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ISSUE 70 y record August 1965 $ „ •X research SO CMTS THE MAGAZINE OF RECORD INFORMATION A STATISTICS 4Wftsxe 65 GRAND AVENUE 4 BROOKLYN 5. N. Y. THE WORLD OF TED WEEMS &aU4.Z&L ^&2e. fia.fe 3, ffa &*mS JuWU 7*0*4 CAt&J- v»ea/*J&/ i , Rhoades was an early entry, with many fine vocals such as SMILE ^ REGARDING BLUES RESEARCH: A LITTLE BIT (19930), CHICK-CHICK-CHICK-CHICK-CHICK EN, ^ft (20206), which he duetted with their next jazz- tinged This publication is a subsidiary qf RECORD stylist, *\ PARKER GIBBS; CLIMBING UP THE LADDER RESEARCH, edited by ANTHONY ROTANTE and OF LOVE (20230), a 1926 Vanities number; WHAT'S THE USE OF CRYING (20234), ^5% PAUL SHEATS LEY, and is a vehicle for exploring and, to me, perhaps this very best performance on ROAM ON, jt the vast field of contemporary Blues recordings. It MY LITTLE GYPSY SWEETHEART (20892); IT WAS ONLY A SUN has been lauded as the singularly most important ^ SHOWER (20910) coupled with the duo again on HIGHWAYS ARE M document of research of the post-war (1946) Blues, HAPPY WAYS, W It is published irregularly, averaging 3/4 issues PARKER GIBBS began to receive the cream of the refrains at ^ per year. THERE IS NO SUBSCRIPTION SYSTEM f this point, including MY TROUBLES ARE OVER (21809), YOU RE TO BLUES RESEARCH, EACH ISSUE ^ COSTS THE CREAM IN MY COFFEE (21767), a marvelous Cobblestones 5 THIRTY CENTS (U.S.A.), THIRTY FIVE CENTS (21105), EVERYBODY LOVES MY BABY (21173), NOTHIN' ON ^ (FOREIGN). Also available from DEREK COLLER rMY MIND/HE'S TALL AND DARK AND HANDSOME (21364) and, € at 25 BROAD FIELD, HARLOW, ESSEX, ENGLAND, by John McAndrew ^perhaps his best two: WHAT A DAY! (22038) and MISS WONDER- i 2/6d each. &J*FUL (22137), from the film, PARIS, but not one of the Cole < Futureissues of BLUES RESEARCH are announced songs. The wax world, that is, I didn't and don't know much ^ Porter sides backed by other Weems gems featur- in the parent publication, RECORD RESEARCH. about Ted Weems as a person, but 1 never have forgotten my first ^ Some of these were ing one of the most stylish and jazz- influenced voices ever heard THE FOLLOWING BACK ISSUES Ted Weems record. 1 was young and callow and my slowly ) «^> V\ in a pop. dance band: ARTHUR JARRETT. He certainly was one AVAILABLE: sprouting taste buds hadn't progressed very far, and 1 was mainly ARE NOW tenors of his time who, interested in the other side, which was TED MORSE MEDLEY, by $ ^of the most persuasive and unhackneyed paralleling the fate of the band that brought him fame t jO$v BLUES RESEARCH Victor's house band, The Manhattan Merrymakers. Then I turned *>§ somewhat stride he so richly deserved. Early Jarrett* ^v it over and got a far bigger kick out of the bubbling, bouncy MY y never quite hit the Ijjui Gi COVERING wonders for DREAM RIVER (21339); ANYTHING YOUR^f | GAL SAL by this band thatwasn't quite jazz but was indescribably 4S V refrains did ME AND THE MAN IN THE MOONJ*^ more alive than the polite, placid Sunday-school essay on the V > HEART DESIRES (21767), liE I PASSING FANCY (22038) , To me f |*i back. Although they stuck fairly close to the melody, the arrange- * OL(21809) and especially AM A to a waltz that imbued it with the vigor of ment was fresh and quite unorthodox for its day, and the instru- ^ji he brought distinction Jy*j a tingling fox-trot; the previously mentioned Dream River, for \^ (from UC ments were cleverly blended and judiciously featured and they JX ?J & - I'M ASKING IS SYMPATHY OF jGOfTTSTAR improvised in a special delightful quite different from the | one, and the memorable ALL THAT v$ It's a great little book with a great big heart for one of our way Issue 6 out- of- supply ^(22236) which unquestionably is