| | | | | | | | | | | | | |
|
Series 8: Sound
recordings
(continued) |
|
Subseries 3: TV and radio
broadcasts
(continued) |
|
"Blue Monday Blues,"
#2 (part 2 of 2), circa
1966
(continued) |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises Big John's club in Old Town Chicago where
featured bands perform live on the stage. |
00:01:09 |
PW: The interview with Johnny Young, guitarist,
singer, and mandolinist, continues. The first part
of the show is about his Mississippi years. The
second half is about his life in Chicago. Johnny
Young (JY) mentions that he moved back from Chicago
to Vicksburg, Mississippi, at the age of 21, in 1941
when the war began. While he stayed in Chicago
Heights area, he met many musicians such as Big
Bill, who played electric guitar. In those years, JY
and Muddy used to follow Sonny Boy around. JY
mentions that Muddy played the blues with his
trademark bottle-neck style. Later JY played in the
Maxwell Street market in 1946, along with Moody
Jones and Snooky Pryor. After playing on the street
for some time, finally JY recorded a record under
his name. |
00:07:11 |
"Money Taking Woman" composed and performed by
Johnny Young, on the Ora Nelle label |
00:09:43 |
PW asks about JY's cousin, Johnny Williams, who
was featured on the same record. JY says they
started playing at the age 10. |
00:10:24 |
"Worried Man Blues" composed and performed by
Johnny Williams. |
00:13:00 |
PW asks about JY's other record after 1948: "Let
Me Ride Your Mule" and "My Baby Walked Out On Me."
After that JY stopped making records until he met
Pete Welding, who produced Modern Chicago Blues. The record features one of JY's songs "My
Baby Walked Out In 1954." |
00:15:03 |
"My Baby Walked Out In 1954" |
00:17:20 |
PW asks about JY's collaboration with the
harmonica player John Wrencher. |
00:18:14 |
"I'm Going to Detroit," guitar by John Lee
Granderson, mandolin by Johnny Young, vocals and
harmonica by John Wrencher. |
00:21:08 |
PW ask about JY's recent participation in
several recording sessions for various labels. One
of them is a Vanguard label record Chicago/The Blues/Today!, in which Samuel Charters asked nine
different blues artists to record songs. JY mentions
that Samuel Charters loved his performance. |
00:21:45 |
"Tighten Up on It" by Johnny Young's South Side
Blues Band |
00:24:55 |
JY talks about his recording for Arhoolie
Records. |
00:25:02 |
"Wild, Wild Woman" by Johnny Young and his
Chicago Blues Band |
00:27:43 |
PW ask JY what he thinks the blues are. JY
answers blues are songs of low down when people feel
low down way back from the slavery time. Blues are
something that would hit you, make you sorrow, and
make you think of things. |
00:28:50 |
PW made a closing remark for the program. |
00:30:07 |
"I'm Having A Ball" by Johnny Young and his
Chicago Blues Band. |
00:33:04 |
End |
|
|
|
Item-ID: AFC 2011/053: SR498 |
"Blue Monday Blues,"
#3 (part 2 of 2), circa 1964-1966
|
|
Rack number: RXH 4738 |
|
Extent: 1 sound tape reel
(00:28:56) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the
stage. |
00:02:06 |
"Red Headed Woman" by "Baby Face" Leroy Foster.
Performers: Leroy Foster, vocal and guitar; Muddy
Water, lead guitar; Harmonica solo by Little Walter.
|
00:04:52 |
PW presents another song from the same record as
above - "Moonshine Baby" by "Baby Face" Leroy
Foster. Performers: Muddy Waters, lead guitar; Leroy
Foster, 2nd guitar. |
00:08:06 |
PW mentions Muddy Waters' recorded several
novelty blues such as "Tiger in Your Tank" and "Got
My Mojo Working." The following selection doesn't go
farther, which features a superb chromatic harmonica
solo by Little Walter. |
00:08:25 |
"Don't Go No Farther" by Muddy Waters. |
00:11:18 |
PW introduces another blues artist from Chicago,
Kokomo Arnold. |
00:11:46 |
"Midnight Blues" by Kokomo Arnold |
00:14:32 |
PW mentions that Georgia Tom (Thomas A. Dorsey)
is a noted gospel song performer, and introduces his
"Levee Bound Blues" on a 1930 Decca label. |
00:15:04 |
"Levee Bound Blues" by Thomas A. Dorsey |
00:17:41 |
PW introduces a post-war recording by Jesse
Thomas: "Gonna Write You A Letter" (1949). |
00:17:58 |
"Gonna Write You A Letter" by Jesse Thomas
(vocal, guitar) |
00:20:50 |
PW talks about a later Mississippi blues singer
and guitarist: Johnny Temple, who is well known for
the song "Louise Louise Blues." |
00:21:43 |
"Louise Louise Blues" by Johnny Temple. |
00:24:15 |
PW introduces "Traveling Man Blues": very fine
vocal and guitar playing by Tony Hollins, recorded
in Chicago in 1941. |
00:24:45 |
"Traveling Man Blues" by Tony Hollins |
00:27:36 |
PW makes a closing remark for the
program. |
00:28:56 |
End |
|
|
|
Item-ID: AFC 2011/053: SR499 |
"Blue Monday Blues,"
#4 (part 1 of 2), circa 1964-1966
|
|
Rack number: RXH 4739 |
|
Extent: 1 sound tape reel
(00:30:54) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. In
this episode he will introduces several blues works
developed out of the Muddy Waters' band. |
00:02:06 |
PW introduces the song "Last Night I Lost The
Best Friend" by Little Walter, which features a
magnificent harmonica solo. |
00:02:58 |
"Last Night I Lost The Best Friend" by Little
Walter |
00:05:40 |
PW talks about Little Walter successful
recordings that features his fine harmonica
performance. The blues song "Off The Wall" was
included in one of his best records called The Best of Little Walter.
