{"id":1629,"date":"2024-07-18T16:04:21","date_gmt":"2024-07-18T21:04:21","guid":{"rendered":"https:\/\/www.early1900s.org\/notes\/?p=1629"},"modified":"2024-07-18T16:06:53","modified_gmt":"2024-07-18T21:06:53","slug":"recent-playlist-additions-1930-1936","status":"publish","type":"post","link":"https:\/\/www.early1900s.org\/notes\/2024\/07\/18\/recent-playlist-additions-1930-1936\/","title":{"rendered":"Recent Playlist Additions 1930-1936"},"content":{"rendered":"

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Here’s a sampling of some of the recent audio restorations that have been added to Radio Dismuke’s playlist.\u00a0 \u00a0Brief information about the selections can be found following the recordings.\u00a0<\/em><\/p>\n

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“Old Fashioned Love”
\nClyde McCoy And His Orchestra
\n(Decca 509-A mx C 9960)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 April 25, 1935<\/p>\n

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“Azul”
\nAgustin Lara; vocal, piano
\n(Peerless 1383 mx 270 A)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 1933<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Agustin-Lara-Azul.mp3<\/a><\/audio>\n

 <\/p>\n

“Concha Nacar”
\nAgustin Lara; vocal, piano
\n(Peerless 1383 mx 268 A)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 1933<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Agustin-Lara-Concha-Nacar.mp3<\/a><\/audio>\n

 <\/p>\n

“Tell Me Why You Smile Mona Lisa”
\nVictor Young And His Orchestra;\u00a0 Frank Munn, vocal
\n(Brunswick 6309)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0May 11, 1932<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Victor-Young-And-His-Orchestra-Tell-Me-Why-You-Smile-Mona-Lisa.mp3<\/a><\/audio>\n

 <\/p>\n

“Bring It On Down To My House”
\nBob Wills And His Texas Playboys; Tommy Duncan, vocal
\n(Vocalion 03492 mx C 1500)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0September 30, 1936<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Bob-Wills-And-His-Texas-Playboys-Bring-It-On-Down-To-My-House.mp3<\/a><\/audio>\n

 <\/p>\n

“Mean Mama Blues”
\nBob Wills And His Texas Playboys; Tommy Duncan, vocal
\n(Vocalion 03492 mx C 1495)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 September 30, 1936<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Bob-Wills-And-His-Texas-Playboys-Mean-Mama-Blues.mp3<\/a><\/audio>\n

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“Jig In G”
\nEmilio Caceres And His Club Aguila Orchestra
\n(Victor 24614-B)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0April 4, 1934<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Emilio-Caceres-And-His-Club-Aguila-Orchestra-Jig-In-G.mp3<\/a><\/audio>\n

 <\/p>\n

“I’ll Be Blue Just Thinking Of You”
\nBuddy Blue, vocal
\n(Crown 3021-A mx 1015)\u00a0 \u00a0 \u00a0 September, 1930<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Buddy-Blue-Ill-Be-Blue-Just-Thinking-Of-You.mp3<\/a><\/audio>\n

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“You’re All I Need”
\nFreddie Rose; vocal, piano
\n(Decca 523-A mx 39770)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0July 26, 1935<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Freddie-Rose-Youre-All-I-Need.mp3<\/a><\/audio>\n

 <\/p>\n

“I Love You From Coast To Coast”
\nJack Shilkret And His Orchestra; Chick Bullock, vocal
\n(Melotone 7-02-14 mx 20375)\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0December 9, 1936<\/p>\nhttps:\/\/www.early1900s.org\/notes\/wp-content\/uploads\/2024\/07\/Jack-Shilkret-And-His-Orchestra-I-Love-You-From-Coast-To-Coast.mp3<\/a><\/audio>\n

 <\/p>\n

Clyde McCoy’s<\/a> version of “Old Fashioned Love” was both old-fashioned and modern when it was recorded in April 1935.\u00a0 By then, the song was already an “oldie,” having been written by James P. Johnson<\/a> and Cecil Mack<\/a> for the 1923 Broadway production Runnin’ Wild<\/em><\/a>.\u00a0 The show, with an all-black cast, also introduced their song “The Charleston,” which sparked the mid-1920s Charleston dance craze.\u00a0 On the other hand, the closing passages of Clyde McCoy’s recording very much foreshadow the swing era, which, according to music historians, officially began four months later with Benny Goodman’s<\/a> famous and highly successful engagement at the Palomar Ballroom<\/a>.<\/p>\n

