Podcast appearances and mentions of ralph peer

It's more from Patrick's Old-Time Music Week (he's silly with it) and today he relates the story of Ralph Peer, who was instrumental in shaping the modern music business as a talent scout, engineer, manager and music publisher.  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.

John Heath of EAP Society joins Justin for an extensive (but still HIGHLY abbreviated!) discussion about the history of the music industry in Memphis before and during Elvis' career, from early blues recordings made by Ralph Peer to Sam Phillips' Sun Records, from indie labels inspired by Sun's success to the monumental Stax Records, how Chips Moman's American Sound came together, and up through Elvis's Jungle Room recordings as the city's music industry wound down in the late 70s. It's all explored through a playlist of about two dozen tracks compiled by John, linked below. If you've been exploring the 2024 Sony box set release "Memphis," you will find this a great supplemental discussion. There are no specific songs of the week this week, just a ton of amazing music history to delve into. https://open.spotify.com/playlist/0a1G2qR6gFfQT13UzrBTLg?si=09505e6244c44da8&fbclid=IwY2xjawEdLxBleHRuA2FlbQIxMAABHTrNyBF-6SkoS9goKzglqEqOstRBysdp99mM1miKBy5StaEBDUZ1HVJJjw_aem_hAjH3ZILor4p4CAcxsoarw&nd=1&dlsi=f85c2bdb288d4a43 You can also find the final track intended for this playlist, which is not on Spotify, on YouTube at this link (current as of release): https://www.youtube.com/watch?v=Ipqz1oIt4TA If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. 

About the Guest:Dr. Rene Rodgers is the Head Curator for the Birthplace of Country Music Museum. With an extensive background in history, culminating in a Ph.D., Rene has a profound understanding and passion for the story of early commercial country music, particularly the 1927 Bristol Sessions, which hold a significant place in American music history. Her experience in museum education and curation is evident in the impactful exhibits and programs she leads at the museum.Episode Summary:In this captivating episode of "Meet Me in Tennessee," host Allie Bynum has an insightful conversation with Dr. Rene Rodgers, unveiling the intricate tapestry of country music's origins as told through the Birthplace of Country Music Museum. The discussion delves into the 1927 Bristol Sessions, known as the "Big Bang" of country music, and the museum's role in preserving this rich history.Rene Rodgers paints a vivid portrait of the technological advancements and cultural underpinnings that contributed to the success of the Bristol Sessions. She highlights the influence of Ralph Peer, the visionary talent scout, and the impact of artists like the Carter Family and Jimmie Rogers. Incorporating engaging exhibits and personal stories, the museum becomes a beacon of Appalachian heritage, showcasing how past traditions resonate with contemporary audiences.Key Takeaways:The Birthplace of Country Music Museum celebrates its 10th anniversary as a Smithsonian-affiliated institution, offering rich educational resources and programming.The 1927 Bristol Sessions symbolize a monumental moment in country music, capturing high-quality recordings of iconic artists and transforming the industry.Ralph Peer played a pivotal role in advancing country music, with his innovative approaches to recording, copyrighting, and music publishing still influential today.Exhibits at the museum, such as "I've Endured: Women in Old Time Music," bridge past and present by highlighting the enduring contributions of female musicians.Community engagement through events, outreach, and the Radio Bristol station, integrally connects the museum to the region's cultural fabric.Notable Quotes:"It's not just one moment in time that just had this impact for a few years around 1927 and then disappeared into the bowels of history.""Music is so tied to emotion and memory, and we're…fortunate to have this museum that is about music and filled with music.""We wanted to…tell the story of women in this music…and how they've both carried on those traditions from the past and are innovating it.""The music industry works today…music publishing company [Peer Music] started in 1926 still exists today.""So much history with music in our area…how hillbilly music's evolved…how the technology with music has evolved in America."Resources:Northeast Tennessee Tourism Association: northeasttennessee.orgBirthplace of Country Music Museum: birthplaceofcountrymusic.orgTune in to the full episode for a deep dive into the fascinating world of country music's roots and discover how the Birthplace of Country Music Museum is preserving this precious cultural heritage. With each story shared and exhibit crafted, the legacy of country music continues to inspire and captivate audiences. Keep an eye out for more profound conversations on "Meet Me in Tennessee."

Six String Hayride Episode 37, Classic Country in the 1920's. Chris and Jim build a time machine and visit the 1920's. WLS in Chicago and WSM in Nashville start Radio's Golden Era with national music broadcasts, , Prohibition starts and so does Bootleg Booze, RCA Victor provides phonographs for the home, Jukeboxes and Radios come on the dance hall scene, Ralph Peer records the Carter Family and Jimmie Rodgers in Bristol, Chris defines what "Classic" really means and Jim runs down the world of the 1920s. How "Frankie and Johnny" and "Wreck of the Old 97" became American Classics , Another fine cocktail recipe and Charleston Lessons too. Join us on the Six String Hayride Classic Country Podcast.

Bristol's biggest claim to fame happened in 1927. Bristol Sessions came about when Ralph Peer, a producer for Victor Talking Machine Company, later RCA Victor, wanted to record “Hillbilly music.” Ernest Stoneman, an Appalachian musician who with his wife, Hattie, was already recording for Victor, suggested Bristol. At the sessions, Peer recorded 76 songs by 19 musicians or groups. In 2002, The Library of Congress National Recording Registry ranked the 1927 Bristol Sessions among the 50 most significant sound recording events of all time and named Bristol “The Birthplace of Country Music.”Today's podcast was written by Kathleen Walls and presented by Perry Mack

