45 RPM: Anita Carter - RCA Victor 47-6017

Making Believe

written by Jimmy Work

performed by Anita Carter

I Dreamed Of A Hillbilly Heaven

written by Hal Sothern and Eddie Dean

performed by Anita Carter

Anita Carter

The youngest daughter of Ezra and Mother Maybelle Carter, Ina Anita Carter was a versatile singer who experimented with several different types of music. She played upright bass with her sisters, Helen and June, as The Carter Sisters and The Carter Family, with the addition of Mother Maybelle.

The band backing Anita here on this session, her first for RCA in nearly four years, includes Jack Shook (guitar), Jerry Byrd (bass) and John Gordy (piano). Since this was a split session with The Johnson Family Singers, I feel they might be assisting with the vocals on these sides, as well.

Both sides were recorded at The RCA Victor Studio, Methodist Television, Radio & Film Commission, 1525 McGavock St., Nashville, TN on 16 January 1955

Produced by Steve Sholes

Released as RCA Victor 47-6017 in February 1955

45 RPM: The Statesmen Quartet with Hovie Lister - RCA Victor 47-6191

Elvis Presley singing with The Statesmen Quartet, Ellis Auditorium, Memphis, TN, 27 July 1956

Headin' Home

written by Bob Prather

performed by The Statesmen Quartet with Hovie Lister

When one looks back at the many gospel influences on a young Elvis Aaron Presley, it is fair to say the impassioned performances of The Statesmen Quartet rank very near the top. In the field of Southern Gospel music, these four men were considered the perfect quartet:

Jake Hess - lead tenor
Denver Crumpler - first tenor
Doy Ott - baritone
James "Big Chief" Wetherington - bass

The Big Chief and The King

Along with Hovie Lister on piano, this group from Atlanta, GA turned gospel music on their ear with harmonies and arrangements derived directly from traditional black gospel, during what is known as its golden age. Elvis seemed to embrace each singer's best qualities, especially Jake's singing style and The Big Chief's mannerisms on stage.  As a matter of fact, The Jordanaires were not Elvis' first choice to join him, in the studio or on tour, in 1956.  The Statesmen Quartet was.  Elvis did get a chance to work with Jake Hess, in May 1966, while recording his How Great Thou Art album.

Poor Old Adam

written by Polly Arnold and Arthur Richardson

performed by The Statesmen Quartet with Hovie Lister

This is another one of those "Record Prevue" records I picked up recently from (free plug) Mike at Highland Records here in Louisville. If you do not mind someone breaking the smoking ban in his own establishment, he does come up with some great records, from time to time.  In this case, I dropped by one day and he sat this box up on the counter.  Taking a drag from his cigarette, he tell me about this box of mostly pop crap.  Well, after going through it, I did manage to dig up a few gems, like this one.  I hope you enjoy it as much as I did.

Both sides were recorded at The RCA Victor Studio, Methodist Television, Radio & Film Commission, 1525 McGavock St., Nashville, TN on 18 January 1955

Released as RCA Victor 47-6191 in August 1955

45 RPM: The Sheps - Early Bird 5002-95

I'm Destroyed (Because Of You)

written by Tommie A. Shider

performed by The Sheps

recorded 27 July 1995

Formed by Tommie Shider (lead tenor) and Richie Camacho (second tenor) in 1992, their name is in honor of James "Shep" Sheppard, who sang with The Heartbeats and Shep and The Limelites.  In their first year of performing, The Sheps won the United In Group Harmony Association's prestigious Rookie Of The Year.  In 1994, UGHA declared them Veteran Group Of The Year, an unprecedented triumph.  Along with Shider and Camacho, The Sheps, at the time this record was produced (to the best of my knowledge), included Alfonso "Bo" Lewis (first tenor), Hervon McNeil (baritone) and Williams Lane (bass).  One thing that helps The Sheps stand out is Tommie's ability to write new material for his group.  "Me, My Tears and A Jukebox," the title of their debut album, is one such example.  This side of their Early Bird single from a year later is another.

