Victor 21291 – Jimmie Rodgers – 1928

“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.

Spotlight: Jimmie Rodgers

Jimmie

Jimmie Rodgers in his most published studio portrait, circa 1927.

He was known in his life as America’s Blue Yodeler and the Singing Brakeman; years later, many have called him the Father of Country Music.  He was Jimmie Rodgers.  From a humble upbringing, he went on to have a profound impact on the music and culture of the Western world.  Those counted among his devotees spread far and wide across the globe, his influence stretching from contemporaries like the Mississippi Sheiks and Big Bill Broonzy, to blues artists like Howlin’ Wolf, to latter day superstars like Elvis Presley and Bob Dylan, and too many country musicians to count.  Some have even gone so far as to suggest that the now legendary Robert Johnson’s guitar playing was attempt to imitate Rodgers.  His work, as a whole, is a reflection of the human condition: life and death, compassion and hatred, joy and sorrow.  Without a doubt, Jimmie Rodgers was among the most influential musical figures and cultural icons of the twentieth century.

James Charles Rodgers was born on September 8, 1897, the sixth of seven children of railroad man Aaron Woodberry Rodgers (1855 to 1933) and his wife, the former Eliza Bozeman (1868 to 1903), a humble family hailing from Meridian, Mississippi.  Although his birthplace is usually given as Meridian, Jimmie was likely born about forty miles northeast of there in his grandparents’ hometown of Geiger, Alabama—which Rodgers himself listed as his birthplace—and only began giving Meridian as his hometown to please the folks back home, who considered him a native.  Some sources alternatively list Pine Springs, Mississippi as his birthplace.  Jimmie’s mother died of the same disease that would eventually be his own downfall when he was but five years old, and the young boy was sent to live with a series of relatives nearby before returning home to live with his father, who had by then remarried.

As a young man, Jimmie’s father found him work on the railroad, first as a water boy.  Later, he became a brakeman for the New Orleans and Northeastern Railroad.  In his railroad work, Rodgers learned musical styles from hobos and fellow rail workers, and picked up blues traditions from the gandy dancers.  For a time, Rodgers relocated to Arizona to work for Southern Pacific, where he likely picked up some cowboy songs as well.  In 1920, Jimmie married Carrie Williamson and had two children, the second of whom died in infancy.  From his early youth, Rodgers was musically inclined, but he did not pursue a career in entertainment until later down the line.  When he was twenty-seven years old, Jimmie contracted tuberculosis, which put his railroad career to an end.  After some recuperation, Rodgers worked a variety of different jobs before deciding to focus on his passion for music and embark on a new career in entertainment. He found work in minstrel and vaudeville tent shows for a while, traveling around the South as an itinerant performer before more stable work came his way.

Continue reading

Victor 20864 – Jimmie Rodgers – 1927

Rodgers around 1927-’28, pictured in the Victor catalog.

On the twenty-fifth of July, 1927, Ralph S. Peer of the Victor Talking Machine Company hauled off to Bristol, Tennessee, to commence a  series of recording sessions of local Appalachian musicians in hopes of exploring a relatively untapped market for phonograph records.  As the sessions were in progress, he received a telephone call from a radio performer in Asheville, North Carolina, who had read of the opportunity in the newspaper, and was interested bringing his string band, the Jimmie Rodgers Entertainers, to Bristol to cut a record.  Peer obliged and arranged for the man to meet for an audition.  Somewhere along the line, he had a disagreement with his band, and they parted ways before the audition.  Accounts of the reason for the dispute varied depending upon which party was asked.  Nevertheless, both entities carried on separately and auditioned before Peer, who saw potential for success in the lone guitarist and yodeler.  Thus, on August 4, 1927, Jimmie Rodgers made his first recordings for the Victor Talking Machine Company, cutting only two sides at the vacant Taylor-Christian Hat and Glove Company building.  The first recording was his own composition, “The Soldier’s Sweetheart”; the second was the old yodel song, “Sleep, Baby, Sleep”.  The record proved successful, and Rodgers soon elbowed his way to a follow-up session with Victor at their headquarters in Camden, New Jersey, only a few months later, resulting in the first of his famous Blue Yodel songs.  With that, a star was born, and over the following six years he established himself as one of Victor’s top-selling stars, one of the best-selling record artists of the Great Depression, and, posthumously, as the Father of Country Music.

Victor 20864 was recorded between 2:00 and 4:20 P.M. on August 4, 1927, at 408-10 State Street in Bristol, Tennessee, the only two sides cut in Jimmie Rodgers Bristol session, and his first ever recordings.  It was released in October of 1927.

Jimmie’s second song at the session, but issued as the “A” side of his debut disc was his haunting rendition of John J. Handley’s old time yodel song, “Sleep Baby Sleep”.

