Juke In The Back: Recent Episodes
Matt The Cat
At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 75 years later, this vibrant and influential music is still so unknown to so many? Matt The Cat is going to change that with the radio program, “Juke In The Back.” These were the records that you couldn’t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to “Juke In The Back.”
Air Week: October 13-19, 2025
Atlantic Records, Pt. 13 – ATCO RecordsAtlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part thirteen, Matt The Cat focuses on Atlantic’s most successful subsidiary label, ATCO Records. When Atlantic co-founder, Herb Abramson returned from his military duty in 1955, he found a very different company that had continued to grow without him. His partner, Ahmet Ertegun suggested starting a subsidiary that would be fully managed by Abramson and so ATCO was born. ATCO originally focused more on vocal groups than its parent company had. The first national hit for the label was by The Sensations, a Philly group that featured Yvonne Mills on lead. The Royal Jokers, The Pearls, The Castelles and The Ray-O-Vacs also released singles on ATCO, but by far the biggest vocal group on the label was The Coasters. They came over in a big deal that Atlantic struck with songwriter/producers Jerry Leiber and Mike Stoller. Atlantic would buy Leiber/Stoller’s Spark records and take on the two of them as staff songwriters/producers. Some of their signed artists were also included in the deal and that’s what brought Carl Gardner and Bobby Nunn of the Robins over to Atlantic to form a new group called The Coasters. They scored ATCO’s first #1 record with “Searchin’.” So buckle in and prepare yourself for an in-depth look at the history of ATCO Records on this week’s “Juke In The Back.”
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Air Week: October 6-12, 2025
Atlantic Records, Pt. 12 – 1957Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part twelve, we wrap up the focus on the parent label, Atlantic by looking at its major releases from the end of 1956 through 1957. Chuck Willis scores the biggest hit of his career with his rendition of the traditional tune, “C. C. Rider,” a little over a year before his untimely death. LaVern Baker sails to the top of the chart as “Jim Dandy” crosses over into the Pop Chart, extending its mass appeal as Rock n’ Roll becomes mainstream Pop Music. Atlantic takes advantage of Rock’s mainstream appeal and begins to smooth out its rough R&B sound for a more poppy approach. Ray Charles continues to develop his sound, scoring more hits and even crossing over to Pop himself with his reinterpretation of Stephen Foster’s whimsical look at slavery. The Bobbettes, Drifters and Penguins add some fantastic vocal group records to round out part twelve. Next week, we’ll begin looking at Atlantic’s successful subsidiary labels. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: September 29-October 5, 2025
Atlantic Records, Pt. 11 – 1956Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part eleven, we’ll focus on 1956. It’s the first year that Rock n’ Roll was solidly placed in the mainstream of popular music. Atlantic began to soften and smooth out its rough R&B sound a bit during 1956 and onward, in order to appeal to the new Rock n’ Roll audience. Joe Turner scored his only pop hit with “Corrine Corrina,” which hit #41 Pop and #2 R&B and The Drifters continued to chart without Clyde McPhatter as “Ruby Baby” and “I Got To Get Myself A Woman” feature Johnny Moore handing the lead. Chuck Willis makes his Atlantic debut this year with “It’s Too Late,” while Ivory Joe Hunter scores his 4th and final #1 single as an Atlantic artist. His 3 previous chart-toppers were waxed for MGM and Pacific Records. Clyde McPhatter and Ray Charles also top the charts this year, while Ruth Brown has a very quiet 1956, chart-wise. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: September 22-28, 2025
Atlantic Records, Pt. 10 – 1955-56Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part ten, we’ll focus on the last half of 1955 and the beginning of 1956. Clyde McPhatter officially left the Drifters in July of ’55, but his first solo record, “Everyone’s Laughing,” was indeed a Drifters record from their last recording session together. McPhatter would have to wait until early 1956 to have his first solo hit with “Seven Days.” Ruth Brown continued to rack up the hits, including one with her then flame, McPhatter called “Love Has Joined Us Together.” During this time, Ray Charles scores another #1, giving him 3 #1 singles in just over a year. The Clovers, Joe Turner and LaVern Baker continue their hit-streaks, while Atlantic takes very few chances on new, unproven artists. They do groom The Cookies as backup singers to their stars as well as releasing singles on their own. “In Paradise” turns out to be a surprise hit of early 1956. They would soon embark on a new career singing backup for Ray Charles. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: September 15-21, 2025
Atlantic Records, Pt. 9 – 1955Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part nine, we’ll focus on 1955, one of the biggest years in Atlantic’s storied history. Ruth Brown, Joe Turner and LaVern Baker continue to score solid hits, but the real story of 1955 is Ray Charles. He has two #1 records this year with “I’ve Got A Woman,” heard at the end of last week’s program and “A Fool For You,” which topped the charts in early August. Brotha Ray was knocked out of the top spot by Chuck Berry’s “Maybellene.” We’ll also hear some important vocal group records from The Clovers, The Cardinals and The Regals. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: September 8-14, 2025
Atlantic Records, Pt. 8 – 1954, Pt. 2Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part eight, we take a look at the last half of 1954, one of the biggest years in Atlantic’s storied history. It was during the last six months of the year that Ruth Brown scored her 4th and 5th #1 records with “Oh What A Dream” and “Mambo Baby” respectively. “Mambo Baby” would end up being Brown’s final #1, though she would still rack up hit records over the next 5 years. LaVern Baker and Ray Charles released career defining records at the very end of 1954 that would make an even greater impact in 1955, just as Rock n’ Roll was beginning to enter the mainstream. We’ll also dig on a killer New Orleans instrumental from Tommy Ridgley and Ivory Joe Hunter’s first release for Atlantic. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: September 1-7, 2025
