sweartotellthetruth

January 26, 2015

Blues and Rhythm Show 166 on 93.3 CFMU (Hamilton, Ontario)

Swear to Tell the Truth for Tuesday, January 27th, (1:00-2:30 pm)

We went through a few ideas for this week’s show in which we intended to devote space to a feature about rhythm & blues. We haven’t before concentrated on R&B from the Columbia label and its OKeh subsidiary in any particular show and we thought it might be time that we did.

Columbia was the label that recorded Bessie Smith, Clara Smith, Peg Leg Howell and Blind Willie Johnson to name a few blues performers in the 1920s. In the 1930s, Columbia and its subsidiaries recorded Leroy Carr, Big Bill, Bo Carter, Robert Johnson and Blind Boy Fuller, and many others. OKeh was originally a competing  label, the label that recorded what have become known as the first African American blues recordings, by Mamie Smith. It could have been another company at another time but it was OKeh’s recording of “Crazy Blues”, by Mamie Smith, recorded in August, 1920 for OKeh that alerted the industry to the idea that African Americans were an untapped potential audience and market. OKeh was also the label that began the practice of sending recording teams into the field to make records in the south where roots performers were to be found. Through the 1920s, the OKeh label recorded blues, jazz and spiritual records until 1926 when it was taken over by Columbia after developing the electrical microphone system for recording. After 1926, many important Columbia acts were assigned to OKeh but the use of the OKeh logo was not continuous. It was not used between 1935 and 1940 or between 1946 and 1951.

Our feature covers the years 1946 to 1954. Following World War 2, the major labels, including Victor, Columbia and Decca, faced intense competition from the new independent labels in the race and hillbilly markets The response of Victor and Columbia was to scale down their activity in the blues field and pare down or not restore their pre-war rosters. Columbia retained a few blues acts and made some vocal group records, as well. At the same time, popular singers like Pearl Bailey, the Charioteers vocal group, the rhythm group, the Big Three Trio,  and jazz bands, like Cab Calloway’s, able to venture into R&B, kept Columbia in the “sepia”  charts, albeit far from the top.  In Al Pavlov’s rankings, Columbia ranked 9th in 1946, 11th, in 1947, and 18th in 1948, based upon Billboard’s charts. In 1949, Columbia decided to compete more directly in the R&B and black gospel markets and began signing R&B and spiritual acts. In 1951, Columbia revived the OKeh brand.

Some of the Columbia-OKeh acts were very successful, Chuck Willis and Big Maybelle,  in particular, but it appears that Columbia-OKeh began to lose direction after 1953, as the landscape changed with the rise of rock and roll  and as classic R&B acts fell out of favour. This was also the era in which the major labels were putting resources into opening up the LP market and R&B was not a big part of that phenomenon for a number of years. (It was Columbia who pioneered the LP.)

Our feature includes a sampling of mid forties blues, R&B on Columbia-OKeh and ends with a sampling of the gospel catalogue. Columbia had some great performers on their roster, good producers and not a few successes in the market. The label also had access to the same rich pool of musicians as Atlantic and Savoy. Whether their distribution system was ideal to sell R&B and gospel in the post-war era is another question and it’s likely that Columbia, like Victor, was often outhustled by the more agile independent labels. It used to be a truism that the big labels couldn’t identify or record talent in the post-war Blues and R&B field but the record suggests otherwise.

On the Show:

Treniers – Buster Bennett – Memphis Minnie – Charioteers – Chris Powell & His Blue Flames – Mr. Google Eyes – Annie Laurie – Titus Turner – Big John & the Buzzards – Deep South Boys – Sister Myrtle Fields – and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.msu.mcmaster.ca. The program will be available to stream or as a podcast until February 25th

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (February 3rd)

Week by week.

cmc

January 20, 2015

Blues and Rhythm Show 165 on 93.3 CFMU (Hamilton, Ontario)

Swear to Tell the Truth for Tuesday, January 20th, (1:00-2:30 pm)

A few weeks ago we undertook to present a feature on field recordings collected by George Mitchell. Mitchell was 17 when he began to seek out bluesmen in Memphis on Christmas break 1961. The following year he began making recordings. The figures he pursued at first were artists who had made recordings in the twenties and thirties. At some point in the sixties Mitchell formed the idea of pursuing performers who hadn’t made records before. There were precedents but not many people were doing it and Mitchell seems to have approached the task with an open mind. No one else recorded female blues guitar players in the sixties.  Much of his search for music was done on his own and apart from his paid employment but in later years he held positions with folklore institutions that tied in well with the work of finding traditional singers and players. As well as recording local performers he arranged appearances for those who were interested in playing for audiences. Most of his activity was in Mississippi and Georgia.