|
00:06:10 |
"Off The Wall" by Little Walter |
00:08:58 |
PW introduces another harmonica player Walter
Horton, known as Big Walter (Horton) or Walter
"Shakey" Horton. He was a very fine harmonica player
from the Memphis, Tennessee are. He succeeded Little
Walter in the Muddy Water's band. |
00:09:53 |
"Hard Hearted Woman" by Big Walter Horton |
00:12:52 |
PW talks about harmonica player Junior Wells, who
recorded a beautiful blues song "Hoodoo Man Blues"
with Junior Wells on vocal, Big Walter on guitar,
David Miles on 2nd guitar, Henry Gray on piano, and
Fred Below on drums. |
00:13:43 |
"Hoodoo Man Blues" by Junior Wells |
00:16:43 |
PW introduces a great harmonica piece performed
by Junior Wells. |
00:17:05 |
An unidentified instrumental harmonica piece by
Junior Wells. |
00:19:58 |
PW mentions about another great blues artist in
Chicago, though born in Mississippi - Johnny
Shines. |
00:21:05 |
"Ramblin' Blues" by Johnny Shines |
00:23:35 |
PW introduces a blues piece composed by Johnny
Shines - "Brutal Hearted Woman," featured Johnny
Shines and Big Walter's magnificent performance on
the harmonica. |
00:24:13 |
"Brutal Hearted Woman" by Johnny Shines |
00:27:06 |
PW introduces a final selection by Johnny Shines,
also featuring Big Walter's harmonica playing.
|
00:27:20 |
"Evening Sun" by Johnny Shines |
00:29:47 |
PW makes a closing remark for the program.
|
00:30:54 |
End |
|
|
|
Item-ID: AFC 2011/053: SR500 |
"Blue Monday Blues,"
#5 (part 1 of 2), circa 1964-1966
|
|
Rack number: RXH 4740 |
|
Extent: 1 sound tape reel
(00:27:31) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
The evolution of the modern blues style can be
suggested by comparison of three Muddy Water's
recordings from different periods of his recording
career. This number - "Walking Blues" - is from his
early onset of his recording activities. |
00:03:01 |
"Walking Blues" by Muddy Waters, accompanied by
the bassist Big Crawford. |
00:04:30 |
PW introduces the mature style of Muddy Waters -
an exciting ensemble style in which all the
instruments were amplified. |
00:05:10 |
"Just to be With You" (excerpt) |
00:06:36 |
PW talks about Muddy Water's later development of
blues. "Walkin' Through the Park" has a brisk
exciting momentum of the rhythm that is much more
important than the lyric content of the
song. |
00:07:02 |
"Walkin' Through the Park" (excerpt) |
00:08:34 |
PW mentions that the leaders of the new blues
style came from the Muddy Water's bands such as
"Baby Face" Leroy Foster. Foster's "Boll Weevil"
dealt with country theme, with which the audience
was familiar. |
00:09:47 |
"Boll Weevil" (excerpt) |
00:12:20 |
PW talks about Little Walter Jacobs, a harmonica
player, started from Muddy Water's band and set out
on his own. |
00:12:20 |
"Muskadine Blues" by Little Walter Jacobs,
accompanied by Muddy Walter on guitar |
00:16:02 |
PW talks about how in early 1950 Little Walter
Jacobs formed his own band and recorded a few
records. |
00:16:20 |
"Blues with a Feeling" by Little Walter
Jacobs |
00:19:25 |
PW: The biggest success of Little Walter Jacobs
is the remake an old spiritual which was called
"This Train." Little Walter gave it a more secular
lyrics and called his version "My Babe." |
00:19:50 |
"My Babe" by Little Walter Jacobs |
00:22:25 |
PW: Little Walter Jacobs is best known in the
modern blues for his brilliant playing on the
amplifier harmonica. Perhaps one of his finest
harmonica solo is the instrumental song "Juke" from
"The Best of Little Walter" album. |
00:23:24 |
"Juke" by Little Walter Jacobs |
00:26:08 |
PW makes a closing remark of the program. |
00:27:31 |
End |
|
|
|
Item-ID: AFC 2011/053: SR501 |
"Blue Monday Blues,"
#6 (part 1 of 2), circa 1964-1966
|
|
Rack number: RXH 4741 |
|
Extent: 1 sound tape reel
(00:29:46) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
The modern style of blues was developed in a small
Chicago club in the year following World War II. But
to understand the genesis of the style, one must go
back to 1941. McKinley Morganfield [Leadbelly] was
recorded on Stovall plantation near Rolling Fork,
Mississippi, by a mobile recording team from the
Library of Congress, led by Alan Lomax. |
00:03:33 |
"Country Blues" by McKinley Morganfield
[Leadbelly] |
00:06:55 |
PW: "Country Blues" is country style performance
of old Mississippi Delta style, and was patented on
an album called The Walking Blues, recorded by a Delta bluesman, Robert
Johnson, a gifted poet and musician of blues.