I Wonder Why

written by Esther Navarro

performed by The Sheps

recorded 3 August 1995

As I type out this blog, almost 13 years after I started producing radio programs that featured classic street corner harmony, I still find it funny that one of the biggest complaints I received, during the early years, was that I played material that was either too "old" or too "new."  I could see the point of playing a heavier does of material that was too "old" from the pioneering groups. These recordings might start sounding too dated and old fashion, to some, and the listener might lose interest. I will give you that much. However, the argument for playing material that was "too new" bothered me a lot. A record like this is a prime example. One side is a new composition and the other is a fine acapella version of The Cadillacs' classic from July 1954.  Sadly, I found that certain audiences would much rather hear The Cadillacs' original recording than this newer recording, even though it is excellently executed.  Also, this same crowd is less likely to give the original composition a fighting chance. It is practically a proven fact.  "Street corner harmony" fans are highly bias and have strong opinions of what is or is not a part of this genre.  Either, they are collector oriented and only want to hear what is "hardcore," "collectible" and "rare" or they are the "oldie but goodie" bunch that are just listening for memories.  If it is not something they know by heart, they do not really want to hear it.  In both cases, they gravitate towards the something very much not contemporaneity produced. To this day, I shake my head and wonder, "how are you suppose to keep an art form alive if you do not support the next generation of artists keeping it going?"   

Released as Early Bird 5002-95 in 1995.

78 RPM: Bennie Moten's Kansas City Orchestra - Victor V-38021

South

written by Bennie Moten and Thamon Hayes

performed by Bennie Moten's Kansas City Orchestra

She's No Trouble (Sweetheart)

written by Thamon Hayes

performed by Bennie Moten's Kansas City Orchestra

Bennie Moten - piano

Ed Lewis, Booker Washington - cornets

Thamon Hayes - trombone

Harlan Leonard, Jack Washington, Woody Walder - reeds

Leroy Berry - banjo

Vernon Page - bass

Willie McWashington - drums

By far, this has to be Bennie Moten's most popular record.  It may seem hard to believe but, "South" stayed in print, as a single, for, at least, 70 years.  If you consider all the compilation albums and other extended play releases, in any format over the years, "South" has never been out of print!

Originally released as part of Victor's race series (V-38021), the pairing of "South" and "She's No Trouble" stayed in Victor's catalog for around 20 years.  In 1935, Victor phased out their race series.  Since it was still in their catalog, Victor V-38021 was "reissued" on their main series, as Victor 24893.  Over the years, this 78 RPM release could be found with the scroll label design (as it was originally), double ring and single ring varieties, monogrammed label design, and under both the "Victor" and "RCA Victor" banners. It even became a big jukebox hit, in the late 1940s, when it was, again, given a new catalog number (RCA Victor 44-0004).

With the advent of the 45 RPM, RCA Victor reissued "South," again, with Bunny Berigan's "Frankie and Johnnie" (47-2956). Lastly, as part of their "Gold Standard Series" (447-0880), "South" was paired with Earl Hines' "Boogie Woogie On The Saint Louis Blues." That release stayed in their catalog until RCA stopping making vinyl records!

Both sides recorded in Camden, NJ, 7 September 1928 and released as Victor V-38021, circa March 1929.

78 RPM: Bennie Moten's Kansas City Orchestra - Victor 21693

Get Low-Down Blues

written by Bennie Moten

performed by Bennie Moten's Kansas City Orchestra

This track opens with a playful exchange between cornetist Ed Lewis and Bennie Moten. Solos go to Woody Walder on clarinet, Jack Washington on baritone sax, and Booker Washington on cornet.

Kansas City Breakdown

written by Bennie Moten and Woody Walder

performed by Bennie Moten's Kansas City Orchestra

Bennie Moten - piano

Ed Lewis, Booker Washington - cornets

Thamon Hayes - trombone

Harlan Leonard, Jack Washington, Woody Walder - reeds

Leroy Berry - banjo

Vernon Page - bass

Willie McWashington - drums

One of this fine band's quintessential performances from a marathon two day session that produced twelve masters.  This was the seventh (BVE-42929-1).  "Get Low Down Blues" was tenth (BVE-42933-1).  BVE-42934-1 and BVE-42935-1 would be released around the same time but, on Victor's race series.  By the way, that twelfth master would turn out to be, along with "Moten Swing," one of Bennie's all-time classics.  But, that is for another blog. . .

Both sides recorded in Camden, NJ, 7 September 1928 and released as Victor 21693 in March 1929.

