Podcast appearances and mentions of memphis jug band

Hokum bands of the 1920s and '30s created a brand of urban folk tunes called “jug band music” that famously blended the sounds of the plantation and the church with those of the swing, swerve and sway of nascent jazz.And no one did it better than those Flood heroes The Memphis Jug Band, formed in 1927 by Beale Street guitar/harmonica player Will Shade. Shade was also known as Son Brimmer, a nickname given to him by his grandmother Annie Brimmer (“son” being short for grandson). The name stuck when other members of the band noticed how the sun bothered him and he used the brim of a hat to shade his eyes.The Ohio Valley InfluenceIncidentally, Will Shade first heard jug band music in our part of the country, on the 1925 recordings by Louisville's Dixieland Jug Blowers, and he wanted to take that sound south.“He was excited by what he heard,” Wikipedia notes, “and felt that bringing this style of music to his hometown of Memphis could be promising. He persuaded a few local musicians, though still reluctant, to join him in creating one of the first jug bands in Memphis.”While Shade was the constant, the rest of his band's personnel varied from day to day, as he booked gigs and arranging recording sessions.Some players remained a long time. For instance, Charlie Burse (nicknamed "Laughing Charlie," "Uke Kid Burse" and "The Ukulele Kid”) recorded some 60 sides with the MJB. Others — like Memphis Minnie and Hattie Hart — used the band as a training ground before going on to make careers of their own.Street MusicThe Memphis Jug Band's venues, as The Corner Jug Store web site noted, included “street corners, juke joints, city nightclubs, political rallies, private parties, hotel ballrooms, medicine shows and riverboats,” and it cut many styles and repertoires to suit its varied audiences.Most of all, the MJB's sound was the music of the street, as demonstrated in the open lines of their wonderful “4th Street Mess Around,” recorded in May 1930 for Victor by Ralph Peer: Go down Fourth until you get to Vance, Ask anybody about that brand new dance. The girls all say, “You're going my way, It's right here for you, here's your only chance.”And what was that “brand new dance?” Shoot, take your pick! The Eagle Rock, the turkey trot and fox trot, camel walk and Castle Walk, the Charleston and the Lindy Hop were all stirring the feet and wiggling the hips of listeners and players in the ‘20 and ‘30s.But Mess Around?But what's a “mess around?” Well, as we reported here earlier, New Orleans jazzman Wingy Manone in his wonderful autobiography called Trumpet on the Wing, talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image.Our Take on the TuneThe Flood first started messing around jug band tunes nearly 50 Springs ago, when the band was still a youngster. Before their juncture with juggery, the guys played mainly old folk songs and some Bob Dylan and John Prine and a smattering of radio tunes from folks like James Taylor and The Eagles. But then they discovered some fine old recordings by Tampa Red and Georgia Tom, by groups like The Mississippi Sheiks and Gus Cannon's Jug Stompers, and most especially the great Memphis Jug Band. Ever since then, The Flood's musical buffet table has been a lot bigger, with tunes like this one from the warmup at last week's rehearsal.More Jugginess?Of course, The Flood's jug band music mission has continued. If today's song and story have you ready to join the campaign, check out The Hokum channel on the free Radio Floodango music streaming service which has dozens of jug band tunes ready to rock you. Click here to tune it in and you'll be ready to sing along at the next Flood fest. 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

This show features a medley of 18 songs chosen from a 2015 album from Yahoo Records of Memphis Jug Band recordings from 1927 – 1934

Part two of Patrick's Old-Time Music Week is here and on this episode he discusses jug band music with a spotlight on two groups from Memphis, Cannon's Jug Stompers and the Memphis Jug Band.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Today's show features music performed by Bessie Smith, the Memphis Jug Band, and Ray Charles

Ashland, Ky., native Clyde McCoy and his orchestra recorded this song for Columbia in 1933 and then for the next half century he continued to perform it in front of crowds all over the country. In fact, “Tear It Down” was one the trumpeter's two most requested numbers, second only to his signature song, Clarence Williams' “Sugar Blues.” When Clyde moved from Columbia to the new Decca label in 1935, he re-recorded “Tear It Down” as the A side of his band's first release for that company. While millions of copies of the record sold over the years, few listeners ever knew that Clyde's happy, silly swing number was rooted in a dark and desperate neighborhood downriver in Cincinnati. We'll tell that story in a minute.The Clyde McCoy StoryRivers were a big part of Clyde McCoy's life. When he was 9, he moved with his family from Ashland to Portsmouth, Ohio. There, when he was just 14, Clyde found jobs playing on the riverboats, which in those days still worked the waters of the rural Midwest, southern and border states. He performed on the sidewheelers Island Queen and Bernard McSwain.One of the youngest musicians on the river, he already was a stand-out trumpet player.In 1920 McCoy assembled his first band for a two-week engagement at a popular Knoxville, TN, resort. It was quite a trick; though the guys had never performed together, they proved quite popular and their contract was extended to two months.Then for the next decade, the band mates worked from New York to Los Angeles, honing their chops. It was during this period that McCoy also started using a mute on his trumpet, creating the "wah-wah" effect that became his signature sound, a distinctive musical identification.Lightning finally struck when Clyde and the boys landed at Chicago's plush Drake Hotel. When they played their rendition of "Sugar Blues," the crowd went wild. The song hit the radio. A Columbia Records recording contract followed, and the band was on its way. That first record — with “Sugar Blues” on one side and “Tear It Down” on the other — sold millions of copies by early the next year, no small feat in the depths of the depression.Its success fueled a remarkable 68-year career for the Kentuckian. At Clyde's retirement in 1985, total international sales of that original recording were more than 14 million. Meanwhile, McCoy's "Wah-Wah Mute" was so popular that he licensed the King Instrument Co. to market the device to trumpeters around the world.The Wah-Wah PedalClyde's wah-wah-ishness even traveled beyond the trumpet world to guitarists. In 1967, the Vox Clyde McCoy Wah-Wah Pedal, a significant guitar effect of its time, was invented by engineer Brad Plunkett of the Thomas Organ Co. Original versions featured an image of McCoy on the bottom panel. This branding later gave way to just his signature before the name of the pedal was changed to “Cry Baby.”But What About the Song?So, Clyde and his orchestra recorded “Tear It Down” in 1933, but the song seems to have originated at least four years earlier downriver from McCoy's old Portsmouth, Ohio, home. Now our story needs to jump to the red light district of Cincinnati where a pair of young brothers named Bob and Walter Coleman were fixtures in the dives on George Street.With Bob on guitar and Walter on harmonica, the two often teamed up with a Paducah, Ky., multiple instrumentalist named Sam Jones (often called “Stovepipe #1”).In May 1928, Bob Coleman, under the name "Kid Cole," traveled with Jones to Chicago to record four sides for Vocalion Records. When he returned to Chicago in January 1929, Coleman brought with him both Jones and his brother, Walter, to record four more sides for Paramount, two credited to “The Cincinnati Jug Band” and the remainder to Bob Coleman alone.It was in that session that Coleman recorded what seems to have been his own composition, “Tear It Down.” That side — along with the group's "Newport Blues," "George Street Stomp" and "Cincinnati Underworld"— are among the rarest of all jug band recordings and these days remain prized among collectors.Following Coleman's 1929 release, “Tear It Down” became one of the favorite tunes for jug bands. Jack Kelly and the Memphis Jug Band did it in 1930, as did Whistler's Jug Band (though they called it “Foldin' Bed”). Meanwhile, Sam Jones moved to Atlanta, taking the tune with him. When he teamed with guitarist David Crockett, he recorded it for Okeh Records as King David's Jug Band. And today the song still has game. Back in January 2001, for instance, when the guys of Old Crow Medicine Show made their four-minute debut on the Grand Ole Opry at the Ryman Auditorium, they played "Tear It Down" and received a rare first-time-out standing ovation and a call for an encore.Our Take on the TuneJack Nuckols, an old high school buddy of Charlie Bowen's, has played lots of instruments — fiddle, guitar, dulcimer, Autoharp — and as a percussionist he used to jam with The Flood back in the Bowen Bash days.Last week when Jack dropped in to visit with the band, we immediately drew him into the circle. First, we passed him the house bongos to play, but then when a jug band tune came around, we put spoons in his hands. Jack was rocking it hard, we were digging on those rhythmic riffs and, just as we were fixing to turn it over to him for a solo, darned if those spoons didn't break in his hands. Now, Jack was apologetic, but — as you'll hear — we all thought it was a hoot! What better way to end a song called, “Tear It Down”? 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

