1 - 1944-48
The "Juke In The Back" is overflowin' with records by one of R&B's greatest blues shouters and entertainers: Wynonie "Mr. Blues" Harris. Part 1 of this 2 part series focuses on Wynonie's early recordings from 1944-1948. Matt The Cat digs deep in his "juke" archives to pull out many of Harris' early records that often get ignored. We'll dig on Harris' first 2 singles with the Lucky Millinder Orchestra and cover his releases with Philo, Apollo, Aladdin and King. Three versions of the early rock n' roll anthem, "Good Rockin' Tonight" will also be examined. So get ready to shout "Hoy! Hoy!" as Mr. Blues is coming to town on this week's "Juke In The Back" with Matt The Cat.
Elvis' Rhythm & Blues Influences
45 years ago this week, we lost the "King Of Rock n' Roll. Much has been written about Elvis enormous impact and popularity over the years, but its almost impossible to overstate the cultural shift that took place as he rose to fame in 1956. Elvis was a musical sponge. He absorbed all the music that moved him and those around him, from Country and Hillbilly to Gospel, Pop, R&B and Blues. This weeks Juke In The Back focuses solely on the rhythm & blues that motivated Elvis early career. During the end of his first session with Sam Phillips, Elvis cut into an inspired rendition of a semi-forgotten Arthur Crudup gem and rock n roll was literally born. From the New Orleans R&B of Smiley Lewis, to the jump blues of Wynonie Harris, Elvis dug it all and made each song uniquely his own. He wasnt copying his R&B idols, he was merely using their material as a springboard for his own blend of the White and the Black. Sam Phillips was right when he said that it would take a White cat with an African-American feel to propel this exciting R&B music into the mainstream and lucky for us, he found that in Elvis Presley. Matt The Cat presents many surprises in this weeks Juke In The Back, dedicated to Elvis strongest musical influence: Rhythm & Blues.
Jimmy Preston
Jimmy Preston made a major contribution to early Rock n' Roll by ushering in the era of the screamin' sax. "Messin' With Preston," "Hucklebuck Daddy," "Hay Ride" and his other early sides for Gotham Records were highly influential in the new genre of Rhythm & Blues, but it's his original version of "Rock The Joint" that he will always be remembered for. "Rock The Joint" from 1949 is a definite contender for the first Rock n' Roll song, but since you can't pin an entire musical movement down to just one tune, let's just say that it was one of the first. It jumps, it wails, it swings and tells the story of how this music is really going to make them rock the joint. It was immediately covered by Chris Powell & The Five Blue Flames for Columbia, then Jimmy Cavallo, but most importantly, Bill Haley laid down a ground-breaking rockabilly version of "Rock The Joint" in 1952. So even though Jimmy Preston is mostly remembered for one major contribution, Matt The Cat has dug up many more noteworthy jump tunes to open your ears and tap your toe to. This week's "Juke In The Back" is jumpin' with some pristine shellac from the great and highly unappreciated Jimmy Preston. DIG!
Early Billy Stewart & R&B Jail Songs
Many 1960s soul legends had their start in 1950s R&B and this week, the "JukeIn The Back" takes a listen to Billy Stewart's early records for the Chess and Okeh labels. You can really hear Stewart's distinctive singing style develop on his early recordings with Bo Diddley's band providing the musical backing and the DC vocal group The Marquees (Marvin Gaye was a member) singing behind him. We'll also spend a few days in jail as Matt The Cat spins a few "prison song" 78s. There are other surprises as well, so don't miss this week's "Juke In The Back."
Little Esther
Esther Mae Jones is one of the First Ladies of R&B, yet her 1950s output under the name Little Esther is sadly overlooked. Little Esther was discovered by bandleader Johnny Otis in 1949, when she was only 14 years old. Otis immediately added her to his musical ensemble. He had scored a few hits before, but nothing could have prepared Otis for his HUGE 1950 breakthrough record, "Double Crossing Blues," featuring Little Esther and The Robins. Otis and his group dominated the R&B lists in 1950, scoring three #1 hit records and six R&B top tens, all featuring Little Esther. This week, Matt The Cat examines Little Esther's records with Otis as well as her duets with The Dominoes, Bobby Nunn, Little Willie Littlefield and her many solo sides for the Federal and Savoy labels. Esther Jones would gain much recognition as Esther Phillips in the 1960s and '70s, but as a teen in the 1950s, Little Esther laid the groundwork for musical genius. The spotlight shines bright on Little Esther, this week on the "Juke In The Back." This is the "soul that came BEFORE rock n' roll."
4th of July: R&B Food Songs
Whats more American than celebrating Americas birthday with some good ol red, white and Rhythm & Blues about THE Fourth of July staple: food? Dig in on an hour of classic R&B about hot dogs, cole slaw, potato salad, ribs and ice cream sung by Nat "King" Cole, Amos Milburn, Louis Jordan, the "5" Royales and many more. It's the American soul that came before rock n roll on the Juke In The Back.
Leiber & Stollers Spark Records
The "Juke In The Back" is proud to present one of the premiere, short-lived R&B record labels of the 1950s. Started by songwriters Jerry Leiber & Mike Stoller after they were stiffed on royalty payments for Big Mama Thornton's "Hound Dog," Spark records only lasted for a year and a half. In that time they wrote and produced some of early rock's most defining songs like "Riot In Cell Block #9" and "Smokey Joe's Cafe" for The Robins, "Love Me" for Willie & Ruth (Elvis Presley would go on to cut it), "One Bad Stud" for San Francisco's The Honey Bears and many more. Spark was cut short in 1955, when Atlantic Records offered Leiber & Stoller an offer they couldn't refuse. Catch the Spark Records story this week on the "Juke In The Back" with Matt The Cat.