It seems as though George Mitchell was not engaged in debate about the significance of the music he found. He found living music but music that was living in small communities. It was traditional music, distant from the popular music of the day. Some of the practitioners had given it up but they consented to play for him. Some practiced to be ready to record. A few performers he found became known to national and international blues audiences. R.L. Burnside was one. Precious Bryant was another.

We’re playing a small selection of the recordings Mitchell made. The recordings show the creativity of local blues players but also the backward gaze of most of these traditional performers.

On the Show:

Professor Longhair – Corey Lueck & the Smiokewagon Blues Band – Downchild Blues Band – Carolina Chocolate Drops & Joe Thompson – Teddy Williams – Precious Bryant – Cecil Barfield – Robert “Nighthawk” Johnson – Sharon Jones & the Dap Kings – Big Jay McNeely –  and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.msu.mcmaster.ca. The program will be available to stream or as a podcast until February 18th

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (January 27h)

Not yet determined.

cmc

January 13, 2015

Blues and Rhythm Show 164 on 93.3 CFMU (Hamilton, Ontario)

Swear to Tell the Truth for Tuesday, January 13th, (1:00-2:30 pm)

Bits and pieces this week–Hawaiian steel guitar; bottleneck blues; classic-vaudeville blues survivors; a few things from the late, lamented Black Top label; and a few more from Bullseye Blues.

On the Show:

Joe Thomas – Connie Allen with Paul Williams – Frank Ferera – Weaver & Beasley – Banjo Ikey Robinson – Lizzie Miles – Snooks Eaglin – Earl King – Dalton Reed – Johnny Nocturne Band  – and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.msu.mcmaster.ca. The program will be available to stream or as a podcast until February 11th

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (January 20th)

As yet unplanned. We don’t know.

cmc

January 6, 2015

Blues and Rhythm Show 163 on 93.3 CFMU (Hamilton, Ontario)

Swear to Tell the Truth for Tuesday, January 6th, (1:00-2:30 pm)

Not so long ago we read a book by Amanda Petrusich called Do Not Sell at Any Price, about the culture of 78 collecting and small and weird world of serious collectors. That book shed light on the history of 78 collectors, especially collectors of race and country 78s,  but probably didn’t go far enough back in time, since collecting appears to have begun almost with the appearance of the first commercial records.

There was another story embedded in Petrusich’s narrative and that was the story of reissues of vintage race and country music beginning with Harry Smith’s Anthology of American Folk Music (1952) and that part of the book caused us to reflect again on the nature of vintage music reissues in the 21st century, after Europe’s Document Records had pretty well completed the reissue of blues and gospel records from the pre-World War 2 era and Old Time country has been systematically reissued by different labels. Once everything has been made available compilers or producers of reissues have to find new criteria for selection and presentation.

There are still less thoroughly exposed and researched areas of vintage music to discover and repackage–78s from Africa, South East Asia and Central Europe have been the subject of recent reissue projects, as well as ethnic musics of the U.S, but we still see new compilations of blues, gospel and Old Time country, such as a recent set repackaging field recordings from Parchman Farm Penitentiary, with an accompanying hard bound book. Some collections have been organized thematically, such as People Take Warning from Tompkins Square, presenting songs of disaster or Baby, How Can it Be: Songs of Love Lust and Contempt from Dust to Digital. With everything more or less available, these collections seek to provide music with context. Sometimes they are said to be “curated” rather than simply edited, compiled or produced.

On this week’s program, we take a look at the first Dust to Digital release–the collection of old time spiritual and gospel music, called Goodbye Babylon, issued in 2003. This segment of pre- and post-war traditional music was a perfect slice of Americana for a reissue project of 6 CDs and this set is satisfactory in almost every way, with a generous booklet that contextualizes the music very well without being over-ambitious.

On the Show:

Willie Lofton – Dave Van Ronk – Midnighters – Dinwiddie Colored Quartet – A.A. Gray and Seven Foot Dilly – Elder Curry – Alfred G. Karnes – Maddox Brothers & Rose – Jimmy Hughes – Frazey Ford – and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.msu.mcmaster.ca. The program will be available to stream or as a podcast until February 4th

Contact Us

To reach us with comments or queries, write us at sweartotellthetruth@gmail.com.

You can also follow the program at sweartotellthetruth@nosignifying on Twitter.

Next week (January 13th)

We have some different material lined up for broadcast. Next week will likely be a magazine-survey kind of show. We haven’t planned in detail.

cmc

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