Friday, October 2, 2015 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Fridays Mountain Time Host: Steve Terrell 101.1 FM Email me during the show! terrel(at)ksfr.org
from the April 1930 edition of What’s on the Air, a publication of WHAS radio in Louisville, Ky.
Earl McDonald is the banjo man in the middle.
Click the image to make it more readable
Most people haven't heard of him, but American music owes a lot to an African American banjo player from Kentucky named Earl McDonald.
As a teenager circa 1900, (no that's not a typo), McDonald was a fan of what might have been the very first jug band in the known universe, The Cy Anderson Jug Band, which featured early jug pioneer B.D. Tite.
The Anderson band, based in Louisville, knocked around for about nine years, playing "riverboats, carnivals, parties and venues throughout the Midwest and upper South" according to Don Kent's liner notes for the wonderful Yazoo jug band collectionRuckus Juice & Chitlins.
But by 1909, a homesick Anderson decided to move back to Virginia. But McDonald was ready to fill the void. Earl McDonald's Original Louisville Jug Band got a gig playing the Kentucky Derby. According to the Jug Band Hall of Fame:
By 1914, he was travelling with his band to performances in New York and Chicago. Earl McDonald led the Ballard Chefs' weekly performances on Louisville's WHAS radio for three years (1929-1932). Public response exceeded expectations, enhancing the popularity of jug band music throughout the eastern half of the United States. Earl McDonald's voice and the rhythm of his jug blowing enlivened the recordings of more than 40 tunes with a half-dozen bands from 1924 to 1931.
McDonald played with the Original Louisville Jug Band as well as the Ballard Chefs and The Old Southern Jug Band. And in 1924 with a group that eventally became known as The Dixieland Jug Blowers -- which was a merger of McDonald's Original band and one led by his former musical partner Clifford Hayes -- he made the first known jug band recording backing singer Sara Martin on "Blue Devil Blues."
I wasn't able to find any information and what happened to McDonald. He was doing his Ballard Chefs radio gig as late as 1932. Tat's about the time the bottom was falling out of the recording industry, especially for "race" records and "hillbilly" records. I'm not even sure when McDonald died.
But he sure left some fun tunes behind. Enjoy some now.
Here's my favorite Earl McDonald song, "She's in the Graveyard Now," a variation of "In the Jailhouse Now."
And here's another classic
And here is another McDonald, Hayes and Martin collaboration from 1924
And what the heck, here are a bunch of songs from McDonald and his bands
Today, in case you didn't know, is International Blasphemy Rights Day.
And my boss still wants me to go to work.
But this is serious. This little-known holiday is a tradition that goes back all the way to 2009. It originated with the Center for Inquiry's Campaign for Free Expression. According to the group's website, the day was created "to show solidarity with those who challenge oppressive laws and social prohibitions against free expression, to support the right to challenge prevailing religious beliefs without fear of violence, arrest, or persecution."
Blasphemy Rights Day is observed every September 30, the website says, "to commemorate the publishing of the Jyllands-Posten Muhammad cartoons, which angered religious believers around the world, many of whom expressed their disapproval with violent protests, riots, and in some cases, murder."
Yes in many parts of the world you can be jailed, executed or disappeared just by expressing ideas the ruling religion deems blasphemous.
Places ruled by Islamic fundamentalists is one example. And just a few years ago, Pussy Riot showed that blasphemy can land you in prison in Russia.
So I'm proud to be an American, to live in a land where you can blaspheme til you're blue and, even though you'll probably piss off a lot of believers, and maybe even get beat up by righteously outraged, usually your life and liberty won't be threatened.
In honor of the day here are three of my favorite examples of good old American blasphemy.
And, no, John Lennon's "Imagine" isn't one of them. First of all, he technically wasn't an American. But most of all, to commit a kind of blasphemy myself, the song just sucks. So many times I've heard it sung or quoted so solemnly by self-righteous hippies, I'd rather listen to Jonathan Edwards' "Sinners in the Hands of an Angry God."
Actually, I'd rather listen to these tunes.
Let's start with Cab Calloway. Back in the mid '60s, when I was in grade school in Oklahoma City, I saw Cab Calloway in person. He played with a small combo during the half time at a Harlem Globetrotters game. I had no idea who he was, but my grandmother, who took me to the game, was hep to that Hi-Di-Ho jive. I loved it, but I was stunned when Cab sang "It Ain't Necessarily So," a song from Porgy & Bess.It basically twisted my youthful Okie head off.
I didn't come from a religious family. We were not churchgoers. My grandmother used to delight in pointing out contradictions in the Bible. The extent of my grandfather's religious teachings was that Jesus loved the little children.
But in conservative Oklahoma most of my friends did go to church, and religion seemed to be everywhere. So when this crazy dude in a zoot suit sang "the things you are liable to read in the Bible, it ain't necessarily so ..." and poked fun at various Bible stories, it opened my eyes. And when Calloway went into his crazy scat singing, it sounded like wild demonic chants beckoning the listeners to follow him into an exciting and probably dangerous new world.
Here's a version of an older Calloway blaspheming away.
Sometimes I think Randy Newman in his prime was the closest thing to Mark Twain that My Generation ever had. That was because of wickedly subversive songs like this.
And here is Robbie Fulks exploring similar terrain. To me he never sounded like he was mocking any religious ideas with this song. He's always sung it with a certain sadness in his voice. And the melody is so pretty, it sounds like the Devil himself wrote it to lead good Christians to the fires.
It's a new hillbilly episode of the Big Enchilada and we're bringing it all back home (on the range) featuring backwoods moans from Rev. Peyton's Big Damn Band, Holly Golightly & The Brokeoffs, The Fabulous Alvin Brothers, Legendary Shack Shakers, Audrey Auld and a special set by New Mexico musicians including Slackeye Slim, Imperial Rooster, Mose McCormack and more. Let the music moooooove you!
Sunday, September 27, 2015 KSFR, Santa Fe, N.M. 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell Webcasting! 101.1 FM email me during the show! terrell(at)ksfr.org Here's the playlist
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
New Blue Mercedes by Drywall
American Wedding by Gogol Bordello
The Lowlife by Nick Curran & The Lowlifes
Hanged Man by Churchwood
Love Comes in Spurts by Richard Hell & The Voidoids
In Your Grave by King Khan & The Shrines
Happy Hodaddy by The Astronauts
Dames, Booze, Chains and Boots by The Cramps
Bad Little Woman by The Shadows of Night
Empty Space by Holly Golightly
House of the Rising Sun by Nina Simone
Psychedelic Afro Shop by Orlando Julius
Oya Ka Jojo by Les Volcans de La Capitol
96 Tears by Big Maybelle
Too Many Bills, Not Enough Thrills by Figures of Light
52 Girls by The B52s
Here's a Heart by Lyres with Stiv Bators
Run Shithead, Run by Mudhoney
Black September by Dead Moon
Icecream for Crow by Captain Beefheart
Pornography Part 1 by Mike Edison & The Rocket Train Delta Science Arkestra
Hold My Hips by Dengue Fever
Get Get It by Alex Maiorano & The Black Tales
Black Isn't Black by The Black Angels
Blackheart Man by Bunny Wailer
The Blues Don't Knock by Don Covay & The Jefferson Lemon Blues Band
That Feel by Tom Waits with Keith Richards
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