Atlantic Records, Pt. 7 – 1954, Pt. 1Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part seven, we take a look at the first half of 1954, one of the biggest years in Atlantic’s storied history. It was this year that Ray Charles scored his first hit for Atlantic with “It Should’ve Been Me.” It was his first hit after a 2 year dry spell. The Clovers and Clyde McPhatter & The Drifters continued to rack up best-sellers while The Diamonds, Professor Longhair and Hal Paige should’ve had hits this year. Big Joe Turner took a somewhat risque jump blues called “Shake, Rattle & Roll” and turned it into an early Rock n’ Roll anthem. At 43, Turner was the oldest Rock Idol. Next week, we’ll look at the second half of Atlantic’s great releases from 1954. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: August 25-31, 2025
Atlantic Records, Pt. 6 – 1953Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part six, the entire program is immersed in 1953. The Clovers and Ruth Brown continue to rack up the hits, while Joe Turner enjoys the biggest hit of his career with “Honey Hush.” Atlantic introduces two singers that had been around for a while: LaVern Baker and Clyde McPhatter. Baker had been making records since 1949 with Eddie Penigar, Maurice King and Todd Rhodes, under the names Little Miss Sharecropper and Bea Baker. McPhatter began recording with Billy Ward and the Dominoes in 1950 as their lead tenor and had already racked up several #1 records. Both singers became huge solo artists on Atlantic and their tenures began in ’53. As always, Matt The Cat has thrown in some records that you don’t hear much anymore from Carmen Taylor, Choker Campbell, The Diamonds and Tommy Ridgley. This program is highlighted by an excerpt from an interview Matt The Cat conducted with Atlantic’s co-founder Ahmet Ertegun, a few years before his death in 2006. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: August 18-24, 2025
Atlantic Records, Pt. 5 – 1952-53Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this 14 part, behemoth series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part five, we’ll pick up in late 1952 and hear Ray Charles’ first release for Atlantic, “The Midnight Hour.” It didn’t chart, but it marks a very important time for both the singer, who would soon find his voice and style and begin racking up hits, and the label, who bought his contract from SwingTime Records and invested in his development. The Clovers continue to score huge records as we make our way into 1953. Along with more hits from Ruth Brown, we’ll also dig up a few one-off singles that have been lost to history from The Tilters, Eunice Davis and guitarist Chuck Norris. This program is highlighted by an excerpt from an interview Matt The Cat conducted with Atlantic’s co-founder Ahmet Ertegun, a few years before his death in 2006. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: August 11-17, 2025
Atlantic Records, Pt. 4 – 1952Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part four, we’ll focus on 1952 and dig not only the hits Atlantic scored that year, but also on a few of the should-have-been-hits. The Clovers scored 2 more #1 records with “Fool, Fool, Fool,” their 2nd release and “Ting-A-Ling,” their 3rd and final career #1 record. Ruth Brown continued her hit streak as “5-10-15 Hours” topped the national charts and “Daddy Daddy” made it to #3. Big Joe Turner followed up “Chains Of Love,” his debut release for Atlantic with the massively successful “Chill Is On” and “Don’t You Cry.” We’ll also hear some gems from Odelle Turner and Lil Green that didn’t chart, but are equally as compelling as Atlantic’s hit material. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
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Air Week: September 23-29, 2024
King Records, Pt. 6 – 1952This week, it’s part 6 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 6, we take a look at King’s spectacular releases during 1952. The great Sonny Thompson has his final 2 career charting singles in ’52 and Bill Doggett begins his long stint with King, though he wouldn’t have a hit until ’56. Even though Todd Rhodes didn’t have a hit this year, he is all over this week’s “Juke” with a risque number, “Rocket 69” with Connie Allen on lead and “Trying” with LaVern Baker on lead. Rhodes also backs up Wynonie Harris on “Keep on Churnin'” and Moose Jackson on “Big Ten Inch Record.” We’ll also dig on 2 tunes that would become much bigger hits for other artists later; The Swallows’ version of “I Only Have Eyes For You” and Dave Bartholomew’s original “My Ding-A-Ling.” Matt The Cat’s got ’em all and he’s loading those blue label King Records into this week’s “Juke In The Back.”
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Air Week: September 16-22, 2024
King Records, Pt. 5 – 1951This week, it’s part 5 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 5, we take a look at King’s spectacular releases during 1951. Wynonie Harris scores his last 2 career charting records, while fellow blues shouter Tiny Bradshaw continued his hit streak. Earl Bostic scores a #1 record with “Flamingo,” a tune made popular ten years earlier by Duke Ellington. Bull Moose Jackson becomes Moose Jackson and Sonny Thompson starts scoring hits for King. In 1951, King Records continued selling millions of records and this week, Matt The Cat stocks the “Juke In The Back” with the best of them.
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Air Week: September 9-15, 2024
King Records, Pt. 4 – 1949-50This week, it’s part 4 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 4, we take a look at King’s spectacular releases at the end of 1949 through ’50. Bull Moose Jackson racks up another hit record with a big #2 charter, “Why Don’t You Haul Off And Love Me,” which originally hit #1 for hillbilly singer Wayne Raney. In early 1950, Ivory Joe Hunter had already moved on to MGM Records, but King continued to release singles by him and “I Quit My Pretty Mama” hit big for the label in the wake of his #1 for MGM, “I Almost Lost My Mind.” Wynonie Harris continued to rack up hits for King in 1950 and Sonny Thompson and Tiny Bradshaw both made their King Records debuts that year. Matt The Cat’s got the ol’ Rockola Juke full of those records, plus a few surprises, so get ready to groove on part 4 of King Records on this week’s “Juke In The Back.”
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Air Week: September 2-8, 2024
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.”