|
00:07:55 |
"Country Blues" by Robert Johnson |
00:10:25 |
PW compares the modern urban style of blues and
the original southern style. |
00:12:52 |
"I Can't Be Satisfied" by Muddy Waters. |
00:15:35 |
PW talks about a new form begins to emerge, in
which the 2nd guitar line of Little Walter Jacobs
was added to Muddy's lead guitar and Big Crawford's
bass. |
00:16:36 |
"Honey Bee" by Muddy Waters. |
00:19:56 |
PW discusses Sonny Boy Williamson's influence on
Little Walter for his harmonica solo voice
style. |
00:21:40 |
"Louisiana Blues," harmonica by Little Walter,
lead guitar by Muddy Waters, and bass by Big
Crawford |
00:24:30 |
PW presents an example that represents the sound
of the modern blues. In the band numbers, the roles
of the instruments - guitar, second guitar,
harmonica, piano, bass and drums, have been
simplified individually so the totality of produced
would be strong and brilliant as a whole. The
electronic sound of the instruments further demands
its simplification. |
00:25:28 |
"I Just Want To Make Love To You" by Muddy
Waters |
00:28:16 |
PW makes a closing remark for the
program. |
00:29:46 |
End |
|
|
|
Item-ID: AFC 2011/053: SR502 |
"Blue Monday Blues,"
#7 (part 1 of 2), circa
1965
|
|
Rack number: RXH 4742 |
|
Extent: 1 sound tape reel
(00:28:35) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
Today's program will focus on Rice Miller (Sonny Boy
Williamson II), an influential post-war artist. Here
is one of his early influential songs, "Nine Below
Zero," recorded in 1950. |
00:02:50 |
"Nine Below Zero" by Rice Miller (Sonny Boy
Williamson II) |
00:05:35 |
PW: Considerable confusion exists about Rice
Miller. He claimed to be the original "Sonny Boy
Williamson." This is to distinguish him from the
performer John Lee Williamson, who recorded
extensively in the late 30s and 40s as Sonny Boy
Williamson. Here is a moody and introspective
performance recorded in Rice Miller's early
years. |
00:07:52 |
"Mighty Long Time" by Rice Miller (Sonny Boy
Williamson II), guitar and harmonica |
00:10:42 |
PW mentions that Sonny Boy Williamson II is such
a unique performer and quotes a description of style
written by a British Blues critic Paul Oliver.
|
00:12:54 |
"Eyesight to the Blind" by Sonny Boy Williamson
II |
00:15:55 |
PW talks about Sonny Boy Williamson II's
excellent ability as a blues poet. |
00:16:26 |
"Don't Start Me to Talkin'" by Sonny Boy
Williamson II |
00:18:55 |
PW introduce another Sonny Boy Williamson II's
song notable for the lyric content. |
00:19:10 |
"Fattening Frogs for Snakes" - Sonny Boy
Williamson II |
00:21:20 |
PW: This next piece has a good rocking
background. It is very much in the modern style of
instrumental work developed in the Chicago area in
the post-war years. |
00:21:40 |
"Checkin' Up On My Baby" by Sonny Boy Williamson
II |
00:23:35 |
PW introduces one of his most sensitive
performances. |
00:23:47 |
"Sad To Be Alone" by Sonny Boy Williamson
II |
00:26:40 |
PW makes a closing remark for the
program. |
00:28:35 |
End |
|
|
|
Item-ID: AFC 2011/053: SR503 |
"Blue Monday Blues,"
#8 (part 1 of 2), undated
|
|
Rack number: RXH 5365 |
|
Extent: 1 sound tape reel
(00:29:41) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
This evening we will focus on the recorded music of
Elmore James and his cousin Homesick James
Williamson. |
00:03:56 |
"Dust My Broom" by Elmore James; Sonny Boy
Williamson II on harmonica. |
00:06:42 |
PW: In "Sunnyland," Elmore James's electric
guitar is more of a Chicago style, a more modern
approach. The riff pattern and very heavy, explicit
rhythm are much more in keeping with the Chicago
modern styles of blues that became quite prevalent
in the middle 50s. |
00:08:04 |
"Sunnyland" by Elmore James |
00:11:20 |
PW: In "Blues Before Sunrise," the guitar
accompaniment pattern on this number is almost
exclusively on Robert Johnson. |
00:12:04 |
"Blues Before Sunrise" by Elmore James |
00:14:45 |
PW: Now another number by Elmore James, in the
more modern style of the Chicago blues. The guitar
playing is much more in line with the jazz
approaches. |
00:15:20 |
"I Was A Fool" by Elmore James |
00:18:05 |
PW: Tonight's final selection is Elmore's remake
of Robert Johnson's "Standing At The Crossroads."
Several horns have been added to the rhythm section.