Howlin' Wolf: The Early Years
This week, the "Juke In The Back" focuses on the great Howlin' Wolf's earliest recordings. Before he became a huge star on Chess Records in Chicago, Wolf was a local celebrity in Memphis, recording with Sam Phillips (before Phillips started Sun Records). Matt The Cat spins Wolf's demo acetates and his 1951 recordings, some of which Phillips sold to RPM Records in LA and others he sold to Chess in Chicago. Howlin' Wolf was a mammoth man in both voice and stature and you'll hear how it all began on the "Juke In The Back."
Mambo / Vita Records
The Juke In The Back is jumpin' this week with records from the Vita Label and its direct predecessor, Mambo Records. In 1955, record producer Mike Gradney got together with Larry Mead, who owned a record pressing plant in Pasadena, CA to form Mambo Records. They picked that name, because the Mambo was all the rage in '55. Mambo hit the ground running with a roster of fantastic R&B cats, like Willie Egan (who's name always appeared on record as either Eggins or Egans), saxophonist Jackie Kelso and vocal groups the Squires and The Colts. Just as Mambo issued The Colts, "Adorable," they decided that disc jockeys might get confused and think Mambo Records was a Latin label instead of an R&B label. They changed Mambo to Vita and reissued "Adorable" as Vita 112. "Adorable" was Vita's first hit record and The Colts only hit record. More Vita releases from The Colts, The Squires, Harmonic Slim, Ike Turner and The Titans followed. In late 1956, Vita had a huge hit on their hands when "Confidential" by Sonny Knight took off nationally. Vita couldn't handle the distribution of such a large seller, so they leased the record out to Dot Records. The tide started turning for Vita in 1957 and Gradney left Mead to form his own label, Spry Records. Unfortunately, he took some of Vita's best artists with him and by 1959, Mead decided to shut Vita down for good. This week's Juke In The Back is a look into the musical legacy of Vita Records, another small West Coast label that made a significant contribute to Rhythm & Blues and the formation of Rock n' Roll.
Art Rupe & Specialty Records, Pt. 2 - 1950-53
This week, the "Juke In The Back" pays our respects to one of the great record men of the 1940s and 50s; Art Rupe. Rupe passed away on April 15, 2022 at the age of 104! He started Juke Box Records in 1945, which would become Specialty Records in '47 and go on to become one of the most important independent labels of Rhythm & Blues and early Rock n' Roll. On part 2 of 3, Matt The Cat digs up some gems from Specialty's golden period of 1950-53 from Roy Milton & His Solid Senders, Lloyd Price, Jesse & Marvin, Percy Mayfield and gospel group, The Swan Silvertones. Matt digs into the Juke archives for a Lloyd Price interview so Lloyd can tell us how he first met Specialty owner Art Rupe and how "Lawdy Miss Clawdy" came to be recorded. This series on Art Rupe and Specialty Records wraps up next week, so dig it while the diggin's good.
Jack McVea
Jack McVea is an integral part of the Los Angeles Rhythm & Blues scene of the 1940s. He came up playing banjo in his father's band, before touring the country on baritone saxophone with Lionel Hampton's Band. After leaving Hamp in late 1943, McVea spearheaded the idea that the big bands were on their way out and formed his first R&B combo. Soon, the big bands would disappear and the combos would rule the stage and McVea was ahead of the curve. He's best remembered today as the originator of the recorded version of the "Open The Door, Richard!" routine, scoring a #2 R&B and #3 pop hit with the tune in 1947, setting off a "Richard" craze. There is so much more to McVea's contribution to Rhythm & Blues beyond, "Richard" and Matt The Cat will showcase his great 1940s sides for the Black & White label as well as his early '50s discs with Jake Porter's Combo Records. So open the door to the Juke In The Back and dig the "soul that came before rock n' roll."
R&B of Decca Records
In the 1940s and '50s, the major record labels didn't lead the way when it came to releasing Rhythm & Blues, Blues and Rock n' Roll, but they all did participate in what was known unfortunately as "Race Music" back then. Columbia, Victor and Decca all had major black artists on their roster, but it was the independent labels that broke the new music and usually had the most influential releases. This week, Matt The Cat spotlights the fantastic R&B that was coming out of Decca Records in the late '40s and early '50s. As you'll hear, many major stars of the day, made a stop at Decca before moving on. When Dave Bartholomew was on hiatus from Imperial, he made a few records for Decca as did Little Esther, Margie Day, Billy Ward & The Dominoes and Cecil Gant. Decca would soon help usher in a new musical era with the release of "Rock Around The Clock," but before that would happen, they were knee-deep in rhythm & blues. Dig on the R&B of Decca Records on this week's "Juke In The Back."
New Orleans R&B, Pt. 1
Get ready for Carnival as the "Juke In The Back" begins a 3 part series on the great, influential and infectious music that came out of New Orleans, one of America's most fertile musical cities. In fact, the "Crescent City" is often cited as the birth place of Jazz, The Blues, R&B and Rock n' Roll. While New Orleans certainly had its share of influential talent, from Louis Armstrong and Paul Gayten to Fats Domino and Dr. John, it's hard to give one single region all the credit. The music that flowed from this fruitful ground is definitely something special and on part 1, Matt The Cat will look at New Orleans R&B from 1940 to 1953, highlighting records by Professor Longhair, Fats Domino, Dave Bartholomew, Lloyd Price and Shirley & Lee, just to name a few. Next week on part 2, we'll look at the years 1953-55 and then we'll wrap up the series with a look at 1955-57. So get ready for some real jumpin' musical jambalaya on your source for vintage Rhythm & Blues on the "Juke In The Back.