the standout version of this great troupers, PETE JOHNSON hack dance bands on most of the labels. The originality, verve who is down on his luck, physically. David melody. The orchestra and Jarrett shared Label and clean musicianship weretocarry Ted Weems and his Orchestra gossamer Burke- Issue 7 The MODERN There are many BLUES, who know Pete - and there are many who will get honors on LITTLE JOE (22646) and the first (I think) YOU GAVE Issue 8: More MODERN; RPM, METEOR, ever higher until he reached quite a dazzling peak a decade to know Pete through this smart little volume. Here EVERYTHING BUT LOVE (by Gus Kahn and his lyricist wife); & RHYTHM, FLAIR, CROWN (78rpm), is a good later and a bit beyond, or until the advent of the brassy swing ME letter Prom HANS J* MAUERER, I FOUND YOU OUT (21773), THERE'S TOO MANY EYES (22157) CROWN (LP), KENT. 6 Frankfurt/Ma in-Rodelheim, band changed the face of dance music completely and killed off is bracketed with a deft ' I STILL GET A THRILL, which Burgfriedenstr*2, WEST GERMANY, most of the lesser bands; and by 'lesser, I in popularity, and Issue 9: out- of- supply mean GIBBS SING from M. G, M's THE DOUGHBOY. * v "LET ME DRAW YOUR ATTENTION TO MY RECENT BOOK, THE PETE JOHNSON not quality, for the Weems group ranked with the very best, but PARKER (22515), Is sue 10: ABCO, COBRA, ARTISTIC, PARROT, thirties, recording was beginnin to lose its appeal had always been rather specialized and consequently It was then the early g V<£ STORY - A COMPLETE BIOGRAPHY AND DISCOGRAPHY WITH SOME \$ PIC BLUE LAKE, UNITED, STATES, Weems was now at its invig orating, red- with little mass popularity so that it was among the early casual- N^ ^? its thinness, and the frand TURES (MOST OF THEM NEVER ISSUED BEFORE). THE BOOK SABRE; BLUES & REVIEWS WAS EDITED that the later bands labeled CHANCE, MoodeT"peak~. It swung in a way ties, although it did not fade out quickly. ^Y^f ^ (Barry Hansen). BY MYSELF IN BEHALF OF PETE JOWS0N, THE AILING BOOGIE-WOOGIE and withal never murdered a melody A * The first Weems records were made in the last months of the 'swing' hardly ever swung, N > PIANIST. SUN, GOLDBAND. BULLET THE BOOK SELLS FOR US-DOLL AR $$,95 PER COPY, ALL TfC It a perfectly integrated, compact group with a Issue 11 ACE. acoustical method, which was kinder to Weems than to some of ^ as they did. was <J^ MONEY, EXCEPT THE MONEY FOR the sweet, straight and rugged, THE PRINTING COSTS, GOES TO PETE, the other big bands, many of which lost much in the transition magnificent drive, extracting from ^.j both. There were many more $ Issue 12: Coral 65000, Groove, OK 6800 WHO NEEDS FINANCIAL «LP VERY BADLY. MORE INFORMATION AND ALL through the old horn. It was peppy, not given to shading subtle- jazz -based styles the honey from ^ ties that most certainly would have suffered in reproduction, and outstanding Weems sides still to emerge on the Victor masters: ^w ORDERS IN THE U.S. THOUGH: MR. JIMMY WERTHEIM, 2k& E.lOth ST. - even seemed a bit flat tonally, but the marvelous ensemble CAROLINA'S CALLING ME/ONE OF US WAS WRONG (22877), Issue 13: Coming Another CHICAGO Issue NEW YORK, N.Y. 1Q00?. MR. WERTrCIM IS MY REPRESENTATIVE FOP playing, the expert arrangements and the unstoppable drive were LONELY PARK/ WHEN THE MORNING ROLLS AROUND (24227), CHECKER, MIRACLE, SUNRISE, THE U.S. AND ACTS ENTIRELY IN MY NAME" endless. There were BIG BOY/SAVANNAH (Vi 19344), DON'T MY BABY JUST CARES FOR ME/ GIRL FRIEND OF A BOY FRIEND PREMIUM, COLT, etc. ic and mostly FORGET TO REMEMBER/BLUE ROSE (19274), SOMEBODY STOLE (22499); however, Victor was beginning to assign numbers, which they did very well, but which began THE "PERFECT " MAGAZINE (our Issue RR 51/52) MY GAL/COVERED WAGON DAYS (19212) RED