Selección de novedades, anuncio del Timebomb Fest (9 de septiembre en Castellón con Airbag o Shock Treatment), gira de Eli “Paperby” Reed y única fecha de la leyenda jamaicana Roy Ellis en España (9 de septiembre en Madrid). Playlist; CYANIDE PILLS “Won’t be long” (Soundtrack to the new cold war, 2023) THE PRIZE “First sight” (single, 2023) KID GULLIVER “All because of you” (single, 2023) BRAD MARINO “Lucy” (adelanto del álbum “Grin and bear it”) GEOFF PALMER “Give it up” (adelanto del álbum “An otherwise negative situation”) AIRBAG “Big acuarium” (Ensamble cohetes, 2003) SHOCK TREATMENT “No puedo” (Adiós tí! EP, 1993) SEÑOR NO “Detrás de tu mirada” (Vol.1, 2023) ELI “PAPERBOY" REED “IDWYCTD (I came to play)” (Hits and misses, 2023) AISHA KHAN and THE RAJAHS “Cocaine habit blues” (7’’, 2023) Versión y Original; MEMPHIS JUG BAND “Cocaine habit blues” (1930) LAUREL AITKEN and MIGHTY MEGATONS “Suddenly we don’t talk anymore” (single, 2023) EUGENE PAUL with MIGHTY MEGATONS “Where that’s love” (single, 2023) ROY ELLIS and RICO’S BAND “Funky broadway” SYMARIP “These boots are made for stompin’” (1970) ROY ELLIS “One way ticket to the Moon” (The boss is back, 2011) Escuchar audio

Among the tunes we've got on tap to share at Sal's Speakeasy this weekend is one with a curious history. A monster AM radio hit in the early 1960s, it actually was originally a jug band tune recorded many decades earlier.Back in the 1920s, a remarkable roots musician named Gus Cannon co-wrote “Walk Right In” for his hot new band, Cannon's Jug Stompers, to record for Victor Records.Already an established entertainer in the first years of commercial recording, Gus Cannon had a life story that reads like a novel. Born in the early 1880s on a plantation in Red Banks, Mississippi, he was 12 years old when his family moved a hundred miles southwest to what was to become the world capitol of all things blues, Clarksdale, Mississippi.Cannon's musical skills developed with little training, but with much innovation. For instance, he is said to have made his own first banjo, crafting it from a frying pan and a raccoon skin. At 15, he ran away from home to begin his career entertaining at sawmills, at levees and at railroad camps throughout the turn-of-the-century Mississippi Delta. Along the way, he taught himself fiddle. And a local musician named Alec Lee showed him how to use a knife blade as a guitar slide, a technique that Cannon adapted to his banjo playing.About 1907 Gus left Clarksdale for the big city of Memphis, where he played in a jug band led by Jim Guffin as well as with established blue and hokum artist Jim Jackson.It also was in Memphis that he met two other up-and-coming musicians — harmonica player Noah Lewis and guitarist Ashley Thompson — with whom he formed Cannon's Jug Stompers. Together they played parties, dances and medicine shows.Soon after that, inspired by the success of the Memphis Jug Band's first records, Cannon took his group to Victor Records to start putting out some discs.Enter The Song By then, the Jug Stompers were joined by Hosea Woods, who could chime in with guitar, banjo and kazoo and provide some vocals. It was with Woods that Cannon wrote and recorded “Walk Right In”.The tune offered great promise for the Stompers. Unfortunately, time wasn't on their side. The recording date was ominous — Oct. 1, 1929 — that is, less than a month before the collapse of the stock market and the beginning of the Great Depression.The Stompers' last recordings were made in 1930 and by the end of that decade, Cannon had effective retired, although he occasionally performed as a solo musician.Folk RevivalNow fast forward to 1962. The folk music revival was in full swing. Erik Darling was an important influence in the early days of the movement. (He had already formed The Tarriers with actor/singer Alan Arkin, hit the Billboard charts with their version of “Banana Boat Song,” and had replaced Pete Seeger in the last days of The Weavers.)In June 1962, Darling formed The Rooftop Singers with two friends with the specific goal of recording an updated version of “Walk Right In.” Darling had a bright new idea for the song. Unlike its juggy 1929 original, his arrangement got its distinctive sound by pairing twin 12-string guitars played in a pounding, percussive style. Their version — released six months later — became a No. 1 hit (and created a fad among folkies for the then-little known 12-string).Initially, writing credits on the record label were allocated solely to Darling and his band mate Bill Svanoe. However, eventually everyone did the right thing: the copyrights were corrected to add Gus Cannon and Hosea Woods' names.The success of The Rooftop Singers' recording — it became an international hit — was a big lift for Cannon, who by then was in his late 70s and fallen on hard times. In fact, the previous winter he'd had to pawn his banjo just to pay his heating bill. For the rest of his life, Cannon now received regular royalties checks as a songwriter.He also saw renewed interest in his music among newly minted folk fans. In 1963 Cannon recorded an album fo Stax Records with fellow Memphis musicians Will Shade (the former leader of the legendary Memphis Jug Band) on jug and Milton Roby on washboard. On the disc, Cannon performed traditional songs and his jug band era compositions and told stories between the tunes.Our Take on the TuneIn Flood years, we came to this song a little late in the game. We started playing it about a dozen years ago — our first recording of it was in the winter of 2010, at the beginning of the second year of our weekly podcasts — and it quickly became such a favorite for Michelle and Charlie that we brought it as the opening track of the band's next studio album, Cleanup & Recovery.Since Michelle will be back with us tomorrow night as the guest artist when we do our monthly show at Sal's Italian Eatery & Speakeasy in Ashland, Ky., we thought it would be fun to bring “Walk Right In” to the mix too. Here, from last week's rehearsal, is the 2023 take on the tune.If you're tooling around this weekend, be sure to walk right in and sit right down at Sal's this Saturday night. We play from 6 to 9 at 1624 Carter Avenue in beautiful downtown Ashland. The video below gives a taste of what's in store: 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