Sleep Baby Sleep, recorded August 4, 1927 by Jimmie Rodgers.

Sleep Baby Sleep, recorded August 4, 1927 by Jimmie Rodgers.

Issued as the “B” side, Rodgers own composition “The Soldier’s Sweetheart” marked the first time that the voice of America’s Blue Yodeler was ever preserved in shellac.

The Soldier's Sweetheart, recorded August 4, 1927 by Jimmie Rodgers.

The Soldier’s Sweetheart, recorded August 4, 1927 by Jimmie Rodgers.

Bluebird B-5942 – Jimmie Rodgers/Jesse Rodgers – 1931/1935

This record is a remarkable one for a number of reasons.  One of those is that, being a Depression era release, it is quite scarce (and I don’t mean to sound braggadocious, I’m still surprised that I have it, myself).  Another is that is one of a number of records of the 1920s and 1930s to feature black and white artists performing together, in this case Jimmie Rodgers with the Earl McDonald’s Louisville Jug Band.  On the downside, this copy has certainly seen better days.  The years have not been kind to it, and its sound reflects that. It’s still listenable, but has a layer of surface noise.  Another bit worth mentioning is that the flip side of this record, which was released after Rodgers’ passing, features a recording by another blue yodeler who happened to be Jimmie Rodgers’ first cousin.

Both sides of Bluebird B-5942 were recorded on separate occasions.  The “A” side was recorded on June 16, 1931 in Louisville, Kentucky, the “B” side was recorded January 28, 1935 in San Antonio, Texas.  The personnel of the jug band on the first side includes George Allen on clarinet, Clifford Hayes on violin, Cal Smith on tenor guitar, Fred Smith on guitar and Earl McDonald on jug, the same basic group as the Dixieland Jug Blowers.  One seller claimed that it sold a total of 2,757 copies, but I have no idea how they came up with that number and whether or not it’s accurate, though those numbers don’t sound out of line.

On the first side, the Blue Yodeler sings “My Good Gal’s Gone”, with outstanding accompaniment by Earl McDonald’s Louisville Jug Band.  Though it was recorded in 1931, this 1935 Bluebird is the first issue of this recording.  Takes “2” and “3” of this song exist, this one is the latter.

My Good Gal’s Gone, recorded June 16, 1931 by Jimmie Rodgers.

On the “B” side, Jimmie’s first cousin, Jesse Rodgers sings “Leave Me Alone, Sweet Mama” in a style that reminds me of Cliff Carlisle more than Jimmie.  Jesse stuck around for quite a while, later dropping the “d” from his name to become Jesse Rogers by the end of the 1930s.

Leave Me Alone, Sweet Mama, recorded January 28, 1935 by Jesse Rodgers.

Leave Me Alone, Sweet Mama, recorded January 28, 1935 by Jesse Rodgers.

Updated with improved audio on May 23, 2017.

Crown 3058 – Frankie Marvin and his Guitar – 1931

One of the few independent record labels to spring up during the Great Depression was Crown, founded in 1930 by the Plaza Record Company after the merger that created the American Record Corporation, leaving them without their flagship label, Banner.  Most of Crown’s output consisted of popular and jazz music, but they also issued some interesting country recordings, such as this one.

Frankie Marvin was born January 27, 1904 in Butler, Indian Territory, where he grew up with his brother, the future popular singer and ukulele man Johnny Marvin.  At some point in the mid-1920s, Frankie came to New York to begin a recording career like his brother.  Frankie Marvin sang variously as a studio vocalist for dance and jazz bands (he can be heard singing “St. James Infirmary” with King Oliver’s Orchestra) and a country singer a la Jimmie Rodgers, often accompanying himself on guitar.  Marvin also worked as an accompanist to Gene Autry on some of his early records.

Crown 3058, recorded in New York by Frankie Marvin in January 1931 features two off-brand versions of country hits of the day.

First, Marvin sings Jimmie Rodgers’ “Blue Yodel No. 8”, better known today as “Mule Skinner Blues”.  Based on my own research, this is likely the first of many covers of Rodgers’ classic song.

Blue Yodel No. 8, recorded January 1931 by Frankie Marvin.

Blue Yodel No. 8, recorded January 1931 by Frankie Marvin and his Guitar.

Next, Marvin sings his, Gene Autry, and George Rainey’s composition “True Blue Bill”, occasionally known as “I’m a Truthful Fellow”.  He seems to be channeling “Ukulele Ike” Cliff Edwards’ trademark form of scatting, known as “effin'”, here.

True Blue Bill, recorded January 1931 by Frankie Marvin and his Guitar.

True Blue Bill, recorded January 1931 by Frankie Marvin and his Guitar.