Matt The Cat presents the soul that came before rock n’ roll: 1950s rhythm and blues. Each week, this underrated and rollicking music plays on that old Rockola Jukebox in the back.
Matt The Cat experiences some paranormal rhythms coming out of his “Juke In The Back” as we celebrate the truly spooky, sinister and down-right crazy sounds of a vintage rhythm & blues Halloween. Eugene Fox meets the devil, The Hollywood Flames take us to Frankenstein’s Den and Bill Doggett throws a Monster’s Party. It’s a treat, not a trick to hear an alternate take of Screamin’ Jay Hawkins’ 1956 classic, “I Put A Spell On You,” with EXTRA screaming and a killer sax solo payed by Sam “The Man” Taylor. So clear your voodoo calendar and dig the sounds from the outer bounds on this week’s Halloween edition of the “Juke In The Back.”
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part fourteen, Matt The Cat focuses on Atlantic’s first subsidiary label, Cat Records. Atlantic set Cat up to be their Rock n’ Roll label, but after only a year and a half and 18 single releases, they decided to dissolve it in favor of ATCO Records. During those 18 78s and 45s, Cat issued some smokin’ Rhythm & Blues, jivin’ vocal groups as well as a few pop and novelty records. Cat Records only enjoyed one national hit, “Sh-Boom” by The Chords, but what a spectacular hit it was. It topped out at #2 on the R&B chart and crossed-over to an impressive #5 Pop. R&B greats Floyd Dixon, Jimmy Lewis, Margie Day and songwriter Rose Marie McCoy all stopped by Cat for one or two releases AND the first Mickey & Sylvia record was issued on Cat in 1954. This is the final installment in our 14 part series on the history of Atlantic Records, so buckle in for another audio adventure with the “Juke In The Back.”
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part thirteen, Matt The Cat focuses on Atlantic’s most successful subsidiary label, ATCO Records. When Atlantic co-founder, Herb Abramson returned from his military duty in 1955, he found a very different company that had continued to grow without him. His partner, Ahmet Ertegun suggested starting a subsidiary that would be fully managed by Abramson and so ATCO was born. ATCO originally focused more on vocal groups than its parent company had. The first national hit for the label was by The Sensations, a Philly group that featured Yvonne Mills on lead. The Royal Jokers, The Pearls, The Castelles and The Ray-O-Vacs also released singles on ATCO, but by far the biggest vocal group on the label was The Coasters. They came over in a big deal that Atlantic struck with songwriter/producers Jerry Leiber and Mike Stoller. Atlantic would buy Leiber/Stoller’s Spark records and take on the two of them as staff songwriters/producers. Some of their signed artists were also included in the deal and that’s what brought Carl Gardner and Bobby Nunn of the Robins over to Atlantic to form a new group called The Coasters. They scored ATCO’s first #1 record with “Searchin’.” So buckle in and prepare yourself for an in-depth look at the history of ATCO Records on this week’s “Juke In The Back.”
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part twelve, we wrap up the focus on the parent label, Atlantic by looking at its major releases from the end of 1956 through 1957. Chuck Willis scores the biggest hit of his career with his rendition of the traditional tune, “C. C. Rider,” a little over a year before his untimely death. LaVern Baker sails to the top of the chart as “Jim Dandy” crosses over into the Pop Chart, extending its mass appeal as Rock n’ Roll becomes mainstream Pop Music. Atlantic takes advantage of Rock’s mainstream appeal and begins to smooth out its rough R&B sound for a more poppy approach. Ray Charles continues to develop his sound, scoring more hits and even crossing over to Pop himself with his reinterpretation of Stephen Foster’s whimsical look at slavery. The Bobbettes, Drifters and Penguins add some fantastic vocal group records to round out part twelve. Next week, we’ll begin looking at Atlantic’s successful subsidiary labels. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part eleven, we’ll focus on 1956. It’s the first year that Rock n’ Roll was solidly placed in the mainstream of popular music. Atlantic began to soften and smooth out its rough R&B sound a bit during 1956 and onward, in order to appeal to the new Rock n’ Roll audience. Joe Turner scored his only pop hit with “Corrine Corrina,” which hit #41 Pop and #2 R&B and The Drifters continued to chart without Clyde McPhatter as “Ruby Baby” and “I Got To Get Myself A Woman” feature Johnny Moore handing the lead. Chuck Willis makes his Atlantic debut this year with “It’s Too Late,” while Ivory Joe Hunter scores his 4th and final #1 single as an Atlantic artist. His 3 previous chart-toppers were waxed for MGM and Pacific Records. Clyde McPhatter and Ray Charles also top the charts this year, while Ruth Brown has a very quiet 1956, chart-wise. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part ten, we’ll focus on the last half of 1955 and the beginning of 1956. Clyde McPhatter officially left the Drifters in July of ’55, but his first solo record, “Everyone’s Laughing,” was indeed a Drifters record from their last recording session together. McPhatter would have to wait until early 1956 to have his first solo hit with “Seven Days.” Ruth Brown continued to rack up the hits, including one with her then flame, McPhatter called “Love Has Joined Us Together.” During this time, Ray Charles scores another #1, giving him 3 #1 singles in just over a year. The Clovers, Joe Turner and LaVern Baker continue their hit-streaks, while Atlantic takes very few chances on new, unproven artists. They do groom The Cookies as backup singers to their stars as well as releasing singles on their own. “In Paradise” turns out to be a surprise hit of early 1956. They would soon embark on a new career singing backup for Ray Charles. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part nine, we’ll focus on 1955, one of the biggest years in Atlantic’s storied history. Ruth Brown, Joe Turner and LaVern Baker continue to score solid hits, but the real story of 1955 is Ray Charles. He has two #1 records this year with “I’ve Got A Woman,” heard at the end of last week’s program and “A Fool For You,” which topped the charts in early August. Brotha Ray was knocked out of the top spot by Chuck Berry’s “Maybellene.” We’ll also hear some important vocal group records from The Clovers, The Cardinals and The Regals. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part eight, we take a look at the last half of 1954, one of the biggest years in Atlantic’s storied history. It was during the last six months of the year that Ruth Brown scored her 4th and 5th #1 records with “Oh What A Dream” and “Mambo Baby” respectively. “Mambo Baby” would end up being Brown’s final #1, though she would still rack up hit records over the next 5 years. LaVern Baker and Ray Charles released career defining records at the very end of 1954 that would make an even greater impact in 1955, just as Rock n’ Roll was beginning to enter the mainstream. We’ll also dig on a killer New Orleans instrumental from Tommy Ridgley and Ivory Joe Hunter’s first release for Atlantic. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part seven, we take a look at the first half of 1954, one of the biggest years in Atlantic’s storied history. It was this year that Ray Charles scored his first hit for Atlantic with “It Should’ve Been Me.” It was his first hit after a 2 year dry spell. The Clovers and Clyde McPhatter & The Drifters continued to rack up best-sellers while The Diamonds, Professor Longhair and Hal Paige should’ve had hits this year. Big Joe Turner took a somewhat risque jump blues called “Shake, Rattle & Roll” and turned it into an early Rock n’ Roll anthem. At 43, Turner was the oldest Rock Idol. Next week, we’ll look at the second half of Atlantic’s great releases from 1954. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, King, etc is the breadth of material, variety of music styles and the sheer number of hit records that led to the Rock n’ Roll explosion of the mid-1950s. Matt The Cat and the “Juke In The Back” present this behemoth, 14 part series celebrating the first 10 years of Atlantic’s existence: 1947-57. This week in part six, the entire program is immersed in 1953. The Clovers and Ruth Brown continue to rack up the hits, while Joe Turner enjoys the biggest hit of his career with “Honey Hush.” Atlantic introduces two singers that had been around for a while: LaVern Baker and Clyde McPhatter. Baker had been making records since 1949 with Eddie Penigar, Maurice King and Todd Rhodes, under the names Little Miss Sharecropper and Bea Baker. McPhatter began recording with Billy Ward and the Dominoes in 1950 as their lead tenor and had already racked up several #1 records. Both singers became huge solo artists on Atlantic and their tenures began in ’53. As always, Matt The Cat has thrown in some records that you don’t hear much anymore from Carmen Taylor, Choker Campbell, The Diamonds and Tommy Ridgley. This program is highlighted by an excerpt from an interview Matt The Cat conducted with Atlantic’s co-founder Ahmet Ertegun, a few years before his death in 2006. So buckle in and prepare yourself for an in-depth, 14 part look at the history of Atlantic Records, which could also be described as a look at the history of American Music itself.
At the end of the Second World War, economics forced the big bands to trim their once great size and thus, the Jump Blues combo was born. Between 1946-1954, rhythm and blues laid the tracks for what was to become Rock n’ Roll. So how come, 70 years later, this vibrant and influential music is still so unknown to so many?
Matt The Cat is going to change that with the radio program, “Juke In The Back.” These were the records that you couldn’t hear on the jukebox in the front of the establishment. To hear all this great 1950s rhythm & blues, you had to go to “Juke In The Back.”