Field recorder Ralph Peer was een belangrijke schakel in de heropleving van de Blues op het platteland aan het eind van de jaren twintig. Ralph Peer had een neus voor talent: met de opnames van de Carter Family en Jimmie Rodgers had hij de lont aangestoken voor de "Big Bang of Country Music", en ook na 1924 bleef hij samen met heel wat artiesten bluesgeschiedenis schrijven. In deze aflevering blijven we nog even het pad van Ralph Peer volgen. Ik stel je graag voor aan Sleepy John Estes, Blind Willie McTell, Frank Stokes en Furry Lewis! Nieuwsgierig naar meer? Volg me op Facebook, Instagram of Twitter. Of bezoek ⁠www.souloftheblues.be --- Send in a voice message: https://podcasters.spotify.com/pod/show/bart-massaer/message

The epic saga begins. Music aficionado Garrett Cash joins Justin for the first part of a sweeping miniseries on Elvis Presley's lifelong, intertwined history with country music. We begin with the complex web of myriad influences that paved the way for rock and roll, and we start by treating the history of the genre not as strictly "hillbilly music" but as part of a vital continuum of American music that has always, in practice, blurred social, racial and class lines, encompassing blues, pop, swing & big band, jazz, showtunes, and gospel - and we bring receipts. We deep dive the history of its stereotypical sounds like the fiddle, banjo and steel guitar, the development of country as a commercial entity following Ralph Peer's Bristol sessions and the introduction of The Carter Family and Jimmie Rodgers, and trace the development of its subgenres, such as western swing, bluegrass, jug bands and hokum music, singing cowboys, honky-tonk and country boogie, leading us directly to the doorstep of 706 Union Avenue, Memphis, Tennessee. You can find more of Garrett on "The Beat! With Garrett Cash" on SoundCloud at: https://soundcloud.com/garrett-cash-635212819 As well as on the Let It Roll Podcast miniseries "Holy Roll" at: https://letitrollpodcast.substack.com/p/let-it-roll-with-garrett-cash  In late October we will be releasing a YouTube and Spotify playlist with as many songs featured on this series as possible. Stay tuned to our social media pages for details. This series would not be possible without the support of TCBCast Patreon backers, thank you to all of our patrons! This is not remotely comprehensive or in any order whatsoever but among some of the key resources that we found useful for this first episode are: Ken Burns' Country Music - Documentary, Book & Soundtrack American Epic - Documentary & Soundtrack Sets Meeting Jimmie Rodgers: How America's Original Roots Music Hero Changed the Pop Sounds of a Century by Barry Mazor The Birth of Rock and Roll: The Illustrated Story of Sun Records by Colin Escott and Peter Guralnick Last Train to Memphis: The Rise of Elvis Presley by Peter Guralnick Walk A Lonely Street: Elvis Presley, Country Music and the True Story of Heartbreak Hotel by Tony Plews Cocaine and Rhinestones by Tyler Mahan Coe The Nashville Sound by Paul Hemphill African Banjo Echoes in Appalachia: A Study of Folk Traditions by Cecelia Conway A History of Rock in 500 Songs by Andrew Hickey Protobilly: The Minstrel & Tin Pan Alley DNA of Country Music from JSP Records At the Louisiana Hayride Tonight by Bear Family Records

Aan het eind van de jaren twintig ontstond er een nieuwe interesse in de plattelandsblues of de Country Blues. Field Recorders zoals Ralph Peer trokken naar afgelegen gebieden om opnames te maken van lokale artiesen. In deze aflevering leren we waarom Howlin' Wolf huilt als een wolf en hoe een spoorwegarbeider al jodelend vanuit de blues de basis van de countrymuziek kristalliseerde. En we ontdekken dat een Keniaans volksliedje verwijst naar de Blues. Nieuwsgierig naar meer? Volg me op Facebook, Instagram of Twitter. Of bezoek www.souloftheblues.be --- Send in a voice message: https://podcasters.spotify.com/pod/show/bart-massaer/message

Chris and Jim discuss Ralph Peer, the man who first recorded The Carter Family and Jimmie Rodgers and made the Victor Talking Machine an icon of music history. Jim gives a history of Nipper, the RCA / Victor Wonder Dog and Chris has another John Wayne drink and more Andrew Sisters shout outs.https://www.patreon.com/user?u=81625843

