This week Yulia and Boneapart talk, not sing, The Blues. We discuss some history and share two very fantastic Blues songs that come from different backgrounds.

Of course, we also play a song “Released on this Date In History.”

Southern Negro Quartette

I’ve been waiting ever so long, watching and praying for you, for you.

Recording details:

I can’t sleep at night

He makes me feel so blue

There’s a change in the ocean

Now I can read his letters

Now I got the crazy blues

Now I can read his letters

I went to the railroad

Now I’ve got the crazy blues

I’m gonna do like a Chinaman

This week on Three Tune Tuesday, Boneapart and Yulia open with a piece of music history: on this day in 1916, Swedish tenor Aage Wang-Holm stepped into a New York recording studio to record a tender song of longing for home, sung in his native language for the millions of Scandinavian immigrants who made up a largely invisible audience for the early phonograph industry. Then the episode turns to its theme – freedom versus authoritarianism – beginning with Arthur Pryor’s Band and their 1904 march commemorating the Boston Tea Party, a moment of defiance against an empire that had decided the colonies existed to serve the crown rather than themselves. The episode closes with Reinald Werrenrath, one of the most recorded voices of his era, singing “Freedom for All Forever” – a WWI rallying cry built around a phrase chosen by the American public in a nationwide wartime slogan contest, and written by a soldier-songwriter then serving in the Canadian Engineers. Recorded in March 1918 with the outcome of the war still uncertain, it was a declaration that some things are worth fighting for. A century later, we’re still having that argument.

This week on Three Tune Tuesday, Boneapart and Yulia explore the theme of Égalité — equality — through three recordings from the acoustic era. We open with a "This Day in History" spin: the All Star Trio's rollicking fox trot medley "You Ain't Heard Nothing Yet," recorded by Victor Arden, George Hamilton Green, and F. Wheeler Wadsworth in New York City on this very date in 1920. Then we turn to the theme, beginning with the Manhattan Harmony Four's stirring 1923 recording of "Lift Every Voice and Sing" — the Black National Anthem, written by James Weldon Johnson and his brother Rosamond, and pressed on Black Swan Records, the pioneering Harlem-based label founded by Harry Pace as an act of racial pride and cultural self-determination. We close with Emile Van Bosch, a Belgian-born operatic baritone, delivering a thunderous Dutch-language performance of De Internationale — recorded in Berlin in August 1925, just as the tensions that would define the coming decades were beginning to gather. Three songs, three movements, one enduring question: what does it mean to demand a more equal world?

Coinciding with The Colonial Theatre in Phoenixville discovering that their theatre was actually opened in 1902, not 1903, Yulia and Boneapart visited the theatre and recorded a special, one-off, Three Tune Tuesday - named "Six Song Sunday" - in the hotel room the night before! All songs were recorded in 1902!

In this week's episode, Boneapart and Yulia continue their Liberty, Equality, Fraternity series with a look at Fraternité — brotherhood, solidarity, and standing together — themes that feel as urgent today as they did a century ago. We open with a "today in music history" moment: Marcel Journet's rich bass voice bringing the Porter's Song from Flotow's opera Martha to life in a 1905 Victor recording. Then we turn to our theme, starting with a stirring 1922 brass band march simply — and perfectly — titled "Fraternity," performed by the St. Hilda Prize Band, a group of coal miners from South Shields who happened to be among the finest musicians in Britain. We close with "Hold the Fort," recorded in 1914 by the Chautauqua Preachers' Quartette — a gospel hymn born from a Civil War battle cry that found new life as a labor movement anthem. Three songs, three stories, one enduring message: we're stronger together. Pull up a chair, pour yourself something warm, and join us.

In this week's episode, Boneapart and Yulia both get ready to run through a wall after a listen to an early recording of Patrick Henry's famous (possibily anachronistic) Give me Liberty speech. They also listen to a couple other Liberte inspired runes and get all sorts of riled up.

On this Imbolc-themed Three Tune Tuesday, Boneapart and Yulia spin three pre-1926 gems: a cheeky hospital flirtation in Billy Murray's "Good-night, Nurse" (1913), the hopeful robin-call of Charlotte Kirwan's "When the Robins Nest Again" (1913), and Irving Berlin's tender confession "Tell Her in the Springtime" (1924). Amid crackly grooves and seasonal candlelight, they explore rebirth, from personal healing to nature's first whispers

The world today sucks. So do fascists. It's important to remember that fighting them also requires Self Care. In this episode we try for some levity as a method of self care.

1925 was the year that "electric recording", or "orthophonic" records, were designed, greatly enhancing the sound of recorded music. This week Yulia and Boneapart discuss what made electric recording such a game changer and provide examples of just how much of an improvement over previous "acoustic" recording it made.

This week on Three Tune Tuesday, we’re looking forward—not with naïve optimism, but with determination. Through a 1914 recording of Danse macabre, the unsettling call of Your King and Country Want You, and the resolute stance of We’ll Never Let the Old Flag Fall, we explore how resolve survives the rise of authoritarianism—and how easily it can be misused. These songs come from a moment when the world stood on the edge of catastrophe, yet they still speak to endurance, awareness, and the refusal to surrender one’s values. This isn’t about cheering for power or glory; it’s about recognizing the voices that try to claim us, remembering that no regime lasts forever, and choosing—quietly, stubbornly—to keep looking ahead.