About R. Connor Montgomery

R.C. Montgomery is a writer and folklore collector from North Texas, and the creative force and 78 RPM phonograph record collector behind Old Time Blues. Everything found here—for better or worse—is his doing. You may read more about his eccentric proclivities on the site's "About" page.

Columbia 36886 – Frank Sinatra – 1945

Posted on July 4, 2017 by R. Connor Montgomery

After exhausting some of my best patriotic material on last year’s Fourth of July, I had to deliberate considerably on what I should discuss on this year’s Independence Day. Although it steps a bit out of Old Time Blues’ usual prewar milieu, I don’t think I could find a more beautifully patriotic record that better captures what it means to be an American than this 1945 Frank Sinatra classic. This also marks the official debut of my new pre-owned Grado phonograph cartridge (although I’ve updated the audio on some older posts), so the sound should be a little crisper than in the past.

Columbia 36886 was recorded in two sessions, the first around 8:45 PM on August 22, 1945, the second around 9:15 PM on August 27, 1945, both in Hollywood, California. On the first date, Axel Stordahl conducts an orchestra made up of Uan Rasey, Leonard Mach, and Bruce Hudson on trumpet, Peter Beilman, Elmer Smithers, and Carl Loeffler on trombone, James Stagliano on French horn, Fred Stulce, Heinie Beau, Don Lodice, Harold Lawson, and Leonard Hartman on reeds, Sam Freed, Jr., Nicholas Pisani, Peter Ellis, Sol Kindler, Mischa Russell, Gerald Joyce, Samuel Cytron, Howard Halbert, David Frisina, Anthony Perrotti, Walter Edelstein, and William Bloom on violins, David Sterkin, Maurice Perlmutter, and Allan Harshman on viola, Cy Bernard, Jack Sewell, and Arthur Kafton on ‘cello, Ann Mason Stockton on harp, Frank Leithner on piano, Perry Botkin on guitar, Jack Ryan on string bass, and Ray Hagan on drums. On the second date, the orchestra is largely the same, except Charles Griffard replaces Rasey on trumpet, Jimmy Skiles replaces Beilman on trombone, John Cave replaces Stagliano on horn, Mannie Gershman replaces Stulce on reeds, Olcott Vail, Victor Arno, and George Kast replace Joyce, Halbert, and Bloom on violin, Garry White replaces Harshman on viola, Fred Goerner and Nicholas Ochi-Albi replace Bernard and Kafton on ‘cello, and Lauretta McFarland, Mark McIntyre, and Dave Barbour replace Stockton, Leithner, and Botkin on harp, piano, and guitar, respectively.

In 1945, shortly after the conclusion of the Second World War, the young Frank Sinatra, ever a hit with the bobby soxers, starred in an RKO Radio Pictures short film, written by Albert Maltz and directed by Mervyn LeRoy, titled The House I Live In. In it, Sinatra, taking five from a recording session, breaks up a fight between a group of schoolboys, who are putting the hurt on a peer for being Jewish. Frank steps in and teaches the boys a lesson on tolerance, and what it means to be an American, before singing the titular song. The moving film won an honorary Academy Award and Golden Globe for its excellence, and was in later years inducted into the Library of Congress’ National Film Registry.

With music by Earl Robinson and words by Abel Meeropol (under the pen name Lewis Allan), “The House I Live In” made its debut in 1942 as part of the revue Let Freedom Sing, before it came to star in the film of the same name. Although it was written by individuals whose politics would only a few years later gain them McCarthy-era ostracism, I can think of few songs so truthfully and patriotically American as “The House I Live In”. It reflects truly timeless values that are every bit as valid today as they were then, and every bit as solidly American.

The House I Live In, recorded August 22, 1945 by Frank Sinatra.

Maintaining the patriotic theme, on the flip, Sinatra is joined by the Ken Lane Singers for a lovely rendition of “America, the Beautiful”.

America, the Beautiful, recorded August 27, 1945 by Frank Sinatra.

Vocalion 1094 – Henry Thomas “Ragtime Texas” – 1927

Posted on June 30, 2017 by R. Connor Montgomery

An advertisement for “John Henry”, as reprinted on the back cover of Henry Thomas “Ragtime Texas” (Herwin 209).

One of the great figures of country blues, one of those who have attained a near legendary status, is Henry Thomas, also known by the nickname “Ragtime Texas”. One of the earliest born rural black musicians to record (though probably not the oldest—Daddy Stovepipe was purported to have been born seven years earlier), Thomas predated contemporary songsters like Jim Jackson, Lead Belly, and Charley Patton as well as many fellow Texas musicians such as Blind Lemon Jefferson and “Texas” Alexander.