Mississippi John Hurt  wychowywał się i spędził większość w Avalon w stanie Mississippi. Był wokalistą i gitarzystą bluesowy i countrowym. W latach dwudziestych nagrał dla wytwórni OKEH Records kilka płyt. Okazały się komercyjnymi porażkami i zarzucił publiczne muzykowanie mniej więcej na 35 lat. Do 1963 roku. Wtedy, na fali  tzw. „folg revival” Ameryka zainteresowała się muzykiem. Hurt wystąpił na słynnym Newport Folk festiwal. Tam został gwiazdą. Nie na długo, zmarł 3 lata roku na zawał serca. Pozostawił po sobie całkiem sporo nagrań. Jedno z najsłynniejszych, to  “Let the Mermaids Flirt with Me”. Piosenka została opublikowana dopiero w 1972 roku, choć powstała w latach 20. Opowiada o człowieku zmęczonym życiem, kochanki nie może znaleźć, z żoną mu źle, uciekłby przed nią przez morze, chętnie by odszedł, ale nie stać go na bilet na parowiec. No więc marzy o tym że po śmierci znajdzie spokój w głębiach oceanu flirtując z syrenami. Autorstwo tekstu jest przypisywane wydawcy Williamowi Meyerowi, choć niektóre źródła wskazują że tekst napisał Hurt. A muzyka? Muzykę zaczerpnął John z innej piosenki. To kolejny przebój amerykańskiego folku.  „Waiting For The Train” Jimmi Rodgers napisał i nagrał w 1929 roku. Opowiada o mężczyźnie wracającym do domu, który za brak biletu zostaje wyrzucony z pociągu i wiedzie życie włóczęgi. Rodgers pisząc utwór zaadaptował z kolei na swoje potrzeby XIX wieczna piosenkę z Anglii. Spisał tekst tak jak zapamiętał a producent Ralph Peer pomógł zmodyfikować melodię tak aby była dostosowana do podobno niezbyt dużego repertuaru akordów, jakie potrafił Rogers zagrać. Nie przeszkadzało to zostać piosence wielkim przebojem. Pomógł w tym październikowy krach na giełdzie w Nowym Jorku w 1929 roku. Tekst piosenki stał się bardzo aktualny. Niektórzy znawcy tematu uważają, że to Jimmy Rodgers a nie Woody Guthrie był prawdziwym głosem kryzysu. W tym samym roku Rodgers wystąpił w filmie wyprodukowanym przez Columbia Pictures, w którym śpiewał „Waiting For The Train”. Był to w zasadzie jeden z pierwszych teledysków muzyki counrty. Wracając do korzeni piosenki, pierwowzorem podobno była londyńska ballada z połowy XIX wieku „Standing For The Platform”. Historia mężczyzny, który spotkał na dworcu kolejowym kobietę, która później fałszywie oskarżyła go o napaść. Pod koniec XIX wieku opublikowano na wersję ballady pod tytułem: „Wild and Reckless Hobo” („Dziki i lekkomyślny włóczęga”). Ale żeby nie było zbyt łatwo. Niektórzy amerykańscy znawcy tematu  źródeł piosenki Rodgersa upatrują gdzie indziej. Twierdzą, że Rodgers był zainspirowany amerykańską folkową piosenką z końca XIX wieku „I've been Working on the Railroad”. Podobieństwa faktycznie są, więc może…   Sail-Ho     Audycja zawiera utwory: “Waiting For A Train” (w tle), wyk. Raul Malo, Pat Flynn, Rob Ickes, Dave Pomeroy, muzyka: Jimmy Rodgers „Parostatek” , wyk. Krzysztof Krawczyk, słowa: Tadeusz Drozda, muzyka: Jerzy Milian „Let The Mermaids Flirt With Me”, wyk. Mississippi John Hurt, słowa: Mississippi John Hurt muzyka: Mississippi John Hurt na podst.”Waiting for the Train” „Waiting for the Train”, wyk. Jimmy Rodgers, słowai muzyka: Jimmy Rodgers „Waiting for the Train”, wyk. Hugh Laurie, słowa i muzyka: Jimmy Rodgers „Wild And Reckless Hobo”, wyk. Jimmie Davies, słowa i muzyka: trad. „I've Been Working On The Railroad”, wyk. Pete Seeger, słowa I muzyka: trad. „Syrena niech porwie mnie”, wyk. Marek Szurawski i John Townley, słowa: Marek Szurawski, muzyka: Mississippi Jonhn Hurt „Let The Mermaids Flirt With Me”,  

After the success of Ralph Peer's early 1920s recordings of rural musicians such as Henry Whitter and Fiddlin' Joh Carson most every major record label slowly began dabbling in the recording of rural country ( often labeled "Hillbilly" ) artists. A new record selling market was awoken! By 1928, with the success of the first "Bristol Sessions" Victor was all in. They established their 40,000 numerical --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

After the success of Ralph Peer's early 1920s recordings of rural musicians such as Henry Whitter and Fiddlin' Joh Carson most every major record label slowly began dabbling in the recording of rural country ( often labeled "Hillbilly" ) artists. A new record selling market was awoken! By 1928, with the success of the first "Bristol Sessions" Victor was all in. They established their 40,000 numerical series dedicated to all ealry country recordings and then in 1930 rtheir 23,500 series which wnet on until late 1933 when the Freat Depression cribbled the record industry. American Grooves, in two programs, will dig into Victors catalog of 1928-33 Country recordings - Stringbands, Cowboy Singers, Blue Yodelers, and sacred vocal groups - they tried it all! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Ever heard of Ralph Peer? Very likely not. But in very particular ways, Ralph Peer's life's work impacts every person who listens to popular music. Peer didn't do just one major “thing”—he is highly regarded for at least two innovative paths he carved out that impact the lives of millions to this very day. Join Kevin as we explore the unique, engaging, and instructive story of Ralph Peer!  // Download this episode's Application & Action questions and PDF transcript at whitestone.org.

'the advertisement in the Johnson City Chronicle read .... Can You Sing Or Play Old-Time Music? ... actual tryout for the purpose of making columbia recordsThe auditions were part of a search for native Appalachian-Blue Ridge Mountains musical talent. Frank Buckley Walker was a pioneer, as was Ralph Peer of Victor Records, in the art of remote recording, which was deemed more effective than bringing musicians to New York City or larger northern cities to record. They thought the unsophisticated amateurs would perform more comfortably in their accustomed surroundings. considered by music scholars as important recordings of early country music that influenced a whole generation of revivalist folk musicians of the 1950s and 1960s, including Bob Dylan, Joan Baez, and Doc Watson. ...... The Johnson City Sessions ..

In the summer of 1927, nineteen bands/musicians responded to an ad in a newspaper for an opportunity to be a part of a recording session in Bristol, Tennessee. Some of the most well-known and influential names in American music were there: the Carter Family, Jimmie Rodgers, Ernest Stoneman, and many more. The Bristol Sessions were organized by Ralph Peer, who worked for Victor records, and was an attempt to capitalize on the increasing popularity of "hillbilly" music. These recordings were no doubt a key moment in country music's evolution. In this episode, we continue with Part 2 of our interview with Dr. Ted Olson and we discuss whether or not the Bristol Sessions were in fact the "Big Bang" of country music. The Good Neighbor Get Together is the podcast of Country Music Pride https://countrymusicpride.com https://thegoodneighborgettogether.com https://mcfarlandbooks.com/product/the-bristol-sessions/