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Air Week: August 26-September 1, 2024
King Records, Pt. 2 – 1947-48This week, it’s part 2 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. 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. By 1947, King had fully established itself as a hillbilly label, so Nathan felt it was time to take on the R&B market and so he folded the Queen label into King and moved many of the R&B artist over to the parent label. King kicked off 1948 with a #1 smash with Bull Moose Jackson’s, “I Love You, Yes I Do.” Jackson would score a 2nd #1 later in the year with “i Can’t Go On With Out You.” Wynonie Harris also put up big numbers in 1948 with the chart-topper, “Good Rockin’ Tonight” and Ivory Joe Hunter scored several top 10 records for King that year. The King roster was full of veteran artists from jazzer Todd Rhodes to bluesman Lonnie Johnson, who’s version of “Tomorrow Night” also topped the charts for King. So get your hands on some nickels as we salute King Records with part 2: 1947-48.
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Air Week; August 19-25, 2024
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!
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Air Week: August 12-18, 2024
The Dominoes, Pt. 3 – 1954-57Billy 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. Last week in part 2, Ward put together an almost entirely new set of Dominoes as second tenor Charlie White, bass singer Bill Brown and lead tenor Clyde McPhatter all left the group due to Ward’s harsh policies and low wages. Ward was prepared as he had Jackie Wilson waiting in the wings. Wilson sang some stellar leads and returned the group to the charts with “You Can’t Keep A Good Man Down” and the #2 smash cover of “Rags To Riches” in ’53. It was short-lived as the group wouldn’t chart again until 1956 and by then, it was on the Pop Chart only with “St. Therese Of The Roses.” We’ll hear that one this week in part 3 as Matt The Cat looks at the final chapter of the Dominoes’ fantastic run. Billy Ward always wanted a pop group and he finally got his wish in 1956-57. The Dominoes were playing the notable venues of Las Vegas and Lake Tahoe, but in early 1957, Jackie Wilson was fired for getting into a fight with Billy Ward. He was replaced by the Larks former lead, Gene Mumford. It was his powerful singing and the new pop arrangements of “Star Dust and “Deep Purple” that took the Dominoes back to the charts, but their days were numbered. Part 3 will look at Billy Ward and His Dominoes releases for the Federal, King, Jubilee, Decca and Liberty record labels and cover the years 1954 to 1957, highlighting only the important releases from this period. Come along for the ride as we close up our 3 part feature on The Dominoes, this week on “Juke In The Back.”
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Air Week: August 5-11, 2024
The Dominoes, Pt. 2 – 1952-54Billy 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. Last week in part 1, The Dominoes scored 2 #1 smashes. “Sixty Minute Man” held the top spot for 14 weeks during the summer of ’51, while “Have Mercy Baby” topped the R&B Chart for 10 weeks over the summer of ’52. The fantabulous Clyde McPhatter’s high tenor was all over their early recordings along with Bill Brown’s bass tones. But by February of 1952, Brown and tenor Charlie White had left the group, due to being fed up with Billy Ward’s rules and a lack of higher wages. They formed The Checkers as the Dominoes rolled on with more key leads from Clyde. This week in part 2, we’ll hear the end of the Clyde McPhatter era with the Dominoes and begin a new era with Jackie Wilson out front and a whole new bunch of guys behind him. They charted with “You Can’t Keep A Good Man Down” and the #2 cover of “Rags To Riches,” which would prove to be the group’s final chart entry until 1957. Billy Ward would even take some leads with “My Baby’s 3-D” being the best of them. Matt The Cat digs deep into the Dominoes’ catalog as every release from 1952 and ’53 is featured on this week’s “Juke In The Back.”
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Air Week: July 29-Aug 4, 2024
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.”
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Air Week: July 22-28, 2024
Clyde McPhatter: 1955-59Clyde McPhatter had one of the sweetest and most powerful tenor voices in all of Rhythm & Blues and early Rock n’ Roll. His issue throughout his 22 year recording career, was getting the recognition he thought he deserved. After singing memorable leads on many hit records for Billy Ward & The Dominoes, Clyde left because Billy Ward wouldn’t put his name on the records or pay him a fair share of the profits. Ahmet Ertegun of Atlantic Records was ready to sign McPhatter and give him his own group, The Drifters. That worked out well as now Clyde had top billing and a couple #1 records with the Drifters under his belt. In mid-1955, The Drifters’ manager, George Treadwell, convinced Clyde to go out on his own. His solo career began very successfully as he scored 11 charting records, including 3 #1s in the next 4 years with Atlantic Records. However, the 1960s proved a tough time for Clyde as he felt many of his fans had abandoned him. This week, Matt The Cat focuses on Clyde McPhatter’s Atlantic solo sides from 1955-1959. Clyde was a singer who’s style changed as musical styles progressed during the 1950s, but he never lost his Gospel roots. Dig on Clyde’s greatest solo sides on this week’s “Juke In The Back.”
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Air Week: July 15-21, 2024
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.
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Air Week: July 8-14, 2024
Tommy BrownTommy Brown is one of the unsung blues shouters of the Rhythm & Blues Era. His only two charting records were done with the Griffin Brothers on Dot Records in 1951. He’ll always be remembered for the #1 smash, “Weepin’ & Cryin’,” but Brown had so many tremendous records under his own name that Matt The Cat just had to feature an entire “Juke In The Back” program on Tommy Brown. Raised in a small Georgia town, Brown took to performing at an early age and was soon headlining clubs in Atlanta. In 1950, he got a contract with Savoy Records and recorded his first record, “Atlanta Boogie.” After his 2 hits with the Griffin Brothers in ’51, Brown jumped around, working with all-star bands and recording for United, Pearl, King and Imperial. This week, Matt The Cat shines a light on Brown’s fantastic career, so come along for the ride and bring your your V-8, baby!
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Air Week: July 1-7, 2024
4th of July R&B PicnicWhat’s more American than celebrating America’s 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.
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Air Week: June 24-30, 2024
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.”
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Air Week: June 17-23, 2024
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.”
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Air Week: June 10-16, 2024
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.”