Jimmy Bryant and Speedy West "Stratosphere Boogie"Elvis Costello & The Attractions "Love For Tender"Martha Davis "Kitchen Blues"Freakwater "Bolshevik and Bollweevil"The Light Crust Doughboys "Dirty Dish Rag Blues"Adia Victoria "Mortimer's Blues"The Carter Family "Bear Creek Blues"Memphis Jug Band "Papa's Got Your Bath Water On"Chris Whitley "Dust Radio"Billie Holiday "Long Gone Blues"Homesick James "Lonesome Road"Ray Wylie Hubbard "Bad Trick"Wynonie Harris "Quiet Whiskey"Roger Miller "Private John Q"Fletcher Henderson "Sing, Sing, Sing"Viola James "On That Rock"Angel Olsen "Lights Out"Stack Waddy "Willie the Pimp"Clem Snide "Moment in the Sun"Andrew Bird "Railroad Bill"Duke Ellington and His Orchestra "Love Is Like a Cigarette"Bob Corritore - Valerie June "Crawdad Hole"Kansas City Kitty & Georgia Tom "Gym's Too Much For Me"Loretta Lynn "Blue Steel"Rebirth Brass Band "Leave That Pipe Alone"Tom Waits "I Wish I Was In New Orleans [in The Ninth Ward]"The Nite Owls "Married Man Blues"S.G. Goodman "Dead Soldiers"Bukka White "Aberdeen Mississippi Blues"Hank Williams "Nobody's Lonesome For Me"Blue Lu Barker "That's How I Got My Man (10-25-49)"Trapper Schoepp "Eliza"Jimmie Rodgers "Let Me Be Your Side Track"Hound Dog Taylor & The HouseRockers "Give Me Back My Wig"Bessie Jones "So Glad I'm Here"The Breeders "When I Was a Painter"R.L. Burnside "Peaches"Dead Meadow "Sleepy Silver Door"Billy Bragg "Greetings To The New Brunette"Drag The River "Fire & Flood"Willie Humphrey "Oh How I Miss You Tonight"Howlin' Wolf "Ridin' In the Moonlight"The Yardbirds "Respectable (Live)"Gang of Four "Armalite Rifle"Jimmy Smith "Got My Mojo Workin'"John Lee Hooker "Boogie Chillen  (1949 Original Version)"Lucero "San Francisco"

From 1928-1933 Victor Records (then in 1931 RCA Victor) produced a series of Blues, Jug Band, Gospel, Jazz. Skiffle and Sermon recordings specifically marketed to African American record buyers..and some hip hot jazz loving white folks!...Icons such as Memphis Jug Band, Blind Willie McTell, Fury Lewis, Tommy Johnson, Duke Ellington, Bennie Moten and Jelly Roll Morton were released on Victors special RACE "38,000" numerical series. Join us for part two of our exploration of the vintage 1928-33 Victor "Race" records releases. --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Mason, Tennessee is a small, predominantly Black town of approximately 1,300 residents situated about 40 miles northeast of Memphis in West Tennessee.  The city has struggled with financial mismanagement in the past, but is expected to benefit from a major new economic investment, an electric vehicle plant being built by Ford Motor Company just a few miles away. Recently the Tennessee Comptroller, Jason Mumpower, tried to forcibly take control over the town's finances. We explore the fight Mason is taking on for its financial autonomy. We speak with: Virginia Rivers, Vice-Mayor of Mason, Tennessee Gloria Sweet-Love, President of the Tennessee State Conference NAACP John Marshall, judicial magistrate in Memphis, Tennessee, amateur historian, and sixth generation Mason native Otis Sanford, political columnist for The Daily Memphian and a journalism professor at the University of Memphis Music from this episode by: The Memphis Jug Band Milton Ruiz, J. Cowit (https://jcowit.bandcamp.com/), I Think Like Midnight (http://www.ithinklikemidnight.com/) Hannis Brown (https://www.hannisbrown.com/)  The Sometime Boys (https://www.thesometimeboys.com/)

 Every configuration of The Flood — from the present all the way back to 1976 in our foggy ruins of time  — has done its own variation of this happy bit of hokum. And each version, in its way, has been a loving tribute to our heroes in the original Memphis Jug Band of the 1930s. This latest rendition, recorded at a recent gig, offers wonderful solos and fills by everyone in the band. Shoot, even the grins and the winks seem to come through in this track.

When a friend recently asked us what song has the longest association with The Flood, we had to stop and think. Several old-timers are still in the band's repertoire. The Carter Family-inspired “Solid Gone,” for instance, has been in our collective consciousness all along, going way back to when David Peyton and Charlie Bowen were just a modest little duo in 1973. Uncle Dave Macon's “Way Downtown” has legs too; we have tapes from 1975 on which Charlie and Dave are doing that one with Roger Samples and Joe Dobbs the first time the new configuration began calling itself “The 1937 Flood.”Regularly Reborn SongBut the longest-lived Floodified tune that we have the most fun with — the one that has a rebirth with every new incarnation of the band — is the hokum classic “Jug Band Music,” which, as reported here earlier, we started doing in 1976.We learned the tune from a 1960s recording by our heroes, the Jim Kweskin Jug Band. And they learned it from a 1934 recording by everybody's heroes, The Memphis Jug Band, headed up by the legendary Will Shade. Not unlike The Flood itself, the Memphis Jug Band didn't like to easily categorize its music, recording a wild mixture of ballads, dance tunes, knock-about novelty numbers, blues and even their own special take on pop tunes of their day.This particular tune Kweskin called simply "Jug Band Music," but when it was originally recorded on Nov. 8, 1934, and released on Vocalion and Okeh, Shade called his composition “Jug Band Quartette.” Jug Band CrazeAmong hokum performers to spring up in Memphis in the 1920s, the Memphis Jug Band was the most recorded, releasing more than 100 sides between 1927 and 1934 (rivaled only by another long-time Flood favorite, Gus Cannon's Jug Stompers, incidenally). The jug band craze started in Louisville around 1905. By 1910 there were a number of bands active in that area, including string bands and jazz groups that added a jug player just to cash in on the craze. In 1925, Will Shade first heard the records of a Louisville jug band called the Dixieland Jug Blowers. He quickly convinced a local Memphis musician called "Lionhouse" to switch from blowing an empty whiskey bottle to a gallon jug, added Tee Wee Blackman on guitar and Ben Ramey and the Memphis Jug Band was born. Shade played guitar, harmonica and "bullfiddle" (a stand up bass made from a garbage can, a broom handle and a string). It was a loose-knit outfit with a constantly changing membership.Sounds So Sweet…They have a good five or six years, but by the mid 1930s, Memphis was in decline. Known as the "murder capital of the world," it was rife with corruption. Local politicians tried to combat the problems by closing down the gambling houses and brothels. That crackdown also signaled the end of the jug band era, because it removed many of the venues where that rowdy music had thrived. For that reason, when Shade and the guys trouped to Chicago in November 1934, they probably knew it was to be their last recording session. It was at that moment that this beloved jug band anthem was recorded, their celebratory lyrics a elegiac tribute to themselves, to their fellow musicians, and, most of all, to the music that even now sounds “so sweet … hard to beat.”Our Take on the TuneEvery configuration of The Flood, from 1976 to the present, has done its own variation of this happy song, each one, in its way, a loving tribute to our heroes. (As reported here earlier, the song was even central to our video debut on YouTube back in 2008.)This latest rendition, recorded at a recent gig, offers wonderful solos and fills by everyone in the band. Even the grins and winks seem to come through in the audio. 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