In the summer of 1927, nineteen bands/musicians responded to an ad in a newspaper for an opportunity to be a part of a recording session in Bristol, Tennessee. Some of the most well-known and influential names in American music were there: the Carter Family, Jimmie Rodgers, Ernest Stoneman, and many more. The Bristol Sessions were organized by Ralph Peer, who worked for Victor records, and was an attempt to capitalize on the increasing popularity of "hillbilly" music. These recordings were no doubt a key moment in country music's evolution. In this episode, we interview Dr. Ted Olson and we discuss whether or not the Bristol Sessions were in fact the "Big Bang" of country music.  The Good Neighbor Get Together is the podcast of Country Music Pride ⁠https://countrymusicpride.com⁠ ⁠https://thegoodneighborgettogether.com⁠ ⁠https://mcfarlandbooks.com/product/the-bristol-sessions/⁠

We'll revisit the Carter Family this week on Deeper Roots with a collection of covers by their family's inheritors, classic country and bluegrass favorites, as well as contemporary Americana artists. Aside from being a key ingredient in the ‘big bang' of country music that occurred at the Bristol, Tennessee recordings in 1927, they would establish a rich catalog of songs and a monument to what American country music would hold as a torch for generations to come. The gathering of the elements of prose, poetry, passages and melodies that A. P. Carter gathered over his years of wandering predates the Lomax era and crossed the threshold when the 1927 encounter with Ralph Peer made history. We'll hear from The Carters, but also Johnny Cash, Ashley Monroe, Loretta Lynn, Red Allen, and Emmylou Harris (among others) in our show today. Tune in for some of the classics from the family Carter.

story of tin pan alley  ..  and Ralph Peer and the Bristol sessions ...with music  by Fats Waller, Hayden Quartet, Jimmie Rodgers and the Carters

Host Nate Wilcox asks Barry about the amazing career of Ralph Peer and his role in popularizing Louis Armstrong, Jimmie Rodgers, the Carter Family and many more.Buy the book and support the show. Download this episode.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

Host Nate Wilcox asks Barry about the amazing career of Ralph Peer and his role in popularizing Louis Armstrong, Jimmie Rodgers, the Carter Family and many more.Buy the book and support the show. Download this episode.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

In which Jack learns about Mother Maybelle Carter's contributions to American music history and compares her to David Bowie. Also, Durham trio Julia Reeves, Dan Clouse, and Matt Stutzman cover the Carter Family's "Wildwood Flower" for us all to enjoy. Watch a video of their recording session here: https://www.youtube.com/watch?v=Ah35LdBQOjo Support Women in Music: Country Soul Songbook Connect with Jack: wildwoodflowerpod@gmail.com Instagram @wildwoodflowerpod Support Jack www.venmo.com/u/Jack-Peterson-110 References Bufwack, M. A., & Oermann, R. K. (1993). Finding her voice: The saga of women in country music. Crown. Carter, Maybelle (April 24, 1963). Interview Gleason, H. (Ed.). (2017). Woman Walk the Line: How the Women in Country Music Changed Our Lives. University of Texas Press. Kahn, E. & Seeger, M. (1963). Interview with Sara and Maybelle Carter. Mazor, B. (2014). Ralph Peer and the Making of Popular Roots Music. Chicago Review Press. Pecknold, D. (Ed.). (2013). Hidden in the mix: the African American presence in country music. Duke University Press. Wolfe, C. K., & Olson, T. (Eds.). (2005). The Bristol sessions: writings about the big bang of country music (Vol. 12). McFarland. Zwonitzer, M., & Hirshberg, C. (2014). Will You Miss Me When I'm Gone?: The Carter Family and Their Legacy in American Music. Simon and Schuster. Songs: Lesley Riddle - The Cannon Ball Ernest Phipps & His Holiness Singers - If the Light has Gone out in Your Soul The Carter Family - Storms are on the Ocean The Carter Family - Wildwood Flower The Carter Family - Keep on the Sunny Side The Carter Family - John Hardy The Carter Family - River of Jordan The Carter Family - Sweet Fern The Carter Family - Worried Blues The Carter Family - Hello Stranger The Carter Family - Coal Miner's Blues The Carter Sisters - Columbus Stockade Blues The Carter Family - Lonesome Homesick Blues Julia Reeves, Dan Clause, & Matt Stutzman - Wildwood Flower

Jack learns about the life of Sara Carter of the Carter Family through the year 1941. Also, Momma Molasses covers Single Girl, Married Girl! Support Momma Molasses Hear more great Momma Molasses Music and keep in touch through: Instagram: @mommamolasses https://www.facebook.com/mommamolasses www.mommamolasses.org Support Women in Music: Country Soul Songbook Connect with Jack: wildwoodflowerpod@gmail.com Instagram @wildwoodflowerpod Support Jack www.venmo.com/u/Jack-Peterson-110 References Bufwack, M. A., & Oermann, R. K. (1993). Finding her voice: The saga of women in country music. Crown. The Encyclopedia of Country Music : The Ultimate Guide to the Music, Oxford University Press John Cohen (Producer), & Cohen, J. (Director). (1981). Sara and Maybelle: of the Original Carter Family. [Video/DVD] Berkeley Media. Kahn, E. & Seeger, M. (1963). Interview with Sara and Maybelle Carter. Mazor, B. (2014). Ralph Peer and the Making of Popular Roots Music. Chicago Review Press. Wolfe, C. K., & Olson, T. (Eds.). (2005). The Bristol sessions: writings about the big bang of country music (Vol. 12). McFarland. Young, H. (1973). Interview with Sara Carter. Zwonitzer, M., & Hirshberg, C. (2014). Will You Miss Me When I'm Gone?: The Carter Family and Their Legacy in American Music. Simon and Schuster. Songs: The Carter Family - Engine 143 The Carter Family - Bury Me Under the Weeping Willow The Carter Family - Single Girl, Married Girl The Carter Family - Cannonball Blues The Carter Family - The Storms are on the Ocean The Carter Family - God Gave Noah the Rainbow Sign The Carter Family - Hold Fast to the Right The Carter Family - The Sun of the Soul The Carter Family - Dying Soldier The Carter Family - Lonesome Pine Special The Carter Family - Gold Watch and Chain The Carter Family - Are you Tired of Me My Darling? The Carter Family - I'm Working on a Building The Carter Family - No Hiding Place Down Here The Carter Family - Can the Circle Be Unbroken? The Carter Family - No Depression in Heaven The Carter Family - I'm Thinking Tonight of my Blue Eyes

