Bluebird B-5558 – Milton Brown and his Musical Brownies – 1934

I recently learned of the passing of Milton Brown’s brother Roy Lee Brown at the age of 96 on May 26, 2017.  I had read of him and watched him discuss Milton on a television documentary.  Not long ago, I was reading about him, and wondered what had become of him as of late.  I was saddened to hear of his death.  I had already written out this article beforehand to publish soon, so I’m posting it now, dedicated to his memory…

I love hot jazz and I love hillbilly music.  If you put the two together, what do you get?  Milton Brown and his Musical Brownies.  If I had to pick one, I’d rank Brown’s Brownies as my favorite musical ensemble (I’d probably have to place my favorite singular musician as Jimmie Rodgers).  Part of that could be that they came from Fort Worth, Texas, one of my favorite places on Earth, no doubt.  But they could’ve come from Kalamazoo or Timbuktu, and I’d still love that certain sound they had, that no other Western swing band could quite capture.  I don’t recall ever hearing anything by the Brownies that I didn’t like, from their hot numbers to their waltzes, though I’d have to say my favorites are the pieces Brown adapted from blues songs.  Much as I like the music of Bob Wills and his Texas Playboys, Milton Brown just had something special that they lacked.

Despite my love of the Brownies, I’ve never to this day posted a single one of their records on Old Time Blues.  Well that’s got to change.  Thus, here is one of the best Musical Brownies records that I have the pleasure of owning.  Now don’t go thinking I’ve forgotten anything with the lack of biographical details and what-have-you in this post, there’ll be more on that later.

Bluebird B-5558 was recorded at the Texas Hotel in San Antonio, Texas on April 4, 1934 at the Musical Brownies’ first session (but not Milton Brown’s, he had first recorded two years prior with the Fort Worth Doughboys).  It was released on July 18 of the same year.  The Musical Brownies are Derwood Brown on guitar, Cecil Brower on fiddle, Ocie Stockard on tenor banjo, Wanna Coffman on string bass, Fred Calhoun on piano, and of course Milton Brown singing the vocals.

First—it’s actually the “B” side, but I don’t care—is the rollicking “Garbage Man Blues”, Brown’s scorching hot take on Luis Russell’s “Call of the Freaks” (though like a number of Musical Brownies Bluebirds, Dan Parker is credited as the songwriter).  Brown may have picked it up from the Washboard Rhythm Kings, who prefaced their rendition with a similar spoken prelude.  The frenzied, half scat chorus of “get out your cans, here comes the garbage man” is interspersed with enticing instrumental solos by Brower, Stockard, Brown, and Calhoun, in that order.  Milton sings the first verse out of key, but soon recovers.  Brown’s biographer Cary Ginell informs me that producer Eli Oberstein refused to allow a re-take, reasoning that listeners would be none the wiser.  Frankly, I don’t think Brown’s error detracts much from the excellence of the performance (to be completely honest, I never noticed until it was pointed out to me).  Roy Newman and his Boys, from Dallas, covered “Garbage Man Blues” in 1935, and in later years the song has been resurrected by Pokey LaFarge.

Since I chanced to get my hands on this record, I’ve been listening to it over and over again.  Doesn’t get much better than this!

Garbage Man Blues, recorded April 4, 1934 by Milton Brown and his Musical Brownies.

On the other side is something quite different, Milton Brown’s own composition “My Precious Sonny Boy” played as a waltz, complete with Ted Lewis style spoken interlude.  Quite a sincere and touching song, really.  Nicely orchestrated too.

My Precious Sonny Boy, recorded April 4, 1934 by Milton Brown and his Musical Brownies.

Updated with improved audio on June 21, 2017.

Vocalion 8470 – Cuarteto Monterrey – 1932

With it being Cinco de Mayo, it seems like an appropriate time to post the one of the only authentic Mexican records in the Old Time Blues collection.  I can’t provide much information about this disc, as it falls outside of my typical milieu, and I don’t really know what resources to consult, but I’ll tell you what I am able to dig up.

Vocalion 8470, in their “ethnic” series, was recorded on December 5, 1932 in San Antonio, Texas, probably in the Gunter Hotel, by the Cuarteto Monterrey (or in English, shockingly enough, the “Monterrey Quartet”).  The full personnel is unknown to me, but instrumentation consists of mandolin and two guitars, though that would seem to make it a trío rather than a cuarteto.  Vocals are by Daniel Flores and Andrés Herrera, who likely also play the two guitars.

