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"Many countries around the world take time each year to poll their citizens about their favorite songs. It usually happens around Christmas and a major media outlet plays the songs. We will tell you about some of the biggest ones and try to figure out why we don't do that here in America."
On the September 26 edition of the Music History Today Podcast, On today's show, a famous musical premieres, a musical film premieres, & the Empress of the Blues passes awayFor more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday
"An Idiom is a group of words that suggest a meaning different than their specific words. Many of them come from the world of music and we have created a solid list. You will recognize a lot of them."
On this week's show, a music festival ends in tragedy, two jazz icons pass away, plus we talk about Broadway and give a birthday shoutout to a Queen and a Dame, who are both the same person.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday
"This past 4th of July someone posted the Preamble and I wondered who the singer was. I watched a few more and wondered who they were. We will answer that today. We will play some of their Schoolhouse Rock song and then one of their singles. Plus we have some trivia about the show."
"Long before American Idol and Americas Got Talent, there was Star Search. It was pretty schmaltzy but looking back, some of the biggest singers, actors and comedians got their big break on Star Search. We have grabbed as many examples as we could."
The last time legendary Wheeling-born saxophonist Chu Berry was in the recording studio, he gave some jazz love to a song written by a fellow West Virginian.The date was Aug. 28, 1941, and the tune — one of the four sides that Berry and his jazz ensemble would record that day for Milt Gabler's Commodore label in New York City's Reeves Sound Studios on East 44th Street — was “Gee, Baby, Ain't I Good to You.”The song was still relatively unknown. No one else had recorded it in the dozen years since Piedmont, WV, native Don Redmond wrote it for McKinney's Cotton Pickers to wax in 1929.As discussed here in an earlier article, the Roarin' Twenties has been good for Don Redman. He was responsible for integrating the rhythmic approach of Louis Armstrong's playing into arrangements for Fletcher Henderson's Orchestra. In 1927 Redman was wooed away from Henderson to join McKinney's Cotton Pickers, the house band at the celebrated Greystone Ballroom in Detroit.When Chu Berry revisited the song in 1941 (to be on the flip side of his version of "Sunny Side of the Street”), it featured ex-Bennie Moten/Count Basie trumpeter Oran “Hot Lips” Page, whose bluesy singing and plunger mute work capped the session.Incidentally, Page recorded it again in 1944, but even more importantly for the song's legacy (and to Don Redmond's checkbook) a year earlier the song was also recorded by an up-and-comer named Nat “King” Cole, who took it to No. 1 on the Billboard Harlem Hit Parade where stayed for four weeks.Losing ChuChu Berry would not live to know any of that. Almost exactly two months after the August 1941 recording date, he was on his way to Toronto for a gig with the Cab Calloway Orchestra, with which he had played for four years. Heavy fog made visibility poor, and the car in which Chu was a passenger skidded and crashed into a bridge abutment near Conneaut, Ohio, 70 miles northeast of Cleveland.Berry died three days later from his injuries just a few weeks after his 33rd birthday.Chu Berry was brought back to Wheeling for his funeral. More than a thousand mourners attended, including Cab Calloway and the members of his band who ordered a massive floral arrangement in the shape of a heart.At the funeral, Calloway told mourners Chu had been like a brother to him. The big man had charmed the world, he said, with advanced harmonies and smoothly flowing solos that would influence musicians for generations to come. “Chu will always be a member of our band,” Cab said. “He was the greatest.”Berry's RootsBorn in Wheeling in 1908, Leon Brown Berry took up the saxophone as a youngster after being inspired by the great tenor man Coleman Hawkins. Berry went on to model his own playing after Hawkins, who would later be quoted as saying, “Chu was about the best.” By the time of his 27th birthday, Chu had moved to New York where he worked with Bessie Smith, Lionel Hampton, Count Basie and others.Eventually, he became the featured sax player with the hottest jazz band of the day, Cab Calloway's legendary Cotton Club Orchestra. In 1937 and 1938, he was named to Metronome Magazine's All-Star Band. Younger contemporaries — notably Charlie Parker and Dizzy Gillespie — almost certainly heard Berry up close and personal at the now-legendary Monday night jam sessions at Minton's Playhouse in New York City, gatherings widely credited for the development of the bebop in the mid-1940s.Famously, in 1938 Parker — 14 years younger than Chu — named his first child Leon in tribute to Berry.And the Nickname?Multiple explanations have been given as to how Leon Berry got his nickname. Music critic Gary Giddins has said Berry was called “Chu” by his fellow musicians either because of his tendency to chew on his mouthpiece or because at one time he had a Fu Manchu-style mustache. Both stories work; take your pick.Our Take on the TuneJoining The Flood repertoire, some songs fit in right away, while others, like this one, need a little time to settle in, but when they do, wow — they're as comfortable as an old shoe. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
