Matt The Cat presents the soul that came before rock n’ roll: 1950s rhythm and blues. Each week, this underrated and rollicking music plays on that old Rockola Jukebox in the back.
Jay McShann was a pioneer of Rhythm & Blues, cutting his teeth as a swing bandleader, arriving in Kansas City just as it was becoming a jazz mecca. In 1937, he heard the young Charlie Parker and asked him to join his band. “Bird” was on McShann’s first records, done for Decca in 1941 including the smash, “Confessin’ The Blues,” which featured vocalist Walter Brown. McShann was a discoverer of talented musicians, from vocalists Julia Lee, Al Hibler and Jimmy Witherspoon to drummer Gus Johnson, bassist Gene Ramey and saxophonist Paul Quinichette. His band launched many careers and thankfully McShann had many hits of his own. In 1949, it was his band backing Jimmy Witherspoon on the R&B chart-topper, “Ain’t Nobody’s Business” and with the help of Pricilla Bowman, McShann scored another #1 in 1955 with “Hands Off.” Matt The Cat explores Jay McShann’s long and storied career as we boogie, jump, jive and wail on this week’s “Juke In The Back.”
The Influence of “Junker’s Blues” and R&B Telephone Songs
The “Juke In The Back” is jumpin’ this week as we take a look at the history and influence of the Champion Jack Dupree classic, “Junker’s Blues.” He learned the tune from New Orleans boogie woogie pianist Drive ‘Em Down, but it was Dupree’s recording that influenced Fats Domino, Lloyd Price and Professor Longhair. We’ll also make some long distance rhythm & blues phone calls from Floyd Dixon, Sonny Terry, Muddy Waters and Big Walter. Grab a nickel and dig on the “Juke In The Back.”
This week, “Juke In The Back” focuses on a tiny Chicago R&B record label with a big sound; Parrot Records. The label was started by Chicago DJ Al Benson in late 1952 and it closed its doors in 1956. During its period of operation, Parrot recorded some smokin’ R&B with Willie Mabon, Mabel Scott and J.B. Lenoir and smooth vocal group sounds from The Flamingos, the 5 Thrills and the Orchids. Matt The Cat highlights both the hits and misses and brings you the story behind the story on this often forgotten R&B label on “Juke In The Back.”
This week, “Juke In The Back” waves the banner high in celebration of America’s 250th birthday with one of America’s great contributions to the world. No, it’s not a representative democracy, motion pictures, space flight or a free economy, but its cuisine. America’s food in song with some good ol’ red, white and Rhythm & Blues. Dig in on an hour of classic R&B about hot dogs, cole slaw, potato salad, ribs and ice cream sung by Nat “King” Cole, Amos Milburn, Louis Jordan, the “5” Royales and many more. Matt The Cat invites you to groove to our R&B 4 th of July picnic and the “soul that came before rock n’ roll” on the Juke In The Back.
Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents the final part of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat focuses on Berry’s recorded and released output during the pivotal year of 1958. He began the year with a bang and the #1 R&B tune “Sweet Little Sixteen.” 1958 was also the year that gave us “Reelin’ and Rockin’,” “Johnny B. Goode,” “Around and Around” and “Carol.” Just like in the first parts of this series, this week’s program is packed with some fantastic and seldom-heard instrumentals, showcasing Chuck Berry’s true guitar chops. So dig this final “Juke In The Back” treatment of the legendary “Shakespeare Of Rock n’ Roll,” Chuck Berry.
Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents part 2 of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat presents every studio recording made by Chuck Berry from the middle of 1956 to the end of 1957. We pick up where part 1 left off as the hits continue with “School Day (Ring! Ring! Goes The Bell)” topping the R&B chart during the spring of ’57. We’ll also dig the demo and hit versions of “Rock and Roll Music” as well as some great, but overlooked Berry instrumentals. We end this week’s program with the demo version of “Sweet Little Sixteen” and will pick it up next week on part 3 with the evolution of that important Chuck Berry tune. Don’t miss the “Shakespeare Of Rock n’ Roll” on this week’s “Juke In The Back.”
Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents part 1 of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat explores Chuck Berry’s first full year of recording for the legendary Chess Records in Chicago. We’ll look at his recordings from his first session, held in May, 1955 to his fourth session from April, 1956 and everything in-between. Some of the titles you’ll know by heart, like “Maybellene,” “You Can’t Catch Me” and “Roll Over Beethoven,” but others might be new to your ears, like the eerie “Down Bound Train” and the very bluesy “Wee Wee Hours.” Chuck Berry defined Rock n’ Roll guitar and his influence is felt every time some one picks up a guitar with the intention of tearing the house down. Next week, we’ll finish up 1956 and begin 1957.
At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 70 years later, this vibrant and influential music is still so unknown to so many?
Matt The Cat is going to change that with the radio program, “Juke In The Back.†These were the records that you couldn’t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to Juke In The Back.
At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 70 years later, this vibrant and influential music is still so unknown to so many?
Matt The Cat is going to change that with the radio program, “Juke In The Back.” These were the records that you couldn’t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to “Juke In The Back.”
