Country music founding father Gene Autry recorded “Atlanta Bound” in 1931. In his long career, Gene Autry was a star as each of the mediums of radio, movies, and television matured. This song is a humorous take on the serious matter of cheatin’ and it’s consequences! Playfully rendered on banjo, guitar, and Gene’s own inimitable voice.
Jug music pioneer and Memphis blues great Will Shade created most of his over 100 recorded sides as leader of the Memphis Jug Band. But he also created a few solo tracks along the way, including this piano blues gem called “Better Leave That Stuff Alone.” A classic 78 RPM record with a timeless message.
Walter “Buddy Boy” Hawkins is one of those great pre-war blues artists for whom it is hard to find biographical info. What is known is that he recorded several sides for Paramount in the late 1920’s, capturing his sublime vocal and guitar style for posterity. “Snatch It Back Blues” tells of a life of train-hopping and vagabonding in the American south, and is a folk blues classic.
The Carter Family were the first Country Music singing stars, and in fact they were among the very first recording artists, in any style. Their magnificent performance of the American classic, “Wildwood Flower” was captured at Victor Records’ Camden, New Jersey studio, on May 27, 1928. Originally penned in 1860 by Maud Irving and Joseph Philbrick Webster, the song has been covered by June Carter, Iris DeMent, Joan Baez, and too many others to list here. This clean MP3 from the original 78RPM vinyl is yours to enjoy.
A peculiar detail about Chicago Blues legend Joe McCoy is that he had a lot of stage names. Best known as Kansas Joe McCoy, he also performed and recorded as Georgia Pine Boy, Hallelujah Joe, Hillbilly Plowboy and Mud Dauber, to name just a few. Joe was married for a time to blues guitar great Memphis Minnie (who’s real name was Lizzie Douglas) and they made this classic record together in 1929. This song was much later recorded by Led Zeppelin. Here’s the timeless original, hot off the 78RPM vinyl.
The “Father Of The Delta Blues,” Charley Patton lived from around 1887 to April 28, 1934. His performances and recorded works became blueprints for the greats who followed in his footsteps, from Robert Johnson to Howlin’ Wolf to well, everybody. High Water Everywhere, Parts 1 & 2, are songs penned by Mr. Patton about the Great Mississippi Flood he witnessed and survived in 1927. While the two distinct parts work as individual pieces, together they tell a complete, epic story. And he just rocks, so hard.
When legendary Hawaiian music innovator Andy Iona sings the praises of a girl with “Naughty Hula Eyes,” you might need an umbrella drink! The lyrics to this classic song somehow manage to be sexy, innocent, sweet, and naughty all at once. Iona’s fluid lead vocal and his Islanders’ velvety smooth choral vocals, along with that trademark Hawaiian Steel Guitar, all add up to paint a picture of a blissful, other-worldly beach scene. Aloha.
Fiddlin Frank Nelson was a moniker used by the great southern fiddler, Doc Roberts. Doc was a farmer first and a musician in his spare time. Although he only played and recorded on weekends, he cut over 70 sides! “Buck Creek Gal” is an upbeat number, and you can hear how his style influenced early country music. Unpretentious and infectious, this is some pure old time instrumental hillbilly music fun.
Will Batts’ starts his “Cadillac Baby” with the last line from Blind Lemon Jefferson’s “Booger Rooger Blues” — “Somebody learned my baby how to shift gears on a Cadillac Eight!” This classic acoustic blues was recorded during the height of American car culture, when gas was cheap and car radios were new. With gems like this, Will Batts helped lay the groundwork for the rock ‘n roll music which would pump through millions of car speakers in later decades.
You can trace much of American popular music back to the blues. This is most obviously evident in Rock n’ Roll. But in tracks like Gus Cannon’s “Madison Street Rag,” you can also hear the roots of Rap and Hip-Hop. Released on the Paramount label in 1927, Gus Cannon’s gravelly voice sounds like he’s freestlying on the street corner as a passerby looks on in amazement. The banjo pickin’ is brilliant too. Ragtime folk blues goodness with a great lyric. Enjoy!