Artists include: Lemon Jefferson, Ma Rainey, Bessie Smith, Willie MeTell, Blind Willie Johnson, Victoria Spivey, the Memphis Jug Band and Mississippi John Hurt. Songs Include: Thinking Blues, Deep Moaning Blues, No Papa No, Keep Your Lamp Trimmed and Burning, Pine Top's Blues and Kansas City Blues.

One of Ray Charles's first hits was “Mess Around,” released on Atlantic Records back in 1953, but actually in this case, Brother Ray was a little late to the party.Many of the ideas for that song can been heard in a whole mess of New Orleans boogie piano riffs, starting as early as, say, Cow Cow Davenport's playing in the late 1920s. But if you want to go back even further — and, well, we generally do — there are references to dances called a “mess around” as far back the earliest days of jazz. For instance, in his wonderful autobiography called Trumpet on the Wing, the great New Orleans jazzman Wingy Manone talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image. Our Take on the TuneAs reported here earlier, the good-time hokum tunes of the 1920s and ‘30s have been part of The Flood's oeuvre since its earliest days, and here — from a recent rehearsal — is testimony to the fact that that tradition is alive and rocking.Our mess around — “4th Street Mess Around” — is the tune we learned from a spring 1930 recording by long-time Flood heroes, the remarkable Memphis Jug Band. 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

Poniendo el necesario broche de oro a la temporada, un repertorio acorde con el acontecimiento con titanes como Alvino Rey, Slim Gaillard, Shelton Brothers, Little Hat Jones, Enrique Bryon, The Growler, Memphis Jug Band, Dick McIntire's Harmony Hawaiians... A partir de las 23.00 horas en la sintonía de Radio 3. ¡Que pasen un buen verano! Escuchar audio

Mason, Tennessee is a small, predominantly Black town of approximately 1,300 residents situated about 40 miles northeast of Memphis in West Tennessee.  The city has struggled with financial mismanagement in the past, but is expected to benefit from a major new economic investment, an electric vehicle plant being built by Ford Motor Company just a few miles away. Recently the Tennessee Comptroller, Jason Mumpower, tried to forcibly take control over the town's finances. We explore the fight Mason is taking on for its financial autonomy. We speak with: Virginia Rivers, Vice-Mayor of Mason, Tennessee Gloria Sweet-Love, President of the Tennessee State Conference NAACP John Marshall, judicial magistrate in Memphis, Tennessee, amateur historian, and sixth generation Mason native Otis Sanford, political columnist for The Daily Memphian and a journalism professor at the University of Memphis Music from this episode by: The Memphis Jug Band, MIlton Ruiz, J. Cowit (With This link please: https://jcowit.bandcamp.com/), I Think Like Midnight (with this link please: http://www.ithinklikemidnight.com/), Hannis Brown (with this link please: https://www.hannisbrown.com/)  The Sometime Boys (With this link, please: https://www.thesometimeboys.com/) (edited) 

Mason, Tennessee is a small, predominantly Black town of approximately 1,300 residents situated about 40 miles northeast of Memphis in West Tennessee.  The city has struggled with financial mismanagement in the past, but is expected to benefit from a major new economic investment, an electric vehicle plant being built by Ford Motor Company just a few miles away. Recently the Tennessee Comptroller, Jason Mumpower, tried to forcibly take control over the town's finances. We explore the fight Mason is taking on for its financial autonomy. We speak with: Virginia Rivers, Vice-Mayor of Mason, Tennessee Gloria Sweet-Love, President of the Tennessee State Conference NAACP John Marshall, judicial magistrate in Memphis, Tennessee, amateur historian, and sixth generation Mason native Otis Sanford, political columnist for The Daily Memphian and a journalism professor at the University of Memphis Music from this episode by: The Memphis Jug Band, MIlton Ruiz, J. Cowit (With This link please: https://jcowit.bandcamp.com/), I Think Like Midnight (with this link please: http://www.ithinklikemidnight.com/), Hannis Brown (with this link please: https://www.hannisbrown.com/)  The Sometime Boys (With this link, please: https://www.thesometimeboys.com/) (edited) 

We examine the recorded history of rap within poetry, spoken word, blues, bebop, ragtime & jazz in the early 1900s. We play clips of George W. Johnson, Bert Williams, Lucille Bogan, Memphis Minnie, Memphis Jug Band, Beale Street Sheiks, Blind Willie Johnson, Golden Gate Quartet & Lincoln 'Stepin Fetchit' Perry to add proper source material context.