The band picks up the phrases following Elmore's
guitar, echoing in a call and response pattern. This
format becomes the trademarks of Elmore's blues in
the 50s. |
00:18:58 |
"Standing At The Crossroads" |
00:21:45 |
PW: Let's hear Robert Johnson's original
"Crossroad Blues" recorded in November 1936. We will
see how much Elmore got from it, and how much he
parted from it. |
00:22:07 |
"Cross Road Blues" by Robert Johnson |
00:24:35 |
PW: Homesick James Williamson was also a man who
was influenced by Robert Johnson and his powerful
music. We hear a recording titled "Homesick" made by
Homesick James in 1952. |
00:25:42 |
"Homesick" by Homesick James Williamson |
00:28:28 |
PW makes a closing remark for the
program. |
00:29:41 |
End |
|
|
|
Item-ID: AFC 2011/053: SR504 |
"Blue Monday Blues,"
#9 (1 of 2), undated
|
|
Rack number: RXH 5366 |
|
Extent: 1 sound tape reel
(00:33:23) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage.
Tonight's program continues the discussion of the
modern blues style with selections by Chester Arthur
Burnett, better known by his stage name Howlin'
Wolf. This selection, "Crying At Daylight," is
notable as much for his powerful singing as it is
for his interesting harmonica playing. |
00:04:20 |
"Crying At Daylight" by Howlin' Wolf |
00:08:10 |
PW: This next number is influenced more by jazz
guitar. It is much more in line with the kind of
blues that were being recorded during the mid-40s
and right after the war years. |
00:08:44 |
"Worried About My Baby" |
00:11:40 |
PW: In early 1950 Howlin' Wolf left Memphis and
moved to Chicago. Here is a segment of his recording
before the move. |
00:12:24 |
"House Rockin' Boogie" by Howlin' Wolf, with
comments by Howlin' Wolf |
00:14:26 |
PW: Before moving to Chicago in 1952, Howlin'
Wolf recorded a few numbers in Memphis. Here is one
example. |
00:14:48 |
"Moanin' at Midnight" by Howlin' Wolf |
00:17:40 |
PW: Wolf continues to record a number of
traditional tunes, one of most interesting is "Forty
Four," recorded after he moved to Chicago. |
00:18:58 |
"Forty Four" by Howlin' Wolf |
00:21:45 |
PW: Howlin' Wolf's singing of "Forty Four" was
very similar to Charley Patton, the great Delta
Mississippi blues man. The phrasing is remarkably
alike. The next number is recorded in Howlin' Wolf's
Chicago era. |
00:22:17 |
"Evil (Is Going On)" by Howlin' Wolf |
00:25:08 |
PW: Now we hear another example of Howlin' Wolf's
use of traditional Mississippi materials and modern
blues context. "Spoonful" was originally recorded by
Charley Patton. |
00:25:22 |
"Spoonful" by Howlin' Wolf |
00:28:07 |
PW: "Spoonful" by Howlin' Wolf was recorded in
1960. Since that time Wolf's music has gone to a
decline as he is concentrated on the performance of
rather cheap material that have been manufactured
for him by professional blues writers. However
Howlin' Wolf was still one of the most powerful and
strongest of all Chicago blues man. |
00:29:02 |
"Three Hundred Pounds of Joy" by Howlin'
Wolf |
00:32:05 |
PW makes a closing remark for the
program. |
00:33:23 |
End |
|
|
|
Item-ID: AFC 2011/053: SR505 |
"Blue Monday Blues,"
#10 (part 1 of 2), undated
|
|
Rack number: RXH 5367 |
|
Extent: 1 sound tape reel
(00:29:26) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
Time
|
Content
|
|
|
Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage.
Tonight's program will be about a few numbers about
78's music from PW's collection. Junior Wells
achieved a great deal of success, commercially and
artistically, after leaving the Muddy Water's band.
|
00:02:21 |
"'Bout The Break Of Day" by Junior Wells |
00:04:55 |
PW: We will hear artists who achieved great fame
before the pre-war years, but who happened to record
after World War II. Their style changed in order to
accommodate the prevalent Chicago sound. The first
selection is music by Walter Davis, who is an
expressive singer and pianist. |
00:06:35 |
"So Long Baby" by Walter Davis |
00:09:10 |
PW: Another artist who tried to make the switch
from the pre-war style to the modern post-war style
was Big Bill Broonzy. He was a prolific recording
artist, and was identified as the "Chicago sound"
before World War II. |
00:09:50 |
"Southbound Train" by Big Bill Broonzy |
00:12:45 |
PW: Now, another artist who scored success in the
pre-war years, Hudson Whittaker (Tampa Red), a very
fine singer and guitarist. He also recorded a few
successful numbers in the post-war years. |
00:13:40 |
"But I Forgive You" by Tampa Red, with vocalist
and pianist Johnny Jones |
00:16:30 |
PW: The final pre-war artist we hear with
post-war transformation is Roosevelt Sykes from
Louisiana. He is artistically the most successful of
the four artists we hear this evening. |
00:17:10 |
"Walking the Boogie" by Roosevelt Sykes |
00:19:35 |
PW: Now we will hear one of the best zydeco
players, Clifton Chenier, a singer and accordionist.