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Air Week: June 3-9, 2024
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.
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Air Week: May 27-June 2, 2024
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.
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Air Week: May 20-26, 2024
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!
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Air Week: May 13-19, 2024
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.
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Air Week: May 6-12, 2024
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.”
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Air Week: April 29-May 5, 2024
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.
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Air Week: April 22-28, 2024
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.”
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Air Week: April 15-21, 2024
Groove RecordsIn late 1953, RCA Victor launched a new subsidiary to focus on the Rhythm & Blues market, called Groove Records. They intended for Groove to compete with the independent labels like Chess, Atlantic and Vee-Jay that were dominating the genre. RCA treated Groove as an indie by setting up its own record distribution network, like an indie, ignoring the mighty distribution arm of RCA Victor. That might have been the label’s downfall. Groove ended up scoring only one major hit in its 3 year stint, but along the way, Groove issued some fantastic R&B recordings from the superstars of the day. It’s hard to imagine, but Piano Red, King Curtis, Mickey “Guitar” Baker, Sonny Terry, Sam Butera, Big John Greer AND Arthur “Big Boy” Crudup were all on the same label for a time. This week, Matt The Cat digs up the grooviest sides from Groove Label and gives them the spins they deserve on the “Juke In The Back.”
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Air Week: April 8-14, 2024
Lil GreenwoodThis week, the “Juke In The Back” pays tribute to a very dynamic, soulful and often passed over R&B female vocalist: Lil Greenwood. Today, Lil Greenwood is best remembered as a vocalist for Duke Ellington during the late ’50s and early ’60s, but it’s her R&B recordings from 1950-1954 that are the real standouts. She recorded for the Modern, Specialty and Federal labels and often had vocal groups like The Four Jacks and The Lamplighters backing her up. Hear Lil’s story and some of her greatest records on the “Juke In The Back” with Matt The Cat.
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Air Week: April 1-7, 2024
Percy Mayfield: 1949-60Some songwriters and singers just know how to tap into deepest regions of sadness, passion and truth. Such is the musical prowess of Percy Mayfield, the “Poet Laureate Of The Blues.” Mayfield was born in rural Louisiana in 1920 and found he had a knack for writing poetry early on in life. By high school, he was putting his poems to music and finding local encouragement. By the early 1940s, he was settled in Los Angeles doing odd jobs, trying to make it as a songwriter and a singer. In ’49, he took his song, “Two Years Of Torture” to Supreme Records in LA, hoping that their artist, Jimmy Witherspoon would record it, but they were so impressed with Mayfield, that they had him wax it instead. “Two Years Of Torture” sold well enough around California to peak the interest of record man, Art Rupe of Specialty Records. He signed Mayfield in 1950 and they struck gold right out of the gate with his composition, “Please Send Me Someone To Love,” his only #1 record. What followed was six consecutive charging singles and a jukebox full of songs about pain, suffering and lonliness.This week, Matt The Cat digs through the musical treasure trove of fantastic 78s by the one and only Percy Mayfield.
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Air Week: March 25-31, 2024
Guitar SlimEddie Jones grew up in Hollandale, MS, pickin’ cotton and dreaming of a better life when ambition and musical talent plucked him from his situation, christened him Guitar Slim and made him a star. After moving to New Orleans and befriending Huey “Piano” Smith, the two became a sensation at the hep Tiajuana Club, landing them a deal with Imperial Records. The two singles released by the label failed to chart and they were dropped, but then serendipitously found themselves in Nashville cutting a record for Jim Bulleit’s J-B Records. “Feelin’ Sad” b/w “Certainly All” got some airplay in major cities and hit #1 on the local New Orleans chart, but failed to hit nationally. That was enough to get bookings at NOLA’s premier club, The Dew Drop Inn, where Slim drove crowds into a frenzy with his stage antics. Johnny Vincent at Specialty Records hounded Guitar Slim until he signed with the label, initially beating out Atlantic Records. Right out of the gate, Guitar Slim scored a monster hit with “The Things That I Used To Do,” which topped the national R&B lists and became the biggest R&B hit of 1954. That success would never be topped or matched, but Guitar Slim tried and this week, Matt The Cat fills the “Juke In The Back” with Slim’s fantastic recordings for Imperial, J-B, Specialty and Atco.
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Air Week: March 18-24, 2024
The CleftonesThis week, Matt The Cat looks at one of the greatest Doo Wop groups, The Cleftones, through an archival interview with the late Herbie Cox. Cox was a founding member of this unique sounding vocal group from Queens, NY. Started in 1955, The Cleftones enjoyed two national top 10 R&B records with “Little Girl Of Mine” in 1956 and “Heart & Soul” in 1961 and were one of the few vocal groups to score hits in two decades. Matt The Cat was fortunate enough to have interviewed Herb Cox and this week he shares that wonderful interview, packed with Herbie’s remembrances of the early days of The Cleftones from the first records to the first package tours. This sprawling interview is littered with The Cleftones’ greatest sides jumpin’ out of the ol’ Rockola on this week’s “Juke In The Back.”
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Air Week: March 11-17, 2024
Slim GaillardThis week, we honor the “Prince Of Vout,” Mr. McVouty himself, Slim Gaillard. He was a one-of-a-kind-o-reenee as he spoke 7 languages including his own language of Vout, played guitar, piano, drums and several other instruments, wrote off-beat tunes that were always drenched in rhythm and jive and appeared on TV and in several motion pictures. Slim Gaillard’s beginnings are shrouded in mystery, but we know he burst on the scene with Slam Stewart in 1938 with the classic “Flat Feet Floogee,” which was an international hit. In the ’40s, he worked with bop cats, Dodo Marmarosa, Dizzy Gillespie and Charlie Parker. He sang songs about Armenian menus, groove juice cocktails, cement mixers and poodles, jumping back and forth from English to Vout. There is only one Slim Gaillard and you’ve got to dig his amazing story, this week on the “Juke In The Back” with Matt The Cat-o-roonee.