Today's show features music performed by The Memphis Jug Band and Fats Waller

Tuba Skinny "Some Kind-A-Shake"Pokey La Farge and the South City Three "So Long Honeybee, Goodbye"Tony Mottola "Fun On the Frets"Elvis Presley "Baby Let's Play House"Bob Dylan "Outlaw Blues"Robert Johnson "Preachin' Blues (Up Jumped the Devil)"AC/DC "There's Gonna Be Some Rockin'"Lucinda Williams "Honey Bee"Mr Bear & His Bearcats "Mr Bear Comes to Town"Robert Belfour "Black Mattie"Neko Case "Hex"Johnny Cash "Like The 309"The Palace Brothers "I Had a Good Mother and Father"Gillian Welch "Beulah Land"Daniel Bachman "Won't You Cross Over To That Other Shore (Reprise)"Tom Waits "Red Shoes by the Drugstore"Arthur Dodge & The Horsefeathers "Birmingham"Kiki Cavazos "Dancing Joe"Bessie Smith "Blue Spirit Blues"Steve Earle "Transcendental Blues"Otis Rush "Jump Sister Bessie"Fleetwood Mac "Hellhound On My Trail"Hank Williams "I Won't Be Home No More"Shovels & Rope "Blue Eyes Crying in the Rain (feat. John Moreland)"King Oliver "Deep Henderson (feat. King Oliver's Dixie Syncopators)"Bob Wills & His Texas Playboys "Milk Cow Blues"Memphis Jug Band "Oh Ambulance Man"Otis Smith "Sunday School Woman"Jelly Roll Morton "Original Jelly Roll Blues"Wanda Jackson "Fujiyama Mama"Pete "Guitar" Lewis "Ooh Midnight"The Mountain Goats "Dance Music"R.E.M. "Stumble"The Clash "Rudie Can't Fail"Louis Armstrong "Old Man Mose"Sister Rosetta Tharpe "Down By The Riverside"Billy Joe Shaver "Ride Me Down Easy"Elvis Costello "Red Cotton"Sugar Britches "Devil to Some"Drag the River "Losing Everyone"Billie Holiday "I Wished On the Moon (with Teddy Wilson and His Orchestra)"The White Stripes "In The Cold, Cold Night"Various Artists "Long Distance Call"Walter Vinson "Rosa Lee Blues"Fats Domino "I'll Be Glad When You're Dead You Rascal You"Alcide "Slow Drag" Pavageau "Creole Song (feat. Fred Vigorito, Albert Burbank, Jim Robinson, George Guesnon, Don Ewell & Bill Bissonnette)"Lefty Frizzell "Cigarettes and Coffee Blues"Light Crust Doughboys "Knocky, Knocky"Muddy Waters "Hey, Hey"Andrew Bird;Jimbo Mathus "Burn the Honky Tonk"Elvis Presley "Tomorrow Night"Robert Johnson "Love In Vain"Tuba Skinny "Wee Midnight Hours"

Today’s show features music performed by Bessie Smith, the Memphis Jug Band, and Ray Charles

 One of Ray Charles’s first hits was “Mess Around,” released on Atlantic Records back in 1953, but actually Brother Ray was a little late to the party with that tune. Many of the ideas for that song can been heard in a whole mess of New Orleans boogie piano riffs, starting as early as, say, Cow Cow Davenport’s playing the late 1920s. But if you want to go have even further — and, well, we generally do — there are references to dances called a “mess around” as far back the earliest days of jazz. For instance, in his wonderful autobiography called “Trumpet on the Wing,” the great New Orleans jazzman Wingy Manone talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City. Said Wingy, “The mess-around was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that’s a picture. Here’s a mess-around we learned from a Memphis Jug Band piece that was actually recorded 91 years this week.

Performers include: Bessie Smith, Ma Rainey, Barbecue Bob, Meade Lux Lewis, Henry Thomas, Victoria Spivey and the Memphis Jug Band. Songs include: Backwater Blues, Old County Stomp, Barbecue Blues, Blues Oh Blues, Kansas City Blues and Southern Rag.

Today’s show features some of my favorite 78s from my collection. I thought it would be fun to feature hokum blues and jazz records from the pre-war era. A subcategory of the blues, hokum was popular in the late 1920s and early 1930s. Hokum songs were often uptempo, funny, and on the raw to often raunchy side. The origins of this style of blues can be traced back to the vaudeville and minstrel show era of the late 19th Century, where songs of this type were performed with a touch of innuendo and comedy. This genre became wildly popular with adult audiences during the 20s and 30s. In the early days, common performers surfaced in jug bands that performed in the beer joints and brothels found up and down Beale Street, in Memphis, Tennessee. Jug bands like the Memphis Jug Band and Gus Cannon's Jug Stompers played good-time, upbeat music on assorted instruments like washboards, fiddles, triangles, harmonicas, guitars and banjos, all anchored by bass notes of an empty jug. Later on, duets featuring the piano and guitar would become popular as well. I’ve always found these types of records entertaining and I thought it would make for a good show to combine these types of hokum records along with some early pre-war jazz records and a few piano stomps thrown in for good measure. Please subscribe to the show if you haven't done so already and share with family and friends. Also, go take a visit to the show's new website olddingyjukebox.com and have a look around. Thanks for listening and I hope you enjoy the show. “Get Your Mind Out The Gutter”: Pre-War Hokum Blues and Jazz 78s.Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USWebsite: https://www.olddingyjukebox.com/homeFacebook: https://www.facebook.com/olddingyjukeboxpodcastInstagram: @olddingyjukeboxpodcastE-mail: olddingyjukebox@gmail.comClarence Williams’ Jug Band. “You Ain’t Too Old” 1933Lil Johnson “My Stove’s In Good Condition” 1936Jelly Roll Morton “Mr. Jelly Lord” 1924Hokum Boys “Keep Your Mind On It” 1936Duke Ellington and His Cotton Club Orchestra “When A Black Man’s Blue” 1931Sweet Violet Boys “Sweet Violets” 1936Sidney “Pops” Bechet with Noble Sissle’s Swingers “Viper Mad” 1938Eddie Lang (Blind Willie Dunn) and Lonnie Johnson 1929Django Reinhardt Hot Club of France “Paramount Stomp” 1937Pigmeat Pete and Catjuice Charlie “Get Your Mind Out The Gutter” 1929Lonnie Johnson and Clarence Williams “Wipe It Off” 1930Fats Waller “Serenade For A Wealthy Widow” 1934Georgia Tom and Hannah May “What’s That I Smell?” 1934Red Nichols and His Five Pennies “Boneyard Shuffle” 1927Stuff Smith and His Onyx Club Boys “Old Joe’s Hittin’ The Jug” 1936Smokehouse Charley “Pig Meat Blues” 1929Louis Armstrong and His Hot Five “West End Blues” 1928Support the show (https://paypal.me/christiangallo1?locale.x=en_US)

Esta noche en Melodías Pizarras: La fiebre del Skiffle con Lonnie Donegan and his Skiffle Group y Original Barnstormers Spasm Band, además de enormidades de blues rural, western swing y blue yodel, de la mano de titanes como Memphis Jug Band, Hank Penny and His Radio Cowboys y Jimmie Rodgers. A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

Musicians include: Charley Patton, Son House, Bessie Smith, Blind Willie McTell, Victoria Spivey, the Memphis Jug Band and Lonnie Johnson. Songs include: Dry Well Blues, Talkin To Myself, Long Black Train, New York Blues, Clarksdale Moan and Bad Luck's My Buddy.

Artists include: Blind Lemon Jefferson, Bessie Smith, Lonnie Johnson, Victoria Spivey, Cow Cow Davenport, The Memphis Jug Band, Blind Willie McTell Charlie Patton & Blind Willie Johnson Songs include: Blue Spirit Blues, Let Your Light Shine On Me, I Can't Stand It, Tin Cup Blues, Down the Dirt Road Blues and Police Dog Blues.

