Silvertone 5013 – Chubby Parker – 1927

With his “little old-time banjo” by his side, Chicago-based Chubby Parker was of the earliest folksingers to find fame on the radio, and could be viewed as the WLS National Barn Dance’s counterpart to the WSM Grand Ole Opry’s Uncle Dave Macon.

Chubby Parker, as pictured in 100 WLS Barn Dance Favorites. A crop of the only well-publicized photograph of Parker.

“Chubby” was born Frederick R. Parker on October 23, 1876, in Lafayette, Indiana, the only (living) son of the deputy treasurer of Tippecanoe County.  His father, North, had roots in Kentucky, and his mother, Emma, in Virginia.  He attended Purdue University and earned his degree in electrical engineering in 1898.  Sometime after the turn of the century, he left Indiana for city life in Chicago, and there he married Miss Frances S. Kischel in 1907 and had a daughter name Claudia four years later.  At the time of the first World War, Parker claimed his occupation as patent attorney and “inventor”.  In 1925, he became one of the earliest stars on the burgeoning scene of country and folk music when he joined the cast of the National Barn Dance on the Sear-Roebuck owned radio station WLS.  With simple banjo accompaniment, sometimes with the addition of whistling or harmonica, Parker’s repertoire consisted almost entirely of traditional folk and old-time songs ranging from well known numbers like “Oh, Susanna” and “The Year of Jubilo” (a.k.a. “Kingdom Coming”) to remarkably obscure ones such as his version of the old minstrel song “Pompey Smash and Davy Crockett”; he displayed a particular predilection toward humorous nonsense songs like “Bib-A-Lollie-Boo”.  While admittedly unbased conjecture, it stands to reason that Parker may have been employed by the station as for his engineering abilities prior to his becoming an on-air personality, as would have been somewhat common practice in those early days of radio broadcasting.  Though not possessing the best voice and far from the most exemplary banjo player, Parker was met with widespread adulation and reportedly garnered 2,852 pieces of fan mail in one week in February of 1927.  He began publishing sheet music of his some of his popular numbers, such as “Nickety Nackety Now Now Now” and “I’m a Stern Old Bachelor”.  Sears also marketed Supertone “Ragtime King” five-string banjos emblazoned with Parker’s autograph, and some of his Silvertone records featured the same.  Beginning in the very same month that all those letters came in, Chubby Parker recorded for the Starr Piano Company, manufacturers of Gennett Records and a plethora of other labels, ultimately producing a total of thirty-six sides for the company in a span of three years, of which twenty-eight were released, mostly on the Sears-Roebuck labels Silvertone and Supertone.  He also recorded as banjoist with Tommy Dandurand’s Barn Dance Fiddle Band (try saying that three times fast).  That stint was interrupted by one errant session for Columbia that produced only one record, which became his most famous after the inclusion of one side—”King Kong Kitchie Kitchie Ki-Me-O”—in Harry Smith’s influential Anthology of American Folk Music.  In 1931, he concluded his recording career with three consecutive sessions for the American Record Corporation, producing a further nineteen sides—mostly re-recordings of songs he had recorded once or twice before—all of which were released, again primarily marketed by Sears-Roebuck on their Conqueror label, though one also appeared on the other ARC dimestore labels.  Thereafter, Parker apparently departed the Barn Dance, purportedly jealous of fellow folksinger Bradley Kincaid’s popularity.  He made at least one brief return to the program in 1936, and was still promoted in station publications at the same time.  By the end of the 1930s, Parker, then in his early sixties, had apparently retired from all work.  Chubby Parker died in Chicago on August 28, 1940.

Silvertone 5013 was recorded in Chicago, Illinois, on April 2, 1927, at the studios of the Starr Piano Co—Parker’s second recording session.  He cut earlier versions of both sides at his first, but they were rejected.  Chubby Parker sings, whistles, and banjos.  It was also released on Silvertone 25013 and Supertone 9191, and with side “A” appearing on Gennett 6097 and Champion 15278 and “B” on Gennett 6120 and Champion 15298.

Parker’s rendition of “Oh, Susanna” is one of the most quaint, most rustic things I have ever heard in my entire life—and believe me when I tell you, I have heard a great many quaint and rustic things!  Parker’s simple banjo and enormously understated performance is a far cry from the rollicking style in which Carson Robison recorded the Stephen Foster standard five years later.  Do be advised however, Foster’s lyrics gravitate considerably in the direction opposite what may be considered politically correct.  Tony Russell’s Country Music Records discography notes that this issue used the spelling “Oh, Suzanna”; though some copies do display that variation, this one, as you can plainly see, does not.

Oh, Susanna, recorded April 2, 1927 by Chubby Parker.

On the reverse, Chubby sings and whistles his version of the old chestnut “Little Brown Jug”; he tended to work through these numbers quite fast, and packed considerable number of verses into the three-minute limit.  Parker, rather atypically, played his banjo in a manner quite reminiscent of the “boom-chang” style of plucking alternating bass strings and strumming in-between that was nigh ubiquitous among old-time guitarists of the 1920s and ’30s, as exemplified by the likes of Jimmie Rodgers and many others, rather than common styles of banjo picking.