Jack shares what he has learned about the life and music of Lottie Kimbrough and how her music exemplifies the genrefying of music along the lines of race in the 1920s. Songs Featured: Daddy Lessons (live at the 2016 CMAs) - Beyoncé and the Dixie Chicks Honey Blues - Lottie Beaman and the Pruitt Twins Moonshine Blues - Ma Rainey Nobody Knows You when You're Down and Out - Bessie Smith My Sporting Man - Mamie Smith Wheel in a Wheel - Wheat Street Female Quartet Mule Skinner Blues - Dolly Parton Blue Yodel #8 - Jimmie Rodgers Labor Blues - Tom Dickson Regular Man Blues - Lottie Beaman Sugar Daddy Blues - Lottie Beaman Cabbage Head Blues - Sylvester and Lena Kimbrough City of the Dead - Lena Kimbrough The Soul's Physician - Rev. B.L Wightman Lost Lover Blues - Lottie Kimbrough and Winston Holmes If I Could Only Learn to Yodel - Patsy Montana Arizona Yodeler - The DeZurik Sisters Nola Yodel - Carolina Cotton Mama Can't Lose - Lottie Beaman Wayward Girl Blues - Lottie Kimbrough and Winston Holmes Don't Speak to Me - Lottie Kimbrough and Winston Holmes Rolling Log Blues - Lottie Beaman References: Carlin, B. (2004). String Bands in the North Carolina Piedmont. McFarland. Driggs, F., & Haddix, C. (2005). Kansas City Jazz: From Ragtime to Bebop--A History. Oxford University Press. Harrison, D. D. (1990). Black pearls: Blues queens of the 1920s. Rutgers University Press. Mazor, B. (2014). Ralph Peer and the Making of Popular Roots Music. Chicago Review Press. Peterson, R. A. (2013). Creating country music: Fabricating authenticity. University of Chicago Press. Malone, B. C. (2003). Singing cowboys and musical mountaineers: Southern culture and the roots of country music (Vol. 34). University of Georgia Press. Nunn, E. (2015). Sounding the Color Line: Music and Race in the Southern Imagination. University of Georgia Press. Pecknold, D. (Ed.). (2020). Hidden in the mix: the African American presence in country music. Duke University Press. Rumble, J., Kingsbury, P., & Gill, V. (2012). The Encyclopedia of Country Music. Oxford University Press, USA. Lottie Kimbrough Discography: https://www.wirz.de/music/beaman.htm Swinton, P. (2016). Winston Holmes and his Meritt record label. IAJRC Journal, 49(3), 74-84. Tinsley, O. N. (2018). Beyoncé in formation: Remixing Black feminism. University of Texas Press. Ward, B., & Huber, P. (2018). A&R Pioneers: Architects of American Roots Music on Record. Vanderbilt University Press. Support Women in Music: Country Soul Songbook Connect: wildwoodflowerpod@gmail.com Instagram @wildwoodflowerpod Deadlines for submitting cover songs: Roba Stanley - June 16 Moonshine Kate - June 23 Sara Carter - June 30 Maybelle Carter - July 7

Hace medio siglo que el mítico Gilley's Club abría sus puertas en Pasadena, Texas. Se convertiría en la casa del toro mecánico y, sobre todo, en la inspiración de la película de 1980 Urban Cowboy. Hoy el estado de Texas no está pasando por sus mejores momentos y las últimas tormentas, especialmente severas, ha afectado a sus pobladores con unos efectos desastrosos. Siendo su música muy habitual en el tiempo de TOMA UNO, hemos querido enviarles nuestro apoyo con canciones sobre el Lone Star State. Si buscas canciones sobre Texas puedes encontrarlas en casi todos los géneros de música, pero si te calzas tus botas y tu sombrero favorito es evidente que el country va a ser tu mejor banda sonora. La cantidad de canciones de country que hablan de Texas es impresionante. Abarca numerosas décadas y tiene algo más que evidente: nunca es aburrida. Casi siempre vas a encontrar un cierto tono de… ¿arrogancia?. Al fin y al cabo, son americanos de nacimiento, pero, sean creyentes o no, tejanos por la gracia de Dios. Para ello hemos comenzado por “T For Texas”, aquel mito hecho canción que Jimmie Rodgers grabó en Camdem, Nueva Jersey, tras ser uno de los elegidos en las audiciones de Ralph Peer. Luego han llegado Little Texas con su "God Bless Texas", la Gibson-Miller Band retándote a ver el tatuaje tejano de una dama, como Charlie Daniels, junto a Ray Benson y Lee Roy Parnell, recuerda los límites geográficos del estado. Mark Chesnutt encuentra siempre una excusa para librarse las culpas mientras Radney Foster es mucho más directo y atrevido al enorgullecerse de su origen tejano y la Steve Helms Band pone banda sonora a buena parte de los eventos deportivos de la zona. Y Willie Nelson. Siempre Willie. También con su amigo Waylon Jennings y la herencia de Shooter Jennings, sin olvidar la importancia de George Strait y, por supuesto, la personalidad arrolladora de Tanya Tucker. Escuchar audio

In this episode, I explore the business innovations of Ralph Peer: his ability to profit from the mechanical right guaranteed by the 1909 Copyright Act, his exploitation of under-explored markets, and his innovations in marketing country musicians as pop stars. This leads to a discussion of the famous Bristol Sessions and the music of Jimmie Rodgers and, especially, the Carter Family.