We’re pleased to say that all three volumes of Blues Unlimited: The Complete Radio Show Transcripts have now been published as eBooks! They’re available from Apple Books at https://tinyurl.com/y4rceu7b - Barnes & Noble at https://tinyurl.com/yxkvx6rl - and also available in the Kindle Store from Amazon at https://tinyurl.com/yyuwxbla (And please keep in mind that every dollar from every purchase will help keep an independent voice in blues radio alive and well! And we thank you!) In 1980, the good folks at Yazoo Records issued a box set of 36 trading cards called "The Heroes of the Blues," with drawings by legendary illustrator and cartoonist R. Crumb, and text by noted researcher and author Stephen Calt. They've long been favorites with Blues fans, and on this program (the second of three) we continue our exploration of "The Heroes of the Blues." Among the featured artists on this program are Furry Lewis, Big Bill Broonzy, The Rev. Gary Davis, Cannon's Jug Stompers, the Memphis Jug Band, Skip James, and many more. Pictured: One of the "Heroes of the Blues" featured on this episode. Illustration by R. Crumb. Are you looking for ways to promote your band’s latest release, product, business, or service? Advertise on the podcast that’s been downloaded over one million times, and reach a global audience of blues lovers! Contact us at bluesunlimited at gmail dot com for more details! This episode is available commercial free and in its original full-fidelity high quality audio exclusively to our subscribers at Bandcamp. Your annual subscription of $27 a year will go directly to support this radio show, and you’ll gain INSTANT DOWNLOAD ACCESS to this and more than 170 other episodes from our extensive archive as well. More info is at http://bluesunlimited.bandcamp.com/subscribe

The eBook version of “The Amazing Secret History of Elmore James” will officially be released July 1st, 2019. Available from the Amazon Kindle Store at https://tinyurl.com/yy6vlsv3 and from Apple Books at https://tinyurl.com/y4ql53s2 In 1980, the good folks at Yazoo Records issued a box set of 36 trading cards called "The Heroes of the Blues," with drawings by legendary illustrator and cartoonist R. Crumb, and text by noted researcher and author Stephen Calt. They've long been favorites with Blues fans, and on this program (the second of three) we continue our exploration of "The Heroes of the Blues." Among the featured artists on this program are Furry Lewis, Big Bill Broonzy, The Rev. Gary Davis, Cannon's Jug Stompers, the Memphis Jug Band, Skip James, and many more. Pictured: One of the "Heroes of the Blues" featured on this episode. Illustration by R. Crumb. Are you looking for ways to promote your band’s latest release, product, business, or service? Advertise on the podcast that’s been downloaded over one million times, and reach a global audience of blues lovers! Contact us at bluesunlimited at gmail dot com for more details! This episode is available commercial free and in its original full-fidelity high quality audio exclusively to our subscribers at Bandcamp. Your annual subscription of $27 a year will go directly to support this radio show, and you’ll gain INSTANT DOWNLOAD ACCESS to this and more than 170 other episodes from our extensive archive as well. More info is at http://bluesunlimited.bandcamp.com/subscribe

On this episode of Memphis Musicology, we go back to the early 20th Century to a time when jug bands were the kings of the city’s party scene. Despite heavy competition, no other jug band was as popular or influential as Will Shade’s Memphis Jug Band, who were a favorite of high and low society alike. We also head to The Crate to dissect Al Green’s 1977 genre-bending classic The Belle Album.

The Blues Foundation Podcast - Season 1: Blues Hall of Fame  Led by the enigmatic Will Shade, the Memphis Jug Band was an ever-evolving collective sporting different, talent-packed lineups for every gig and every recording session. The group was on hand for the very first commercial recording session in Memphis, TN, and went on to record over 100 sides for Victor, Champion, and Okeh Records in their heyday.  Guitars, fiddles, kazoos, washtub bass, and ceramic jugs laid the foundation of their unique sound, but what drew the crowds and sold the records were their well-crafted songs full of witty hooks and choreographed call-and-response sections.  The Memphis Jug Band would often record under different aliases. Sometimes album cuts were credited to individual members of the band - Will Shade, Hattie Hart, and Memphis Minnie. The band recorded gospel songs under an entirely different moniker - The Memphis Sanctified Singers.  The Memphis Jug Band popularized the jug band format, which evolved into the blues combo that is the basis for most popular music today.  Memphis Jug Band inducted into the Blues Hall of Fame in 2016. 

Eldon “Chip” Holliday has been hard at work creating a show that will allow everyone to get to know more about Memphis’ musical heritage. The first episode is all about the history of the Memphis Jug Band, and several of their tracks are included.

Records left off earlier podcasts.  Songs include: Tennessee Waltz, Knock Me a Kiss, Round and Round, You're Laughing At Me and Limehouse Blues.  Performers include: Patty Page, Chu Berry, Pete Seeger, Count Basie, Kay Starr, Licia Albanese and the Memphis Jug Band.

Jug Bands from the 1920s and 1930s.  Bands include: the Memphis Jug Band, Cannon's Jug Stompers, King David's Jug Band, the Louisville Jug Band and Noah Lewis' Jug Band. Songs include: Stingy Woman Blues, Hear Me Talking to You, My Good Gal's Gone, Stealin Stealin and You Ought to Move Out of Town.

Celebrating seven years of podcasting with: Louis Armstrong, Patti Page, the Memphis Jug Band, Duke Ellington, Thomas "Fats"  Waller, Johnny Mercer, the Rev. J.M. Gates and Blind Lemon Jefferson.  Songs include: Keyhole Blues, the Goldberg Variations, So In Love, Zip A Dee Do Dah, The Girl I Left Behind Me and Lock Step Blues.

Michelle, in Central TX, wants to know if a familial curse has ruined her family's money and love luck. From Chicago, Brianna asks if she should give up on love and how to change her luck. MaryM71, calling from Atlanta, gets advice on a year of love work on a man who won't commit. And in Los Angeles, OhWhyGeorgia is tries to decide whether it's time for Cut and Clear work.   The Lucky Mojo Hoodoo Rootwork Hour is a real, live call-in show where the general public gets a chance to ask about actual problems with love, career, and spiritual protection, and we recommend and fully describe hoodoo rootwork spells to address, ameliorate, and remediate their issues. You will learn a lot just by listening -- but if you call in and your call is selected, you will get a free consultation from two of the finest workers in the field, cat yronwode and special guest Miss Michaele. They also discuss the Aunt Caroline Dye Memorial Chapel, Aunt Caroline Dye after whom it was named, 'Aunt Caroline Dyer's Blues', and the Memphis Jug Band.