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Air Week: March 4-10, 2024
Duke & Peacock RecordsThis week, the entire “Juke In The Back” is loaded with records from the catalog of Duke/Peacock Records. Don Robey started Peacock in 1949 in order to record Clarence “Gatemouth” Brown, whom he also managed. In 1953, Robey took over Duke Records (which was owned by David J. Mattis and Bill Fitzgerald) and a R&B empire was born. Matt The Cat shares the history and music, which features some of the greatest R&B talents of all-time, including: Bobby “Blue” Bland, Johnny Ace, Clarence “Gatemouth” Brown, Big Mama Thornton, Junior Parker and more.
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Air Week: February 26-March 3, 2024
Lucky MillinderThe “Juke In The Back” is loaded this week with records by one of R&B’s greatest and most underrated bandleaders, Lucky Millinder. He worked with vocalists as varied as Sister Rosetta Tharpe, Wynonie Harris, Annisteen Allen, Bull Moose Jackson and Big John Greer, but Lucky Millinder is mostly forgotten by today’s audiences. Dizzy Gillespie actually played trumpet in Millinder’s Band in the early 1940s for a brief time. Even though Lucky Millinder is not remembered well today, his records certainly helped lay the foundation that would soon become Rock n’ Roll. Dig on some of greatest records, this week on the “Juke In The Back” with Matt The Cat.
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Air Week: February 19-25, 2024
The Ray-O-VacsIt’s staggering, the number of R&B groups that have been left out of the history books and off radio station playlists just because they don’t fit into an accepted category of “cool.” The Ray-O-Vacs is one of those groups. Though they made the R&B charts 3 times, that didn’t guarantee them inclusion. They were more “middle-of-the-road” than the gospel-tinged groups that were gaining popularity in the early 1950s and they weren’t a vocal group, so they can’t be classified with the emerging doo wop scene of the day. That’s probably why the Ray-O-Vacs are just a footnote in the history of Rhythm & Blues, but this week Matt The Cat brings them into the spotlight on the “Juke In The Back.” Formed in Newark, New Jersey in the late 1940s, The Ray-O-Vacs did produce a unique and light jive sound with Lester Harris (real name Harry Lester) on vocals and tubs, “Flap” McQueen on bass, Joe Crump on piano and a smooth and ever-present saxophone played by “Chink” Kinney. They had a hit right out of the gate with “I’ll Always Be In Love With You” for the tiny Coleman label in early ’49 and then scored again with a double-sider for Decca in 1950. The hits stopped coming and Lester Harris left the group for a solo deal with RCA Victor in ’52, but his replacement, Herb Milliner continued voicing some solid singles. They hung it up after one more shot in ’55 with vocalist Bill Walker for the small Kaiser label and their reputation was sealed for those in the know, especially in Pittsburgh. Dig out those jukebox nickels and get ready to dig on the sound of the Ray-O-Vacs on this week’s R&B spectacular, better known as the “Juke In The Back.”
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Air Week: September 11-17, 2023 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 […]
Air Week: September 4-10, 2023
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.”
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Air Week: August 28-September 3, 2023
The Du-DroppersMatt 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.”
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Air Week: August 21-27, 2023 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 […]
Air Week: August 14-20, 2023 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 […]
Air Week: August 7-13, 2023 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 […]
Air Week: July 31-August 6, 2023 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 […]
Air Week: July 24-30, 2023 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. […]
Air Week: July 17-23, 2023 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 Turner’s first recording session for his new label, Atlantic and continues through to his cross-over pop success in […]
Air Week: July 10-16, 2023 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 Turner’s early years from his Kansas City beginnings to his big breakthrough in NYC at […]
Air Week: July 3-9, 2023 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 […]
Air Week: June 26-July 2, 2023 4th of July: Summer, Food, Travel & Baseball Songs 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 […]
Air Week: June 19-25, 2023 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 […]
Air Week: June 12-18, 2023 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 […]
Air Week: June 5-11, 2023
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.”
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Air Week: May 29-June 4, 2023
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.”
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Air Week: May 22-28, 2023
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!
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Air Week: May 15-21, 2023
The Story Of The Signifying MonkeyThis week, Matt The Cat loads the “Juke In The Back” with a musical history of the old African folktale about The Signifying Monkey. We’ll trace this tale’s journey to America on slave ships from Africa as it became threaded into African-American culture in song, from Big Maceo’s adaptation of the story about the Monkey and the Baboon to the Big Three Trio’s 1947 popular version of “The Signifying Monkey.” Along the way, Cab Calloway, jazzer Hot Lips Page, Rockabilly rarity Smokey Joe and even Chuck Berry have a crack at this classic story of the ultimate trickster. Also on this week’s program, Matt The Cat takes your listener requests, which run across the genre we celebrate, Rhythm & Blues. So don’t miss “the soul that came before Rock n’ Roll” on this week’s “Juke In The Back.”
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Air Week: May 8-14, 2023
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.”
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Air Week: May 1-7, 2023
Floyd DixonThis 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.”
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Air Week: April 24-30, 2023
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. We’ll 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 week’s 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 Strong’s 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.
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Air Week: April 17-23, 2023
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.”
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Air Week: April 10-16, 2023
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.”
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Air Week: April 3-9, 2023
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.”
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Air Week: March 27-April 2, 2023
DooTone Records
Matt 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.”
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Air Week: March 20-26, 2023
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.”
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Air Week: March 13-19, 2023
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.”
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Air Week: March 6-12, 2023
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.”
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Air Week: February 27-March 5, 2023
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.”
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Air Week: February 20-26, 2023
Billy Wright: Prince of the BluesHe 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.”
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Air Week: February 13-19, 2023
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.