Sintonía: "Lonesome Guitar" - Edgar Blanchard 1.- "DeKalb Chain Gang" - Fred McMullen 2.- "Bull Doze Blues" - Henry Thomas 3.- "See That My Grave Is Kept Clean" - Blind Lemon Jefferson 4.- "Dark Was The Night (Cold Was The Ground)" - Blind Willie Johnson 5.- "Nobody Knows You When You´re Down and Out" - Bessie Smith 6.- "Pledging My Love" - Johnny Ace 7.- "I Want To Go Home In The Morning Train" - Son House y Alan Wilson 8.- "She Ain´t Going Home" - Marvin Pontiac (John Lurie)Todas las músicas seleccionadas y presentadas por Héctor Martínez desde RNE en Madrid.Escuchar audio
"Here is a game to play. Name as many two minute songs as you can following these rules. Only one song per group and you cannot name just punk songs. We then go one step farther and change the game to as many one minute songs as you can."
"A band named The Velvet Sundown had a hit a short while ago. The concern was that the band and the music were all fake. They were both fully AI generated. It is easier than you think. We have the story and some examples of when I did the same thing for an audience just to prove how easy it is to do."
Today we feature two black female vocalists, born 66 years apart, both renown for their independent spirit, singing songs about trying to make love work - despite clear signs to the contrary. As artists, they've both shunned the spotlight, maintaining the mystery of their magic: Sippie Wallace quit show business for 30 years, preferring to express herself through her church organ, and LGBTQ icon Tracy Chapman staunchly separates her private life from her public one. Sippie returned to the spotlight by way of the blues festivals of the 60s, and was celebrated and covered by Bonnie Raitt, among others, and although Tracy appears regularly to perform for political causes she champions, only recently did she resurface in a big way in the mind the general public, by way of an emotional re-appearance at the 2023 Grammy's to perform her song “Fast Car” in a duet with Luke Combs, who made it a Country hit almost 40 years after its original release. SIPPIE WALLACEOn this 1926 Okeh recording of “Special Delivery Blues”, we first hear the whistle of the approaching mail train, then the crescendoing piano rolls building up suspense musically. This wave of energy is capped by the immortal cornet of Louis Armstrong and the yearning phrases of Sippie Wallace begging for news of her man's return. She wishes and hopes that the guy who left her will come back soon, but it doesn't look good. Despite this, Sippie makes it clear she'll keep up the vigil as long as it takes.“The Texas Nightingale” built up her reputation playing tent shows, and releasing a spate of recordings that put her up there with Ma Rainy and Bessie Smith, but she decided to chuck it all and dedicate her musical talents to the Church, where she played organ for 30 plus years. During the folk/blues revival of the mid-1960s, she was rediscovered and enjoyed immense appreciation for another 20 years, until her death at age 88. TRACY CHAPMANI love GIVE ME ONE REASON because it's so simple and direct. Tracy is drawing a line: “I'm telling you that I love you, but you have to reciprocate, or I'm gone”. It's clearly stated without equivocation, but as the verses add up, you can just picture her, standing in the doorframe, giving her object of desire just one more chance, then another, then another…. Drawing one line, then moving it back a bit. She doesn't want to go, but it looks like she's going to have to.Tracy Chapman catapulted out of the Boston coffeehouse scene in 1986, 25 years after Joan Baez had accomplished the same feat, and her first single, “Fast Car,” a song which alluded to economic inequality, was ubiquitous - a definite anomaly during the MTV era, which shows that the public can respond to bare-boned honesty, (without bells and whistles), when they hear it. And, she has maintained her integrity as a socially conscious artist throughout the intervening decades.
"This is a fun parlor game. Name a band, a song by that band and then an album from that band that are all named exactly the same. Here is an example. Bad Company by Bad Company on the album Bad Company. There are many that are close but a true Trilogy is all three exactly the same."
