sweartotellthetruth

October 2, 2019

Blues and Rhythm Show 259 on 93.3 CFMU (Hamilton, Ontario

Swear to Tell the Truth for Tuesday, October 1st (10:00 to 12:00 noon)

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We opened this weeks program with some R&B out of Chicago on the Miracle and Premium labels and from Aristocrat and Chess. We try to cover Rhythm & Blues from the forties and fifties as closely as we do down-home blues from the  same era. As with blues recordings there were many worthy but obscure records and many that have been forgotten since they were once current. Where R&B once ruled the African-American charts it was mostly forgotten by the 1960s when the so-called Blues Revival took place. Today, we can appreciate the quality and variety of this music and we can appreciate a bit better the way the world was in a bygone time.

Also on this weeks program, a bit of mandolin blues, a couple of what appear to have been studio bands that recorded dance and blues records in the late 1930s, Bill and Charlie Monroe, new music from Harpdog Brown and something from HowellDevine.

Last segment of the show devoted to the Gospel Spirit reissues from Columbia Legacy following our exploration of blues from the Columbia catalogue. Many of the pre-war blues recordings in Columbia’s vaults were acquired from other companies in the twenties and thirties. Columbia Legacy put together some excellent gospel reissues in the 1990s, much of it recorded by Columbia or its OKeh subsidiary.

These parts of Columbia’s vaults have been mostly neglected in recent years but you can still find most of the Columbia Legacy reissue albums of blues and gospel one way or another today, if you are so inclined. Meanwhile, we like to highlight these collections from time to time because of the resources and documentation that went into their production. We don’t have to identify the source albums on the air but you can identify the titles from each week’s playlist on the CFMU website as long as the shows remain available as podcasts, ie., eight weeks.

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On the Show:

Cryin’ Jesse & his Orchestra – Ella Mae Morse – Five Blazes – Kitty Stevenson – Jimmy Nelson – Harpdog Brown – Sleepy John Estes – Harlem Hamfats – Charlie Monroe & His Kentucky Pardners – Morgan Davis – Blind Willie Johnson – Jackson Gospel Singers- Dorothy Love Coates – and others

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

Check this site.

cmc

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February 18, 2014

Blues and Rhythm Show 119 on 93.3 CFMU (Hamilton, Ontario)

Swear to Tell the Truth for Tuesday, February 18, 2014 (1:00-2:30 pm)

We left a few loose ends so we’re going to round off our Bob Geddins feature of last week. Also on the program, a couple of tracks from the Galaxy label (L.A. blues from the 1960s). We have some live blues and gospel tracks; “raw American gospel” from a Tompkins Square compilation that appears to be out-of-print now; preachers and one-time quartet leads on the Nashboro label

On the Show:

Dexters – Jimmy Nelson – Ray Agee – Clarence Green (Sonny Rhodes) – Mainline – Harrison Kennedy – Missionary Mamie Sample – Reverend Willingham – Johnnie Taylor – and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until March 17th.

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 25th)

Next week we’ll present some pre-World War 2 blues in some kind of feature yet to be determined.  In two weeks, it will be Fundraising Week at CFMU. That will be March 4th for this program. We hope some of you will show your support for the station and the program, including those who might listen online. (That’s also Fat Tuesday, so we will not be able to present a Mardi Gras program this year.) February 11th will be our annual all-woman show for International Women’s Day. Fundraising prevents us from putting on this show in advance of I.W.D. 

cmc

 
 

November 4, 2013

Blues and Rhythm Show 104 on 93.3 CFMU (Hamilton, Ontario)

Swear to Tell the Truth for Tuesday, November 5th, 2013 (1:00-2:30 pm)

This week we devote the full 90 minutes to the early years of Modern Records (Modern Music as it was originally named). We’re restricting our attention on this program to the R&B output of the label beginning in 1945 as far as the year 1952. We’ll come back with a second feature special examining the latter years of the label and including the down-home varieties of blues that appeared on the Modern and RPM labels.

Early recordings (1945-1947) on Modern Records represented a wide array of African American styles, jazz pop, blues and early R&B. There was less in the way of hard blues sounds and R&B than there would be in the years 1949-1952.

The shortage of new records during the war years was a factor influencing juke box operator Jules Bihari to think about establishing Modern Records in late 1944. The label was successful with its first recording and continued to do better than many other LA-based end-of-the-war startups and Bihari’s brothers joined him in the business. Like King Records, based in Cincinnati, Modern Records seemed to consolidate its market position after the musicians strike that curtailed recording activity for the better part of 1948.

It’s a given that record companies in this era short-changed their recording artists. Even if they paid well for the sides by the standards of the day, they either did not pay or limited the amounts of payment for composer royalties by setting up their own publishing arms and siphoning off those royalties by one means or another.

At Modern, the label added the names like Taub, Josea or Ling to the composer credits and diverted monies to the label principals for songs the Bihari brothers did not have a hand in writing. Blues and R&B artists made recordings for the relatively small amounts paid, often by the song,  for recording sessions. Additional motivation was the boost that  having records gave them for obtaining live engagements. It was mostly from their live engagements that they earned a living.

On the Show

Modern Records – Pearl Traylor – Bardu Ali & His Orchestra – Hadda Brooks  – Three Bits of Rhythm – Jimmy Witherspoon – Pee Wee Crayton – Little Willie Littlefield – Lil Greenwood – Jimmy Nelson – Holmes Brothers – and others

Listen to the program at FM 93.3 in Hamilton or on CFMU online at cfmu.mcmaster.ca. The program will be available to stream or as a podcast until December 3rd.

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 (November 12th)

Undetermined as of today. We’ll update.

Errors and Omissions

Last week (BRS 103), we played something  by Bukka White and we mentioned that he called himself “Booker” in the song. We should have explained that Booker T. Washington White hated being referred to as Bukka. His first recordings for Victor were made as Washington White.  It was the famous Vocalion recordings that identified him as Bukka White.

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