Research by the late Mack McCormick uncovered that Henry Thomas was said to have been born in 1874 in Big Sandy, Texas (which in spite of its name is neither big nor particularly sandy), one of nine children in a family of sharecroppers; his parents were former slaves. In his youth, he determined that he was not to live his life as a farmer, and turned to the life of a songster. He left his home around the time he was sixteen, and lived the life of a hobo and itinerant musicianer. Thomas learned to play the “quills” (an instrument much like panpipes), and later the guitar to accompany his singing. Like any songster worth his salt, Thomas learned to play a variety of styles from minstrel songs, to folk ballads and blues, to rags and dance tunes. His music earned him the hobo nickname “Ragtime Texas”. On the Texas & Pacific and M-K-T lines, Thomas hoboed all around Texas and the South (much of which he outlined in his “Railroadin’ Some”), bringing his music with him and expanding his repertoire all the way. He sang of his home state of Texas, of his life as a hobo, and plenty more. His travels likely brought him to the World’s Fairs of Chicago and St. Louis in 1893 and 1904, respectively. In 1927, Thomas traveled to Chicago to cut a record for Vocalion, recording four sides, of which three were released. Over the following years, he returned to Chicago for five further sessions, netting a total of twenty-three titles from 1927 to 1929. Little to none of what happened after his final recordings is known. Many sources claim that he died in 1930, however evidence has recently surfaced that he was still active in Chicago as late as 1931, and Mack McCormick claimed to have seen him in Houston in 1949, and others around Tyler, Texas in the 1950s. Long after the end of his life, Thomas’ “Bull Doze Blues” served as the primary inspiration for the band Canned Heat’s famous 1968 hippie anthem “Going Up the Country”.

Vocalion 1094 was recorded on June 30, 1927 (other sources suggest a date of April 19 or July 5 of the same year) in Chicago, Illinois. It is Henry Thomas’ first issued record, and, aside from an unissued cut of “The Fox and the Hounds”, his first recorded sides.

On the “A” side, Thomas sings and blows his fantastic rendition of the perennial folk ballad “John Henry”, putting his own unique spin on the tale of the legendary steel driving man and diverting from the standard versions with some unique verses that one might speculate were at least partly autobiographical, dropping the titular character’s forename in favor of his last, conveniently matching to that of the eponymous hobo (i.e. “Henry got a letter, said his mother was dead, put his children on a passenger train; he gonna ride the blind.”)

John Henry, recorded June 30, 1927 by Henry Thomas “Ragtime Texas”.

Turn the record over and Ragtime Texas next delivers a driving performance on “Cottonfield Blues”, bearing some musical resemblance to the “Hesitation Blues”. Unusual and esoteric as Thomas’s music is—what with the quills and the droning guitar—I can’t get enough of it. It’s truly entrancing, wondrous music!

Cottonfield Blues, recorded June 30, 1927 by Henry Thomas “Ragtime Texas”.

Updated on April 25, 2021, and with improved audio on June 20, 2024.

Melotone 7-07-64 – Big Bill – 1937

Posted on June 26, 2017 by R. Connor Montgomery

It’s come time once again to pay tribute to blues legend Big Bill Broonzy, on the (unconfirmed) anniversary of his birth. Last time, I posted one of his earlier records, coupling his memorable flatpicked “How You Want it Done?” with “M & O Blues”, featuring his own jug band. This time around, I present two sides from around the time when he was shifting from his country blues roots to a more urbane style. I biographed Big Bill in that previous post, so I feel that I needn’t go over that again here.

An ever-versatile musician, the 1930s marked a period of development and transition for Big Bill Broonzy’s music. He started out the decade playing pure country blues from back where he came from, akin to Josh White, or Buddy Moss. His recordings from that period, like “I Can’t Be Satisfied” and “How You Want it Done?” generally feature his own guitar, sometimes backed with another guitar or a piano. Later, around the time the swing era kicked off in the middle part of the decade, Chicago evidently had an effect on him, as he started to develop a more citified style to fit with the public’s changing tastes. Accordingly, his recordings started to swing, often backed by an instrumental ensemble with horn and rhythm, comparable to urban blues contemporaries like Peetie Wheatstraw. He worked extensively with fellow blues people such as pianist Black Bob, Hawaiian guitar man Casey Bill Weldon, harmonica player Bill “Jazz” Gillum, and his half brother Washboard Sam. By the end of the decade, his work had become quite sophisticated, producing some of his most memorable work, including “Key to the Highway” and “I’m Gonna Move to the Outskirts of Town”. After the end of World War II, however, as interests in folk music began to bud, Bill returned to his rural roots.

Melotone 7-07-64 was recorded on January 31, 1937 in Chicago. Illinois. Big Bill is accompanied by a rhythm band made up of “Mister Sheiks” Alfred Bell on trumpet, Black Bob Hudson on piano, Bill Settles on string bass, Fred Williams on drums, and Broonzy’s own guitar.