Zydeco is a combination of French music and Negro
blues, and it's associated with the Gulf coast
region around Louisiana and Texas. |
00:20:20 |
"Where Can My Baby Be" by Clifton Chenier |
00:23:00 |
"The Big Wheel" by Clifton Chenier |
00:25:45 |
PW: Andrew "Smokey" Hogg is one of the finest of
the Texas bluesman. |
00:26:05 |
"Gone Gone Gone" by Andrew "Smokey" Hogg |
00:28:25 |
PW makes a closing remark for the
program. |
00:29:26 |
End |
|
|
|
Item-ID: AFC 2011/053: SR068 |
"Blue Monday Blues"
(unnumbered), circa
1966-1967
|
|
Rack number: RXH 3207 |
|
Extent: on one side of 1 sound
tape reel (00:17:50) : analog, 7 1/2 ips, full track, mono ; 7
in. |
|
Collector's original ID number: 79. |
|
|
Item-ID: AFC 2011/053: SR545 |
"Health and
Happiness Show" - Hank Williams, October 1949
|
|
Rack number: RXH 5407 |
|
Extent: 1 sound tape reel (Side
1: 00:37:00, Side 2: 01:03:44) : analog, 7 1/2 ips, mono ; 7
in. |
|
The tape box spine reads: "Hank Williams on Radio Transcription" Archivist's note: These recordings may have been dubbed from the 1993
CD release, rather than the original transcription discs. See
https://www.discogs.com/release/1911825-Hank-Williams-Health-Happiness-Shows
for more details. Vendor's digitization note: There is significant hum on the tape, and
the programs are distorted at times. |
|
Side 1
Time
|
Content
|
|
|
Start |
Opening song of the Hank Williams "Health and
Happiness Show" radio broadcasts. |
00:01:30 |
"You're Gonna Change (Or I'm Gonna Leave)"
(song) |
00:04:36 |
"(There's a) Bluebird on Your Window Sill"
(song) |
00:06:55 |
"A Tramp On The Street" (song) |
00:11:46 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song. |
00:12:58 |
"A Mansion on the Hill"(song) |
00:16:15 |
"There'll Be No Tear Drops Tonight"(song) |
00:19:55 |
"The Prodigal Son"(song) |
00:23:25 |
Closing music of the show. |
00:24:26 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song. |
00:25:35 |
"Pan American" (song) |
00:28:55 |
"Lovesick Blues" (song) |
00:33:22 |
"I Saw the Light" (song) |
00:36:12 |
Closing music of the show. |
00:37:00 |
End |
|
|
Side 2
Time
|
Content
|
|
|
Start |
Opening song of the Hank Williams "Health and
Happiness Show" radio broadcasts. |
00:01:05 |
"I'm a Long Gone Daddy" (song) |
00:04:35 |
"I'm Telling You" (song) |
00:06:50 |
"When God Comes And Gathers His Jewels"
(song) |
01:11:03 |
Closing of the show. |
00:12:38 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song. |
00:13:45 |
"Lost Highway" (song) |
00:17:25 |
"I Want to Live and Love" (song) |
00:20:08 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song. |
00:20:50 |
"I'll Have a New Body (I'll Have a New Life)"
(song) |
00:23:38 |
"Fingers on Fire" (song) |
00:24:23 |
Closing music of the show. |
00:25:05 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song. |
00:26:26 |
"I Can't Get You Off My Mind" (song) |
00:28:23 |
"I'm So Lonesome I Could Cry" (song) |
00:32:04 |
"Thy Burdens Are Greater Than Mine"
(song) |
00:36:10 |
Hank Williams introduces the band musicians.
|
00:37:46 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song. |
00:38:46 |
"Mind Your Own Business" (song) |
00:42:13 |
"Wedding Bells" (song) |
00:46:55 |
"I've Just Told Mama Goodbye" (song) |
00:49:15 |
Ending remark. |
00:50:23 |
An episode of the Hank Williams "Health and
Happiness Show" radio broadcasts. Opening
song." |
00:51:40 |
"Wedding Bells" (song) |
00:55:50 |
"Lovesick Blues" (song) |
00:59:52 |
"Where The Soul Of Man Never Dies" (song) |
01:02:20 |
Ending remark. |
01:03:44 |
End |
|
|
|
Item-ID: AFC 2011/053: SR802 |
Humorous radio
broadcast recordings, undated
|
|
Rack number: RXJ 7392 |
|
Extent: 1 sound tape reel
(01:12:15) : analog ; 7 in. |
|
Contents include a gag radio broadcast, with someone imitating Lionel
Barrymore tells a story about a bear (circa 1953-1954). Frank Goss
is the announcer. Other comedy sketches are included on the
tape. |
|
|
Item-ID: AFC 2011/053: SR239 |
"Preachin' The
Blues" - radio show on KPFK-FM, Los Angeles; hosted by Frank Scott -
Johnny Shines, guest, January 5, 1974
|
|
Rack number: RXH 4121 |
|
Extent: 1 sound tape reel
(polyester, 00:52:24) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
Archivist's note: The interview was featured on Frank Scott's show,
"Preachin' the Blues," broadcast on KPFK radio. The tape box
indicates this is interview #3, but this is probably Shines
interview number 3 in this collection. The interview is interspersed
with songs sung by Johnny Shines, accompanying himself on
guitar.
