Aladdin Records, Pt. 3 - 1953-55

The "Juke In The Back" presents part 3 in our series on Aladdin Records, one of the most important independent labels of the pre-rock era. Part 3 focuses on 1953-55, just as Rock n' Roll was beginning to enter the mainstream. Matt The Cat digs up a great variety of styles this week as vocal groups, raw Rhythm & Blues, jump instrumentals, drinking songs and ballads take center stage. We'll dig on some hits and misses from Amos Milburn, The Five Keys, Chuck Higgins, Gene & Eunice and Shirley & Lee. We'll also hear some great debut records from Bobby Marchan and Sonny Knight, who would go on to greater success on other labels. A few rare vocal group sides are also featured. Grab a handful of nickels, because this week the "Juke In The Back" is loaded with Aladdin Records sides out of Beverly Hills, CA. This is the final part in our 3 part series.

Aladdin Records, Pt. 2 - 1950-54

The "Juke In The Back" presents part 2 in our 3 part series on Aladdin Records, one of the most important independent labels of the pre-rock era. Part 2 will pick up the Aladdin Records Story in 1950 and carry it through til rock n' roll began hitting the mainstream in 1953-54. This week, we'll hear more hits from Aladdin's early hit-makers, Amos Milburn and Charles Brown. We'll also dig some of the newcomers, like Floyd Dixon, Peppermint Harris, Calvin Boze, Shirley & Lee, the Five Keys and more. Aladdin was a rare label in that almost everything they pressed was worth hearing. If you ever see a discarded Aladdin 45 by an artist you've never heard before, pick it up, because chances are it'll make you very, very happy. Next week, part 3 will close down the series on Aladdin on the "Juke In The Back" with Matt The Cat.

Aladdin Records, Pt. 1 - 1945-49

The "Juke In The Back" begins a three part special on one of the most important record labels of the pre-rock era, Aladdin Records. Eddie and Leo Mesner started Aladdin as Philo Records in 1945. It was one of the first independent labels on the West Coast and sought to fill in the R&B void left by major labels like Victor, Decca and Columbia. The Mesners hired Maxwell Davis to help with musical arrangements and back up their artists and got the label off to a jumpin' start. In February of 1946, Philo became Aladdin and a record label icon was born. With artists like Johnny Moore's Three Blazers featuring Charles Brown, Helen Humes, Illinois Jacquet, Wynonie Harris, Amos Milburn and some rare releases from a young Robins group, how could Aladdin possibly fail? They didn't and in the process, they helped propel rhythm & blues into the mainstream, paving the way for the emergence of Rock n' Roll. This week's show focuses on the beginning of the label from 1945-49 and next week's show will feature 1950 to the birth of Rock n' Roll, while part three will concentrate on the early Rock releases. Grab some nickels, because the party's getting ready to start down at the Chicken Shack...with Matt The Cat and the "Juke In The Back."

Jay McShann

Jay McShann was a pioneer of Rhythm & Blues, cutting his teeth as a swing bandleader, arriving in Kansas City just as it was becoming a jazz mecca. In 1937, he heard the young Charlie Parker and asked him to join his band. "Bird" was on McShann's first records, done for Decca in 1941 including the smash, "Confessin' The Blues," which featured vocalist Walter Brown. McShann was a discoverer of talented musicians, from vocalists Julia Lee, Al Hibler and Jimmy Witherspoon to drummer Gus Johnson, bassist Gene Ramey and saxophonist Paul Quinichette. His band launched many careers and thankfully McShann had many hits of his own. In 1949, it was his band backing Jimmy Witherspoon on the R&B chart-topper, "Ain't Nobody's Business" and with the help of Pricilla Bowman, McShann scored another #1 in 1955 with "Hands Off." Matt The Cat explores Jay McShann's long and storied career as we boogie, jump, jive and wail on this week's "Juke In The Back."

The Influence of "Junker's Blues" and R&B Telephone Songs

The Juke In The Back is jumpin this week as we take a look at the history and influence of the Champion Jack Dupree classic, Junkers Blues. He learned the tune from New Orleans boogie woogie pianist Drive Em Down, but it was Duprees recording that influenced Fats Domino, Lloyd Price and Professor Longhair. Well also make some long distance rhythm & blues phone calls from Floyd Dixon, Sonny Terry, Muddy Waters and Big Walter. Grab a nickel and dig on the Juke In The Back.

Parrot Records

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."

250th 4th of July R&B Picnic

This week, Juke In The Back waves the banner high in celebration of Americas 250th birthday with one of Americas great contributions to the world. No, its not a representative democracy, motion pictures, space flight or a free economy, but its cuisine. Americas 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, Part 3 - 1958

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, Pt. 2 - 1956-57

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, Pt. 1 - 1955-56

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.