"The Rock School show is now a part of the Library of Congress through their American Archive of Public Broadcasting. I know. I can barely believe it myself. Here is the story of the Library of Congress and how this all came to be. Check the calendar. It is not April and I am not fooling."
Songs include: Tico Tico by Ethel Smith, Jitterbug Waltz by Fats Waller, St Louis Blues by Bessie Smith, Twilight Time by The Three Suns, TV Is the Thing by Dinah Washington and Fuzzy Wuzzy by the Milt Hearth Trio.
Send us a textJust before the pandemic started, Bevin Foley of Trout Steak Revival invited Melly Frances and Keenan Leigh to her house to share music and original songs. Both of the latter two had recently left their previous bands and had songs with the same obscure pre-World War II blues sound.Neither of them had ever met anyone else, let alone another female, interested in the same style of music, and the two clicked immediately.Frances plays bass, washboard, and percussion and she sings, and Leigh plays various forms of guitar. Leigh is primarily an instrumentalist and Frances is primarily known for her singing, so the two combined can complement each other perfectly.The two both knew and loved musicians such as Tampa Red, Memphis Minnie, Robert Johnson, Jessie May Hemphill, and Bessie Smith who heavily influenced their individual (and now collective) sound. Thank you for listening to The Mountain-Ear Podcast, featuring news and culture from peak to peak! Additional pages are linked below!If you want to be involved in the podcast or paper, contact our editor at info@themountainear.com and/or our podcast host at media@themountainear.com! Head to our website for all of the latest news from peak to peak! SUBSCRIBE ONLINE and use the coupon code PODCAST for A 10% DISCOUNT for ALL NEW SUBSCRIBERS! Submit local events to promote them in the paper and on our website! Find us on Facebook @mtnear and Instagram @mtn.ear! Listen and watch on YouTube today! Share this podcast around by scrolling to the bottom of our website home page or by heading to our main hub on Buzzsprout!Thank you for listening!
"Naming a band can be quite difficult. The list of bands we will discuss today went back into history to grab a name or an event to come up with a moniker. You know a good many of them. "
"The K Pop band EXO claimed that one of their concerts in South Korea sold out in less than two seconds. It sounds impossible because you are not being told the entire story. It is a badge of honor for bands to sell out quickly. Other than EXO, who did legitimately sell out the fastest. We will tell you our pick."
"Often an actor will start a band once her or she is famous. However many actors start as musicians. Some saw great success. We have some surprising names this week."
"Rock and Roll really came into its own in the 1950s and once it did someone was always proclaiming it bad for the youth in one way or another. These were generally called Moral Panics. Here is the history and some examples of a few of the most popular Moral Panics."
"Here is the second show where we play songs you might not know were covers. Often the cover version of a song becomes a bigger hit. And even if you did know the hit was a cover you may not know the original. We will play you a few."
This episode features poet, author, and intellectual Moana ‘Ulu‘ave-Hafoka. The catalyst for this discussion was a recently released YouTube video by former Mormon author and YouTuber Alyssa Grenfell, titled Tonga is 60% Mormon??????, which has currently been viewed more than 200k times since being posted. This video references one of Moana's articles, so as nerds of Tonga, Indigeneity, and Mormonism, we wanted to add further complexity to some of what was shared on that platform. We discuss nuance, blurred boundaries, historical and cultural context, as well as Mormon specificity, and even larger structures and systems of power. We shift mid-way through this episode to engage with Ryan Coogler's film Sinners (spoilers). We discuss a variety of symbols in the film, including, the global impact of Black (African-American) culture, race, global Indigeneity, diaspora, spirituality, religion, sacred time-space, and more. References: To be Young, Mormon, and Tongan by Moana ‘Ulu‘ave-Hafoka Kinikini, Lea Lani, Kepa Maumau, Moana Uluave-Hafoka, (2021).