El pasado martes moría el tejano de Lubbock Mac Davis. A partir de la mitad de los 60 se le empezó a reconocer como compositor, firmando temas como "Within My Memory" (Glen Campbell) o "Somethin's Burnin" (Kenny Rogers & The First Edition). Pero, además, fue el autor de "A Little Less Conversation" y sobre todo de "In The Ghetto" para el especial de televisión de Elvis Presley del 68. En un principio, Mac Davis tituló “In The Ghetto” como "The Vicious Circle" y se la presentó a Sammy Davis Jr. en un estudio junto a otros miembros de la comunidad negra. Su propio compositor la grabó de esta forma con la que hemos abierto hoy nuestro tiempo de radio después del tremendo éxito de Elvis en 1969. Sin embargo, la versión original no salió a la luz hasta aparecer en un recopilatorio de 1991 titulado Golden Throats, cuando el artista tejano ya tenía una seria consideración en el terreno del country. Mac Davis era un nativo de la tejana ciudad de Lubbock, que comenzó su carrera artística sin demasiado éxito a comienzos de los años 60. Pasaría después a ejercer de ejecutivo discográfico, un trabajo que le llevó a Los Angeles, donde comenzaría a ejercer de compositor. Como solista, dejó éxitos como "Baby Don't Get Hooked On Me", "Stop and Smell the Roses" y de manera muy especial "Texas In My Rear View Mirror", de tintes autobiográficos. Willie Nelson vuelve a dar ejemplo y recupera "Vote 'Em Out", una canción que exhorta a utilizar la herramienta más poderosa que cualquier ciudadano libre tiene a su disposición: el voto. Y como recuerda, es sagrado y pone el poder en manos de la gente. Está escrita junto a su viejo amigo Buddy Cannon y en ella se encuentra acompañado de Lukas y Micah, animando a sus conciudadanos a que ejerzan su derecho en el Election Day 2020 de Noviembre en Estados Unidos. El arma más grande que tenemos Se llama urna. Así que si no te gusta quién está ahí Vota para echarlo… Palabra de Willie. Terry McBride es de la tejana Austin, hijo de Dale McBride, en cuya banda estuvo tocando, y fue líder de McBride & the Ride, una excelente banda de la primera mitad de los 90 en el terreno del country. Tras disolverse, pasó a ser uno de los compositores más solicitados, especialmente por Brooks & Dunn. Ahora ha decidido grabar en solitario y dar continuidad al EP Hotels & Highways que publicó hace tres años inspirado por los honky-tonks y las salas de baile. Se trata del álbum Rebels & Angels, cuyo tema central lo ha compuesto junto a Chris Stapleton y ha contado, además, con la voz de Patty Loveless, a quien echamos de menos como protagonista de alguna nueva aventura sonora desde hace demasiado tiempo. Terry McBride fue el bajista de Delbert McClinton y, más tarde, trabajó con Lee Roy Parnell y Rosie Flores. Nunca se había puesto al frente de una banda hasta que llegó a Nashville. Su talento como cantante y compositor llamó la atención de Tony Brown, presidente de MCA Nashville y en Junio de 1989, durante la celebración de la desaparecida Fan Fair en Nashville, se creó McBride & The Ride como trío. Debutaron al año siguiente y con su segundo disco, Sacred Ground, del 92 lograron sus mayores éxitos, incluso el segundo puesto de las listas con la canción que les dio título. En TOMA UNO tenemos el compromiso no escrito de compartir pasado, presente y buena parte del futuro de la Americana. Esa es una de las razones por la que estamos anticipando The Highway Kind, el nuevo álbum de la Josh Abbott Band que saldrá al mercado a mediados de noviembre. Desde que se formaron en la Texas Tech University de Lubbock, han pasado a convertirse en una de los más sólidos pilares de la Red Dirt music gracias a canciones en las que su líder refleja situaciones reales y cotidianas que casi siempre tienen que ver con su propia vida. “The Highway Kind” como canción es una de las favoritas de las emisoras tejanas en estas fechas. The Band Of Heathens han sido una de las formaciones más activas en estos tiempos de pandemia. El resultado de su casi frenética actividad se resume ahora en Stranger, un último álbum que aborda el temor existencial de estos momentos con referencias a Albert Camus o a Robert Heinlein. Un tema tan sobresaliente como “Asheville Nashville Austin” ensalza la magia de la carretera en todo su esplendor a través de un tema de medio tiempo convertido casi en un himno sobre los espacios abiertos y los buenos tiempos. Otra de las bandas que ha aprovechado el aislamiento para crear nuevas propuestas sonoras es Drive-By Truckers, que publicará a mediados de diciembre por sorpresa un nuevo álbum, The New OK, aunque está ahora disponible para descarga digital. Una vez más la banda de Athens, en Georgia, ha canalizado sus frustraciones que ya manifestaban en su disco de enero, The Unraveling, y han hecho una selección de las canciones que habían grabado en Memphis los Sun Studios de Memphis en el otoño de 2018, añadiendo un par de temas recién compuesto por Patterson Hood y la inesperada versión de un tema de los Ramones como "The KKK Took My Baby Away", manteniendo esa postura desafiante ante la depresión. “Sarah’s Flame” es una de las deliciosas canciones que ha compuesto Mike Cooley y que nos recuerdan que pudimos haber visto a banda la pasada primavera en nuestro país, pero la Covid-19 lo impidió. Joachim Cooder es un californiano de Santa Monica que también debe soportar el “peso de la púrpura” al ser hijo del legendario Ry Cooder. Joachim, un multi-instrumentista centrado especialmente en la percusión tiene una larga andadura que le han encontrado con nombres de la talla de Mavis Staples, Buena Vista Social Club o Dr. John, entre otros. Ayer mismo, se publicó el tercero de sus discos en solitario, Over That Road I'm Bound: The Songs of Uncle Dave Macon, dedicado a las canciones de Uncle Dave Macon, una figura esencial en el desarrollo de la música de raíces norteamericana, a caballo entre el final del siglo XIX y los primeros años del XX. Uncle Dave Macon, conocido como "Dixie Dewdrop", era un banjista de Tennessee convertido en un pionero seminal, a la altura de Jimmie Rodgers. De hecho, cuando Ralph Peer realizó las famosas sesiones de Bristol, él ya había grabado más de 100 canciones. Fue la primera gran estrella del Grand Ole Opry y eso que comenzó su carrera profesional cuando ya tenía 50 años. Joachim Cooder ha utilizado las tonadas de Uncle Dave Macon como punto de partida, jugando con las letras y reelaborando melodías para su instrumento favorito, la mbira. Originalmente es un instrumento africano que los esclavos llevaron a América y que se suele considerar antecesor del piano. “Come Along Buddy” es una melodía creada por Uncle Dave Macon en 1930, descubierta medio siglo después por Stephen Wade en un acetato de prueba en casa de la familia Macon. Steve Earle compuso una canción como “Times Like These” hace cuatro años manifestando su ansiedad por los tiempos covulsos que se avecinaban, pero recordando que siempre puede haber esperanza a pesar de lo sombrío del presente. "Times Like These" se lanzó en principio como una pieza acústica, pero con motivo de la celebración del último Record Store Day se ha publicado una versión grabada durante las sesiones de su último álbum, Ghost Of West Virginia, realizadas en los Electric Ladyland Studios y en la que Steve Earle está acompañado por los Dukes. Se publicó en single de vinilo el 7 pulgadas siendo una edición limitada a 1300 copias. The Mastersons siguen creciendo como propuesta alternativa y respondiendo a la complejidad de la situación actual. A primeros de año publicaban No Time For Love Songs, un disco con el que volvían a poner el foco en sus propuestas como pareja, contando con la producción de su buen amigo Shooter Jennings. Algunas de las canciones grabadas por entonces quedaron fuera de aquel disco porque parecían precisar su propio espacio. La llegada de la pandemia cambió los planes de un calendario lleno de conciertos y aislados en su casa se motivaron para dedicarse a esos nuevos temas con mayor crudeza que su álbum anterior. El próximo 16 de este mes de octubre, se edita el nuevo EP de los Mastersons, Red, White & I Love You Too. Son cinco canciones que miran de frente al dilema moral sobre qué quiere ser Estados Unidos como nación. “Sensitive Souls” es un buen ejemplo de este Red, White & I Love You Too, que ha sido grabado en el estudio casero de la pareja con el apoyo de Jeff Hill, compañero en los Dukes, en las mezclas. Canciones como “A Change Is Gonna Come” pudieron costarle la vida a Sam Cooke. Fue uno de los primeros que se implicó en la industria musical, formando su propia editora y su sello discográfico Su activismo político se fue acentuando según iba ampliando su fama, no olvidando sus raíces. Su implicación en la defensa de los derechos sociales y en contra del racismo le ganó serios enemigos. “A Change Is Gonna Come” fue compuesta por Sam Cooke después de hablar para los manifestantes que habían protagonizado una sentada en Durham, en el estado de Carolina del Norte, en mayo de 1963. Es evidente que el artista de Clarksdale, en Mississippi, estaba influido por “Blowin' In The Wind” de Bob Dylan, una canción que le gustaba mucho y que, incluso, llegó a grabar. Siempre es reconfortante escuchar una canción como esta, que acaba de ser actualizada por Gary Clark Jr., Brandi Carlile y John Leventhal como un mensaje de esperanza para estos tiempos. Es evidente que la música es un nexo de unión entre distintas generaciones y las hermanas Rebecca y Megan Lovell, que forman Larkin Poe, lo dejan claro en su nueva apuesta sonora, Kindred Spirits, que se va a editar el 20 de noviembre a través de su propio sello Tricki-Woo Records. Se trata de un disco de versiones con guiños a Elton John, Neil Young, The Allman Brothers Band, e incluso los Moody Blues. Kindred Spirits expresa su admiración profunda y agradecimiento por artistas que marcaron el camino en épocas precedentes. De hecho, Larkin Poe, nativas de Calhoun, en Georgia, ya había iniciado hace cinco años una serie de YouTube dedicada a rendir homenaje a sus héroes musicales. "Nights In White Satin" es una de las canciones elegidas. Originalmente formó parte de un álbum coral y emblemático como fue Days Of Future Passed de los británicos Moody Blues. Escuchar audio