Erstmal hallo und herzlich willkommen zu meinem Blog zum Thema Blues. Ich habe schon etwas länger vor, meine Gedanken zu dieser Musikrichtung und allem was dazu gehört herauszulassen. Hier nun mein erster Beitrag. Zunächst soll es um den Begriff "Blues" selber gehen, denn ich war schon sehr oft auf Konzerten, wo die Kategorisierung "Blues" in einschlägigen Stadtmagazinen benutzt wurde, aber, wie sich dann herausstellte, hatte das Gehörte für mein Empfinden nichts mit Blues zu tun, wenn man davon absieht, dass letztlich fast alle populäre Musik im Blues verwurzelt ist. Sogar Blackmetal, jaja, denn Black Sabbath (die Band gilt gemeinhin als Urband des Heavy Metal) hat auch als Bluesband angefangen. Offensichtlich kursieren sehr unterschiedliche Auffassungen darüber, was Blues ist und was nicht. Ein erstes Missverständnis könnte man bei Teenagerparties provozieren, indem man, wenn "Blues" gefordert wird, in der Hoffnung dem anderen Geschlecht körperlich näherzukommen, eine B.B. King-Platte auflegt. "Wieso, ist doch Blues, weiß gar nicht was ihr habt." Ist schon klar, dass mit "Blues" hier "Blues tanzen" gemeint ist, außerdem erntet man bei solcher vorsätzlichen Frohsinnminderung mit Sicherheit Unmut, ist mir schon passiert. War aber nur Spaß. Nun aber mal im Ernst: ursprünglich entstanden ist das Wort "Blues" aus der Attribuierung "blue" in Bezug auf die persönliche Gemütslage. "Feeling blue" beschreibt eine melancholische, schwermütige oder gar traurige Stimmung, die, um das gängigste Klischee zu bedienen, meist durch Liebeskummer hervorgerufen wird. Selbstverständlich sind auch andere Auslöser dieser Stimmung zu benennen, auch wenn Son House einst formulierte: "The Blues is always about male and female." Geldnot, Ernteausfall, Heimweh und ähnliches sind einige Beispiele dafür. Eine andere Theorie zur Entstehung des Begriffes ist die, dass "Blues" ein aus "blue devils" zusammengezogenes Wort sei. Demzufolge müsste die oft verwendete Phrase "I got the blues" soviel bedeuten wie "Ich habe die blauen Teufel (in mir)". Zunächst, dass heißt beginnend mit dem ersten belegten Stück, welches das Wort "Blues" im Titel enthält (Memphis Blues von W. C. Handy, 1912), bis mindestens in die 20er Jahre des 20. Jahrhunderts hinein, bezeichnet "Blues" noch keine eigene musikalische Stilrichtung, sondern bezieht sich auf den getexteten Inhalt des jeweiligen Musikstücks. Auch wenn es gängige Praxis ist, die Mitglieder der Mississippi Sheiks als Bluesmusiker zu bezeichnen, so wird jedoch dadurch die Stilvielfalt der eigentlichen Musik deutlich beschnitten. Gospel, Balladen, Ragtimes und Tanzmusik sind ebenso im Repertoire wie einige Blues. Dies gilt auch für viele andere Urväter und -mütter wie Papa Charlie Jackson, Charlie Patton, die Memphis Jug Band, Mance Lipscomb, Furry Lewis und vor allem Leadbelly. Daher ist es aus meiner Sicht zutreffender, das Genre als afroamerikanische Volksmusik zu bezeichnen. Betrachtet man die grandes dames des frühen 20. Jahrhunderts (Mamie Smith, Ma Rainey, Bessie Smith und Ida Cox) so kann dort eher von einer Vorform oder einer frühen Spielart des Jazz gesprochen werden, und das nicht nur weil ein gewisser Louis Armstrong auf einigen frühen "Blues" zu hören ist. Wenn also die genannten Sängerinnen Bluesmusik gemacht haben, muss das bedeuten, dass Blues auch der Ursprung vom Jazz ist, was, glaube ich, die Jazzenthusiasten unter Umständen stören könnte. Meine Meinung dazu ist ohnehin die, dass Jazz und Blues analog zu Affen und Menschen den gleichen Ursprung haben, und nicht dass das eine sich aus dem anderen entwickelt hat. Um die Jazzfreunde wieder etwas zu besänftigen, wird in dem Bild der Blues dem Affen zugeordnet, da die Musikform auch als die primitivere gilt, was den musikalischen Gehalt anbelangt. Vielleicht sind dann die Damen doch das evolutionäre Bindeglied? Blues als Stilbezeichnung ist erst eindeutig in dem Moment, wo die Interpreten nahezu ausschließlich "Blues" singen, denn in diesem Moment werden stilistische Gemeinsamkeiten offenbar. Songlisten von Blind Lemon Jefferson, Robert Johnson und Son House können so gelesen werden. Es ist weit verbreitet diese Musiker dem Deltablues zuzuordnen. Diese Präzisierung ist aber nur zulässig, wenn die Musiker tatsächlich aus dem Mississippi-Delta kommen, denn viele Musiker, die einen ähnlichen Stil spielen, kommen aus anderen Regionen der USA, womit sich die Differenzierung auf die regionale Ebene bezieht. Also: Lightnin' Hopkins - Texas Blues, Blind Boy Fuller - Piedmont Style und Buddy Moss - Atlanta Blues. Will man alle diese Künstler zusammenfassen macht eine andere Kategorie Sinn: Country-Blues. Das darf insofern nicht missverstanden werden, als dass der Begriff nicht eine Mischung aus Country- und Bluesmusik meint, sondern beschreibt, dass der Stil aus einer ländlichen Umgebung stammt. Zwar sind sich Country und Blues in den 20er und 30er Jahren musikalisch bisweilen nicht unähnlich, allerdings sind bis auf ganz wenige Ausnahmen die Interpreten der einen Gattung Euroamerikaner und die der anderen Afroamerikaner. Da das soziokulturelle Umfeld von Musik für mein Dafürhalten immer mit einbezogen werden sollte, muss also Countryblues von Countrymusik getrennt werden. Dem Countryblues gegenüber steht ab den späten 40er Jahren der urbane Blues, der weitestgehend synonym ist mit Chicagoblues. Auch hier muss aber regional differenziert werden, denn es gibt auch einen Detroit-Sound, einen Memphis-Sound und einen Westcoast-Sound. Der ohrenfälligste Unterschied zwischen urbanem und ländlichem Blues ist, dass der urbane mit elektrisch verstärkten Instrumenten gespielt wird, während der ländliche unplugged gespielt wird. Desweiteren verschwindet zunehmend das Anhängsel "Blues" in den Songtiteln. Der Blick auf die Rückseite eines Muddy Waters-Albums bestätigt das. Ab den 60er Jahren des 20. Jahrhunderts entsteht eine Stilrichtung, die als Bluesrock bezeichnet wird. Auch hier schadet eine Prüfung nicht, wenn die Frage gestellt wird, spielen Johnny Winter, Canned Heat und später Stevie Ray Vaughan Rock mit Bluesanleihen oder doch eher Blues mit Rockattitüde? Ich denke eindeutig letzteres, weshalb Rockblues zutreffender wäre, zumal damit auch ein Unterschied zu tatsächlichem Bluesrock von z.B. ZZ Top, Ten Years After, Fleetwood Mac und Humble Pie geschaffen wäre. Ich weiß, dass erscheint alles ein bisschen haarspalterisch, aber das ist eben die Sache mit dem Wollpullover und der Pulloverwolle. Ist es nun Wolle oder ein Pullover? Unverfänglich ist demzufolge die Schreibweise Blues/Rock, wenn deutlich gemacht werden will, dass die Musik eine Kombination aus beidem ist, oder aber weder dem einen noch dem anderen eindeutig zugeordnet werden kann. Um die eingangs erwähnte Kritik an den unpräzisen und zum Teil unpassenden Angaben in Konzertankündigungen aufzugreifen, erscheint mir der subjektive Eindruck, dass bei den meisten Blues/Rock-Sessions kaum Blues präsentiert wird, zutreffend. Ein Sweet Home Chicago steht oft ziemlich einsam den ganzen Sweet Home Alabamas, In A White Rooms und After Midnights gegenüber. Es wird klar, dass der Begriff "Blues" nicht leicht zu fassen ist, da er vielfach verwendet wird. Der Klammerblues in der Disco, der Blues des von einer Midlifecrisis gebeutelten Piloten und der Musikstil sind dabei nur die verbreitetsten, wobei ein ganz wichtiges aber irgendwie banales Muster bisher gänzlich vernachlässigt wurde, nämlich die Verwendung von "Blues" als "die Blauen", wie die Spieler des FC Chelsea auch genannt werden. Aber auch in Bezug auf die Musik selbst ist die Kategorisierung "Blues" nicht unproblematisch, da sich wie oben aufgezeigt eine Vielzahl an Substilen identifizieren lassen, die sich mitunter arg voneinander unterscheiden und sich mit anderen Stilen vermischen. Das Kollaborat von R. L. Burnside mit der Jon Spencer Blues Explosion hat klanglich sicherlich wenig gemein mit den Aufnahmen von Blind Boy Fuller mit Sonny Terry. Noch schwieriger wird es natürlich, wenn Puristen von "wahrem" Blues sprechen, da ist dann die Platte Still Got The Blues von Gary Moore mit Sicherheit ausgeschlossen (aus meiner Sicht zurecht, aber lassen wir meine persönliche Abneigung gegenüber Gary Moore besser außer acht). Kurzum ich denke, dass sich jeder Mensch ohnehin sein eigenes musikalisches Schubladensystem zurechtlegt, anhand dessen Musik geordnet wird. Für mich ist und bleibt Blues eine Volksmusik und eine Popularmusik afroamerikanischen Ursprungs. In diesem Sinn Gruß und Blues - Euer Gitarrenwalther