Flores and Herrera recorded two sides previously, “Los Desocupados” and “Los Toros Puntales”, for Victor Records in 1931, also in San Antonio.

Their first tune, “La Bola”, was featured in 1996 on the Smithsonion Folkways album “Orquestas de Cuerdas (The String Bands) – The End of a Tradition (1926-1938)”.

La Bola, grabado diciembre 5, 1932 por el Cuarteto Monterrey.

On the reverse, the quartet plays “Mancornadora de Mi Corazón”.  This tune has also had its time in the spotlight as part of the album “Texas-Mexican Border Music Vol. 5 – The String Bands (End Of A Tradition)”.

Mancornadora de Mi Corazon, grabado diciembre 5, 1932 por el Cuarteto Monterrey.

Melotone M 12181 – Stripling Brothers – 1928

This record features a pair of top-notch old-time fiddle and guitar duets, by the Stripling Brothers, Charlie and Ira, of Alabama; two of the most talented and outstanding artists of that genre.  Today, I’m posting this fantastic disc in honor of the birthday of the legendary King of Record Collectors, Mr. Joe Bussard, who has for many years used “The Lost Child” as the theme for his radio program.  This is one of a number of fairly hard to find and generally excellent records that I had the great fortune of uncovering in the backroom of one of my favorite record stores.

Melotone M 12181 was recorded November 15, 1928 at the Bankhead Hotel in Birmingham, Alabama by the Stripling Brothers: Charlie on fiddle and Ira on guitar.  It was originally issued on Vocalion 5321, this issue dates to 1931.

This fine fiddlin’ tune, titled “The Lost Child” is used as the radio theme song for the esteemed collector (that’s an understatement) Joe Bussard’s radio show “Country Classics” on WREK 91.1 FM in Atlanta.  It’s a masterpiece of hillbilly fiddle music, one of the best pieces I’ve heard.

The Lost Child

The Lost Child, recorded November 15, 1928 by the Stripling Brothers.

Like the previous side, the reverse of this disc is a musical masterpiece, yet in spite of the outstanding musical content, I had some reservations about posting this record because of the unsavory and rather offensive title, “The Big Footed Nigger in the Sandy Lot”, for fear it might stir up controversy.  Unpleasant as it is, such things come with the territory of eighty-some-odd year old music; my recommendation is just enjoy the music and ignore the title.  It really is a beautiful melody, with outstanding fiddling by Charlie Stripling.

The Big Footed Nigger in the Sandy Lot

The Big Footed Nigger in the Sandy Lot, recorded November 15, 1928 by the Stripling Brothers.

Updated with improved audio on June 23, 2017.

Vocalion 02621 – W. Lee O’Daniel and his Light Crust Doughboys – 1933

1933 Sheet music for Beautiful Texas, words and music by W. Lee O’Daniel.

On March 2, 2016, Texas celebrates the 180th anniversary of its independence from Mexico, and the creation of the Republic of Texas.  After ten years as an independent nation, and a hot button issue in United States politics, Texas was admitted to the Union as the 28th state.  To celebrate and remember the occasion, here’s two fiercely Texas-themed tunes by the Fort Worth-based Light Crust Doughboys, under the leadership of W. Lee O’Daniel, the radio advertising director for  Burrus Mills, makers of Light Crust Flour and future Governor of Texas.

Vocalion 02621 was recorded on October 10, 1933 at Vocalion’s studio in the Furniture Mart Building at 666 Lake Shore Drive in Chicago, Illinois, the first recorded (but not first issued) sides at the Doughboys’ first Vocalion session, and only second overall session, after their 1932 Victor session, which yielded one disc.  The band members on these sides include Herman Arnspiger and Leon Huff on guitars, Clifford Gross on fiddle, Sleepy Johnson on banjo and fiddle, Leon McAuliffe on steel guitar, and Ramon DeArman on string bass.

Guitar player Leon Huff sings lead vocal on W. Lee O’Daniel’s song, “Beautiful Texas”, proudly boasting of “about six million people who’re glad that they’re here to stay.”  A truer song has never been written.

Beautiful Texas

Beautiful Texas, recorded October 10, 1933 by W. Lee O’Daniel and his Light Crust Doughboys.

On the reverse, the Doughboys play an instrumental number, “Blue Bonnet Waltz”, taking its name from the official flower of the State of Texas.

Blue Bonnet Waltz,

Blue Bonnet Waltz, recorded October 10, 1933 by W. Lee O’Daniel and his Light Crust Doughboys.

Updated with improved audio on July 11, 2017.