Time
|
Content
|
|
|
Start |
recording begins with laughter; discussion about
blues and church songs; his family history and a
story about Ann Roman [sp?] |
00:03:23 |
"I Don't Know" |
00:07:29 |
how Shines came to Chicago: his life in Arkansas,
his work as a farm hand, performing as a musician on
weekends, Howlin' Wolf, trying to live and work in
St. Louis, plans to go to Chicago and get a job and
what he'd do if he didn't get a job, desire to visit
Africa, being told that people in Africa have his
Vanguard record and want him to visit, his strong
feelings about going to Africa, speaks about slide
guitar playing |
00:12:54 |
"The Blues Came Falling Down" |
00:16:38 |
the interview continues: discussion of Shines's
slide guitar style, credits his return to the music
business to Frank Scott and Mike Rowe, Shines pawned
his guitar and equipment and sore off playing guitar
again, Scott and Rowe renting a guitar for him;
Scott and Shines discuss photos Scott shows to him,
reasons he gave up playing guitar, playing jazz
instead of blues, taking care of his children and
grandchildren, the need to have a living income,
dealings with record companies, dealings with Al
Benson, trouble with the union (playing for under
scale), losing his union card, issues resolved,
leaving Chicago to live in Alabama |
00:27:45 |
"Nobody's Fault But My Own" |
00:31:38 |
the interview continues: how Shines changes
traditional songs and keeps his interest in the
music, playing gigs in the Los Angeles area, mention
of Big Mama Thornton and T-Bone Walker, forthcoming
albums by Shines, playing solo vs. with a band,
songs he learned from Robert Johnson, Johnson's
personality, when other people play Johnson's
songs |
00:39:59 |
"Kind Hearted Woman" (a song by Robert
Johnson) |
00:44:09 |
where Shines will play next (locations and
events), taking his family around the U.S. and
Canada to see other places |
00:48:15 |
"Ramblin' Blues" |
00:51:32 |
Scott thanks Shines for taking the time to do the
interview, plugs the gig Shines had currently with
Albert Collins at The Ash Grove. |
00:52:24 |
End |
|
|
|
Item-ID: AFC 2011/053: SR776 |
"Preachin' The
Blues" - radio show on KPFK-FM, Los Angeles; hosted by Frank Scott -
Johnny Turner, guest, February 16, 1976
|
|
Rack number: RAA 59314 |
|
Extent: 1 sound tape reel
(01:28:20) : analog, 7 1/2 ips, half track, stereo ; 10
in. |
|
Collector's original ID number: 19. Archivist's note: Johnny Turner is better known as John "Honeyboy"
Turner. On the radio show, Scott interviewed Turner, who played
guitar and sang live, backed by Zaven Jambazian on harmonica. Vendor's digitization note: The source program has distortion and
hiss. The beginning of the program is cut off. |
|
|
Item-ID: AFC 2011/053: SR693 |
"Songs by Sinatra,"
circa
1942-1947
|
|
Rack number: RXH 5570 |
|
Extent: 1 sound tape reel (Track
1: 01:31:26, Track 2: 01:25:13, Track 3: 01:30:10, Track 4:
01:32:29) : analog, 3 3/4 ips, quarter track, mono ; 7
in. |
|
Archivist's note: Episodes from Sinatra's radio program, "Songs by
Sinatra." Vendor's digitization note: The program is distorted at times, and
there is crosstalk from the tape. |
|
|
Item-ID: AFC 2011/053: SR695 |
"Timex All-Star Jazz
Show" [?], Reel 2339, circa 1957-1959
|
|
Rack number: RXH 5572 |
|
Extent: 1 sound tape reel
(Channel 1: 01:16:21, Channel 2: 01:32:46, Channel 3: 01:25:27,
Channel 4: 01:33:52) : analog, 3 3/4 ips, mono ; 7 in. |
|
Vendor's digitization note: For Channel 2, there is a gap in the
program (from the source tape) from 01:16:43 - 01:23:13, and the
program is distorted at times. For Channel 3, there is a gap in the
program (from the source tape) from 01:13:39 - 01:19:12. For Channel
4, there is a speed fluctuation at the start of the program (from
the source tape), and crosstalk on the tape. |
|
Subseries 4: Compilations
of dubbed commercial recordings
|
|
These recordings are organized by music style, record label, or related
categories. |
|
|
Item-ID: AFC 2011/053: SR788 |
Dubs for "All Out
and Down," undated
|
|
Rack number: RAA 59326 |
|
Extent: 1 sound tape reel :
analog (00:28:05) ; analog, 15 ips, half-track, stereo, 10
in. |
|
Vendor's digitization note: The recording begins with a test tone.