First up, Big Bill plays a classic mid-1930s blues side, “Mean Old World”, an entirely different piece than the T-Bone Walker hit of the 1940s, though Walker may have found some inspiration in this Broonzy tune.

Mean Old World, recorded January 31, 1937 by Big BIll.

Next, Bill does a peppy one with a hot dance accompaniment, “Barrel House When it Rains”, featuring the piano of the mysterious Black Bob, among others noted Chicago blues figures.

Barrel House When it Rains, recorded January 31, 1937 by Big BIll.

Victor 21291 – Jimmie Rodgers – 1928

Posted on June 16, 2017 by R. Connor Montgomery

“Thumbs Up—On the Spot.” Jimmie Rodgers donning his brakeman attire for a famous studio pose. Circa 1930.

This is the first Jimmie Rodgers record I ever owned, I picked it up at a little record store down in Austin that unfortunately no longer bothers stocking 78s. I hadn’t been collecting for long at the time—mostly I just had a bunch of records inherited from my great-great-grandfather and some junk from used bookstores—and that was one of my first forays into record stores to look for 78s. My musical knowledge wasn’t so vast then, but I’d heard Jimmie’s “Blue Yodel No. 8 (Mule Skinner Blues)” and I wanted to find a copy of that one. When I picked up this one, I couldn’t really recall which number of Blue Yodel that one was, and I hoped this one might’ve been it. I took it to the listening station in the store, and it wasn’t, but that was okay, it was only $3.99, and I wanted it anyway. When I got home, I listened to it over and over and—though the sound was a little rough, especially on the cheap equipment I had at the time—I fell in love with both sides just the same as I had with “Mule Skinner Blues”, and so began my quest to find more.

Since my original posting of this record, I’ve come into possession of a considerably cleaner copy (about an “E-” as opposed to my original “V”, for those versed in the VJM record grading system), so I’ve replaced the transfers and label scans accordingly.

Victor 21291 was recorded in Camden, New Jersey on February 15 and 14, 1928, respectively. It was issued that June and remained in the catalog until 1936. Jimmie Rodgers is accompanied by his own guitar, and by Ellsworth T. Cozzens on steel guitar on the “A” side and on ukulele on “B”.

On the “A” side, Jimmie sings the second installment in his Blue Yodel series, “Blue Yodel No. II (My Lovin’ Gal, Lucille)”. I’d argue it’s one of his best, but then, aren’t they all?

Blue Yodel No. II (My Lovin’ Gal, Lucille), recorded February 15, 1928 by Jimmie Rodgers.

On the “B” side is another of Singing Brakeman’s classics, his eponymous “The Brakeman’s Blues (Yodeling the Blues Away)”.

The Brakeman’s Blues (Yodeling the Blues Away), recorded February 14, 1928 by Jimmie Rodgers.

Updated on October 28, 2017.

Asch A 345 – The Wayfaring Stranger – 1944

Posted on June 14, 2017 by R. Connor Montgomery

On June 14, we commemorate anniversary of the birth of Burl Ives, star of stage, screen, radio, and records.

“The Wayfaring Stranger” by Burl Ives. Cover photograph bu Gjon Mili.

Burl Icle Ivanhoe Ives (what a name) was born on June 14, 1909 near Hunt City in rural Illinois, one of seven children of Scots-Irish farmers Levi and Cordelia Ives. As a child, while singing in his mother’s garden, he was discovered by his uncle, who invited him to sing at his old soldiers reunion. Ives made his first recording in 1929, a test for the Starr Piano Company of Richmond, Indiana, makers of Gennett Records, though no record was issued, and the masters were destroyed. After dropping out of college, Ives hoboed across the states as an itinerant folk songster during the Great Depression. He began appearing on Terra Haute, Indiana’s WBOW around 1931, and in 1940, began hosting a radio show of his own, called The Wayfaring Stranger. In 1938, he made his Broadway debut in Rodgers and Hart’s The Boys from Syracuse. After working with the left leaning Almanac Singers in the early 1940s, Ives was drafted into the United States Army in 1942, receiving a medical discharge the following year. Ives began his long career in motion pictures, appearing in the 1946 Western Smoky as a singing cowboy. In the early 1950s, Ives was blacklisted as a suspected communist, and testified before the House Un-American Activities Committee. Throughout the 1950s onward, he continued to have a prolific career in music and pictures. In 1964, he made his most enduring appearance in the Rankin/Bass television special Rudolph the Red-Nosed Reindeer, narrating the program as Sam the Snowman. Burl Ives died of cancer on April 14, 1995, at the age of eighty-five.

Asch album A 345 was recorded in 1944 and edited by Alan Lomax. Try as I might, I can’t seem to locate a source giving the exact date. Going by the matrix numbers, I’d venture it was recorded sometime early in that year, January or February, possibly even late in 1943. It was re-issued on the Stinson label in 1947.

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