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Air Week: February 6-12, 2023
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.
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Air Week: January 30-February 5, 2023
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.”
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Air Week: January 23-29, 2023
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.”
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Air Week: January 16-22, 2023
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. You’ll 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. It’s part 2 of 2 on the 1953 Rhythm Review on the “Juke In The Back.”
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Air Week: January 9-15, 2023
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. You’ll 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. It’s part 1 of 2 on the 1953 Rhythm Review on the “Juke In The Back.”
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Air Week: January 2-8, 2023
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.”
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Air Week: December 26, 2022-January 1, 2023
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.
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Air Week: December 19-25, 2022
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 week’s 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 Year’s 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.”
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Air Week: December 12-18, 2022
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. It’s 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.
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Air Week: December 5-11, 2022
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.
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Air Week: November 28-December 4, 2022 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 […]
Air Week: November 21-27, 2022 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 […]
Air Week: November 14-20, 2022 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 […]
Air Week: November 7-13, 2022 Cobra Records Cobra Records left quite a bite, even thought this little West Side Chicago label was only in existence for three short years. Cobra was started by television repair shop owner Eli Toscano in the summer of 1956. Toscano was lucky enough to snag Willie Dixon from Chess Records […]
Air Week: October 31-November 6, 2022 Big Maybelle Big MaybelleThe “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 […]
Air Week: October 24-30, 2022 Halloween Rhythm & Blues This week, the ol’ Rockola Jukebox is haunted by a strange spirit of rhythm & ghouls. Where is Matt The Cat? We don’t know, but the spirit tells us he will return next week. In his absence, the “Juke In The Back” still fulfills the weekly […]
Air Week: October 17-23, 2022 Pee Wee Crayton The “Juke In The Back” honors one of the greatest, yet more underrated originators of electric blues guitar: Pee Wee Crayton. Matt The Cat digs deep into Crayton’s musical catalog and dusts off more than just his three charting R&B hits. You’ll also get to hear the fantastic and […]
Air Week: October 17-23, 2022 Pee Wee Crayton The “Juke In The Back” honors one of the greatest, yet more underrated originators of electric blues guitar: Pee Wee Crayton. Matt The Cat digs deep into Crayton’s musical catalog and dusts off more than just his three charting R&B hits. You’ll also get to hear the fantastic and […]
Air Week: October 10-16, 2022 Little Miss Cornshucks Little Miss Cornshucks was an influential figure in post WWII Rhythm & Blues. For one thing, she inspired Ahmet Ertegun to start Atlantic Records and when he couldn’t locate her to record her, he launched the career of Ruth Brown instead. Her version of the classic, “Try […]
Air Week: October 3-9, 2022 The Ravens The “Juke In The Back” features The Ravens, an R&B vocal group that set the stage for all the groups that would follow. With Jimmy Ricks’ bass lead and some tremendous harmony behind him, The Ravens were the predecessors to the doo wop music that would follow in […]
Air Week: October 3-9, 2022 The Ravens The “Juke In The Back” features The Ravens, an R&B vocal group that set the stage for all the groups that would follow. With Jimmy Ricks’ bass lead and some tremendous harmony behind him, The Ravens were the predecessors to the doo wop music that would follow in […]
Air Week: September 26-October 2, 2022 Excello Records Drop a nickel in the ol’ Rockola Juke as Matt The Cat dedicates the entire hour to the great little Nashville R&B label, Excello Records. Ernie Young started Excello as a sister label to his Nashboro Label and both labels were housed in his Ernie’s Record Mart […]
Air Week: September 19-25, 2022 The Vocalese Musical Phenomenon Vocalese is a musical sub-genre of Jazz and R&B that burst on the scene in 1952 and was practically gone by 1954. Before it departed, King Pleasure (real name Clarence Beeks) had managed to rack up 2 top 10 R&B hits in the style, which is […]
Air Week: September 12-18, 2022 Motown Artists BEFORE Motown The entire “Juke In The Back” this week features Motown’s biggest acts,BEFORE there even was a Motown Records and before those acts were household names. Matt The Cat spins the earliest records by The Miracles (1958), The Four Tops (1956), The Supremes (as The Primettes) and […]
Air Week: September 5-11, 2022 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 […]
Air Week: August 29-September 4, 2022 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 […]
Air Week: August 22-28, 2022 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” […]
Air Week: August 15-21, 2022 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 it’s almost impossible to overstate the cultural shift that took place as he rose to fame in 1956. […]
Air Week: August 8-14, 2022 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 […]
Air Week: August 1-7, 2022 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 […]
Air Week: July 25-31, 2022 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. […]
Air Week: July 18-24, 2022 John Lee Hooker: 1949-51 John Lee Hooker was one of the most influential and important musicians of the 20th Century. He single-handedly invented his own electric guitar boogie sound, which he let loose on the world with his first single, “Boogie Chillen'” in 1948. By early 1949, it was a […]
Air Week: July 11-17, 2022 The Cadillacs The Cadillacs began their journey in 1953 as The Carnations and when they changed their name they helped usher in a new era of automobile names for R&B vocal groups. Lead tenor Earl “Speedo” Carroll and bass singer Bobby Phillips forged a friendship that would carry on from […]