“Raise Your Pen: A Critical Race Essay on Truth and Justice”. In Reppin: Youth Studies in Oceania. Ed. Keith Camacho. University of Washington Press. Tonga is 60% Mormon?????? By Alyssa Grenfell Church and State in Tonga: The Wesleyan Methodist Missionaries and Political Development, 1822-1875 by Sione Lātūkefu The “Glocalization” of Mormon Studies by Melissa Wei-Tsing Inouye Letter to Tangata Va ‘Ofi in the Tongan Mormon Family by Fuifuilupe Niumeitolu The Mana of the Tongan Everyday: Tongan Grief and Mourning, Patriarchal Violence and Remembering Va by Fuifuilupe ‘Alilia Niumeitolu Comment on Sarah Newcomb and Robert Joseph Indigenous Perspectives on the Meanings of ‘Lamanite' by Tēvita O. Ka‘ili Marking Indigeneity: The Tongan Art of Sociospatial Relations by Tēvita O. Ka‘ili Tongan Crip Gang: A Tongan American Identity by ‘Esiteli Hafoka Oceania: Revisualizing the Pacific in American Religious History by ‘Esiteli Hafoka Withering as a Rose: Tongan Indigeneity, Mormonism and the Curse of the Lamanites by S. Ata Siu‘ulua Historical and Contemporary Representation of Kava by Members of the Church of Jesus Christ of Latter-day Saints by Sione M. U. H. Funaki Mormon masculinity, family, and kava in the Pacific by Arcia Tecun and S. Ata Siu‘ulua Tā, Vā, and Moana: Temporality, Spatiality, and Indigeneity by Hūfanga, ‘Okusitino Māhina Holographic Epistemology: Native Common Sense by Manulani Aluli Meyer In the Break: The Aesthetics of the Black Radical Tradition by Fred Moten Blues Legacies and Black Feminism: Gertrude ‘Ma' Rainey, Bessie Smith, and Billie Holiday by Angela Davis A Philosophical Look at Black Music by Lewis Gordon
"This is the first of a two show set. Often people are shocked to hear that a hit song is a cover. We have put together a long list of hit songs that are covers and we will play the original to you can hear where the hit you know came from."
Kirk answers a bunch of listener questions on topics like bluegrass guitar, the music of Blue Prince, good apps for training theory skills, Robert Fripp's "Frippertronics," a mysterious sound on a Gene Clark song, different types of music notation, and the legacy of the blues. All that, and a trio of terrific singer/songwriters stops by the studio to help answer a question about lyrics.Come see Triple Click Live! Friday, July 11 at the Alberta Rose Theatre in Portland, OR. Tickets HereKirk has new music for sale on Bandcamp: Music For Podcasting and his original score for Arydia: The Paths We Dare TreadThanks to The Wailin' Jennys for coming on the show! Stay tuned for a full-length interview episode this summer, and go see them live if you can. They are amazing.FEATURED/DISCUSSED:“White Trash Wedding” by The Chicks from Home, 2002A live performance of “White Trash Wedding”“Simon's Theme” by Trigg & Gusset from the Blue Prince original soundtrack, 2025Kirk's recent essay about Blue Prince and musicTwo good free music sites: musictheory.net and muted.io“What Am I Here For” by Jade Bird from Something American - EP, 2017“Across The Sea” by The Wailin' Jennys from Bright Morning Stars, 2011“Lady of the North” by Gene Clark from No Other, 1974The terrific Wonder of Stevie podcastTantacrul's tremendous video about the history of music notation“Hammond Song” by The Roaches, 1979Chords of Orion video explaining and re-creating Frippertronics“The Heavenly Music Corporation II” by Robert Fripp and Brian Eno from No Pussyfooting, 1973“St. James Infirmary” rec. Joseph “King” Oliver, 1930“Cross Road Blues” rec. Robert Johnson, ~193x“Down Hearted Blues” rec. Bessie Smith, 1929Two versions of "Wedding Song" by Anaïs Mitchell from Hadestown, 2018Kirk's essay about musical creation and “The Spark”OUTRO SOLO: Rob Reich, prolific bay area multi-instrumentalist, died unexpectedly a few weeks ago at the age of 47. It's an unfathomable loss. Rob recorded an outro solo for Strong Songs back in its very first year, so we're including it in this episode as a tribute to him and his generous musical spirit. Read more about Rob here.----LINKS-----
"In July of 1962, the Rolling Stones play their first gig in the Marquee Club. The Marquee Club was one of the main venues for 1960s British rock. This week we will discuss the rather interesting history of the Marquee Club."
"Punk music has produced some of the greatest performers and some of the greatest musician nicknames. Here is a list of the best names and where they came form."