THE SOUTH MEMPHIS STRING BAND is a trio composed of Luther Dickinson (North Mississippi Allstars), Alvin Youngblood Hart (Grammy-winning bluesman) and Jimbo Mathus (Squirrel Nut Zippers). Although they�d known each other for years, the South Memphis String Band was greatly influenced by the Mississippi Sheiks, Gus Cannon & the Memphis Jug Band and other string bands and jug bands of their ilk, as well as Mississippi Delta and Hill Country blues. They will arrive with a passel of guitars, mandolins, banjos, lap steel guitars and harmonicas. QUEBE SISTERS BAND is an American fiddle western swing group from Fort Worth, Texas. The band began their musical journey in 1998 when the three sisters started taking fiddle lessons. Shortly thereafter, the girls began entering fiddle contests and had success early on; winning several State, regional and National fiddle championships. Add the swinging rhythm guitar of World Champion fiddler Joey McKenzie and the upright bass of Drew Phelps, and the Quebe Sisters Band becomes a force of nature. Recently named Group of the Year by the Academy of Western Artists and recipient of the Crescendo Award by the Western Music Association, as well as nominations for Country group of the year by both the Dallas Observer and Ft. Worth Weekly, the QSB is performing coast to coast in support of their latest cd, “Timeless.�

Musicians include: The Memphis Jug Band, Cannon's Jug Stompers, Ma Rainey, Tampa Red and Jimmie Rodgers.  Songs Include: Bring It With You When You Come, Memphis Yo Yo Blues, Hear Me Talking To Ya and Sho Is Hot.

Musicians from the Volunteer State including: Bessie Smith, Roy Acuff, Uncle Dave Macon, Sleepy John Estes, Lovie Austin and the Memphis Jug Band.  Songs include: Wabash Cannonball, Rockin Chair Blues, Buddy Won't You Roll Down the Line and House Carpenter.

Songs involving cars, trains, planes and boats. Songs include: In My Merry Oldsmobile, The Wreck of the Old 97, Come Josephine in My Flying Machine and Sailing Down Chesapeake Bay. Artists include: Billy Murray, Ada Jones, Vernon Dalhart and the Memphis Jug Band.

Songs about fruit, including: Life is Just a Bowl of Cherries, I'll Be With You in Apple Blossom Time, On a Coconut Island and Black Raspberry Jam. Performers include: Cliff Edwards, Andy Iona, Rudy Valley, Fats Waller and the Memphis Jug Band.

A tribute to blues singer and guitarist, Memphis Minnie.Songs Include: In My Girlish Days, When the Levee Breaks, Bumble Bee and Memphis Yo Yo Blues.Artists include: Memphis Minnie, Kansas Joe, Furry Lewis and the Memphis Jug Band.

Records left off of previous podcasts. Artists include: The Memphis Jug Band, Eddie Cantor, The Sousa Band, Helen Kane and Washington Phillips. Songs include: Get Out and Get Under the Moon, Peaches in the Springtime, Denomination Blues, The Liberty Loan March and The first of May.

Bands include: The Memphis Jug Band, Cannon's Jug Stompers, The Seven Gallon Jug Band and The Dixieland Jug Blowers. Songs include: Whitewash Station Blues, Wipe It Off, Sweet Potato Blues and The Jug Band Waltz.

Robert Timothy Wilkins was a seminal blues guitarist and vocalist. Of African American and Cherokee descent, he was born January 16, 1896, in Hernando, Mississippi, 21 miles from Memphis, Tennessee. He died May 26, 1987. Wilkins worked in Memphis during the 1920s at the same time as Furry Lewis, Memphis Minnie (whom he claimed to have tutored), and Son House. He also organized a jug band to capitalize on the "jug band craze" then in vogue. Though never attaining success comparable to the Memphis Jug Band, Wilkins reinforced his local popularity with a 1927 appearance on a Memphis radio station. Like Sleepy John Estes (and unlike Gus Cannon of Cannon's Jug Stompers) he recorded alone or with a single accompanist. He sometimes performed as Tim Wilkins or as Tim Oliver (his step-father's name). His best known songs are "That's No Way To Get Along" (covered as "The Prodigal Son" by The Rolling Stones), "Rolling Stone" (covered by Muddy Waters and which inspired The Rolling Stones very name), and "Old Jim Canan's". He became an elder of the Church of God in Christ in the 1930s and began playing gospel music with a blues feel. The "Reverend" Robert Wilkins was rediscovered by blues enthusiasts during the 1960s blues revival, making appearances at folk festivals and recording his gospel blues for a new audience. His distinction was his versatility; he could play ragtime, blues, minstrel songs, and gospel with equal facility