Air Week: July 4-10, 2022 Larry Darnell Next to the Johnny Otis Orchestra, no R&B act was bigger in 1950 than Larry Darnell. The Columbus, OH native scored the first #1 rhythm record of 1950 with “For You My Love,” which remained at the top of the chart for 8 weeks! As a member of […]
Air Week: June 27-July 3, 2022 4th of July: R&B Food Songs What’s more American than celebrating America’s 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 […]
Air Week: June 20-26, 2022 Leiber & Stoller’s 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 […]
Air Week: June 13-19, 2022 Jimmy Coe The “Juke In The Back” is proud to feature Jimmy Coe, a great 1950s saxophonist, bandleader and session man that is often ignored today. Coe came up in the 1940s playing in renown bands including the Jay McShann (at the same time as Charlie Parker) and the Tiny […]
Air Week: June 6-12, 2022 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 […]
Air Week: May 30-June 5, 2022 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. […]
Air Week: May 23-29, 2022 Billy “The Kid” Emerson The “Juke In The Back” with Matt The Cat features Billy “The Kid” Emerson, a talented R&B singer and songwriter who never had a hit record, but his songs were covered by the likes of Elvis Presley and Billy Riley. Originally from Tarpon Springs, FL, Billy Emerson […]
Air Week: May 16-22, 2022 Art Rupe & Specialty Records, Pt. 3 – 1953-56 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 […]
Air Week: May 9-15, 2022 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 […]
Air Week: May 2-8, 2022 Art Rupe & Specialty Records, Pt. 1 – 1945-50 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 […]
Air Week: April 25-May 1, 2022 The Flamingos, Pt. 3 – 1957-59 Terry Johnson of The Flamingos joins Matt The Cat this week as the “Juke In The Back” jumps and grooves with part three of our three part feature on The Flamingos, one of the most influential and best remembered vocal groups of the […]
Air Week: April 18-24, 2022 The Flamingos, Pt. 2 – 1954-56 The “Juke In The Back” jumps and grooves this week as Matt The Cat presents part 2 of a three part feature on The Flamingos, one of the most influential and best remembered vocal groups of the 1950s. In part two, we’ll dig on […]
Air Week: April 11-17, 2022 The Flamingos, Pt. 1 – 1953-54 The “Juke In The Back” jumps and grooves this week as Matt The Cat begins a 3 part feature on The Flamingos, one of the most influential and best remembered vocal groups of the 1950s. In part one, we’ll dig on both sides of […]
Air Week: April 4-10, 2022 Marvin Phillips Marvin Phillips is important to post WWII rhythm & blues, because he, along with Jesse Belvin, helped to popularize the R&B duo. Jesse and Marvin scored an enormous hit in 1952 with the ballad, “Dream Girl,” thus paving the way for future R&B duos like Shirley & Lee, […]
Air Week: March 28-April 3, 2022 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 […]
Air Week: March 21-27, 2022
Sam Cooke
The “Juke In The Back” features a full hour of Sam Cooke, one of the distinctive and expressive voices ever pressed in wax. Cooke’s early period singing gospel with the renowned Soul Stirrers is often cited, but hardly ever featured. Matt The Cat focuses on Sam Cooke’s early days from 1951 to 1957, begriming with his recordings with the Soul Stirrers up through his R&B and pop breakthrough of 1957. Matt is joined by author Peter Guralnick, who wrote the definitive biography on Cooke called “Dream Boogie: The Triumph Of Sam Cooke,” filling in the background on one of the 20th Century’s most revered singers. Cooke was also a noted songwriter, producer and entrepreneur, starting his own SAR Records in the late 1950s. Few African-American artists went further during the 1950s while jamming the juke boxes with tremendous gospel, R&B and pop hits. Hear the man who invented soul, this week on the “Juke In The Back.”
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Air Week: March 14-20, 2022
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.”
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Air Week: March 7-13, 2022
The Robins
This week, the “Juke In The Back” features The Robins, one of the earliest and most influential West Coast R&B vocal groups. They first appeared on wax in April of 1949 as the 4 Bluebirds, backed up by bandleader extraordinaire, Johnny Otis, who had discovered the group at his Barrelhouse Nightclub during a talent competition. Otis had the Robins duet with Little Esther on the 1950 smash, “Double Crossing Blues,” which spent more than 2 months at the top of the R&B charts. Real fame came when the group hooked up with the young, talented songwriting duo of Jerry Leiber and Mike Stoller. On their Spark Records, the Robins scored with “Riot In Cell Block #9” and “Smokey Joe’s Café,” two early rock n’ roll smashes. Two members would leave The Robins and form The Coasters with Leiber and Stoller and much of their history is complicated, but host Matt The Cat gets to the bottom of it all with this “Juke In The Back” look at The Robins’ early career. This truly is the “soul that came BEFORE rock n’ roll” and you’ll only hear it on the “Juke In The Back.”
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Air Week: February 28-March 6, 2022
Roy Byrd aka Professor Longhair
What better way to celebrate Mardi Gras than with the “Grandaddy of New Orleans Rhythm & Blues”? That, cats & kittens, is Henry Roeland Byrd, aka Roy Byrd, aka Professor Longhair. Byrd’s piano and singing style are like none that came before or since. He’s influenced all the greats, from Fats Domino and Huey Smith to Allen Toussaint and Dr. John, yet none of them could copy his sound. Matt The Cat features the early and most influential records from Roy Byrd, who was also recording under the name Professor Longhair at the same time and had records out under 3 different record labels. His first recordings were made for the Star Talent label, but a union issue kept them from being released right away, so he then recorded for Mercury and Atlantic, holding recording sessions one month apart. Atlantic was the first to issue a Professor Longhair record (January of 1950), but Mercury and Star Talent both issued singles the following month. For Mercury, he was known as Roy Byrd and he scored his only national hit during the summer of 1950 with “Bald Head.” Still, the records he made for Atlantic are probably the best remembered today. On this week’s “Juke In The Back,” Matt The Cat shares an interview with Atlantic’s co-founder Ahmet Ertegun on how he and partner Herb Abramson came to discover and sign Professor Longhair in 1949. So get ready to jump n’ shout and knock it out as we feature the fantabulous Roy Byrd aka Professor Longhair.