78 RPM: Bennie Moten's Kansas City Orchestra and Clifford Hayes' Louisville Stompers - Victor 20955

Moten Stomp

written by Thamon Hayes and Bennie Moten

performed by Bennie Moten's Kansas City Orchestra

recorded at 952 North Michigan Ave., Chicago, IL, 12 June 1927

Ed Lewis, Paul Webster - coronet

Thamon Hayes - trombone

Harlan Leonard, Jack Washington, Woody Walder, Laforest Dent - reeds

Leory Berry - banjo

Bennie Moten - piano

Vernon Page - double bass

Willie McWashington - drums

This record, probably the second most common Moten record on Victor, has seen better days.  This side cleaned up pretty well.  However, the flip side suffers from major "rice krispies."  I have do the best I know how restoring these classic 78s.  You win some and you lose some.  Compared to what it sounded like orginally, I think it turned out ok.

Blue Guitar Stomp

written by Cal Smith

performed by Clifford Hayes' Louisville Stompers

recorded at 952 North Michigan Ave., Chicago, IL, 7 June 1927

Clifford Hayes - violin

Hense Grundy - trombone

Cal Smith - tenor guitar

Dan Briscoe - piano

Not much is known about this shadowy figure in jazz and blues history.  What is know is violinist Clifford Hayes was significant part of the devolupment of jug band (or, as I like to call it, Louisville style jazz) music as a leader of several studio bands during the 1920s.  After recording with fellow Louisville native Sara Martin, in 1924, Hayes teamed up with banjoist Cal Smith in many early jug bands including the Old Southern Jug Band, Clifford's Louisville Jug Band, the well-known Dixieland Jug Blowers (1926-1927), and Hayes' Louisville Stompers (1927-1929).  Clifford Hayes' last recordings were in 1931.

Released as Victor 20955 in February 1928

45 RPM: Court Yard Hounds and Jakob Dylan - Columbia 38-767539

See You In The Spring

written by Emily Robison and Martin Strayer

performed by Court Yard Hounds with Jakob Dylan

produced by Emily Robison and Martie Maguire with Jim Scott

For those not in the know, Court Yard Hounds are the two youngest Erwin sisters, Martie Maguire and Emily Robison. Along with Natalie Maines, they make up the Dixie Chicks.  The sisters decided to record side projects under the Court Yard Hounds name.  Featuring Robison for the first time as lead vocalist, their self titled debut album for Columbia Records was released on 4 May 2010.  Recorded in 2009 and not "officially" released as a single from the album until July 2010, this cut found its way onto this Record Store Day vinyl escape, Saturday, 17 April 2010!

Everybody's Hurting

written and performed by Jakob Dylan

produced by T-Bone Burnett

From The Wallflowers' front man and Bob and Sara's pride and joy, Jakob Dylan's second solo album, "Women + Country," released 6 April 2010.  I really love the backing provided vocally by Neko Case and Kelly Hogan.  Beside the fact that I think these are great performances, I love the look I get from people who are not really music buffs when I tell them that records are still being produced, by major record labels, and selling well.  In fact, vinyl record sales are at a 20-25 year high!  Record Store Day has done wonders in promoting the resurgence of vinyl and I, for one, love it.

Released as Columbia 38-767539 on Saturday, 17 April 2010.

78 RPM: Count Basie & His Orchestra - Decca 2325

At The Famous Door, New York City, July 1938

Thursday

written by Dorothy Sachs, Irvin Graham and Louis Haber

performed by Count Basie & His Orchestra,

vocal by Helen Humes

recorded 4 February 1939

Buck Clayton, Ed Lewis, Harry "Sweets" Edison, Shad Collins - trumpets

Benny Morton, Dan Minor, Dickie Wells - trombones

Lester Young, Chu Berry, Earl Warren, Jack Washington - reeds

Count Basie - piano

Freddie Green - guitar

Walter Page - bass

Jo Jones - drums

This was to be Basie's second master from the band's last Decca session.  With their contract was up, John Hammond was free to moved them over to Columbia.  As for this record, itself, it took some serious attention to even get it sounding this clean.  It will do until I can secure an upgrade.

Shorty George

written by William Basie

performed by Count Basie & His Orchestra

recorded 16 November 1938

Buck Clayton, Ed Lewis, Harry "Sweets" Edison - trumpets

Benny Morton, Dan Minor, Dickie Wells - trombones

Lester Young, Herschel Evans, Earl Warren, Jack Washington - reeds

Count Basie - piano

Freddie Green - guitar

Walter Page - bass

Jo Jones - drums

Luckily, this side was little cleaner than "Thursday."  One of my personal favorites from Basie's Decca years,  this would be one of Herschel Evans' last recording.