The community of Brownsville, Tennessee lies about 60 miles or so just East of Memphis, just a short ways off of Highway 40, the long interstate that runs the entire width of Tennessee from North Carolina’s Great Smoky Mountains to the Mississippi River. Brownsville, whose population was roughly ten thousand at the last census, has recently come to recognize two of its most accomplished offspring. Located in the former Flagg Grove School, once a one-room schoolhouse for “colored” children, is the Tina Turner Museum. Immediately nextdoor, and also maintained as a public attraction, is the tiny home, a cottage or really a shack, once lived in by Brownsville’s other great artist, the blues singer Sleepy John Estes. Both Estes and Turner, by the way, actually grew up in Ripley aka./Nutbush, an unincorporated community adjacent to Brownsville once populated almost exclusively by black residents. At the time of Tina Turner’s birth in 1939, Sleep John, born either in 1899 or 1900-no one’s really sure, was already in the middle of a recording and performing career that extended from 1929 right up to his death in 1977. As a child in Ripley/Nutbush, John, like so many bluesmen before and after him, helped out on his family’s share-crop cotton farm and tried to pick out tunes on a homemade cigar box guitar. After a particularly productive season his mother awarded John for his hard work on the farm by buying him a real guitar. For the first decade or so of his musical career, John, along with his “Brownsville Gang” which included harmonica player Hammie Nixon, mandolinist Yank Rachell, jug and piano player Jab Jones, and guitarists Son Bonds and Charlie Pickett, performed and traveled throughout the Western Tennesssee area often performing in Memphis. In 1929 Victor Records talent scout Ralph Peer arranged for John’s first recording session, a three-day affair, which produced one of his most well known songs Diving Duck Blues as well as five others. Legend has it that the gang followed the sessions with a week long binge of drinking, gambling and whoring in West Memphis, the wide-open mostly black community located just across the river from Memphis proper. The following year, 1930 saw John and his gang recording another fourteen songs. John, it seemed, was a highly prolific songwriter. Three things distinguish the music of Sleepy John Estes. First, was his guitar playing. It wasn’t very good. Many have described his playing as “thrashing”. But while John certainly wasn’t in a class with virtuosos like Blind Blake or Big Bill Broonzy, his playing did have a strong propulsive quality that served his music well. He usually played in standard tuning in the key of G, or in G position with a capo. Second, was his “crying” vocal style that made him sound like an old man long before he was one. The final quality that sets his music apart and was his songwriting; his ability to craft a musical story. While many of John’s songs concern the usual blues subject matter, ie whiskey and women, John was also a chronicler of people and events around him. He wrote about people he knew, people he worked for, people he dealt with and people he admired. In Liquor Store Blues John sings his admiration for the man he buys hootch from: Now if you're ever in Forrest City, I'll tell you what to doLet Mr. Peter Adams get acquainted with youWell, you won't have to go, well, you won't have to goYou can get what you want, oh, right here in my liquor store In Brownsville Blues, John sings the praises of local mechanic Vassar Williams: Now, he can straighten your wiSupport the show (https://paypal.me/BFrank53?locale.x=en_US)