Today's show features music performed by Bessie Smith, Lonnie Johnson & Eddie Lang, and Lillie Mae Kirkman
"Back in 1973 Muhammad Ali knocks out George Foreman in what was called The Rumble in the Jungle. This victory inspires Johnny Wakelin to write the song Black Superman. He gets a hit with it. So what other songs are written for or about athletes. We have a list."
Today's show features music performed by King Oliver and Bessie Smith
Following Aidan's advice, Murphy, Jack, and Elliot travel to "The Ranch" in Utah to meet with an old associate of Murphy's. But while they are there, they make a startling discovery that makes them question everything they know.Written by Drew BurtDirected by Alexandra MunroeAssistant Directed by Drew BurtCast:Emma Grace Myers - Merlyn MurphyDan Vasquez - Jack SherwoodDrew Burt - Elliot O'DonnellAntone Correia - Clifford MorrisDaniela Franceschetti - Wendy CallahanCedric Gegel - Aidan WalkerAddy Jenkins - EdenSoren Correia - Additional VoicesAnnie Vee - Additional VoicesProduced by Alexandra Munroe, Annie Vee, & Dennis S. MowersDialect Coaching by Antone CorreiaMusic and Sound by Dennis S. MowersSongs featured:“Deep Blue Sea Blues” by Bessie Smith“Chicago Bound Blues” by Bessie Smith“Prescription for the Blues” by Bessie Smith© 2025 Ghostly Muse Productions, LLCFollow us on our social media and check out our website!Instagram, TikTok, & Facebook: @murphyaudiodramaTwitter/X: @merlynsmonstersWebsite: www.ghostlymuseproductions.com
The Blues as Black Sonic Folklore: Part 2:"Hard Ground and High Water: The Blues of Survival and Struggle"We continue our Black Music Month series by diving into the Blues as a witness to environmental crisis and class struggle.Featuring music by Bessie Smith, Charley Patton, Blind Lemon Jefferson, and Lead Belly, we explore how songs about flood, drought, and urban segregation serve as time capsules, preserving Black ecological, economic, and emotional history through sound. These are more than Blues, they are survival songs, testimonies of people shaped by both nature and the systems that fail them.
"Last week we spoke of Dockery Farms which the birthplace of The Blues. As all music does it was expanded and taken to different places by the musicians who played it. Here is a run down and description of the most popular forms of The Blues."
"Back in March of 1979 the movie The China Syndrome came out. Weeks later the Three Mile Island nuclear disaster occurred. This lead to musicians setting up MUSE and holding the NO Nukes concerts, albums and film. We have the entire story including the first time Bruce Springsteen was recorded live."
46:05 – Bessie Smith’s first five recording sessions for Columbia Records, which made her a star and got her dubbed the Empress of the Blues. These sessions cover the first half of 1923, and also feature (at the piano) Clarence Williams on the first two sessions and Fletcher Henderson on the latter three. This show […]
"Dockery Farms is said to be the place where the Delta Blues began. That is a bold statement but once you hear the research I have gathered it will be hard to argue. Robert Johnson did not sell his soul for great musical talent. He went to Dockery Farms which is still open today and welcoming visitors."
Today's show features music performed by Bessie Smith, Wee Bea Booze, and Jimmy Reed
"If you have an extra 12495 dollars lying around then you can be a roadie for Gene Simmons on his solo tour. We will discuss what you must do and if the money is worth it. We will also talk about the average monies paid to real roadies."
"First you need to know there are no swear words in this show. It was this week back in the 60s when the FBI released a letter stating that there were no curse words in the song Louie Louie. But people keep looking. This is a list of songs that were banned or otherwise maligned because someone was sure the singer was cursing. But there was no curse word. It is a long list."
"This week back in 2007 Sammy Hagar sold an 80 percent stake in his Cabo Wabo tequila for $80 million. Since then it seems every musician or band has their own line of booze. Here is a good long list and where you can buy it."
"We all know the stories of the Beatles, Doors, Dylan and Stones on Ed Sullivan. However, there are a few more good stories you might find interesting. They are not as big at the main stories, but interesting nonetheless."
"A story about the Payola Hearings came up in a music history feed and it occurred to me that we have never done a show on Payola. It is a rather interesting story of companies acting in their own interest with the backing of the government. You may think Payola is bad but I believe I can change your mind."