Little Brown Jug, recorded April 2, 1927 by Chubby Parker.

Supertone 9208 – Bradley Kincaid (W L S Artist) – 1928/1927

One of the truly great folksingers to record in the 1920s—years before the folk revivals of the early 1940s or 1960s—was Bradley Kincaid.  Popular on radio and records, and with a successful series of songbooks, he helped to disseminate the numerous American folk songs he had collected and bring them to the listening public in a way that academics like John A. Lomax and Carl Sandburg could not approach, and he always he did so in a most respectful and dignified manner.  We have briefly discussed Kincaid once before on Old Time Blues, but that was in the early days, before the now high standard of quality had been established, and the accompanying text was rather lacking, so now let us direct our attention once again to the “Kentucky Mountain Boy”.

Bradley Kincaid, as pictured in Favorite Mountain Ballads and Old Time Songs, 1928.

William Bradley Kincaid was born on July 13, 1895, in the village of Point Leavell in Garrard County, Kentucky, in the foothills of the Appalachian mountain range.  One of the ten children of poor farmer William P. Kincaid, he received little formal education in his early years, but began his musical pursuits at a very young age, when his father—an amateur musician himself—traded one of their hound dogs for a guitar to give to young Bradley (or so the story goes).  When old enough to work, he got a job at a lunch counter in nearby Stanford, Kentucky, but soon left the position to fight for Uncle Sam in the German War.  On his return home, he took a job at a Cincinnati tailoring firm.  He also continued his education at Berea College, having attended their Foundation School for two years prior to his service to complete the sixth through eighth grades.  While there, he began to collect songs and became more seriously interested in folk music; he also met music teacher Irma Forman, whom he would later marry.  From Berea, Kincaid moved onward and upward to the YMCA College in Chicago in 1924, where he earned a four year degree in 1928.  As a singer in the YMCA College Quartet, he made his radio debut on Sear-Roebuck’s radio station WLS in Chicago in 1926.  Soon afterward, he began appearing on the station regularly as a cast member of the National Barn Dance program on the recommendation of the Quartet’s manager.  Soon, the fan mail began to pour in—Kincaid reportedly received 100,000 letters in every year of his time on the Barn Dance.

As a professional singer, Kincaid repudiated the “hillbilly” stereotype (or “Hilly Billy,” as he put it) that was so prevalent since country music styles first found commercial success, instead presenting himself as an educated and sophisticated folksinger—pioneering (alongside Buell Kazee and Bascom Lamar Lunsford) a similar mold to that in which folk musicians like Pete Seeger would model themselves in subsequent decades.  A year into his tenure on the National Barn Dance, Kincaid made his recording debut for the Starr Piano Company, manufacturers of Gennett records and their numerous client labels.  The year after that, he published his first songbook, titled Favorite Mountain Ballads and Old Time Songs, the success of which made it the first in a series of thirteen, and which purportedly made him the first of many country singing stars to do so.  Additionally, “Bradley Kincaid Houn’ Dog” guitars, manufactured by Harmony, were sold by Sears-Roebuck, the proprietors of the station that hosted the National Barn Dance.  Kincaid departed WLS and the Barn Dance in 1929 and made for WLW in Cincinnati and a Brunswick Records deal.  Subsequently, he performed on WGY, Schenectady, and WHAM, Rochester, in New York, and began recording for RCA Victor’s Bluebird label in 1933, and for Decca in ’34.  For the latter, he made a series of Irish records rather outside of his typical repertoire.  After leaving completing his Decca recordings in 1935, Kincaid did not record again for quite some time.  While appearing on WBZ in Boston alongside banjo player Marshall Jones, he nicknamed the young musician “Grandpa” for his cantankerous demeanor.  In 1944, Kincaid joined the Grand Ole Opry on WSM in Nashville, Tennessee, holding that position for five years.  After World War Two, he recorded again for Majestic Records in 1947 and ’47, and briefly for Captiol around 1950.  Thereafter, he bought and owned WWSO in Springfield, Ohio, from 1949 until 1953, at which point he retired from performing professionally and opened a music store.  He recorded occasionally during his retirement, in 1963 and ’73, and sang for small audiences, but mostly enjoyed a quiet life.  In 1988, at the age of ninety-three, Bradley Kincaid was seriously injured in a car accident, from which he never fully recovered.  He died the following year, on September 23, 1989, in Springfield, Ohio, the town he had called home for some forty years.

Supertone 9208 was recorded around February 28, 1928, and December 19, 1927, respectively, in Chicago, Illinois.  Bradley Kincaid sings and accompanies himself on his “Houn’ Dog Guitar”.  It was also issued on Silvertone 5187 and 8218.  Split up, side “A” also appeared on Superior 2588, while side “B” appeared on Gennett 6363 and Champion 15502, and on Melotone 45008 in Canada.

