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.
This week, “Juke In The Back” focuses on a tiny Chicago R&B record label with a big sound; Parrot Records. The label was started by Chicago DJ Al Benson in late 1952 and it closed its doors in 1956. During its period of operation, Parrot recorded some smokin’ R&B with Willie Mabon, Mabel Scott and J.B. Lenoir and smooth vocal group sounds from The Flamingos, the 5 Thrills and the Orchids. Matt The Cat highlights both the hits and misses and brings you the story behind the story on this often forgotten R&B label on “Juke In The Back.”
This week, “Juke In The Back” waves the banner high in celebration of America’s 250th birthday with one of America’s great contributions to the world. No, it’s not a representative democracy, motion pictures, space flight or a free economy, but its cuisine. America’s food in song with some good ol’ red, white and Rhythm & Blues. Dig in on an hour of classic R&B about hot dogs, cole slaw, potato salad, ribs and ice cream sung by Nat “King” Cole, Amos Milburn, Louis Jordan, the “5” Royales and many more. Matt The Cat invites you to groove to our R&B 4 th of July picnic and the “soul that came before rock n’ roll” on the Juke In The Back.
Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents the final part of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat focuses on Berry’s recorded and released output during the pivotal year of 1958. He began the year with a bang and the #1 R&B tune “Sweet Little Sixteen.” 1958 was also the year that gave us “Reelin’ and Rockin’,” “Johnny B. Goode,” “Around and Around” and “Carol.” Just like in the first parts of this series, this week’s program is packed with some fantastic and seldom-heard instrumentals, showcasing Chuck Berry’s true guitar chops. So dig this final “Juke In The Back” treatment of the legendary “Shakespeare Of Rock n’ Roll,” Chuck Berry.
Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents part 2 of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat presents every studio recording made by Chuck Berry from the middle of 1956 to the end of 1957. We pick up where part 1 left off as the hits continue with “School Day (Ring! Ring! Goes The Bell)” topping the R&B chart during the spring of ’57. We’ll also dig the demo and hit versions of “Rock and Roll Music” as well as some great, but overlooked Berry instrumentals. We end this week’s program with the demo version of “Sweet Little Sixteen” and will pick it up next week on part 3 with the evolution of that important Chuck Berry tune. Don’t miss the “Shakespeare Of Rock n’ Roll” on this week’s “Juke In The Back.”
Chuck Berry has been called the “Father of Rock n’ Roll” and with good reason. He took the blues of T-Bone Walker and B.B. King, the guitar riffs of Carl Hogan and mixed it with the fiddle and Western Swing music of Bob Wills & His Texas Playboys. Then he rolled it all into one big sonic blast. Rhythm & Blues become Rock n’ Roll when Chuck Berry began writing songs aimed at teenagers, finally granting them their own music. The “Juke In The Back” presents part 1 of a 3 part feature on Chuck Berry’s early career. This week, Matt The Cat explores Chuck Berry’s first full year of recording for the legendary Chess Records in Chicago. We’ll look at his recordings from his first session, held in May, 1955 to his fourth session from April, 1956 and everything in-between. Some of the titles you’ll know by heart, like “Maybellene,” “You Can’t Catch Me” and “Roll Over Beethoven,” but others might be new to your ears, like the eerie “Down Bound Train” and the very bluesy “Wee Wee Hours.” Chuck Berry defined Rock n’ Roll guitar and his influence is felt every time some one picks up a guitar with the intention of tearing the house down. Next week, we’ll finish up 1956 and begin 1957.
Arthur Lee Maye did something that few had ever done. He concurrently had a career as a R&B singer, leading the LA-based group Arthur Lee Maye & The Crowns while also playing minor and major league baseball as an outfielder for the Milwaukee Braves. Both of his careers virtually began in 1954 and since Lee Maye was busy playing baseball from April until October, he could only make records during the off-season. These records consisted of some of the greatest West Coast Rhythm & Blues Vocal Group sounds you’re ever going to hear. Maye and the Crowns began on the Modern Records family of labels, jumping from Flair to RPM to the parent company without scoring a significant hit. Then it was off to Art Rupe’s famed Specialty Records for a one-off single, before recording a few sides for Johnny Otis’ Dig Records. Richard Berry, who famously recorded the original “Louie Louie” for Flip Records in 1956 was an original member of the group and it was also the Crowns with Lee Maye who backed Berry on his first solo sides. However, the Crowns did not receive any credit on those early Berry recordings. Several of Maye’s records; “Gloria” and “Set My Heart Free” have become vocal group classics. Matt The Cat digs in and aims for the fences this week as we present the seldom heard, but nonetheless brilliant recordings of Arthur Lee Maye and the Crowns.
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.
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.”