The program has distortion and hiss. |
|
|
Item-ID: AFC 2011/053: SR561 |
Blues Is Killing Me (Juke Joint 1501), 1978
|
|
Rack number: RXH 5422 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
Dub recording. |
|
|
Item-ID: AFC 2011/053: SR155 |
Standing Ovation - Count Basie Orchestra (Dot 25938); That Latin Beat: Antobal's Latin All-Stars Conducted by Chico O'Farrill (Dot 25445) (tape side 1); Goin' Places - Margaret Whiting (Dot 25072); Dori Howard Sings, with the Eddie Costa Quartet and Don Elliott Quintet (Dot
3230) (tape side 2), 1959-1969
|
|
Rack number: RXH 4038 |
|
Extent: 1 sound tape reel
(polyester; Side 1: 01:02:45, Side 2: 01:04:05) : analog, 3 3/4 ips,
quarter track, stereo ; 7 in. |
|
Dubs from commercial recordings. |
|
Side 1
Time
|
Content
|
|
|
Start |
Instrumental piece by the Count Basie Orchestra
(CBO): "Down for Double" |
00:03:12 |
The next instrumental piece, titled "Li'l
Darlin'" |
00:08:02 |
The start of the next instrumental selection by
CBO called "Broadway" |
00:11:39 |
CBO play "Jive at Five" |
00:15:32 |
CBO play "Cherry Point" |
00:20:34 |
Jumpin' at the Woodside" - CBO |
00:24:07 |
The beginning of the next instrumental selection
titled "One O'clock Jump" |
00:25:28 |
The next selection called "Shiny
Stockings" |
00:30:35 |
CBO perform their next piece "Blue and
Sentimental" |
00:35:06 |
CBO perform "Every Tub" |
00:38:05 |
The start of the next instrumental selection
called "Corner Pocket" |
00:44:03 |
The next instrumental piece titled "The Kid from
Red Bank" |
00:46:36 |
The next selection by CBO titled "One O'clock
Jump" |
00:48:22 |
Chico O'Farrill (CF) conducting Antobal's Latin
All-Stars. The first piece they perform is "Una
Aventura Mas" |
00:50:39 |
The beginning of the next instrumental piece
called "Astronaut Special" |
00:53:21 |
"Voodoo Moon" by CF |
00:56:05 |
"Playtime in Brazil" by CF |
00:58:24 |
A performance of "Pachanga Universal" (Eugenio
Fondeur) |
01:00:36 |
The next piece with voice and accompaniment
titled "Fiesta en El Solar |
01:00:34 |
End |
|
|
Side 2
Time
|
Content
|
|
|
Start |
Begins with Margaret Whiting singing a rendition
of "The Gypsy in My Soul" (J. Mandel) |
00:02:29 |
Voice and accompaniment of "Sentimental Journey"
(Mandel) |
00:05:33 |
The selection "Any Place I Hang My Hat Is Home"
(Frank Comstock) |
00:08:18 |
The start of the song titled "I'm Gonna Move to
the Outskirts of Town" (Skip Martin) |
00:10:43 |
Introduction to the song "Gone With the Wind"
(Pete King) |
00:12:42 |
The start of "Runnin' Wild" (Pete Rugolo) |
00:14:27 |
The selection "Between the Devil and the Deep
Blue Sea" (Rugolo) |
00:16:37 |
Introduction to the song "Somewhere Over the
Rainbow" (Marty Paich) |
00:19:47 |
The start of "Hit the Road to Dreamland"
(Comstock) |
00:22:20 |
The selection "East of the Sun and West of the
Moon" (King) |
00:25:02 |
The introduction to "Song of the Wanderer"
(Martin) |
00:27:29 |
The selection "Home (When Shadows Fall)"
(Paich) |
00:30:08 |
The song titled "The Moon Was Yellow" with Dori
Howard singing the remainder of the pieces. She is
joined by Eddie Costa and the Don Elliott
Quintets |
00:32:36 |
The start of "My One and Only Love" |
00:35:18 |
Introduction to the next song, "Here I am in Love
Again" |
00:38:29 |
The song titled "I Get a Kick out of You" |
00:41:08 |
Introduction to the next song titled "Lonely
Love" |
00:43:48 |
The selection "Mean to Me" |
00:46:01 |
The start of the song "How Long Has This Been
Going On?" |
00:48:41 |
The song titled "Duke's Place" |
00:51:18 |
Introduction to "You're Not Alone" |
00:54:26 |
Introduction to the next song titled
"Monday" |
00:56:26 |
The next selection called "Stop, Look and
Run" |
01:00:16 |
The song titled, "Mood Indigo" |
01:03:52 |
End |
|
|
|
Item-ID: AFC 2011/053: SR412 |
Blues 78s, #11;
Peggy Seeger, undated
|
|
Rack number: RXH 4652 |
|
Extent: 1 sound tape reel
(01:00:32) : analog, 7 1/2 ips, stereo ; 7 in. |
|
Logger's note: Dubs of commercial recordings by various singers,
including Peggy Seeger, Furry Lewis, Memphis Minnie, and others. Vendor's digitization note: The program is distorted at times. |
|
Time
|
Content
|
|
|
Start |
"Cumberland Gap" by Peggy Seeger |
00:02:04 |
"The Lady of Carlisle" by Peggy Seeger |
00:06:16 |