Firstly, Kincaid sings a charming rendition of one of my favorite cowboy songs: “Bury Me On the Prairie”.  Kincaid’s pleasant tenor voice and straightforward delivery afforded him widespread appeal with early radio audiences.

Bury Me On the Prairie, recorded c. February 28, 1928 by Bradley Kincaid.

Nextly is the old folk song “Sweet Kitty Wells”, notably the namesake of the popular country singer of the 1950s onward, recorded at Kincaid’s very first recording session.

Sweet Kitty Wells, recorded c. December 19, 1927 by Bradley Kincaid.

Champion 15687 – Dan Hughey – 1929

Please note: this article dates to Old Time Blues’ first year and does not meet the standard of quality to which more recent postings are held.  Thank you for your understanding.

Before there were folk singers like Pete Seeger and Woody Guthrie, there was “The Kentucky Mountain Boy”, Bradley Kincaid (who performs under a pseudonym on this disc).  Equally comfortable in hillbilly attire as with round framed spectacles, tidy hair, and pressed suits, Kincaid was of a decidedly more sophisticated mold than many of the more “hillbilly” folk singers of his day, while still not succumbing to the urbanity that has in some eyes damaged the credibility of such performers as Vernon Dalhart.

Bradley Kincaid was born in Point Level, Kentucky on July 13, 1895 and made his radio debut on Chicago’s WLS National Barn Dance in 1926 and later became a member of the Grand Ole Opry on WSM in Nashville in 1945.  After a long and successful career which included giving future Grand Ole Opry star Marshall Jones the nickname “Grandpa” while working with him at a Boston radio station in 1935, Kincaid died following injuries sustained in a car accident at the ripe old age of 94 on September 23, 1989.

Champion 15687 was recorded January 28, 1929 in Richmond, Indiana by Bradley Kincaid, given the nom de disque “Dan Hughey” on this release.  It was also issued on Gennett 6761 and Supertone 9362, and later reissued on Champion 45057 by Decca.  The “A” side also appeared on Superior 2656.

One of the great classic American folk songs, Kincaid first sings “Four Thousand Years Ago”, called “The Highly Educated Man” by John A. Lomax in his American Ballads and Folk Songs.

Four Thousand Years Ago

Four Thousand Years Ago, recorded January 28, 1929 by Dan Hughey.

On the reverse, Kincaid sings “Liza Up In the ‘Simmon Tree”.  This is one of those folk songs that bears great lyrical similarity to other songs; for example, “shoes and stockings in her hand and her feet all over the floor” can be heard in Wendell Hall’s “It Ain’t Gonna Rain No Mo'”, and “well, I wouldn’t marry a poor girl, I’ll tell you the reason why…” is similar to the lyrics of “Chewing Gum”, as sung by the Carter Family.

Liza Up in the Simmon Tree

Liza Up in the ‘Simmon Tree, recorded January 28, 1929 by Dan Hughey.

Updated on June 15, 2017.

Supertone 9188 – Chubby Parker – 1927

For your listening pleasure, after a brief and unintentional hiatus, I offer this fine folk record on this nice Gennett Supertone by WLS artist Chubby Parker.

Frederick R. “Chubby” Parker, born in 1876, was a Chicago-based banjo player and folk singer popular on the National Barn Dance on WLS radio in the 1920s, which was a precursor to the famous Grand Ole Opry.  Parker was born in Lafayette, Indiana, and graduated from Purdue in 1898 as an electrical engineer.  He reportedly worked as a circus performer, and later as an electrician, patent attorney, and inventor in Chicago before turning to radio.  Parker became a very popular performer on WLS and allegedly received almost 3,000 fan letters in one week in February 1927.  He left radio and recording after 1931, with one final appearance on WLS in 1936.  He died in 1940.

Supertone 9188 was recorded on February 26, 1927 (perhaps the same week he got all those letters) in Chicago, Illinois, recorded by the Starr Piano Company, producers of Gennett Records.  Radio station WLS (an acronym for “World’s Largest Store”) was owned by Sears, Roebuck & Company, and they were eager to market records by their popular radio artists on their record labels such as Silvertone and this Supertone.

Parker’s “I’m a Stern Old Bachelor” is probably the first recording of this folk song, but I can’t guarantee it, and I haven’t researched it in depth.

I'm a Stern Old Bachelor, recorded February 26, 1927.

I’m a Stern Old Bachelor, recorded February 26, 1927.

Parker’s excellent “Bib-a-Lollie-Boo” has the distinction of being featured on Dust-to-Digital’s fine multimedia set “I Listen to the Wind that Obliterates My Traces”, and features some gems of lyrics that can be found in the little widget that displays song lyrics at the top of the home page of this site.

Bib-A-Lollie-Boo, recorded February 26, 1927 by Chubby Parker.

Bib-A-Lollie-Boo, recorded February 26, 1927 by Chubby Parker.

Updated with improved audio on June 10, 2017.