Ce 15 avril, Marjorie Hache poursuit la semaine dans Pop-Rock Station avec une playlist aussi érudite qu'éclectique. L'émission débute avec Skunk Anansie et leur percutant "Lost And Found", troisième extrait de *The Painful Truth*, à paraître le 23 mai. Côté hommage, retour en 1892 pour célébrer la mémoire de Bessie Smith, impératrice du blues, avec "Nobody Knows You When You're Down and Out". Parmi les nouveautés, The Divine Comedy revisite la mythologie avec "Achilles", prélude à l'album "Rainy Sunday Afternoon" attendu en septembre. L'album de la semaine "Forever Howlong" de Black Country, New Road poursuit son exploration baroque avec "For The Cold Country", porté par la voix de May Kershaw. Francis Zegut recommande Ten Fé et leur ballade country pop "Everland", tandis que Perfume Genius revient avec "No Front Teeth", en duo avec Aldous Harding. La reprise du soir offre une version musclée de "Have A Cigar" des Pink Floyd par les Foo Fighters, initialement sortie en face B de "Learn To Fly". La fin de soirée accueille Limp Bizkit, Animal Triste, Neil Young et Björk, avant de se conclure avec LA Witch et leur "777", extrait de "Doggod", leur nouvel album garage psyché. Skunk Anansie - Lost And Found Ghinzu - Do You Read Me Bessie Smith - Nobody Knows You When You're Down And Out Lou Reed - Perfect Day The Divine Comedy - Achilles Peter Frampton - Show Me The Way Stereophonics - Have A Nice Day Black Country, New Road - For The Cold Country Tom Petty - I Won't Back Down Ten Fe & Ash Buggle - Everland Chris Isaak - Baby Did A Bad Bad Thing Perfume Genius - No Front Teeth (Feat. Aldous Harding) Foo Fighters - Have A Cigar Limp Bizkit - Break Stuff Animal Triste - Ave Satan Neil Young - Harvest Björk - Human Behaviour Loudness - Shadows Of War (Ashes In The Sky)(Live 8186) The Beach Boys - Barbara Ann Mgmt - Bubblegum Dog L.A. Witch - 777 The Smashing Pumpkins - 1979 Hot Chip - Over And Over Bob Dylan - Desolation Row Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
"At the time of this recording, President Trump has paused the Tariffs but for China. Even so, the tariffs will have a marked effect on the cost of almost everything dealing with music including instruments to records to touring to streaming."
Today's show features music performed by Billie Holiday, Bessie Smith, The Crows, and Little Richard
"Tool was just roundly booed off the stage at their own festival. Seems they promised two separate sets over two night and did not deliver. But it is not just them. You will not believe some other bands who were booed off stage as well."
"There are a lot of songs that have famous people in their titles. We wanted to know who some of the lesser known people named in titles are. The internet did not disappoint. We have a good long list."
"We hit a thread that listed some songs that were written for revenge. A single Google Search later and we had a good long list. And it is not just Taylor Swift."
"It seems that lately that are more plane crashes and close calls than we have had in a while. There are many stories of musicians dying in plane crashes but what we have here are stories of survival over multiple crashes and air mishaps."
Participants: John Steppling, Hiroyuki Hamada, Shaenah Batterson and Dennis Riches. Topics covered: The Trump-Zelenski feud, Freud and the working class, Russell Jacoby and psychoanalysis, Brecht, Film: A Complete Unknown—are biopics performed by actors or re-enactors? Who will save Europe from itself this time? RFK Jr.'s chances of success, in reforming Health and Human Services, Music track “The St. Louis Blues” by Bessie Smith (public domain).
"This is something we should keep a good eye on. In an effort to become a leading force in AI the government in the UK is strongly considering rewriting their copyright laws to allow all copyrighted material including music to be offered fully to all AI companies. I know it sounds fake but it is not."
Some of the most popular records of 1925, including: The Charleston by Paul Whiteman, St. Louis Blues by Bessie Smith, Gut Bucket Blues by Louis Armstrong's Hot Fives, Tea For Two by Marian Harris, Sweet Georgia Brown by Isham Jones and All Alone by Al Jolson. The host also describes some of the major events of 1925.
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