Agustin Lara<\/a> was a famous Mexican composer.\u00a0 The two haunting recordings here, in which he provides the vocal and accompanies himself on the piano, are of his own compositions.\u00a0 Both songs are well-known in the Spanish-speaking world but, for whatever reason, never really caught on in the United States.<\/p>\n

“Tell Me Why You Smile Mona Lisa” is one of the relatively few popular German songs of the era\u00a0recorded by American bandleaders. It is from the 1931 German film\u00a0Der Raub der Mona Lisa<\/em>\/<\/a>The Theft of the Mona Lisa<\/a>\u00a0<\/em>and was written by Austrian composer Robert Stolz<\/a>. Stolz is best remembered as a composer of operettas, but he <\/span>also wrote for the film industry.<\/p>\n

Bob Wills<\/a> (along with Milton Brown<\/a>) launched a new musical genre, western swing, in Fort Worth, Texas, during the early 1930s. This genre combined elements of country music with jazz and became extremely popular by the end of the decade, particularly in the Southwestern United States.<\/p>\n

Jazz violinist Emilio Caceres<\/a> was another musician who was extremely popular in Texas and, eventually, beyond in the 1930s.\u00a0 The band had a long-term engagement at and broadcasted from San Antonio’s Club Aguila. “Aguila” is Spanish for “eagle.”\u00a0 \u00a0The club was owned by the Gephardt Chili Powder Company<\/a>, which manufactured Gebhardt’s Eagle Brand Chili Powder, among other products, and introduced the wider world to another famous Texas invention, Tex-Mex cuisine<\/a>.<\/p>\n

Another Texan who made an impact on the musical world in the 1930s was Smith Ballew<\/a>, recording here as “Buddy Blue,”\u00a0 a pseudonym frequently used on his recordings for labels other than the one that currently had the exclusive on issuing recordings under his own name.<\/p>\n

I suspect, but can’t confirm, that Ballew is accompanied here by Joe Venuti<\/a> on violin and Eddie Lang<\/a> on guitar.\u00a0 Someone who has uploaded a copy of this recording to YouTube says in the upload notes that Joe Venuti was on this recording.\u00a0 However, I have not found any definite confirmation in any of my reference material.\u00a0 But Venuti and Lang did freelance with Crown Records’ in-house studio band and appeared on other Smith Ballew Crown recordings.\u00a0 Thus, I suspect that chances are pretty good that they are on this recording as well.\u00a0 Regardless, I think this is a very nice performance by Ballew and whoever the violin and guitar players might have been.<\/p>\n

Freddie Rose<\/a> provides another example of a famous composer accompanying himself on the piano – though the song he plays here was not one of his compositions but rather one co-written by Walter Jurmann<\/a> and Kaper Bronis\u0142aw<\/a>, a songwriting team that was famous in Weimar-era Germany before they were forced to flee that country when Hitler’s National Socialists came to power.\u00a0 They eventually landed a long-term contract in the United States with the MGM film studio. “You’re All I Need” is a song they wrote for the 1935 MGM film Escapade<\/a>.<\/em><\/p>\n

In the 1920s Rose composed several jazz songs that became hits and also made a good number of vocal recordings for Brunswick.\u00a0 But, in the early 1930s, he moved to Nashville, Tennesee, where he began to increasingly focus on country music.\u00a0 He eventually became a music publisher and a major force in the country music industry.<\/p>\n

Jack Shilkret was a successful bandleader and the younger brother of Nathaniel Shilkret<\/a>, who headed up in-house bands for the Victor label.<\/p>\n","protected":false},"excerpt":{"rendered":"

  Here’s a sampling of some of the recent audio restorations that have been added to Radio Dismuke’s playlist.\u00a0 \u00a0Brief information about the selections can be found following the recordings.\u00a0   “Old Fashioned Love” Clyde McCoy And His Orchestra (Decca … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":1630,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"iawp_total_views":112,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1629","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/posts\/1629","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/comments?post=1629"}],"version-history":[{"count":7,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/posts\/1629\/revisions"}],"predecessor-version":[{"id":1648,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/posts\/1629\/revisions\/1648"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/media\/1630"}],"wp:attachment":[{"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/media?parent=1629"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/categories?post=1629"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.early1900s.org\/notes\/wp-json\/wp\/v2\/tags?post=1629"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}