At a one night stand in Hartford, Evans collapsed on the bandstand.  Rushed to New York's Wadsowrth Hospital, the problem was diagnosed as heart disease.  The session from the 3rd and 4th of February, that produced "Thursday," Basie's utilized a quick substitution of Chu Berry on tenor.  Quickly back out on the road, word  reached them that Herschel Evans had passed away on 9 February 1939.  He was only 29 years old! 

Released as Decca 2325 in March 1939

78 RPM: Count Basie & His Orchestra - Decca 1770

Don't You Miss Your Baby?

written by William Basie

performed by Count Basie & His Orchestra,
vocal by James Rushing

recorded 13 October 1937

Buck Clayton, Ed Lewis, Bobby Moore - trumpets

Eddie Durham, Benny Morton, Dan Minor - trombones

Lester Young, Herschel Evans, Earl Warren, Jack Washington - reeds

Count Basie - piano

Freddie Green - guitar

Walter Page - bass

Jo Jones - drums

Topsy

written by Eddie Durham

performed by Count Basie & His Orchestra

recorded 9 August 1937

Buck Clayton, Ed Lewis, Bobby Moore - trumpets

Eddie Durham, George Hunt, Dan Minor - trombones

Lester Young, Herschel Evans, Earl Warren, Jack Washington - reeds

Count Basie - piano

Freddie Green - guitar

Walter Page - bass

Jo Jones - drums

Notice that, for some reason, the label gives composer credit to Count Basie.  Trombonist Eddie Durham is the actual songwriter.

Released as Decca 1770 in May 1938

James Rushing

45 RPM: The Three Haircuts - RCA Victor 47-6149

a) You Are So Rare To Me

written by Sid Caesar

performed by The Three Haircuts with Joe Reisman & his Orchestra

Sid Caesar - M-m-mike Haircut

Carl Reiner - Pete Haircut

Howard Morris - Al Haircut

Cooked up by Sid Caesar for his NBC television show, "Caesar's Hour," The Three Haircuts (Caesar, Reiner, and Morris) was a spoof of the new "long-haired" singers, like The Three Chuckles.  Someone with NBC, who was owned at the time by the Radio Corporation of American, decided it might be a hoot to actually record this and released it!  What more can I add to this?  This is pure fun.

I must give a shout out to Gino Alfano, where ever you are, for introducing me to this record over a decade ago.  It has been a favorite ever since.  Recently, I picked up this promo along with a handful of other RCA Victor "record prevue" promos from around the same period ('53-'56) that I will be sharing with you along the way.  Stay tuned!  

b) Goin' Crazy

written by Sid Caesar and Mel Tolkin

performed by The Three Haircuts with Joe Reisman & his Orchestra

released as RCA Victor 47-6149 in June 1955

Billboard, 11 June 1955

78 RPM: Fats Waller & his Rhythm - Victor 24898

a) Louisiana Fairy Tale

written by Mitchell Parish, James "Haven" Lamont Gillespie and John Frederick Coots

performed by "Fats" Waller & his Rhythm

1979, the year I was born, gave birth to the original "how-to" television program for the inspiring "do-it-yourself-er." On 20 February of that year, PBS station WGBH in Boston introduced us to Bob Vila, Norm Abram and "This Old House." My dad loved that show and we would watch it every week. For the first 18 years, the opening minute or so was used as the show's theme song. It was not until after they stopped using this theme that I discovered the name of the song and that this was the source. It has been a personal favorite for as long as I can remember.  For me, having Louisville native Al Casey helping keep rhythm here is a bonus. It might be nice to note that Gillespie, a Covington, KY/Cincinnati, OH native, and Coots was the team responsible for "Santa Claus Is Coming to Town."

b) Cinders*

written by Harry Kogen and Lou Holzer

performed by "Fats" Waller & his Rhythm

Thomas Waller - vocal, paino and celeste*
Herman Autrey - trumpet

Rudy Powell - clarinet

Al Casey - guitar

Charles Turner - bass

Harry Dial - drums

Both sides were recorded at Studio #2, 155 E. 24th St., New York City, 6 March 1935
released as Victor 24898 in May 1935