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Air Week: February 21-27, 2022
New Orleans R&B, Pt. 3 – 1955-57
Get ready for Carnival with part 3 of “Juke In The Back”‘s 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 3, Matt The Cat will look at New Orleans R&B from 1955 to 1957, highlighting records by Fats Domino, Dave Bartholomew, Eddie Bo, Huey “Piano” Smith, Smiley Lewis, Annie Laurie and many more. So get ready for some real jumpin’ musical jambalaya on your source for vintage Rhythm & Blues on the “Juke In The Back.
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Air Week: February 14-20, 2022
New Orleans R&B, Pt. 2 – 1953-55
Get ready for Carnival with part 2 of “Juke In The Back”‘s 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 2, Matt The Cat will look at New Orleans R&B from 1953 to 1955, highlighting records by Professor Longhair, Fats Domino, Dave Bartholomew, Lloyd Price, Shirley & Lee, Eddie Bo and many more. Next week on part 3, we’ll wrap up our series with a look at New Orleans R&B from 1955-1957. So get ready for some real jumpin’ musical jambalaya on your source for vintage Rhythm & Blues on the “Juke In The Back.
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Air Week: February 7-13, 2022
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.
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Air Week: January 31-February 6, 2022
Gene Phillips
This week, the “Juke In The Back” is proud to shine the spotlight on guitarist Gene Phillips, one of the unsung heroes of the 1940s Los Angeles Rhythm & Blues scene. Born in St. Louis in 1915, Gene came out to LA as part of the Mills Brothers ensemble in 1941. He remained in LA and made a name for himself as a local guitarist. After befriending trumpeter Jake Porter, who was doing some session work for the Bihari Brothers at their new label, Modern Records, Phillips began getting session gigs at Modern. Soon he was part of their house band, eventually landing his own session as a leader in 1946. This led to a string of mostly jump tunes, done in the Louis Jordan style. However, unlike Jordan, Gene Phillips failed to storm the national charts. He released some great and worthy R&B records and Matt The Cat is filling the “Juke In The Back” with the upbeat jive of Gene Phillips on this week’s program.
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Air Week: January 24-30, 2022
Johnny Ace
He is often called the “first casualty of rock n’ roll,” since his life was brought to a controversial end just as rock n’ roll was picking up steam in the mainstream, but Johnny Ace’s demise does not overshadow his impressive, yet short career. This week’s “Juke In The Back” highlights Ace’s early session with rising star, B.B. King, as well as a his rare first solo record, cut for the Bihari Brothers in 1951, but not released by them until 1953. Ace tasted success early, as his first single for the fledgling Duke Records soared to the top of the R&B charts. He would have 2 more #1 smashes, including “Pledging My Love,” which was released posthumously and hit an impressive #17 on the pop lists. Yes, Johnny Ace died young and became immortal in verse and tribute and Matt The Cat shows you why he was much revered on this week’s “Juke In The Back.”
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Air Week: January 17-23, 2022
R&B Influences: The Ink Spots
The Ink Spots, along with the Mills Brothers, Delta Rhythm Boys and Golden Gate Quartet built the musical bridge from the vaudevillian barber shop quartets of the early 20th Century to the post WWII vocal groups. These quartets modernized the singing style and even came up with singing innovations of their own. Bill Kenny, the high tenor singing leader of the Ink Spots invented what he called the “Top & Bottom” formula. That’s where he would sing a few verses in his high tenor or “top” and then Hoppy Jones would talk a verse in his bass voice, providing the “bottom.” This formula, begun in 1938, became an integral part of the Ink Spots success. Though they began recording in 1935, the world wouldn’t really take notice until “If I Didn’t Care” in 1939. From there, the hits just kept on comin’ with “Address Unknown,” “My Prayer,” “Maybe,” “I Don’t Want To Set The World On Fire,” “Into Each Life Some Rain Must Fall” (with Ella Fitzgerald) and “To Each His Own.” The Ink Spots dominated the 1940s and paved the way for the Orioles, Ravens, Flamingos and Moonglows to pick up the torch and carry it into the 1950s and a new genre; Rock n’ Roll. This week, Matt The Cat loads the ol’ Juke In The Back with 78s from the Ink Spots’ beginnings in the mid-1930s up to right before Bill Kenny disbanded the group in 1954. Find out where it all began, this week on the Juke In The Back.
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Air Week: January 10-16, 2022
1952: Jukebox Rhythm Review Pt. 2
This 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 1952. You’ll 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 Illinois Jacquet, Varetta Dillard and Sonny Thompson with Lula Reed. These are the top requested records that were spinning on the jukebox in the back of the establishment. It’s part 2 of 2 on the 1952 Rhythm Review on the “Juke In The Back.”
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Air Week: January 3-9, 2022
1952: Jukebox Rhythm Review Pt. 1
This 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 1952. You’ll 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 John Greer & His Rhythm Rockets, Dinah Washington and Marie Adams. These are the top requested records that were spinning on the jukebox in the back of the establishment. It’s part 1 of 2 on the 1952 Rhythm Review on the “Juke In The Back.”
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Air Week: December 27, 2021 – January 2, 2022
Combo Records
“Juke In The Back” ends 2021 with a profile of Combo Records, a small, independent Los Angeles record label that only scored one national hit, but had a stellar roster full of the top R&B acts of its day. Combo was formed in 1951 by trumpeter, bandleader and arranger Jake Porter. He kept the label up and running for ten years and released stellar records by some of his musician friends, honkin’ sax cat Joe Houston, bandleader Jack McVea and Blues Shouter Gene Phillips. He recorded established blues stars Smokey Hogg and Betty Hall Jones. Vocal groups from The Squires to The Chanters also graced Combo’s label. Gene & Eunice hit the top ten in late 1954 with their first version of the now-classic and oft-covered, “Ko Ko Mo.” Matt The Cat digs deep into the Combo label and focuses on the early years of 1951-54 on this week’s “Juke In The Back.”
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1940s & ’50s Rhythm & Blues At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 70 years later, []