These are some of the fruits of Ralph Peer's first "Road Trip" for OKeh records . . he brought the recording studio on the road to New Orleans in March, 1924 and then again in January 1925 and recorded some local dance bands and Jazz groups. Here we will be listening to groups led by Johnny DeDroit, Tony Parenti, Norman Brownlee, Oscar Celestin and Armand Piron as well as the New Orleans Rhythm Kings, The Halfway House Orchestra and the Original Crescent City Jazzers. These groups featured musicians as well known as Tony Parenti, Leon Roppolo, Paul Mares, Santo Pecora, Sharkey Bonano, Sterling Bose, Kid Shots Madison, Lorenzo Tio, Jr. and Harry Shields as well as a host of other lesser known players. --- Support this podcast: https://anchor.fm/john-clark49/support

Wherein Kim Davis drops crazy knowledge bombs on the origins of country music. We explore the early days of Ralph Peer and the Bristol sessions, talk about the impact of the Ken Burns documentary (https://www.pbs.org/kenburns/country-music/), and explore the through line of how to constantly evolve your marketing strategy as your audience changes and your attraction grows. Kim Davis is Marketing Director of the Birthplace of Country Music. Website (https://www.birthplaceofcountrymusic.org/) Bristol Rhythm & Roots Website (https://www.birthplaceofcountrymusic.org/festival/) Instagram (https://www.instagram.com/explore/locations/927133315/) Facebook (https://www.facebook.com/birthplaceofcountrymusicmuseum?fref=ts) Best Behavior Creative Club I The Stories Behind Tennessee Tourism. A Designsensory (https://designsensory.com/) Original Production. This is a podcast for the people that make things, and make things happen. Our host and creative director, Chris McAdoo, takes you behind the scenes with experts in creativity, business, technology, and marketing. Together we'll uncover what it takes to drive engagement, grow a brand, pursue a passion, and nourish a creative life. This edition of the podcast was recorded live at the Music City Center in Nashville, TN, where we spoke with over twenty industry leaders across the state of Tennessee Tourism. Best Behavior Creative Club is the first of many original productions for Designsensory, positioned to act as a catalyst for additional original podcasts, limited series, and various other forms of content. Designsensory (https://designsensory.com/)is a full-service research, branding, advertising and digital firm based in Knoxville, TN and known all over the world. Visit our site to learn more or drop us a line (https://bestbehavior.fireside.fm/contact).

The battle wages on to save the South’s first recording studio, and the hallowed ground where country music’s first commercial recordings were made. Jimmy Buffett's Margaritaville is slated to swing the wrecking ball on 152 Nassau Street, clearing the way for a deluxe new outpost for its chain restaurant and hotel. In June of 1923, New York-based Okeh Records executive Ralph Peer set up a pop-up studio in the building which facilitated recordings by various regional jazz, blues, and country music artists including Fiddlin’ John Carson, Warner’s Seven Aces, Charlie Fulcher, the Morehouse College Quartet, Lucille Bogan, Fannie Mae Goosby, Eddie Heywood, and more. Photo is courtesy of Kyle Kessler / www.nassaustreetsessions.com/action/

The newest Ken Burns series premiering in September follows the vast and varied evolution of country music over the 20th century. The eight-part series begins not in Nashville, nor Bristol, but Atlanta. That's because, in 1923, OKeh Records music pioneer Ralph Peer came from New York to the South and set up a temporary recording studio smack dab in downtown Atlanta at 152 Nassau Street. That's where he recorded early country, blues, jazz and gospel artists, including what is known as country music's first hit, "The Little Old Log Cabin in the Lane" by Fiddlin' John Carson.

It’s time to Let It Roll. Today Ed Ward and I will be filling in a gap in our discussion of his epic History of Rock & Roll Part 1, 1920-1963 by discussing the foundation of commercial country music and its first superstars, Jimmie Rodgers and the Carter Family. This week, Ed and I talk about the 1927 Bristol Virginia sessions where A&R man Ralph Peer discovered both Rodgers and the Carters, their different career arcs and musical styles and their incredible impact on American popular music.

Barry Mazor is the author of Ralph Peer And The Making Of Popular Roots Music and he’s sharing stories about how Ralph Peer changed the music business.