"The Deer Song" by Peggy Seeger |
00:09:08 |
"Come All Ye Fair and Tender Maidens" by Peggy
Seeger |
00:12:12 |
"I Never Will Marry" by Peggy Seeger |
00:14:53 |
"Devilish Mary" by Peggy Seeger |
00:16:55 |
"The Fair Maid Freed By the Shore" by Peggy
Seeger |
00:19:21 |
"Soldier's Joy" by Peggy Seeger |
00:20:19 |
"Shady Grove" by Peggy Seeger |
00:21:37 |
"Georgia Buck" by Peggy Seeger |
00:22:37 |
"The Wife of Usher's Well" by Peggy
Seeger |
00:27:13 |
"Saturday Blues" by Ishman Bracey |
00:30:46 |
"Left Alone Blues" by Ishman Bracey |
00:34:28 |
"Kassie Jones" (part 1), by Furry Lewis |
00:37:37 |
"Kassie Jones" (part 2), by Furry Lewis |
00:40:47 |
"Honey" by Bo Carter |
00:43:38 |
"What You Want Your Daddy to Do" by Bo
Carter |
00:46:45 |
"I'm talking About You" by Memphis Minnie (very
poor sound quality) |
00:49:22 |
"Me And My Chauffeur Blues" by Memphis
Minnie |
00:52:09 |
"Can't Afford To Lose My Man" by Memphis
Minnie |
00:54:42 |
"Please Set A Date" by Memphis Minnie |
00:57:30 |
"True Love" by Memphis Minnie |
01:00:32 |
End |
|
|
|
Item-ID: AFC 2011/053: SR410 |
Blues 78s, #12,
undated
|
|
Rack number: RXH 4650 |
|
Extent: 1 sound tape reel
(01:04:01) : analog, 3 3/4 ips, mono ; 7 in. |
|
Logger's note: Dubs of commercial recordings by various singers. Vendor's digitization note: The program is distorted at times. |
|
Time
|
Content
|
|
|
Start |
"Mama's Advice" by Peetie Wheatstraw (poor sound
quality) |
00:03:26 |
"Police Station Blues" by Peetie Wheatstraw (poor
sound quality) |
00:06:40 |
"Midnight Blues" by Peetie Wheatstraw (poor sound
quality) |
00:10:08 |
"Johnnie Blues" by Peetie Wheatstraw (poor sound
quality) |
00:13:00 |
"Deep Sea Diver" by Leroy Henderson (poor sound
quality) |
00:15:53 |
"Low Mellow Man Blues" by Leroy Henderson (poor
sound quality) |
00:18:53 |
"F.D.R. Blues" by Champion Jack Dupree (poor
sound quality) |
00:21:35 |
"God Bless Our New President" by Champion Jack
Dupree (poor sound quality) |
00:24:22 |
"South Bound Water" by Lonnie Johnson (poor sound
quality) |
00:27:08 |
"Back Water Blues" by Lonnie Johnson (poor sound
quality) |
00:30:44 |
"Bo Weevil Blues" by Madame "Ma" Rainey;
accompanied by Lovie Austin |
00:33:36 |
"Cotton Crop Blues" by James Cotton |
00:36:40 |
"Charity Blues" by Gene Gilmore (poor sound
quality) |
00:39:19 |
"Brome Street Blues" by Skoodle Dum Doo and
Sheffield (poor sound quality) |
00:42:16 |
"West Kinney Street Blues" by Skoodle Dum Doo and
Sheffield (poor sound quality) |
00:45:01 |
"Pretty Man Blues" by Luella Miller (poor sound
quality) |
00:47:40 |
"Dago Hill Blues" by Luella Miller (poor sound
quality) |
00:50:40 |
"Love Me Or Let me Be" by James (Beale Street)
Clark. |
00:53:32 |
"Get Ready To Meet Your Man" by James (Beale
Street) Clark |
00:56:12 |
"Dew Drop Alley Stomp" by Sugar Underwood |
00:59:34 |
"Davis Street Blues" by Sugar Underwood |
01:02:43 |
"Pig Meat Blues" by Ardell Bragg (poor sound
quality; the song ends abruptly) |
01:04:01 |
End |
|
|
|
Item-ID: AFC 2011/053: SR411 |
Blues 78s, #13,
undated
|
|
Rack number: RXH 4651 |
|
Extent: 1 sound tape reel
(00:50:41) : analog, 3 3/4 ips, mono ; 7 in. |
|
Logger's note: Dubs of commercial recordings by various singers. Vendor's digitization note: The program is distorted at times. |
|
Time
|
Content
|
|
|
Start |
"She's Gone Blues" by Barbecue Bob |
00:03:32 |
"Bad Time Blues" by Barbecue Bob |
00:06:48 |
"Crooked Woman Blues" by Barbecue Bob |
00:09:49 |
"'Fo Day Creep" by Barbecue Bob |
00:13:06 |
"Thinkin' Funny Blues" by Barbecue Bob |
00:16:29 |
"Motherless Chile Blues" by Barbecue Bob |
00:19:50 |
"My Mistake Blues" by Barbecue Bob |
00:22:11 |
"How Long Pretty Mama" by Barbecue Bob |
00:26:40 |
"Barrel House Blues" by Ed Andrews |
00:29:50 |
"Time [sic] Ain't Gonna Make Me Stay" by Ed
Andrews |
00:32:56 |
"Shake It Up And Go" by Tommy McClennan |
00:35:56 |
"I Love My Baby" by Tommy McClennan |
00:39:03 |
"Stack Of Dollars" by Joe Williams |
00:41:51 |
"Mellow Apples" by Joe Williams |
00:44:42 |
"The O. P. A. Blues" by Dossie (Georgia Boy)
Terry |
00:47:59 |
"Furlough Blues" by Dossie (Georgia Boy)
Terry |
00:50:41 |
End |
|
|
|
Item-ID: AFC 2011/053: SR392 |
Blues 78s dubs
(Kansas Joe - Memphis Minnie), undated
|
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