NOSE PETE (the to novelty the organization to a more minor role, although most of EDITED BY CARL KEND2IORA JR. grandpa ppy of Piccolo Pete?) (19377), and, perhaps the most to limit Introduction by Pmny Armognac outstanding of the acousticals, A SMILE WILL GO A LONG, LONG these certainly made mountains out of molehills: EGYPTIAN MONAH/I LOVE TO HEAR A Greatest compendium of popular mu»Ic on phonograph WAY/NINE O'CLOCK SAL (19258). I still have most of these, ELLA/JIG TIME (22644), OH! recordi of the 20'i ever published, complete with com* BAND (22564), AT THE and as far as I can see, they still stand up today far better than MILITARY BAND (22822), ONE MAN WMT*. wnmoft mom, poier credit* and many other Interesting features, RECORDS most of the better dance- band sides of the era, BABY PARADE/OLD KITCHEN KETTLE (24219), PAN HANDLE RECORD RESEARCH A MUST for the musicologist, d [geographer, copyr rlghter, record collector and most PETE (24302), PLAY THAT HOT GUITAR (24053) and JUGGLING ea GRAND AVENUE anybody interested I Indications that the Weems band was not financially one of popular music research, WANTED BROOKLYN 8. N. Y. JUST ONE DOLLAR ($1 .00), f Victor s winners can be found in the frequency with which a A JIG-SAW (24265). from Record Research, 65 Grand Avenue, Brooklyn, field New York. Weems side would be coupled with another band, also perhaps in Then in 1933 Victor was forced to enter the low-priced or be seriously damaged by the competition from PERFECT, a. their second-string stable, and throughout the Victor period almost store labels, BLUE- to the thirties this pairing prevailed intermittently.
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  • American Folk Music:The Golden Age, 1950–75 Thursdays, August 6 – September 24, 2020 on Zoom with Rhythmix Cultural Works Instructor: Peter Elman

    American Folk Music:The Golden Age, 1950–75 Thursdays, August 6 – September 24, 2020 on Zoom with Rhythmix Cultural Works Instructor: Peter Elman

    American Folk Music:The Golden Age, 1950–75 Thursdays, August 6 – September 24, 2020 On Zoom with Rhythmix Cultural Works Instructor: Peter Elman "Folk music--a bellwether for us in these days of reckoning." The folk music that emerged in the 1950's has lasted 70 years and will last a lot longer. Why? Because of the confluence of people, politics, philosophy and social awareness that came out of the post-war era which ushered in a new age of enlightenment. This course will examine the soundtrack of that period and how folk music became associated with, aligned with and drove social protest movements while being integrated into the larger world of popular music. Starring: Leadbelly, Woody Guthrie, Pete Seeger, Odetta, Harry Belafonte, Kingston Trio, Barbara Dane, Bob Dylan, Fred Neil, Tim Hardin, Tim Buckley, Judy Collins, Joan Baez, Peter, Paul and Mary, Tom Rush, Phil Ochs, Dave Van Ronk, Ian and Sylvia, Gordon Lightfoot, Leonard Cohen, Neil Young, John Stewart and others. * * * * This course could not be more relevant or timely. Our country is at a crossroads. The devastation of the pandemic and the accompanying economic meltdown have only served to highlight a much deeper problem; namely, the issue of race and inequality in our society. Somehow we have yet to come to terms with our 400-year-old twin original sins: the displacement of native peoples and the enslavement and disenfranchisement of African-Americans. Folk music has been there all along to play a role in the consciousness of Americans. As great as it is to be entertained and enriched by music, sometimes it must serve as more.
  • “Covering” the Bluesman from a Distance

    “Covering” the Bluesman from a Distance

    Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.